Triad Pairs PART1
Meaning that you have six different notes. And then you use those triads to makes lines and exercises. Why use triad pairs? Triad pairs are now a really common concept in jazz improvisation.
You can apply triad pairs to almost any genre of music. They work particularly well for improvisation, but you can also use them to write bass lines. Which is when you take two major triads that are spaced a tone apart. The reason for spacing them a tone apart, is because the triads function like chords IV and V in a major key.
So you can use these kind of lines in any major key by transposing the two triads to the notes of chords IV and V in the key. The exercises All of these exercises are played using the triads C major and D major. Which are chords IV and V in the key of G major. There are three obvious ways to voice a triad inversions. You can put the root at the bottom, the 3rd at the bottom or the 5th at the bottom. Bar 1 uses the root position triads for both C and D and then bar 2 uses the 1st inversion and bar 3 uses the second inversion.
Triad Pairs — Exercise 1 This next exercise uses a similar idea, but with triplets. So, you play three notes on each triad rather than four. Triad Pairs — Exercise 3 The purpose of playing patterns like this one in exercise 3, is that it helps to make the exercise sound less like a pattern. But, if you want to make it sound less like a pattern, then a pattern with an odd number sequence three then four will create a less predictable feel when played as part of a solo.
Book Review: Triad Pairs – The First Step by Tony Greaves
It makes sense though, right? So why not utilize these to create intervallic ideas in your playing? Why not address using a single triad to create harmonic ideas first?
Look, if it was good enough for Wes Montgomery it should be good enough for all of us. Between the bones and trumpets Thad likes to use what is quickly referred to as triad over function. Trombones get the essential notes of the chord Root, third, and seventh and trumpets get a triad on top of that sound the upper extensions. It gives us an incredibly thick sound.
Depending on the triad you pick you can wind up with a pretty slick voicing. Triads allow us to be incredibly specific to jazz harmony, which is essential to making the people around you sound better, our primary focus in a jazz group.
This includes both comping and improvised lines. How do I get these in my lines? At the mark against a Gmin7 chord Wes plays a triplet idea that is merely a D minor triad. That gives us the 5th D , 7th F , and 9th A of a Gmin9.
This gives him the 9th E , 11th G and 13th B extensions. Again, the intervallic nature of the triad gives him a very cool sound. At the mark we get a combination of a Bb minor triad and a C major triad in the middle of at ii-V-I lick in the key of Eb major.
The Bb minor triad opens the idea over a Bbmin7 chord. The V chord is an Eb7, here Peter plays a C major triad. The C major triad represents the 13th C , b9 E , and 3rd G giving us a diminished sound against the Eb7 chord that is then resolved to the I, Abmaj7.
By begging to hear these ideas in improvisers playing, we can then start to understand how to use them. The next challenge is to build yourself a chart of triads against given chords. Take a G7 chord and find each major and minor triad that works against that chord. Leave out any triad that has a major 7th F or a 4th C. Those are the two notes that will NOT work against a dominant chord. Against a G7 chord lets start with an Ab major triad, Ab, C big nasty buzzer sounds.
C disqualifies the Ab major triad because it would be the 4th against a G7. One of our two avoid notes. Are we clear. Those notes all work! A 9th 11th and 13th. That one goes on our chart. Keep going on your own.
Triads – Just those little ‘ole 3 note chords
Because of this, I can see how it would be helpful on a saxophone, for example, to master major arpeggios and their inversions, across all 12 keys being that every scale or key has a completely different pattern, etc.
Introduction to Triad Pairs on Bass Guitar – Bass Practice Diary 90
I ask, why not just use all 7? When we practice triad pairs, we practice them in every inversion, up and down the fretboard while eliminating the 7th degree of the scale. Practicing arpeggios and inversions through chord changes or up and down various modes is just as effective a way to get out of the linear idea rut and add the sound of arpeggios, moving up and down the fretboard, to our vocabulary.
Now with the added benefit of being able to completely reference the harmony by using the 7th which can be a great sound. But, as there are a thousand books and videos online that talk about how to make use of them, and plenty of players that I admire have studied them at some point, I wholly admit that this is just my take on them.
If you want to learn more about triad pairs and how to make use of them, a simple search online will deliver a treasure trove of videos, articles, and written examples to your screen.
If you dig them, dig into them! And if you dig them, also experiment with simply playing arpeggios and inversions up and down modes, and then through various chord changes out of the Real Book. This search here at No Treble brings up a few resources that might help you more fully explore them as well.
Have a question for Damian Erskine? Send it to [email protected]. Get daily bass updates. Get the latest news, videos, lessons, and more in your inbox every morning. After that, he explains the chart included in the E-book. He also explains how to look at the material and how to play the triad pairs over different chords. The next etude over a standard blues includes a performance of it and an analysis of his single note solo over the changes.
The closing etude contains a lot of material to dig into including angular and more traditional jazz vocabulary. Once again, the analysis provides great insight into the lines in the etude.
After going through the entire video, you can also experience the content via the audio version. Bonus Podcast Tony includes a valuable 15 minute podcast documenting his personal experience learning the material that he teaches in this E-book.
Triad Pairs On Bass?
In the podcast, Tony goes through his notes from a practice session. Hearing the thought process behind his practice session during one day is really insightful. Also helpful are the actual photos of his handwritten notes that is included. Personally, I find hearing his process as a great addition to the core material. It shows the backstory and in a way the origin of this work. I think this would help give the aspiring triad pair jazz improvisor an idea of the journey they are about to embark on.
Conclusion A lot of instructional material actually does not include the instructional part. Some are just randomly assembled exercises or boring dry exercises without any relation to real music.
4th mode of Harmonic Major (triad pairs)
Tony wants to challenge his students to really internalise and master the material. This is designed to help you become more successful. PROS: Strong useful material with lots of things to practice. The video is extremely helpful as it turns the E-book into a guided private lesson or master class in this topic.