The minor triad as a II chord

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Tim RichardsWhat's in the course
23 lessons (1h 23m) · 1 freeLesson transcript
Understanding Minor Triads in Major Keys
Now, of course, you find minor triads in minor tunes, but that's not the only place that you might come across them. In fact, in any major key, you've got several minor triads right there.
Example in C Major
For instance, in C major (all white notes):
- The D minor triad is found on the second note (the ii chord).
- On the third note, we have the E minor triad (the iii chord).
- The fourth and fifth chords are major.
Here comes another minor triad on vi:
- This one isn't minor because it would need to have an F# in.
- That one would be called B diminished.
So remember:
- ii, iii, and vi (all white notes) are present as minor triads in the major scale.
Focusing on the Two Chord
Now we're going to mainly focus on the ii chord. So, in the key of F, for instance:
- G minor is a really important chord (i and ii).
Practice Routine
Here's a little routine that almost plays a whole scale harmonized as triads using just those two chords. Try it for yourself!
- I'm going to start down here.
- You can get quite fluent at that, producing a really nice sound using those two chords and all their inversions.
In fact, we've almost played the whole scale. Apart from the fact that there isn't an E in either of those triads, we've covered six out of the seven notes in the scale.
Example: Manenberg
You're going to hear this sound again in the next tune, which is Manenberg by the South African pianist Abdullah Ibrahim.
This is an example of what you might call township jazz, which typically features:
- Major harmonies
- The use of the ii chords, sometimes with the V in the bass.
Rather than thinking of that as a C chord, it's a G minor with a C bass. That's a very common sound in that kind of music.
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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



































