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sorohanro
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    Mihai Sorohan @sorohanro

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    Music Theory - Triad Pairs

    Posted by sorohanro - May 8th, 2012

    A cool trick ti sound more polytonal and keep things under control.
    - over Dmin7 use G Maj Triad -G, B, D- and F Maj Triad -F, A, C.
    - play four eighth noted over each triad, switching back and forth:
    G-D-B-G--F-C-A-F--D-B-G-D--C-A-F-C-- etc.
    - make up other patterns, but stick to four notes over triad formula.
    - now, here are the hip ones:
    - over C7 use C Maj triad - C, E, G- and Bb Aug triad -Bb, D, F#- for a sound that is whole-toneish...
    - over C7 use F# Maj triad -F#, Bb, C#- and E Aug triad -E, G#, C- for an altered/tritone sound.
    - over C7, (normal dominant or altered), use Db- triad and D Aug triad
    - over Dmin7b5 use Bb Maj triad and Ab Aug triad
    - over CminMaj7 use F Maj triad and Eb Aug triad.

    Here's one formula that can be used for some combinations:
    - C Maj triad and Bb Aug triad --C E G - Bb D F-- over these chords:
    ***C7#11
    ***Emin7b5
    ***F# alt7
    ***GminMaj7

    Comments

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    Poniiboi

    I wish I remembered musical theory!

    sorohanro

    :)) I wish I knew, so I would have what to remember :))

    BenTibbetts

    Good thoughts, as useful for improvisation as they are for composition.

    sorohanro

    My thoughts exactly.

    Bad-Man-Incorporated

    ahh. Foreign language. Gross. haha.

    sorohanro

    Actually, if you listen to latest "Testament" gigs or recordings, when Skolnick got back, you'll hear a lot of this ;)

    S3C

    cool new post man

    not sure how the opening trick would make for a polytonal sound...as Dmin Fmaj and Gmaj are all in the same key. or would the accompaniment already be playing something in the key of D?

    you could also just use G melodic minor over the last chord progression

    sorohanro

    As I understand it, the main point is to break away from scale and play some triads that have some notes in common with the main chord, but without playing the actual main chord.
    From what I see, it creates more tension and because of the contrasts, the release points stand out more.
    So, no 3 chords but just 2, mainly IV and V from the main chord.

    In C maj you would have two pairs:
    f, a, c - f and a create tension, c is a release point
    g, b, d - b and d create tension, g is a release point

    By playing a triad you get phrasing "by default". Well, at least this is what I understand.
    It's not a matter of "what are the scales" and "what are all the possibilities" but more of "how can we get a phrasing which keep coherent on all solo".

    S3C

    news* post

    BlazingDragon

    So as I understand it, you could solo those F and G chords over anything in the Cmaj family?

    In a modal jazz context, say we were in D dorian with four bars of Dmin7 in the rhythm section followed by 4 bars of G7. The soloist would run patterns on Fmaj and Gmaj triads over all 8 bars? And the chords could really be anything within the C family?

    sorohanro

    Sort of yes.

    PHIctitious5

    THANK YOU -
    it remind me of the stylings
    spike lee used with his father's scores
    in his early films!

    ++

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