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Originally Posted by BigDaddyLoveHandles
I hadn't played the second example before (I'm guessing there's a typo - (xx2415) should be (xx2413)?). It doesn't sound very major seventhy (though I like it).
The fourth one is interesting. I would not usually play that high C as I don't like the dissonance of that octave+semitone interval. But that's just me!
Thanks again
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08-05-2010 04:24 PM
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Originally Posted by KB_Blues
Originally Posted by KB_Blues
Originally Posted by KB_Blues
7x555x
With the C buried in the middle, the minor 9th interval is tamed, somewhat.
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Minor 9th is a much better name for it!
7x555x - I see what you mean - much more palatable!
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I'm doing triadic based studies right now, and I stumbled upon this video. All of their guitar lessons are equally as great, check it out.
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nice video
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dunno if this has been stated or shown in one of the videos, since i'm at work and can't watch those atm. But here are some ideas my teacher taught me a while ago.
So what he told me was i.e. this... take your h/w scale und look at all the major triads included in the scale and emphasize those notes while using all the other notes from the scale as some sort of guiding tones.
e.g. for G7b9:
[chord]
||---|---|-3-|-4-|---|-6-|---|---|---|---|---|
||---|---|-3-|---|-5-|-6-|---|---|---|---|---|
||---|---|-3-|-4-|---|-6-|---|---|---|---|---|
||---|---|-3-|---|-5-|-6-|---|---|---|---|---|
||---|---|---|-4-|-5-|---|-7-|---|---|---|---|
||---|---|-3-|-4-|---|-6-|-7-|---|---|---|---|
[/chord]
This would be using an e maj triad over G7b9 giving you b9, 3, 13. (You can look out many other triads here as well to get the emphasis on other tensions...). This will help you get away from sounding symmetrical or scalar with h/w way good!
Another way of using this for including to your soloing would be taking 2 triads out of a scale (Ab MM for this example) and using them to get some melodically interesting stuff on e.g. G7alt:
------------------------3---4-9---
----------------------4---6-------
------------3-----6-3-------------
------3---5---3-6-----------------
----4---6-------------------------
--4-------------------------------
(don't have a guitar with me atm, so this example can sound really bad. but I think you'll all get the point... I used Dbmaj and Ebmaj triads here.)
The last thing I really like to do is for comping, when in duo or trio settings. It's about slash-chords for e.g. alt7s. You again take those major triads out of your MM scale and just put them on top of your root to create some nice sounding slash-chord-voicings. i.e. for G7alt:
[chord]
||---|---|---|---|---|---|---|---|---|---|---|
||---|---|---|---|---|-6-|---|---|---|---|---|
||---|---|---|---|---|-6-|---|---|---|---|---|
||---|---|---|---|---|-6-|---|---|---|---|---|
||---|---|---|---|---|---|---|---|---|---|---|
||---|---|-3-|---|---|---|---|---|---|---|---|
[/chord]
(Db/G)
Only one example, there are numerous possibilities in creating some nice sounding voicings with this approach without really having to learn a shape for chords like the G7b9#11 above etc...
There are sooo many possibilities with triads I think and I'm still only at the very start of getting into this stuff... So you definitely should check it out!
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Originally Posted by SteveCarter
http://www.jazzguitarlife.com/jazz-g...ads-to-comping
You might want to start by listening to Example 4, which demonstrates comping with triads.
Let me know if you find this lesson helpful.
SteveLast edited by SteveCarter; 09-14-2010 at 11:03 AM. Reason: Fix link
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I'm really glad I found this thread because I was thinking this same thought this morning as I practiced from the Jazz Theory Book.
I am confused on when someone said "In regard to chord soloing...it is amazing what you can do dropping triads under the melody notes. You can do a lot with very little."
What does dropping triads under the melody notes mean? Can anyone explain? Sounds like a good way for me to start using these triads in context.
EDIT: Or worded differently: Is there a non trial and error approach to figuring out what triads would work for a simple melody like yankee doodle or the star wars theme?Last edited by muNICU; 09-14-2010 at 06:48 PM.
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Originally Posted by muNICU
Kind of like the first 45 seconds or so of this video:
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Last night I wrote out all the notes to all the chords in All the Things You Are and then looped the melody. I started playing around with the first three notes of every chord over the melody, stopping at the last note I played and then finding the next closest note of the next chord as my next note choice. It took forever to come up with something for just the first 8 measures but I couldn't believe how good it sounded. I'm beginning to appreciate triads a lot more.
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I think I read somewhere that using a similar method but dropping out the five and substituting whatever note is the current melody was basic chord melody skills. Though, it comes out bland-ish. I've tried working on those doing some of my hymnal stuff and it works alright. It helps that the SATB parts are often written very similarly to this!
~DB
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The beauty of triads is that you don't necessarily have to think of "what scale should I play over this chord". It somewhat eliminates that type of thinking. If I see Dm7, G7, Cmaj7, triadically, I might play Fmaj, Dbmaj, Gmaj - to cover all three. Of course I would go after a motif type of approach.
Julian Lage Trio - Sat 27th April - Marciac,...
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