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Triad Superimposition

 
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scottl



Joined: 31 Jan 2005
Posts: 159

PostPosted: Wed May 24, 2006 8:12 pm    Post subject: Triad Superimposition Reply with quote

Hi guys,

A few people on another forum had asked me to detail a few concepts that I use. I am pasting what I wrote there, here.....

My favorite concept is triadic superimposition. I found that I was never able to really make good melodic and cohesive improvisations when I tried to rely on my scales and modes. A friend of mine hipped me to using triads and it all clicked! I was suddenly able to play through changes with better phrasing than ever before. My ideas had more motific and melodic development as well. In a nutshell, I feel my improv level took a quantum leap. If you think about it, many of the big names are masters at this. I hear guys like Herbie Hancock, John Scofield, Pat Metheny, Kurt Rosenwinkel, Scott Henderson, and Jim Hall using a ton of triadic ideas. There are of course many many others. I only named a few of my faves.

Here is a sheet (thanks Jinshi!) that details some suggested useages for the different types of triads with fingerings. Lets get this thread going with some of your faves as well. I'll try and dig up an audio lesson I did on this topic when I get home. In the meantime, dig the diminished triad subs. So effective and you'll recognize the sound immediately (Scofield, Henderson, Hancock, etc)! For the major and minor types, I'll need to add some subs. For instance, playing a major triad a minor third below the Valt of a ii-V gives 13, b9, maj3 or using a major triad up a whole step over a dom7 to give the Lydian b7 sound.




Scott
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LR1400



Joined: 24 May 2006
Posts: 3

PostPosted: Wed May 24, 2006 10:00 pm    Post subject: Reply with quote

Scott,

Wats up?

I like dim triad/arp a 1/2 step up from the root on Dom7. I'm sure I have heard Henderson do this.

Brooke
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scottl



Joined: 31 Jan 2005
Posts: 159

PostPosted: Thu May 25, 2006 3:09 pm    Post subject: Reply with quote

All the time!!!

Whassup Brooke!! Thanks for joining!!!

LR1400 wrote:
Scott,

Wats up?

I like dim triad/arp a 1/2 step up from the root on Dom7. I'm sure I have heard Henderson do this.

Brooke

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Frank C



Joined: 03 Oct 2005
Posts: 5

PostPosted: Mon May 29, 2006 2:45 am    Post subject: Reply with quote

Since i can't study with you and that would be my first choice, could you break this down to smaller pieces. This is what happens to us after 50 or so! Thanks
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LR1400



Joined: 24 May 2006
Posts: 3

PostPosted: Tue Oct 17, 2006 7:54 pm    Post subject: Reply with quote

Major triad half step down from the root of minor chord. Henderson uses this on Dense Dance at 2:50 and probably other places. Very Cool! I use it too much already.

I am sure ScottL has mentioned this.
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azgolfer



Joined: 19 Aug 2005
Posts: 10

PostPosted: Tue Nov 28, 2006 4:28 am    Post subject: Blue Bossa Reply with quote

Hey Scott,

"For instance, playing a major triad a minor third below the Valt of a ii-V gives 13, b9, maj3"

That lick I couldn't figure out in "Blue Bossa" is an example of this. You are playing 7/5/3/7 on the Ebm then 3/b9/13/3 on the Ab7 which is the same lick down a half step.
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sutra1



Joined: 27 Dec 2006
Posts: 3
Location: BEND,OREGON

PostPosted: Wed Dec 27, 2006 8:34 pm    Post subject: Triads Reply with quote

Scott,

This is great stuff, could you please elaborate more on how you use these triads in your playing. Your playing is exellent by the way. I have been playing for 30 something years and when I first tryed this arpeggio--Emajor over and goin into a d7 chord things started to click. Please could you share more ideas? Primarily uses over static Dom. chords

Thank You,
Robert
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scottl



Joined: 31 Jan 2005
Posts: 159

PostPosted: Fri Jan 05, 2007 4:37 am    Post subject: Re: Triads Reply with quote

Thanks Robert! There are some great instructionals that really demonstrate these concepts. Shoot me an email of forum and I'll try and help if I can. Been a bit under the weather with my bad back. Thank god for Percoset!!!

Scott

sutra1 wrote:
Scott,

This is great stuff, could you please elaborate more on how you use these triads in your playing. Your playing is exellent by the way. I have been playing for 30 something years and when I first tryed this arpeggio--Emajor over and goin into a d7 chord things started to click. Please could you share more ideas? Primarily uses over static Dom. chords

Thank You,
Robert

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