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The Oriental riff, also known as the East Asian riff and the Chinaman lick, is a musical riff or phrase that has often been used in Western culture as a trope to represent the idea of East or Southeast Asia. The riff is sometimes accompanied by the sound of a gong at the end.

The Oriental riff is a Western creation. The first known example of a precursor, showing similar rhythm if not yet melody,[2] is the "Aladdin Quick Step", composed around 1847 and used in an Aladdin stage show named The Grand Chinese Spectacle of Aladdin or The Wonderful Lamp.[3][4][5] Later related tunes included "Mama's China Twins (Oriental Lullaby)" from 1900. In the 1930s, a couple of cartoons used a version of the tune specifically to accompany animated stereotypes of East Asians.[3]

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The notes used in the riff are part of a pentatonic scale and often harmonized with parallel open fourths, which makes the riff sound like East Asian music to the casual Western listener.[citation needed]

The Oriental riff and interpretations of it have been included as part of numerous musical works in Western music. Examples of its use include Poetic Moods (Poeticke nalady) (1889) by Antonin Dvok,[6] "Limehouse Blues" by Carl Ambrose and his Orchestra (1935), "Kung Fu Fighting" by Carl Douglas (1974), "Japanese Boy" by Aneka (1981),[1][4] The Vapors' "Turning Japanese" (1980),[4] "Chinese Laundry Blues" by George Formby (1932), Rush's "A Passage to Bangkok" (1976),[4] and as part of the whistling refrain in "Young Folks" by Peter Bjorn and John (2006).[4]

EDIT So, it's called the "Oriental riff". The origin seems to be obscure i think it's pretty neat though. Also, in terms of musical economy, it's impressive how just three notes can evoke a continent - though usually for not the best purposes.

The Oriental riff, also known as the Asian riff, is a musical riff or phrase that has often been used in Western culture as a trope or stereotype of orientalism to represent the idea of the Orient, China, Japan or a generic East Asian theme. The riff is sometimes accompanied by the sound of a gong.

When this riff is used by Westerners, I cannot help but cringe, even if it is supposedly a Western invention. A similar analogy would be non-Asian people and tattooing Chinese/Japanese characters on themselves. Similar cringe response from me for that scenario.

But when I hear it in (Japanese) game music, I don't cringe as much. Often quite the contrary, the Chinese riff seems to be incorporated in a more tasteful manner (usually). The best example would probably be "China Town" by Yuzo Koshiro from Bare Knuckle/Streets of Rage. Also, on that note, when I hear the "East Asian" riff, I very specifically associate China with it, not Japan, not any other East Asian country. It seems like Japanese composers agree because whenever they do use the "Oriental Riff", it almost always has a China/Chinese-related context in-game.

The first avenue of discussion: So far, we've established that the "Oriental Riff" is a riff that Westerners associates "Asia" (at worst) or "China" to (at best) while Japanese, I'm guessing, associates China and China only. If the Oriental Riff is truly a Chinese Riff in practice, then what is the Japanese version of an oriental riff? What is a short musical riff or phrase that would have you respond "you can't get any more Japanese than that!" If the Oriental Riff is a stereotype Chinese sound, then what is the stereotype Japanese sound?

Okay, but this being a video game music forum, suppose we're now dealing with 8-bit/16-bit chiptune music. Can the unique-ness of traditional Japanese music and traditional Chinese music be retained? Or does their individual styles become so downgraded/diluted that they end up falling under one umbrella: "traditional Oriental-sounding music"? In the case of chiptune, it's obviously less a question of instruments and more a question of style, riff, phrasing.

The East The sitar, bansuri, and tablas of India. The dung (the 5m long monastic trumpets) of Tibet. Tibetan monk chanting also counts. The Koto, Woodblock, and Shakuhachi of Japan. You're deep into Jidaigeki territory when you hear these played in the miyako-bushi scale. Alternately, for modern and urban Japan, any tune from a J-Pop artist. The Oriental Riff, often interchangeable for China and Japan. In Japanese works, the riff is only associated with China. The riff in question appears, using an electric guitar, in "Turning Japanese" by the Vapors, in "Tokyo" by Caramella Girls, and in many other Asian themed songs. It has become somewhat of a Discredited Trope, though. The gong, zheng zither, erhu fiddle, di flute and Peking Opera of China. Throat-singing is pretty much identified with Mongolia and its neighbors like Kazakhstan and Kyrgyzstan. Although it is actually most commonly found in Tuva. Gamelan or brass ensemble played in pentatonic scale is synonymous with Southeast Asia, especially Indonesia.

The Former Soviet Union Male Russian Choirs The Peasant Choir of Czarist Russia Red Army Choirs (Alexandrov Ensemble since 1991) "Ochi Chornye (Dark Eyes)," which is actually a Gypsy romance. Russian Orthodox choirs are used to represent both Soviet Union and modern Russia due to the church's centuries-old tradition of artful singing, especially Basso Profundo. Singing is actually very much a requirement for most Russian clerics. The Balalaika Of Russia. The Squeezeboxes of Russian Countryside. Slavianka's Farewell every time war comes to Russia. The Hardbass Techno of Capitalist Eastern Europe (or of The New Russia at least). The Throat-Singing of Siberia. The Bandura and Cossack songs in Ukraine. Caucasian Lezginka, although more generic "oriental" tunes can be used for Caucasian characters and/or settings in media. Armenia's Duduk, usually playing a song by Komitas Vardapet (Krung or Lele Yaman are the most common). Georgia's acapella polyphonic signing, representing both unusual harmonies and another side of Orthodox church singing traditions. Azeri mugham, a very complex singing and instrumental musical improvisation. All three of the latter are included in UNESCO Intangible Cultural Heritage.

East Asian Riff Logo. It is also known as the Oriental riff and accompanied by a gong in this logo. It can be used as a trope or a stereotype of Orientalism to represent the idea of China, Japan, Korea, or a generic East Asian or Southeast Asian content in your projects.

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