About triads over chords?

[GuitaRoland]

Are there any rules about playing triads over chords? I read somewhere a long time ago about combining different triads over certain chords. Can't remember the gist of it any more - how do I do that - how do You do that?
My question has to do with adding some more spice and flavour to my playing - I get somewhat bored of my own playing from time to time and would like to move forward.

/R

[derek]

If you are talking about using triads in lines, one of the best books on the topic is Garrion Fewell's book found here.

Amazon.com: Jazz Improvisation for Guitar: A Melodic Approach (9780634017728): Garrison Fewell: Books

[JohnW400]

The only rule I know is , you can use anything you want as long as the bass line holds it together.


One way is to learn all the triads and theit inversions on each set of 3 strings (123 235 345 465) and then take them through the cycle of 4ths while holding a 'pedal' C

So you get C F/C Bb/C Eb/C Ab/C Db/C Gb/C B/C E/C A/C D/C and G/C

Of course you should do minor dimished and augmented as well.


There are lots to do with this. For example after you learn them over a pedal C, try them over the triton (E Bb) to see what kind of dominant voicings you get. (ex E Bb A D F# 6 5 x 3 2 1)

[GuitaRoland]

Originally Posted by JohnW400

The only rule I know is , you can use anything you want as long as the bass line holds it together.


One way is to learn all the triads and theit inversions on each set of 3 strings (123 235 345 465) and then take them through the cycle of 4ths while holding a 'pedal' C

So you get C F/C Bb/C Eb/C Ab/C Db/C Gb/C B/C E/C A/C D/C and G/C

Of course you should do minor dimished and augmented as well.


There are lots to do with this. For example after you learn them over a pedal C, try them over the triton (E Bb) to see what kind of dominant voicings you get. (ex E Bb A D F# 6 5 x 3 2 1)

Fascinating - how would an autodidact (self-taught) ever think of something like that?

/R

[JohnW400]

Originally Posted by GuitaRoland

Fascinating - how would an autodidact (self-taught) ever think of something like that?

/R

That's why you should have the occasional lesson with a good , knowledgable teacher.

Here's some thing's you should alway do when you happen on an idea or concept

Learn it in 12 keys via the cycle of 4th's (C F Bb Eb Ab etc.)

If it's major, it can be minor ect . so......take everything through all the triads and 7th's.

Learn all chords and arpeggios in their inversons as well as root position

Learn scales and what have you in several positions and starting off of each finger.


Bear these things in mind as you go about picking up new ideas.

[GuitaRoland]

Originally Posted by JohnW400

That's why you should have the occasional lesson with a good , knowledgable teacher.

I copy and repeat a post in another of my threads:
"I'm so happy that I found this forum, the courtesy and the help you get here is invaluable. Especially for someone in my situation who have no access to qualified teachers in my region - I am so grateful for everyone who wants to share their knowledge.
--------------------------------------------------------------------------------------------------------------
This goes for all of you participating - my gratitude's to all who responds in this forum!!!"

/R

[mikestern]

F major triads, G aug , A major triads over G7

[FatJeff]

Originally Posted by mikestern

F major triads, G aug , A major triads over G7

Are you saying to do these in succession over a static G7? Or just pick one and use it alone?

Armchair analysis, correct me if I'm wrong:

Fmaj/G7 => b7 9 4 (an avoid note)
Gaug/G7 => 1 3 #5 (hip over altered harmony?)
Amaj/G7 => 9 #4 13 (lydian dom sound?)

[JohnW400]

Jeff,

I think he means G FAC to give that 9 sus 4 sound

or you could use DGBFAC 10 10 9 10 10 8 fingered 2 2 1 3 4 1 (Van Eps Barre)

The A/G7 is hip. Try GBF AC#E 3 2 3 2 2 0 fingered 3 2 4 1 1 0 or 2 1 3 1 1 0

Or G F C# E A 3 x 3 6 5 5


The G+/G7 doesn't do much for me.

[musicjohnny]

Well, this is an idea I use when it comes to playing triads over chords.

Say the chord is V in Bb, I might play a C- over that V, so you have:

F A C Eb
C Eb G

So now you've created a F9 sound.
And you could even play a Cdim triad and create a V7b9. Possibilities are endless.

[BigDaddyLoveHandles]

Hip vote for F#/G = G B D F# A# C# = GMaj7#9#11.

32432x

Fascinating - how would an autodidact (self-taught) ever think of something like that?

One way would be to experiment. Loop a chord and try ever triad over it. Note the ones you like and work w/ them.

Another way would be to check out John Stowell's instructional material, either his book or his Mike's Master Classes. He talks about how to use just about every triad over about every chord.

Another way...Check out Gary Campbell's book on Triad Pairs.

Another way....Check out Bergonzi's book on Hexatonics.

Lots of options for the 'autodidact'.

[mikestern]

Originally Posted by derek

If you are talking about using triads in lines, one of the best books on the topic is Garrion Fewell's book found here.

Amazon.com: Jazz Improvisation for Guitar: A Melodic Approach (9780634017728): Garrison Fewell: Books

Agree!!!

[Dookychase]

Also, Sid Jacobs has a dvd that covers triads and their inversions and how he uses them in improv.

[mikestern]

also the Fourth and Fifth of Melodic Minor Scales