Harmonie mineure

Tim Richards
Tim Richards

Lesson time: (3min 55sec)

Joue les accords I, IV et V en ré mineur à la main gauche, ainsi que la gamme mineure harmonique

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This lesson is part of the course Exploring Jazz Piano : Triades mineures
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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

Salué par la critique, le pianiste et compositeur de jazz Tim Richards est l'un des pédagogues de jazz les plus expérimentés de Grande-Bretagne, enseignant le piano en privé depuis plus de 30 ans, ainsi qu'au Morley College, au Goldsmiths College, à l'University of Surrey, aux Premises Studios et dans d'autres lieux au Royaume-Uni et à l'étranger. Il a produit de nombreux titres pour Schott Music, dont les best-sellers en deux volumes Exploring Jazz Piano, Blues, Boogie & Gospel Collection et le très apprécié Improvising Blues Piano. Il est également coauteur, avec John Crawford, de Exploring Latin Piano et Brazilian Piano Collection.Plus récemment, Schott a publié Jazz, Latin & Modern Collection (15 pièces pour piano seul), réunissant des originaux de Tim Richards aux côtés de pièces de Duke Ellington et Thelonious Monk, ainsi que le coffret en deux volumes Beginning Jazz Piano (désormais un cours MusicGurus en deux parties).“La véritable joie de la musique de Tim… c'est qu'elle est à la fois extrêmement pédagogique et tellement amusante à jouer. Quiconque a le moindre intérêt pour apprendre à jouer ou à enseigner le piano jazz devrait vraiment se procurer un ensemble des ouvrages de Tim.” PianoDaoEn tant qu'interprète, Tim est une figure de la scène jazz britannique depuis les années 1980, jouant aussi le blues avec des légendes britanniques et américaines telles qu'Otis Grand, Earl Green, Dana Gillespie, Larry Garner, Joe Louis Walker et Mojo Buford. Il a sorti plus d'une douzaine d'albums en tant que leader (avec bon nombre des meilleurs musiciens de jazz de Londres, dont Pete King, Gilad Atzmon, Tony Kofi, Jason Yarde, Seb Rochford, Ed Jones, Dick Pearce et beaucoup d'autres) et a tourné dans toute l'Europe avec des formations allant du duo au nonette. Son dernier enregistrement, l'album ‘Telegraph Hill’ du sextet Hextet, a été décrit dans The Observer comme "Un pur bonheur du début à la fin". Plus d'informations sur son site web www.timrichards.ndo.co.uk read more

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