Triad inversions
Lesson time: (1min 42sec)
Tim Richards explains major triad inversions and the correct fingering for both hands before you play the piece Threesome.
Course preview
This lesson is part of the course Exploring Jazz Piano: Major Triads
Watch a preview of the full course below.
Lesson transcript:
Triad Inversions in "Threesome"
Before we play our first piece, "Threesome," I need to talk to you about triad inversions. We're not always going to be playing our triads in root position.
Root Position Triad
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Here's a root position, C triad:
- If we move the C up to the top and put the thumb on E, that's the first inversion.
- Notice it's got a fourth on top now.
- The fingering was 1, 3, 5; it's now 1, 2, 5.
First and Second Inversions
First Inversion
- Definition: Third of the chord on the bottom.
- Fingering: 1, 2, 5
Second Inversion
- If we move the E to the top and put the thumb on G, that's the second inversion.
- Definition: Fifth on the bottom.
- This time you've got the larger interval, the fourth, on the bottom as well.
Practice Tips
- Shapes: These are shapes you need to get used to playing and recognizing.
- Don't forget the left hand:
- Use 1, 5, 3, 1 fingering.
- For larger intervals on the bottom: Use 5, 2, 1.
Summary of Inversions
- First Inversions: Have the third of the chord on the bottom.
- Second Inversions: Have the fifth of the chord on the bottom.
Playing "Threesome"
Let's have a go at playing "Threesome." This piece uses three triads: C, G, and F.
- They're not all in root position.
- The right hand is based on the five finger positions of each of those chords, including the melody and the solo.
- The first version of this track is in straight eights and the second one is in swing quavers.
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