Escala de blues y armonía superior

Tim Richards
Tim Richards

Lesson time: (5min 15sec)

Tim demuestra un blues de ocho compases en La menor, basado en una escala pentatónica menor

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This lesson is part of the course Blues avanzado al piano: estilos e interpretación
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Lesson transcript:

A Minor Blues and 8-Bar Blues Lesson

We're now going to do A minor blues for the first time and also an 8-bar blues. So far, everything has been 12 bars. An 8-bar blues is very often like a truncated 12-bar.

Relative Minor

Let's talk about the relative minor to start with. Every major key has a relative minor key, which is:

  • The minor third down from the major key.

For example, C major shares two notes with an A minor triad. Those two notes are:

  • C
  • E

Thus, A minor is the relative minor of C major, and they share the same key signature as well.

Chord Progression

This tune uses A minor for four bars.

  • I'm going to play it in second inversion triad like this: E on the bottom.
  • Then, it's going to go to the V chord, which will be E minor for one bar,
  • The IV chord, D minor for one bar,
  • And then back to A minor for two bars, adding up to eight.

If I was playing bass as well, I'd do this sort of thing.

Chord Changes

  • E minor: Just very briefly, in the second half of the first bar.

These are the chords for the Bill Withers tune "Ain't No Sunshine":

  • A minor triad in second inversion
  • All the others in root position.

Variation in Playing

Now, normally you'd play that twice, but why play it exactly the same each time? One of the things that would be really effective with this type of tune is to use top harmony.

Adding Top Harmony

Instead of just playing, try adding an E on the top of every single note, or just some of them. Play the whole thing with some top harmony.

Melody and Scales

I should point out that this melody, apart from the note B, is based on a minor pentatonic scale. Some people might call that a blues scale, although the blues scale can also have an E flat in it.

  • The E flat, though, is really just a passing note.

So when you're improvising over this tune, you could use that scale for the whole thing without needing to change it. Blues scales are generally used in the key without transposing to fit each chord.

Practicing Improvisation

You can do that as many times as you like. Vary the phrases, but just play those five notes.

The top harmony note can be:

  • The root

  • The fifth

  • Or, in fact, any of the notes of the pentatonic scale can be played on top:

  • C on top

  • A on top

  • G on top

  • E on top

  • Even D, especially over the D chord.

The key is to experiment with those and decide which you think sounds best!

About the instructor

Tim Richards
Tim Richards

Aclamado por la crítica, el pianista y compositor de jazz Tim Richards es uno de los educadores de jazz más experimentados de Gran Bretaña, y ha enseñado piano de forma privada durante más de 30 años, además de en el Morley College, el Goldsmiths College, la University of Surrey, Premises Studios y otros centros del Reino Unido y del extranjero. Ha producido numerosos títulos para Schott Music, entre ellos los superventas en dos volúmenes Exploring Jazz Piano, Blues, Boogie & Gospel Collection y el aclamado Improvising Blues Piano. También es coautor, junto con John Crawford, de Exploring Latin Piano y Brazilian Piano Collection.Más recientemente, Schott ha publicado Jazz, Latin & Modern Collection (15 piezas para piano solo), que reúne originales de Tim Richards junto a piezas de Duke Ellington y Thelonious Monk, y el estuche de dos volúmenes Beginning Jazz Piano (ahora un curso de MusicGurus en dos partes).“La verdadera alegría de la música de Tim… es que resulta a la vez enormemente didáctica y tremendamente divertida de tocar. Cualquiera con el más mínimo interés en aprender a tocar o a enseñar piano de jazz debería hacerse sin falta con una colección de los libros de Tim.” PianoDaoComo intérprete, Tim ha sido una presencia en la escena del jazz británico desde la década de 1980, tocando también el blues con leyendas del Reino Unido y de Estados Unidos como Otis Grand, Earl Green, Dana Gillespie, Larry Garner, Joe Louis Walker y Mojo Buford. Ha publicado más de una docena de álbumes como líder (con muchos de los mejores músicos de jazz de Londres, entre ellos Pete King, Gilad Atzmon, Tony Kofi, Jason Yarde, Seb Rochford, Ed Jones, Dick Pearce y muchos otros) y ha girado por toda Europa con formaciones que van del dúo al noneto. Su última grabación, el álbum ‘Telegraph Hill’ del sexteto Hextet, fue descrita en The Observer como "Una auténtica delicia de principio a fin". Puedes encontrar más información en su sitio web www.timrichards.ndo.co.uk read more

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