Improviser avec la position à cinq doigts
Lesson time: (4min 15sec)
Course preview
This lesson is part of the course Exploring Jazz Piano : Triades majeures
Watch a preview of the full course below.
Lesson transcript:
Improvisation with Five Finger Positions
Now that you've had a go at improvising using five finger positions in threesome over chords in the left hand, let's look a bit more closely at how that works.
Basic Five Finger Exercise
The basic five finger exercise should be practiced on all the chords you need:
- V chord
- IV chord
Get used to moving between those hand positions.
Pitfalls to Avoid
When it comes to actual playing, there are some pitfalls you might want to avoid. For instance, if you put the fourth of the five finger position in the key of C, that's F. If you play that with the chord, it sounds pretty awful because we hear E and F together, which is about the most discordant interval known to mankind.
- Interval Analysis:
- This combination creates an octave and a semitone or a flattened ninth.
Thus, that's a sound you might want to avoid unless you are particularly after massive dissonance. It doesn't mean you can't play the F; it just means you shouldn't come to rest on it or stress it too much.
Example
For instance, you could play those same four notes like this:
"I'm still playing the F, but I'm following it with an E, which is a better note to end on."
Enhancing Your Improvisation
Some other tips to make your five finger improvisations more effective include putting in the blue third:
- The blue third is the same as a minor third or a flattened third.
- In C, that's an E flat, and you put that in front of the E.
Example in Melody
You'll notice I did that in the melody of threesome.
- It was on G, where I used the blue third on G (which is a B flat) as a grace note in front of the B.
- Here it is in C: you can use that in the middle of your improvisation as well.
It doesn't always have to be a grace note, but you should aim to put the E flat in front of the E.
- On F, it'll be an Ab.
- On G, use the third finger to slide off the B flat, the blue third.
You can use a third finger for both the blue third and the major third, or you can use the second finger sometimes.
Understanding Blue Notes
The blue third is sometimes called a blue note. There are other blue notes, but the blue third is the main one. Using blue notes makes your improvisation sound:
- Less bland
- More colourful
- More jazzy
- More bluesy
All those things at once!
Analyzing the Solo Sequence
Looking at the solo sequence of threesome, I've given you the five finger position in boxes here on the PDF note. Additionally, for every chord, the fourth note is indicated not only as a black note but also in brackets.
- Some people might call that an avoid note.
- It doesn't really mean you have to avoid it; it's just that of all the five notes, it's probably the least effective choice to come to rest on.
Practical Application
As demonstrated earlier, you can play it in passing quite successfully.
- Just look at the penultimate bar of the solo where the chord goes from C to F.
- There's no problem playing the F in that particular bar, since you have an F chord in the left hand.
"Okay, that's not going to be a problem, but I wouldn't do that if the chord was C. You can hear the difference."
About the instructor

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




