Adding the Blue Third
Lesson time: (2min 10sec)
In this clip, Tim shows you a couple of new left-hand styles and a right-hand technique called "adding the blue third"
Course preview
This lesson is part of the course Blues Piano Foundations: Walking Bass & Triads
Watch a preview of the full course below.
Lesson transcript:
New Left Hand Styles and Right Hand Technique
In this lesson, we will explore:
- A couple of new left hand styles
- A right hand technique called adding the blue third
What is the Blue Third?
The blue third is the same as the minor third of a chord, but the difference is:
- The chord itself isn't minor.
- We use the blue third as color.
Placement of the Blue Third
- Normally, you'd play it in front of the major third.
Example: C Major Triad
Here's your C major triad:
- If you use 1, 3, 5 fingering, you'll have your index finger free, allowing you to play the blue third.
- Place your index finger on E flat, which is the minor third.
"That's the sort of sound you'll be getting."
Important Note
- Always play the blue third in front of the major third.
- Do not play it back to front, as that will sound too minor.
Demonstration: Blue Third Blues
There's a tune called Blue Third Blues that I wrote to demonstrate the use of the blue third.
Playing the Tune
I'll play it first with the bass line that we already know: Root 356.
- This time, after the G chord, I played an F chord.
- This introduces a little variation in the blues sequence where the last four bars go V IV I.
Practice Tips
- Instead of staying on the V chord for two bars, I'd like you to practice improvising with the blue third as well.
- Remember to play the root position on each chord with the right fingers.
- Leave your index finger free for the blue third on the F or G chords as well.
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