Triad pairs for jazz pdf

 
    Contents
  1. Modern vertical thinking (Triad pairs over seventh chords)
  2. Etude 21-Coltrane Matrix: Major/Augmented Triad Pairs
  3. Tag: triad pairs
  4. Modern vertical thinking (Triad pairs over seventh chords) - PDF

Download Your FREE Page PDF Because of this, major triad pairs are very popular with jazz guitarists, as this allows you to solo over any. Lesson on how you can use triad pairs in improvisation and also a Hack for chosing You can also download the PDF of my examples here. Adding triad pairs to your sound is as easy as Creative Director at Open Studio, where you can get Jazz Lessons from Jazz Legends.

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Triad Pairs For Jazz Pdf

Triad pairs have been used in improvisation for some time. I was first introduced to triad pairs in the 's studying with David baker while attending Indiana. One of most compelling harmonic progressions in modern jazz is the In this etude I use a triad pair combination to move through the secondary and upper partial harmony of the chords. Coltrane Matrix: Major/Augmented Triad Pairs. pdf. In the first measure is a C# minor triad voice leading up to a Bb major triad, Diatonic Triad Pair Combinations Over Dominant 7th glametesaspo.cf

Video 1: In part one 1 of 2 of this "Improvising With Triad Pairs" jazz lesson series, legendary saxophonist Jerry Bergonzi breaks down his exciting approach to improvisation using hexatonic scales. With the accompaniment of Andy LaVerne, Jerry brings you through the many harmonic options at your disposal, so you can use these concepts effectively in your solos. If you want to take your improvisations to fresh and interesting places, this triad pairs masterclass series is for you. Topics Covered: Jazz, improvisation, triad pairs, hexatonic scales, major triads, minor triads, triads a whole step apart, applying hexatonics to different chord types and changes, triads a half step apart, etc. Video 2: In part two 2 of 2 of this "Improvising With Triad Pairs" jazz lesson series, legendary saxophonist Jerry Bergonzi breaks down his exciting approach to improvisation using hexatonic scales. Topics Covered: Jazz, improvisation, triad pairs, hexatonic scales, augmented triads, 9-note scale, triads a whole step apart, applying hexatonics to different chord types and changes, triads a half step apart, relative major, relative minor, practicing these concepts, using shapes and patterns, etc. Like all of our PDFs, it is not meant to be used without the video. This is a supplemental PDF. Jerry Bergonzi A fine, high-powered tenor saxophonist with a tone influenced by John Coltrane, a mastery of chord changes, and a strong musical imagination, Jerry Bergonzi has long had an underground following in the Boston area. He started on clarinet when he was eight, switching to alto at 12, and finally to tenor two years later. He attended Lowell University and then after graduation played electric bass in local bands behind singers and strippers, saving up enough money to move to New York in After struggling in the Big Apple for seven years and gaining some recognition as a member of Two Generations of Brubeck and of the Dave Brubeck Quartet with whom he appeared on several Concord albums during , Bergonzi moved back to Boston in , where he developed a strong career both as a tenorman and as an educator.

Every guitarist should be able to play every triad with horizontal movement and vertical movement. Horizontal movement goes up and down the fretboard staying on the same string set and vertical movement stays in position while playing through the triads and their inversions. Check out and Fig. The following examples show how to organize the notes in these triads to create some interesting ideas. One byproduct of this technique is that your solos will sound more compositional, because motivic ideas and development will naturally start to occur.

Both Fig. In Fig. Download example 3 audio Download example 5 audio Basically, this concept is just a way to break out of running scales and playing scalar lines. It also forces us to be very accurate with our note choices, and in many cases will expose how little we actually understand the fretboard and triad shapes with their inversions across the fretboard.

Good luck and have fun! Corey Christiansen, a former senior editor and guitar clinician for Mel Bay Publications, is known for his fluid jazz improvisation and instructional chops. To learn more about his CDs and DVD, and see his current workshop and performance schedule, visit coreychristiansen.

More videos from Premier Guitar. In my thesis I will only examine these triad pairs. Let s see for example a melodic minor scale as the chord-scale for a situation and see which triad pairs we can use. We see that within a C melodic minor scale the following triads can be found: Cmin, Dmin, Eb. We have to experiment with them and decide which sounds best. I have examined the diatonic triads within different scales and I have found this triad pair within the C melodic minor scale and the C major scale: Fmaj and Gmaj diatonic triads in the C melodic minor scale: 4 th and 5 th degree.

Major system Major: 1, 4, 5 Minor: 2, 3, 6 Diminished: 7 Augmented: - Melodic minor system: Major: 4, 5 Minor: 1, 2 Diminished: 6, 7 Augmented: 3 Harmonic minor system: Major: 5, 6 Minor: 1, 4 Diminished: 2,7 Augmented: 3 Triads in the two symmetrical music systems The symmetrical scales show a different chordal environment from the traditional seven tone scales.

The diminished scale contains four major triads, four minor triads, and two diminished seventh chords. Any two of these chords that do not share a common note makes a viable triad pair.

The augmented scale contains three major triads, three minor triads and two augmented triads. Triads in the system: Major:1,3,5,7 Minor:1,3,5,7 Dim. It is a lot, but fortunately we can simplify it. To examine the b2,2,b3,3,p4,b5 distances is enough because the rest is the same in this context.

For example, between Cmin and Ab dim chord there is a minor 6th distance. We confirmed this already when we examined the distance between Ab dim. This would be unnecessary double work, so instead of we have For example, a minor and a major pair which are triton distance from each other are the same as a major and minor pair with the same distance. The result demonstrated all of the triad possibilities over Cmaj7 chord. C, D, G In general it is possible play over the Maj7 chord a major triad from the Root, 9th, and 5th.

Cdom7alt Db melodic m. Cdom7sus4 C mix. Cm7b5 m. Bb harmonic m. Cmaj7 5 A melodic m. I have attached all the result of the three natural systems and the two symmetrical systems at the end of the thesis. See attachment page 31 Now I know all of the possibilities over all the seventh chords so I can start to experiment with them.

Experimenting with the same type of triad pairs over seventh chords I examine and I use just the same type of disjunct triad pairs because these pairs give me more interesting sound over the actual seventh chord.

I was wondering what might be the reason for this. I found the different type of triad s sound to be too diatonic. For example when I play a major and then a minor triad, which are in the same system over any seventh chord, it sounds too diatonic. In my opinion, is it is better to play two of the same type of triad chords. At this point I have to mention the concept of the polytonality. Description: Musical thinking from two or more tonality.

Two triads which are not in the same music system, can give us a polytonal environment. When we use two systems we call this bitonality. For example, if I play Db major and G major triad, this is bitonal thinking and I can play this over G7alt chord. The triads that work in the improvisations use the following three rules: They must come out of the scale we are using.

They must not have any notes in common. Major and Augmented triads sound the best.

Modern vertical thinking (Triad pairs over seventh chords)

In the major scale the only triads that work are scale degree 4 and 5 F and G. In the Harmonic Minor scale, the only pairs that work are on scale degrees 5 and 6.

G and Ab Notice that the augmented triad on scale degree 3 can't be used because it shares notes in common with both of the other major triads. From the melodic minor scale, we can make two triads on scale degree 5, one major and one augmented.

So there are two possibilities of triad pairs from this scale and it s modes. I looked at in a vertical way and in a horizontal way as well. I think that Kurt Rosenwinkel uses the most interesting range of sounds that I like, so he represents the best example to research.

I listened to him a lot and I transcribed some of his solo or musical ideas. When I analyzed his music I realized that he uses this kind of triad concept a lot. In the next examples I will share some of his ideas. In the next example we can see how he uses triads over the Bb7 chord. As we can see the bass is a Bb pedal and he plays major triads over that. Another great line I have transcribed is with triads which sound good over C7.

Etude 21-Coltrane Matrix: Major/Augmented Triad Pairs

Here is another transcription of some of his triad lines from different songs. He uses diatonic triad lines very often. Rosenwinkel plays Ab major triad and Bb major triad over the D7 chord. He is thinking in Eb melodic minor system. Over G7 he plays Db major and Eb major triad which is actually in Ab melodic minor. So he uses the same idea. We can find the same pattern at the very beginning of his solo. In the first bar he plays descending Ab major, ascending Bb major arpeggio.

And then descending Db major, Eb major arpeggio. Going forward to bar 6 we have in Gm. He plays Ab major and Bb major triad again. On the 7 th bar we have Gm7 and F 7 chords. He plays Bb major triad over the Gm7 chord and on F 7 he plays triad of Ab major. So the sound is Lydian dominant. Db melodic minor.

On the 8 th bar we have in Eb major and he plays Gb and E major triad. So he uses the Bb7altered sound on the Bb7 chord which is actually the Bmelodic minor scale.

Tag: triad pairs

Although the triads are simple material, we can see that we can create very interesting sounds with them. With this example I want to illustrate that the triads can be used in a horizontal way as well. Together they produce a really nice and interesting F7 line. Then he plays Eb and F triad pair.

Modern vertical thinking (Triad pairs over seventh chords) - PDF

Over the chords, let s take the notes from major triads built on two tones which are next to each other depending on what type of sound we are looking for. On the altered-dominant chords in bar 4, 10, and 12, we use triads built up on the b6 and the b5 scale degrees.

The same idea works also over minor 7b5 chords, just like in measure 9. Let s see how this works over dominant blues. Over the dominant chords, we build triads on the root and b7 of the chords. As we can see the solo starts on an Eb major triad in the first bar and then moves to a first-inversion F major triad. It sounds very nice and bright in my opinion Saunders June, 20 Applying triad pairs in a standard in a vertical way Stella by starlight: More complex solution: Noppe , p.

I have collected my favorite disjunct triad pair sounds over each seventh chords and then I started to use them. In the next part I will share some of my ideas. Triad pair ideas over seventh chords: Major7 The major triads built from the 4th and 5th notes of the major scale. In the key of C, it is F and G over the Cmaj7 chord. These triads, although they use most of the notes in the major scale, if we organize these notes in triads then we get a different sound compared to the scale.

Besides playing major triad pairs over maj7 chords, we can also use minor triad-pairs to express maj7 chord from a different point of view. Now I will be using the minor triads from the 2nd and 3rd notes of the C major scale.

These triads are the Dm and Em triads. This triad pair gives us actually the notes of the major scale without the root. Minor7 The first m7 triad pair contains a major triad from the b3 and 4 of the chord underneath it, such as the F and Eb triads over the Cm7 chord like demonstrated below.

We can see that the F triad produces the intervals 4,6,R and the Eb triad produces the bb7. The 2nd note from the dorian mode is left out. In the next example the m7 triad pair presents two minor triads from the root and 2nd note of the m7 chord underneath it.

The b7 is left out. Since this is a new way of building lines, it will yield a whole new sound. Dominant7 The 7th triad pair uses major triads from the b7 and Root of the dominant7 chord. So if we are improvising over a C7 chord, then we can use both the Bb and C major triad pair. With the Bb triad we get the intervals b7,9,11 over C7, and the C triad is the R,3,5 of the chord underneath it.

We can also build 7th chord lines by playing minor triads from the 5th and 6th of the dominant7 chord underneath it. Only six of the seven notes from the related Mixolydian scale is being played and the 11this left out. This is an example of a line where I use the Gm and Am triads over the C7 chord. Dominant7 ALT The next example of 7alt triad pairs involves playing major triads from the b5 and 5 of the actual chord. The Gb and the Ab triad over a C7alt chord works great.

These two triads are a perfect choice to express any altered chord. The altered notes are the b5, b9, 5 and 9. The following 7alt chord uses two minor triads, built up on the b9 and 9 of the C7alt chord.