Lesson 1 of 12PianoBeginner

The blues sequence, I IV and V chords in C

3:29

Tim Richards builds the 12-bar blues in C from the ground up - numbering the C major scale, then forming the I, IV and V triads you need to play it.

Part of the courseBlues Piano Foundations: Walking Bass & Triads12 lessons (0h 31m)

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12 lessons (0h 31m) · 1 free
    • 01. The blues sequence, I IV and V chords in C

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      3:29

    • 02. Beginner's Blues (performance)

      0:59

    • 03. The On-off rhythm

      Free lesson

      2:34

Lesson transcript

Improvising Blues Piano with Tim Richards

Hi, I'm Tim Richards. Welcome to Improvising Blues Piano. We're going to start from the basics.

Understanding the C Major Scale

You all know how to play a scale of C major, right?

  • Number those notes from 1 to 7.
  • And you probably know that to make an A major triad, you have to take the first, third and fifth notes of C major.

Major Triads

  • This shape is replicated on the fourth note of the scale to give F major, which we call the four chord (Roman numeral four).
  • Then we have the V chord on G.

So that's the root, third and fifth of C, F, and G. These are all major triads on 1, 4, and 5.

Playing the Blues Sequence

We can play a blues right away with those three chords using triads only. We're going to do the same shapes in the bass.

Bassline for C Major Triad

Here's the bassline that follows the C major triad:

  • Use your little finger, third finger, and thumb.
  • We call that a root, three, five, three bass line, because those are the notes it's using.

Rhythm and Structure

  • Use four notes in every bar, quarter notes.
  • The blues sequence will do the following:
    • Four times on C,
    • Twice on F,
    • Back to C for 2 bars,
    • Then G for 2 bars,
    • Ending with 2 bars on C.

So I'll play the whole sequence now in the correct order; check the fingering that I'm using. You might want to look at the example.

Chorus and Practices

So that was one chorus, 12 bars. We're playing a 12 bar blues in C major.

  • There's a four bar practice pattern for that fingering with the thumb on the root of the F and G chords.
  • Just check the fingering in the example.

Importance of Fingering

That fingering is important because if you just jump with your little finger, you're going to have a gap in the sound.

So, that's really bad piano technique. You need to make sure that this bass line is legato.

When we add some chords in the right hand, which we're about to do, it'll be particularly important not to lose sight of the legato left hand.

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Meet your guru

Tim Richards

Tim Richards

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 PianoBlues, 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

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