Scales in Double Thirds
Lesson time: (3min 38sec)
Tim Richards shows how to practise scales in double thirds, using F minor Dorian shapes that sit over an F minor 9 chord to add colour to your jazz lines.
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This lesson is part of the course Exploring Jazz Piano: Ninth Chords
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Lesson transcript:
Practicing Double Thirds in Soloing
The last thing I'd like to point out is his use of double thirds, especially towards the end of the solo. For that reason, it's worth getting into the habit of practicing in double thirds.
Starting with F Minor
- For instance, on F minor, the first five notes of the scale in double thirds use the five finger position.
- You might want to do that starting on the third.
- These are all Dorian phrases, D natural, not in the key signature, or starting on the fifth.
All of those phrases will sound great with the F minor 9 chord in the left hand.
Playing the Dorian Scale in Double Thirds
Let's now try playing the whole Dorian scale up in double thirds.
- I'm going to use what's called two group fingering.
- That's my first group: the first six notes of the scale.
- Then I'm crossing over onto C and E flat for the second group, like a five finger position on C.
You can't just use your five finger positions because there are seven notes in the scale. That's why I'm starting with one and two.
Application of Double Thirds Technique
You'll see Horace Silver makes frequent use of that double thirds technique.
- Now, that fingering (this two group fingering) can be applied to any scale, but the thumb might be in a different place.
- With E flat 7, this is going to be Mixolydian.
If you put the thumb on E flat, it's not going to work so well. You want to really save the thumb for the white notes.
This time, you'll also need a D flat in there. So, I'd suggest that you start with three and five and then do your two group fingering.
Using Fragments and Textures
But again, if you just want to use fragments of that:
- Notice I'm starting and finishing on notes of the chord, 7th and 9th, 5th and 7th, 3rd and 5th, all back to front.
This method of thickening is really an important part of creating texture in your solos.
If you look at the way he finishes his solo, it consists of massive block chords.
These are big, chunky voicings:
- Four notes in the left hand
- Three notes in the right
He uses that to signal the climax of his solo. You wouldn't necessarily want to start a solo like that; save it until the end.
About the instructor
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.” PianoDaoAs 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 read more