Lesson 18 of 20PianoBeginner

Improvising over perfect cadences

2:38

Learn how to play an arpeggio figure and inverted arpeggio shapes over a V-I perfect cadence on the piano.

Part of the courseBeginning Jazz Piano: The Three-Chord Trick20 lessons (0h 40m)

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20 lessons (0h 40m) · 1 free
    • 01. Improvising over perfect cadences

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Lesson transcript

Final Lesson: Vertical Improvisation Method

To finish off this course, we're going to return to the vertical improvisation method of improvising that we discussed earlier. Here, you focus on the chord symbols themselves and choose notes of the chords to make up your solo.

Important Chord Sequence: II V I

One of the most important chord sequences in jazz is the famous II V I sequence. An example of this in the key of G would be:

  • II chord: A minor 7 (Am7)
  • V chord: D7
  • I chord: G major

Instead of moving up in fourths like that, which represents the root movement, you could invert the second chord to avoid jumping. The D7, in this case, was in second inversion.

Focus on V to I

Improvert, which is the last piece in the course, removes the II chord and focuses on the V to I in various keys. This really boils it down to a perfect cadence.

Key Sequences

Improvert does this in three keys:

  • C major and A minor (the relative minor)
  • F major and D minor
  • B flat major and G minor

These consist of three major keys and their relative minors.

Using Arpeggios in Improvisation

When you have a go with the backing track, you'll be playing arpeggios as an important way of improvising around those chords.

Example:

For the F7 to B flat, you might play the following:

  • All the notes in the F bar belong to the F7 chord.
  • Aim for a target note on the B flat, specifically the first beat of the B flat bar (the root).

Explore different ways of playing that. That's what Improvert is all about, giving you plenty of space to try out different phrases without departing from the roots of the chords.

Another Example

Here's another example:

Going down from the root instead of up:

  • F7
  • Then going up the B flat 6 arpeggio as an alternative to B flat major 7.

This time, this phrase landed on the third.

Important Note

Did you notice? The movement from the seventh to the third is a really common way of joining the V chord to the I chord, falling onto the third of the B flat, which becomes your new target note.

Before You Begin

Before you have a go at Improvert, please:

  1. Have a look at the PDF.
  2. Check out the suggested phrases.
  3. Listen to my recorded improvisation on the MP3.

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Meet your guru

Tim Richards

Tim Richards

Critically acclaimed jazz pianist and composer Tim Richards is one of Britain’s most experienced jazz educators, teaching piano privately for over 30 years, as well as at Morley College, Goldsmiths College, the University of Surrey, Premises Studios and other venues in the UK and abroad. He has produced numerous titles for Schott Music, including the best-selling two-volume Exploring Jazz Piano, Blues, Boogie & Gospel Collection and the acclaimed Improvising Blues Piano. He is also co-author, with John Crawford, of Exploring Latin Piano and Brazilian Piano Collection.

More recently Schott have published Jazz, Latin & Modern Collection (15 pieces for solo piano), comprising Tim Richards originals alongside pieces by Duke Ellington and Thelonious Monk, and the two volume set Beginning Jazz Piano (now a two-part MusicGurus course).

“The real joy of Tim’s music… is that it is both hugely educational but also such great fun to play. Anyone with the slightest interest in learning to play or teach jazz piano should really acquire a set of Tim’s books.” PianoDao

As a performer Tim has been a presence on the UK jazz scene since the 1980s, also playing the blues with UK and US legends such as Otis Grand, Earl Green, Dana Gillespie, Larry Garner, Joe Louis Walker and Mojo Buford. He has released over a dozen albums as a leader (featuring many of London’s best jazz musicians including Pete King, Gilad Atzmon, Tony Kofi, Jason Yarde, Seb Rochford, Ed Jones, Dick Pearce and many others), and toured all over Europe with line-ups ranging from duo to nine-piece. His latest recording, the album ‘Telegraph Hill’ by the six-piece Hextet, was described in The Observer as "A true joy from beginning to end".

More info can be found on his website www.timrichards.ndo.co.uk

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