Improvisation tips

With
Tim RichardsTim Richards' tips for adding variety to jazz piano improvising by starting your arpeggios on any chord tone - the root, 3rd, 5th or 7th, going up or down.
What's in the course
24 lessons (1h 30m) · 1 free
01. Dominant seventh arpeggios and inversions
2:49

02. DOWN THE LINE Performance
1:46

03. Improvisation tips
You are here3:59

04. The 12-bar blues sequence, tritones and shells
5:49

05. Mixolydian, whole-tone and chromatic scales
5:51

06. STRAIGHT NO CHASER Performance
1:34

07. The Flat Three Pentatonic scale
3:25

08. Learning Dominant 7ths in all keys
5:37

09. DOMINANT SEVENTH WORKOUT #1 Performance
1:48

10. Broken chord patterns
5:22

11. Rhythm changes and the dominant seventh cycle
3:50

12. THE THEME Performance
2:22

13. Improvising over the tonic chord
5:42
Lesson transcript
Exploring Arpeggios and Chord Variations
Down the line was an opportunity to explore your dominant '74 on those four chords: arpeggios and broken chords. Let's talk a little bit about how to create interest and variety with those four chords, in particular the arpeggios.
Starting on the Root
First thing, let's play a couple of ideas that start on the root.
-
Going Up:
I'll do this with some left hand chords. I'll just play something like this just to keep time. You can go up from the root. -
Going Down:
Don't forget you can also go down from the root. Start with the fourth finger. Avoid the trap of always starting your phrases by going up from the starting note.
Demonstration:
- Starting on the Root and Going Up
- Starting on the Root and Going Down
- Starting on the Third:
- Now starting on the third and going down.
- Starting on the Fifth:
- For instance, now start on the fifth and go down.
This creates a great pattern similar to a broken chord.
Starting on the Seventh
Finally, let's start on the seventh. This one you may have to think about because it's not an obvious place to start, is it? But there's no reason why you shouldn't start on any note of the chord.
-
Starting on the Seventh and Going Up:
The second bar there was the same notes but off the beat. -
Starting on the Seventh and Going Down:
See, that all falls under the fingers. It's a root position shape, but I'm starting with a little finger.
Tips for Creating Variety
One of the secrets to playing with more variety is to cover every note of the arpeggio of the inversion. This happens to be root position. Rather than just getting one or two notes ready, get into the habit of covering four notes from the chord. Then they're all at your disposal under your fingers. You don't even need to look.
Checking Fingering for Arpeggios
Lastly, let's check the fingering for the arpeggios of these chords, starting with C7. You should probably have done this already, so that'll be good for G7 as well.
- Fourth Finger on the Seventh:
If you're going to play Bb or Ab, you need to use an alternative fingering:- Second finger on the root
- Thumb on the root.
Try those with the chords as well, such as Ab.
Practice Tips
Make sure that whenever you practice this stuff, you play in time, preferably with something in the left hand which states the time, like even just a bass line.
Don't get into the habit of practicing things with no idea of pulse, rhythm or groove.
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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























