Pentatonic scale improvisation techniques

With
Tim RichardsTim Richards explores the F major pentatonic scale for improvising, breaking it into four-note groups and adding the blue third.
What's in the course
23 lessons (1h 23m) · 1 freeLesson transcript
Improvisation in Manenberg
In Manenberg, all you need in the right hand to improvise is the pentatonic scale in F. This scale will do the job nicely across all of the chords.
Understanding the F Major Pentatonic Scale
Let's look at that scale in a bit more detail. You may remember when we did major pentatonics before, we divided them up into five, four-note groups. Here are the groups for the F major pentatonic:
- Thumb on F: Remember, there's no B flat in the scale.
- Thumb on G: There's no B flat either.
- Thumb on A
- Thumb on C
- Thumb on D
Systematically explore those five different finger positions.
Tips for Exploration
- Don't get stuck always with your thumb on the root.
- Make an effort to single out one of those positions.
- Sing the notes: If you like, sing them before playing them or sing the notes and then try to find them on the keyboard.
- You can do all of this with either the bass line.
You may run out of ideas afterwards; if so, move to another shape. Or you could play them with chords in the left hand, which I started to do towards the end of my solo.
Chords and Pentatonic Loop
Here are some possible chords. Let's do an ordinary F major pentatonic on top of that particular set of inversions.
I'm going to play this pentatonic loop which starts on the root and goes up to the third. This creates a two-bar loop in 4/4. Since this is in 2/4, it actually becomes four bars.
Finger Positioning
Check out that pink finger position at the top of the scale. We place the thumb underneath:
- Thumb on F
- Thumb on C
Everything else will fall into place. You don't need the thumb on F again as long as you're not going higher than A.
Improvisation Practice
We'll try that with the chords and then eventually try improvising.
- Try varying the rhythms, but try to stick to the four-bar pattern.
That's not the only set of inversions you can use. Here's another set. Notice I'm putting the blue third in quite a lot: it's an important color with the pentatonic scale.
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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



































