Escalas en terceras dobles
Lesson time: (3min 38sec)
Tim Richards muestra cómo practicar escalas en terceras dobles, usando formas de fa menor dórico que se asientan sobre un acorde de fa menor 9 para dar color a tus líneas de jazz.
Course preview
This lesson is part of the course Exploring Jazz Piano: acordes de novena
Watch a preview of the full course below.
Lesson transcript:
Practicing Double Thirds in Soloing
The last thing I'd like to point out is his use of double thirds, especially towards the end of the solo. For that reason, it's worth getting into the habit of practicing in double thirds.
Starting with F Minor
- For instance, on F minor, the first five notes of the scale in double thirds use the five finger position.
- You might want to do that starting on the third.
- These are all Dorian phrases, D natural, not in the key signature, or starting on the fifth.
All of those phrases will sound great with the F minor 9 chord in the left hand.
Playing the Dorian Scale in Double Thirds
Let's now try playing the whole Dorian scale up in double thirds.
- I'm going to use what's called two group fingering.
- That's my first group: the first six notes of the scale.
- Then I'm crossing over onto C and E flat for the second group, like a five finger position on C.
You can't just use your five finger positions because there are seven notes in the scale. That's why I'm starting with one and two.
Application of Double Thirds Technique
You'll see Horace Silver makes frequent use of that double thirds technique.
- Now, that fingering (this two group fingering) can be applied to any scale, but the thumb might be in a different place.
- With E flat 7, this is going to be Mixolydian.
If you put the thumb on E flat, it's not going to work so well. You want to really save the thumb for the white notes.
This time, you'll also need a D flat in there. So, I'd suggest that you start with three and five and then do your two group fingering.
Using Fragments and Textures
But again, if you just want to use fragments of that:
- Notice I'm starting and finishing on notes of the chord, 7th and 9th, 5th and 7th, 3rd and 5th, all back to front.
This method of thickening is really an important part of creating texture in your solos.
If you look at the way he finishes his solo, it consists of massive block chords.
These are big, chunky voicings:
- Four notes in the left hand
- Three notes in the right
He uses that to signal the climax of his solo. You wouldn't necessarily want to start a solo like that; save it until the end.
About the instructor

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




