Minor seventh inversions

With
Tim RichardsLearn how to play inversions of Cm7 on the piano with this great practice routine.
What's in the course
20 lessons (0h 46m) · 1 freeLesson transcript
Exploring Minor Seventh Chords
So you'll remember playing four-note chords on major sevenths and dominant sevenths earlier on. Now, we're going to extend that to minor seventh chords and look at the four-note shapes and inversion positions related to that chord.
C Minor 7 Chord
Here's a C minor 7 chord, like a C minor triad with the flattened 7th.
- Let's play this in the right hand and look at the inversions.
- We'll do it with the metronome at 80 beats per minute as normal: two clicks of the chord.
- And don't forget to do it in the left hand.
Relationship to Minor Pentatonic
Because the minor seventh chord contains A flat seven and B flat, it fits perfectly with the minor pentatonic. In fact, it is the minor pentatonic minus the fourth.
If you take the fourth away from the minor pentatonic, you're left with the notes of the minor seventh chord.
Now we can also play that over F7. Maybe play the F7 like that to bring it next door.
- Listen to the sound of the minor pentatonic over those two chords.
- We can make the left hand a bit more interesting by playing it like this.
Next Steps
We're going to explore this minor pentatonic scale a bit further in Sing and Play number two in the key of A minor. Instead of playing C minor to F7, we'll be playing A minor to D7.
Notice I've swapped the inversions around there:
- I'm playing A minor 7 not in root position but in second inversion.
- The D7 is in root position just to keep them in the center of the piano.
We can start out in a slightly easier left hand by playing them as triads.
So you just need to find two inversions of A minor and D.
- Don't worry about the sevenths.
- It could be those two.
- It could be these two.
- Could be these two.
I'm going to go for those two.
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Meet your guru

Meet your guru
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
































