Create Modern Jazz Lines

This is a concept using non- generic triads to create modern sounding lines
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The guitar is a Guild T50 Slim
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[@richardp0]

I think a useful name to use for these structures is trichord. Names are incredibly important!

[@MrMewsique]

I think it's important to remain true to your heart and not live up to anyone's expectation. Play what makes you smile and who care's if it's modern or not. When you get sick of the same old voicings your playing then explore how you can make them fresh such as this video. I think some people want to be prematurely "hip." I say let boredom get you to explore new fresh stuff and don't rush the process.

[@petercohen5563]

Hi Mikko, I figured all this out a few years ago and this is the first time I’ve seen anyone talk about it. I call them “modifies triads” (because you’re raising or lowering one or two note of a triad) or “3/4 triads” (because they’re 3 notes of a 4-note chord). There’s a lot more in there to discover but this is the best introduction I’ve ever seen. Love your videos!

[@Mikkokosmos]

Hmm 3/4 triads. Interesting. I think I might have seen that in a Goodrick book

[@petercohen5563]

@@Mikkokosmos, it’s a name that covers all of these possibilities. Another is “color-tone triad.” Such a general term can cover chords developed from any 4-note chord (triad plus color tone) and includes several different types of shapes: (1) “normal” triads (e.g., CEG and EGB for a CM7); (2) rootless chords (e.g., EGB or for a CM7); (3) shell voicings (e.g., CEB for a CM7);and (4) suspended triads (for chords replacing 3 with a 2 or a 4) or M6 or M7 with no 3rd (of course all this just within a C Major scale) These different types of triad are often treated as separate but looked at this way (as 3-note combinations of a 4-note chord), they’re all part of a single comprehensive system. Also, what you said about some of these shapes being genetic triads and others more ambiguous, I think in terms of “leaning out of” and “leaning into” the harmony. Finally, all of these shapes can be turned into open voicings and mixing different inversions and voicings of these 3-note partial chords as well as mixing triads with different color tones can create really interesting movement. In short, lots more to uncover here…

[@craigsuhar415]

Thank you for Sharing your thoughts 🙂

[@rainbowkrampus]

My guitar instructor learned with Mick way back when and these are a lot of the same kinds of ideas he teaches. I think a lot of it originates from thinking about Schenkerian analysis and applying the kind of "fuzzy vision" of foreground, midground etc. to improvisation. GMC was kind of an effort to get some approximation of the idea out there but it was never a complete idea because, as mentioned, it's kinda hard to write about as it's intentionally vague. But what you're talking about here is the next logical step, so to speak. I like to think about it as another method of building tension and release. You dip into GMC or whatever you want to call it and then find a real tasty spot to resolve to a less vague sound. Couple it all with some voice leading and thinking more contrapuntally and you sometimes land on utterly surprising harmonies that you never intended but which sound amazing. I'm still a novice with these ideas so take anything I say with a grain of salt. But I'm studying with my instructor to develop these types of sounds and it's always cool seeing someone else's ideas and interpretations of the same concepts.

[@Oliver-vu6su]

Thanks Mikko, very nice concept! This actually goes very much hand in hand with what Barry H. talked about in his last webinar: “knowing what three notes to play”. Which is exactly skipping one of the voices. Thought it was a nice coincidence... :)

[@petercohen5563]

This approach also works very nicely with BH-style chord and scales.

[@FullMetalDMZ]

Amazing lesson! Thank you! I’ve always experimented with inversions of arpeggios in metal, this non generic triads are great in that context too!

[@jansen_music]

Thank you. I like the way you laid this out ...nice bright sounds. the contemporary players you mentioned definately have a solid foundation. early last year Mike Moreno's Quartet was in town ..I asked him why he chose Stella in G .he said beacuse" that is the original sheet music key." OT. In an improv class at Berklee , we all chose a standard tune...the instructor insisted that we find and bring in the original published sheet music then analyze it . No RBk standard lead sheets allowed.🚫

[@Mikkokosmos]

Check out Mike Morenos livstream tonight. From his channel...with Ben Monder 👌

[@grantgre]

Keep up the great work

[@irishmuso7129]

very interesting video. Thank you.

[@barrysebastian9584]

Always find these hangs useful (and enjoy the “digressions!”).

[@grantgre]

Video reminds me of yellow jackets chords ferranti talks about it in a video he leaves out the third or the fifth

[@leiferickson3183]

Again, The views on music area great and instructive but even without that the music and sound is so beautiful.

[@marcellolupoi696]

thank you man!

[@beregeer]

Dear Mikko. Thank you for scharing something which you discovered recently yourself . It's like you let me participate in your quest.

[@Mikkokosmos]

Thank you. That"s the idea 😎

[@philiprowland9390]

Makes me think of that early Joni Mitchell tune - “I look at Life from both sides now, From up and down, And still somehow, It’s love’s illusions I recall, I really don’t know Love... At all....”

[@frankvaleron]

Thanks a lot Mikko, your playing at the end did indeed sound like Jonathan Kreisberg

[@bimsterfls]

Amazing stuff, Mikko!

[@Mikkokosmos]

Glad you like it 😃

[@Guitarmfig]

Another excellent lesson Mikko, thank you

[@thetheoristtranscriptions]

Awesome just subscribed!

[@Mikkokosmos]

Thanks 🤓👍

[@Leif2k]

It's the intro theme to the HBO show In Treatment :)

[@robhendriks4554]

Great lesson Mikko, not Modern but a new color for the pallete. Keep up the good work

[@Mikkokosmos]

Thanks, that's a good way of putting it 😎

[@arneluebbertyguitar5980]

Hi Mikko, very interesting ideas in here! Great lesson

[@101xaplax101]

Awesome lesson as always

[@gennarocerzosimo3991]

Grande insegnante

[@GlennMichaelThompson]

Great concept Mikko! Really helpful approach to creating some new sounding lines. Thanks as always. I like your Canadian references... this time it was Rush. My younger brother who plays bass guitar was a huge fan of them. Lifted a lot of bass lines in his younger years. Problem was his bandmates couldn't learn the other parts. Lol and I was too busy trying to learn jazz...hehehe Thanks again man!🙏

[@Mikkokosmos]

yup..Torontos claim to fame..after Mats Sundin of course

[@gabeohara6361]

Dude! I LOVE these videos

[@Mikkokosmos]

Thanks 😃

[@pipotherium]

Beautiful

[@reggaefan2700]

Some of it sounds like "True Colors" by Cyndi Lauper.

[@LorenzoTosetti]

thanks mikko, another inspiring lesson! I've always been fascinated by these so called "modern" voicings and lines -) but you're right, we should find a better name for them! -)) modern today is past for tomorrow...-)

[@sherpalegsang]

This lesson was amazing. Thank You :)

[@sxcaermusic]

Great Content Mikko!

[@bclare2544]

Interesting stuff Mikko.

[@eternalrainbow-cj3iu]

Also Hauden used in piano music 157 constellation for a Dominant Hip cat not?

[@gtrjones]

Another very good lesson. Brets last name spelled Willmott and pronounced Will..mahh..t as in Motley Crue ..the O sounds like ahh...:) ..What do you think of the word "Fresh" ..used as a noun to inspire the well worn "modern" or "contemporary".

[@Mikkokosmos]

Thanks 😃👍

[@dartor]

Great lesson. interesting new stuff, thanks. A previous video you made about randy Vincents 3 note voicing book, Have you used his drop 2 book? Some good stuff in there other than what you might expect from a book on drop 2.

[@Mikkokosmos]

No I don't have that book. The the next book to order 😃

[@shoelesshuntersongs2422]

New subscriber here. Great stuff

[@Mikkokosmos]

Thanks 😀

[@mwicks1968]

Cool!!!

[@tampandy]

Thanks for the excellent lesson. For the triad pairs at 21 min, are you using just the non-generic triad C triad with the D? Or do you use all four inversions of the C triad, including the C maj and E min triads?

[@Mikkokosmos]

Glad you like it 😃 sorry I don't understand your question 🤔 I take C and D triads and replace the C triads with the new shapes I derived from the Cmaj7 chords without the "soprano". The new "triads" are Cmaj7no3rd Cmaj7no5th C and Emin. Those are the best names I can come up with for them

[@tampandy]

@@Mikkokosmos You answered it! Thanks again. Looking forward to developing some lines.

[@hemtamang3641]

Do you have any pdf of the books available?

[@Wayne-P]

heading back to Gregory

[@muhammadhangtuah9746]

Mikko how to even use this concept on a dominant chord

[@muhammadhangtuah9746]

11:33 nevermind

[@Wayne-P]

"it doesn't really matter what you call it..."

[@bebenavole]

where did you study? tnx

[@Mikkokosmos]

Musicians Institute

[@aerykphoenix8022]

What are you using for looping?

[@Mikkokosmos]

Boss RC-1 loop station 😎

[@eternalrainbow-cj3iu]

Hi Mikko.Ivor hete nice to know tjjat Bach wad.a.modern.cat.Check.out F#maj prelude WK book I and you wil see he loved Non 3rd.triafs.or on analyzable ambigue mystic 125 or 458 's...wan't this man steps ahead?

[@eternalrainbow-cj3iu]

Haydn excuse me for writing

[@Mikkokosmos]

Haydn and Bach were both hip Jazz cats 😎