Armonía menor

Tim Richards
Tim Richards

Lesson time: (3min 55sec)

Toca los acordes I, IV y V en re menor con la mano izquierda, y la escala menor armónica

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This lesson is part of the course Exploring Jazz Piano: Tríadas menores
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Lesson transcript:

Music Lesson: Learning a Minor Version of Coincidence Calypso

So this tune is a little bit like a minor version of Coincidence Calypso, which you remember was also in the key of D and used 1, 4, and 5 chords.

Structure and Chords

  • The difference is this is an 8-bar sequence, not a 4-bar sequence.
  • The V chord, I, and IV are both minor, and the V chord is major (or dominant).

Left Hand Technique

We're going to play chords in the left hand just to get used to that sequence. Maybe incorporate some five-finger positions in the right hand.

  • Let's leave the tempo the same as it was: G A.

The D minor and G minor were both straightforward minor five-finger positions with the B flat and the G minor.

A7 Chord Insight

Did you notice on the A7 I could have played this, which would have been 100% major, but I actually put a B flat in, which gives it a much more interesting, more exotic sound.

  • This sound comes from the D harmonic minor scale.
  • It's particularly useful to use that on the A chord because of the C sharp in that scale.

Key Signature and Expectations

It's got a B flat and a C sharp in it. The B flat is kind of desirable because we're in the key of D minor.

  • As you should know, the key signature is the same as the key of F major.
  • They both share one flat in the key signature.

So, we kind of expect to hear a B flat when we're playing in D minor, especially if we're going to the G minor chord. Over the A chord, we expect to have that B flat in there.

Chord Variations

You could play G7 in the left hand, which keeps it in the general D minor tonality, the sound of D minor.

  • If you don't like that, it's perfectly okay to play a B natural.

So you can try it either way.

Solo Section: Monte Uniformonte

In the solo section of Monte Uniformonte, the left hand doesn't actually play chords like that, but you can if you want.

  • The actual given left hand is more syncopated.
  • I extended those five-finger positions a little bit there.

Important Coordination

That's an important coordination if you want to get prepared for this tune. Just being able to go...

  • (Demonstrate)

is going to stand you in good stead.

Practice Recommendations

  • Do that with the three of the three chords, and practice the chord changes.
  • There are quite a few jumps in the left hand.

When you get to the solo, you'll have to be fairly quick to move from here to down, and jump back up, so jump with the third finger.

About the instructor

Tim Richards
Tim Richards

Aclamado por la crítica, el pianista y compositor de jazz Tim Richards es uno de los educadores de jazz más experimentados de Gran Bretaña, y ha enseñado piano de forma privada durante más de 30 años, además de en el Morley College, el Goldsmiths College, la University of Surrey, Premises Studios y otros centros del Reino Unido y del extranjero. Ha producido numerosos títulos para Schott Music, entre ellos los superventas en dos volúmenes Exploring Jazz Piano, Blues, Boogie & Gospel Collection y el aclamado Improvising Blues Piano. También es coautor, junto con John Crawford, de Exploring Latin Piano y Brazilian Piano Collection.Más recientemente, Schott ha publicado Jazz, Latin & Modern Collection (15 piezas para piano solo), que reúne originales de Tim Richards junto a piezas de Duke Ellington y Thelonious Monk, y el estuche de dos volúmenes Beginning Jazz Piano (ahora un curso de MusicGurus en dos partes).“La verdadera alegría de la música de Tim… es que resulta a la vez enormemente didáctica y tremendamente divertida de tocar. Cualquiera con el más mínimo interés en aprender a tocar o a enseñar piano de jazz debería hacerse sin falta con una colección de los libros de Tim.” PianoDaoComo intérprete, Tim ha sido una presencia en la escena del jazz británico desde la década de 1980, tocando también el blues con leyendas del Reino Unido y de Estados Unidos como Otis Grand, Earl Green, Dana Gillespie, Larry Garner, Joe Louis Walker y Mojo Buford. Ha publicado más de una docena de álbumes como líder (con muchos de los mejores músicos de jazz de Londres, entre ellos Pete King, Gilad Atzmon, Tony Kofi, Jason Yarde, Seb Rochford, Ed Jones, Dick Pearce y muchos otros) y ha girado por toda Europa con formaciones que van del dúo al noneto. Su última grabación, el álbum ‘Telegraph Hill’ del sexteto Hextet, fue descrita en The Observer como "Una auténtica delicia de principio a fin". Puedes encontrar más información en su sitio web www.timrichards.ndo.co.uk read more

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