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Triad Pairs

 
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Budda
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Joined: 15 Jun 2008
Posts: 80

PostPosted: Sun Nov 23, 2008 6:16 pm    Post subject: Triad Pairs Reply with quote

Something I find very useful, is just mixing and matching 2 different Triads.



Just starting with the Diatonic Triads in a Key. This will open the door, for a Non-Diatonic Triad to help "Hear" the Altered Notes.

EX: Key Of G

G + Am

G B D + A C E

Works great over Maj. or Dom. Chords, as it contains no 7th. But, it has the R, 3, 5, 2/9, 4/11, 6/13.

I particularly like using the 4 as a nice Tension.

Or,

G + D

G B D + D F# A

R 3 5 M7 2/9

Both of those work well over Pop and Traditional Tunes. Great for Bluegrass and Country Tunes also. And I really like them over older Swing type Tunes.

Bluesy? Well, now we're talkin'!

How about:

G + Dm

G B D F A

Using the Non-Diatonic Dm Triad, you get an F. A b7.

So, R 3 5 b7 9

G9

Ahhhh!

How about something a little more "Modern"?

2 Major Triads, a Whole Step apart, will work great!

G + A

G B D + A C# E

R 3 5 2/9 #4/#11 13

G13#11(no7)

Again, no "7". So, works great over Major, or Dominant Chords/Keys.

(As you can see, I really like the ambiguity of no 7 to pin things down. Save that Tone for later. Tension Baby! LOL)

2 Minor Triads, a Whole Step Apart? Let's see;

Gm + Am

G Bb D + A C E

R b3 5 + 2/9 4/11 6/13

Gm13(no7) or, Gm6/9add11

Lots of possibilities.

One thing about the 2 Triads a Whloe Step apart, is that they are very easy to visualize. And, it allows for some nice Symmetrical type fingerings. A great way to start employing "Altered" Tones. Once you get a few Lines and Phrases under your fingers, you might just start preferring some of those "Altered" Tones.

Anyway, LOTS to work with! Polychords, Altered Tones, etc.

In fact, this is a favorite Chord Voicing of mine:

Low to High: E/3 A/X D/0 G/2 B/3 E/2

WADDAYATHINK? Question
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Budda
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Joined: 15 Jun 2008
Posts: 80

PostPosted: Mon Nov 24, 2008 10:15 pm    Post subject: Reply with quote

Man, 41 "Views" and no comments, good or bad? Tough crowd. Razz

I thought this approach would be old hat to you guys. Maybe you'd have some similar ideas, or Lines you've come up with, using these types of Concepts.

Maybe a more practical example would open up some conversation?

Here's a "Hands-On" example.

A Bluesy application.

You know the old "Sliding 6ths." Allman Bros. Lick from Stormy Monday?


-|-----------|---------------|----------------------------|-|-----------------
-|--3-3/5-3--|------3/5------|--------3-5p3-----1/3-1/3---|-|-----------------
-|--2-2/4-2--|----2-----4----|------4-------4---2/4-2/4v--|-|-----------------
-|--3-3/5-3--|--3---------5--|--3h5-----------5-----------|-|-----------------
-|-----------|---------------|----------------------------|-|-----------------
-|-----------|---------------|----------------------------|-|-----------------

This would be played over a G7. I figure they were thinking G7/Dominant. This move is outlined in the first "Measure" of the above Example.

So, b7 2/9 5 sliding up to R 3 6/13

Well, I LOVE this Form as a pair of Minor Triads! So here's my take, in relation to the Triad Pairs concept:

Dm to Em

Dm = d f a
Em = e g b

The Roots are on the B String, here. These 2 Triads are shown in the 2nd. "Measure" of the above Example.

And, whenever you see a Dominant Chord, play the Minor Pair, from the 5th. and 6th. of the Dominant "Parent" Chord.

Really opens up the Blues Scale.

The 3rd. "Measure" above, is a Phrase you can plug into a Blues, over a G7 Chord.

Now, for the more adventurous: Twisted Evil

Add that b3 of the G Blues Scale, and you've got some cool Chromatic action. Kind of leads back to that E Blues Scale/G Blues Scale (Minor 3rd. Apart), and you can get Out really smoothly.
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Sampo
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Joined: 03 Dec 2007
Posts: 42
Location: Finland

PostPosted: Tue Nov 25, 2008 12:04 am    Post subject: Reply with quote

Great and deep stuff Budda!! I printed this to digest it home ...

There is one arpeggio Robben idea/lick, that I have not transcribed, that utilizes this (F/G pair for G dominant sound). Must. Transcribe. Today.

Also, another great bluesy application for those "Sliding 6ths" is Steely Dan's "Chain Lightning", which is basically 12 bar blues with a twist. If I remember it correctly it goes something like this (main melody notes are always F# and E):

|| F#m/A Em/A F#m/A | F#m/A Em/A | F#m/A Em/A F#m/A | F#m/A Em/A |
| D/C C D/C | D/C C | D/G C/G D/G | D/G C/G | D C/D D | D/E C#m/E | F#m/A Em/A F#m/A | F#m/A Em/A ||

There is great version of that song on Donald Fagen's "New York Rock and Soul Revue", on which Drew Zingg burns on those changes. I think there may be some of that in Youtube, too.

Thanks again!!
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Budda
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Joined: 15 Jun 2008
Posts: 80

PostPosted: Tue Nov 25, 2008 9:42 am    Post subject: Reply with quote

Excellent stuff! I'll check out Chain Lightning, with your Chart in mind.

I'd like to hear your findings, whenever you Transcribe the RF Line. He's SOOOO smooth! Cool
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Budda
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Joined: 15 Jun 2008
Posts: 80

PostPosted: Sun Sep 06, 2009 9:59 am    Post subject: Reply with quote

Just thought I'd bump this up to see if anyone here ever works with these types of ideas.

Anybody got any Lines they want to share?

Question
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Budda
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Joined: 15 Jun 2008
Posts: 80

PostPosted: Sun Sep 06, 2009 1:18 pm    Post subject: Reply with quote

After watching the "AOBR" DVD from RF, I was wondering if the "Solos" DVD had similar Triadic ideas as those in this Thread?

Anyone seen it?
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