The Ultimate Guide to Triad Pairs

[@jazzlessonvideos]

Use code NG5 for $5 off the new PDF resource "72 Triad Pair Phrases" by Nathan Graybeal! www.jazzlessonvideos.com/downloads

[@skimanization]

This the greatest resource as it makes it easier to do some workouts through all jazz standards. Thanks, Nathan, you ROCK!

[@mileswhite4329]

Very good analysis and discussion. I have recently taken up triad pairs and hexatonics as a focus of study because I like the sound and its a complete system. This was super helpful. I will be ordering the phrase book. Thanks.

[@anneonym7346]

Quality stuff as always ! Presentation and explanations.

[@jdrosborough]

Excellent. Lots of triad pair content on KZbin. Nathan does the best job I’ve seen that puts to life what pairs, where, when, and why they work….and why they don’t. Thank you.

[@bluegoose555]

maybe check out Joe Purnell (sax school online) for a far more simple and elegant explanation (maybe not as thorough and extended as NG here) ANY two Adjacent Mode's 135's will Pair.. and can be played as TWO SEPARATE SETS of 135s ( back and forth) and NOT as Hexatonic Scale of 6) 2:53 is an example of Lydian next to Mixo (FAC GBD) and one can see how both DFAC and GBDF are both embedded (Dm7/G7) .. point being .. its WIRED .. and the improvisation.. is via Rhythmic Variation

[@JOSCH_MUSIC]

Thanks for another great video!

[@jarediledundee]

Fantastic lesson and resource!!! Much appreciated

[@JOSCH_MUSIC]

I'd love to see you do a video on funk/soul jazz improvisation!

[@Intenzity]

Wow, this is a college level breakdown of this stuff, super valuable info here! And hello from a ShedClub member (albeit a lazy one!)

[@nicolasmichael2157]

Awesome. Thank you Nathan!

[@matthiasscheffler548]

Wow that's a great one!!!

[@damienhillssax]

Love It!

[@ErnieLeblanc]

🎯PERFECT!🎯

[@ausbsbsueu]

If a chord pair contains most of the notes of the scale they're derived from, why don't we just play the scale of those chords and avoid the notes that sound weak or too dissonant if we want to reduce dissonance? I genuinely want to know because this approach seems to give more consistent results than just relying on chord-scale relationships, but I hope it's not a more complicated version of that concept

[@parkerpolen]

This is great content. Thank you, Nathan. So, for major, the effective order of importance in the scale is 3 7 9 13 11 5 1. Each mode clearly has its own order. Regarding your comment about not being able to find a tune in which you accentuate the 4th (over a dominant chord), wouldn't Stella be an exception?

[@anneonym7346]

Which bar of Stella accentuate the 4th on a dominant chord ? We are talking abouth the 4th Right ? Not the #4th or #11 ! Which Bar which chord and which melody note is the 4th on a dominant chord in Stella ?

[@Saxologic]

Hey Parker, thank you as well! To make a correction to what you listed, for maj7 chords with a natural 11th, the 11th would actually be the “bottom” tier note, as it is the avoid-note. This does not mean it should never be played. It just means to proceed with caution. If done right, it actually sounds great. When you hear players or compositions use a natural 11 on a major chord or a dominant (mixolydian) chord, you are 19/20 going to hear it get resolved to the 3rd before the measure is over. It might even happen a few notes after the 11th is played (like SATB voice-leading but played on monophonic instruments, so the notes have to be played 1-by-1). In every case that a natural 11th is played on Stella over a maj7 for dom7 chord, it is resolved to the 3rd every time before the measure is over. Keep in mind that in sharp #11 chords, the #11 is a high-tier note that is always good to embrace, even without resolving it. But of course, musical intelligence > all. Sometimes someone can just play a root over and over and have the most killing solo. All of this theory stuff is fun but the greatest theorist doesn’t always mean the greatest soloist! Music > all.

[@anneonym7346]

Which bar of Stella accentuate the 4th on a dominant chord ? We are talking abouth the 4th Right ? Not the #4th or #11 ! Which Bar which chord and which melody note is the 4th on a dominant chord in Stella ?

[@parkerpolen]

​@@Saxologic Hey Nathan, thank you for the detailed response. I had actually considered the factors that you had mentioned in your comment prior to making my post. In defense for the 11 being the 3rd to least important note to accentuate, I believe that it actually has more melodic relevance than the 5th or the tonic. Due to the fact that the 11 can be used on a strong beat and move in quick succession to a resolution to the 3rd without our ears processing it as a dissonance, we are able to find our way to the strongest note very easily by using what I like to think of as a "stopping point". In a melodic ^ 4 2 #2 3, you are effectively using more tension and resolution to your advantage, making the ultimate sonic registration more satisfying than a line like 6 b6 #4 5 or b7 7 9 b9 7 1, for example. I was also accounting for the fact that the #11 was being taken into equal consideration as the 3rd to least important note to accentuate within the synopsis. Regarding Stella, I was incorrect.

[@Saxologic]

@@parkerpolen I like your defense! At some point of course all of this becomes subjective. But I would just say that you can play a whole note with any of those pitches without it sounding "wrong" except for the 11. The 11 requires movement to another note for it to sound intentional. For this reason I put it at the bottom. And this isn't necessarily my opinion either - this is the teaching that was passed around in my grad-school jazz theory course at Frost. The 11 is also a note you don't want in your maj7 voicings. As you call it, it's a good "stopping point," which is more commonly labeled as a "suspension" - a note that "suspends" or "delays" a resolution. Again... you'll probably find a recording somewhere of a master just playing the fattest 11 on a maj7 chord and it sounds fantastic. At a certain point this really does become overthinking and I try to stay aware of this. Haha

[@CrisFerrerYT]

Im a litle confused here. On 12.00 I can see that over Cmaj7 = ( Dm7- G7 or Fmaj7+11 Bm7b5) you placed GM and A- as a traid pair. I'm not saying this is wrong, but Is this based on church mode? if so, the basic triad pair, should be F & G. Of course F should be treated carefully when you resolve as a non-harmonic note. so the suspension goes from F to E.

[@Saxologic]

Starting at 5:38 should explain things a bit! Sure, in playing a modal tune where you want to really exemplify the sound of the Ionian and highlight the sound of the perfect 4th, yes that pair you mention would be ideal. However these cases are pretty rare - in most functional harmony tunes, that perfect 4th would be considered the avoid-note. That was the intention behind this set of triad pairs; the optimal pairs for American Songbook standards (functional harmony). But you made a good point - perhaps I will update the preface section of the book and send an updated copy to all who have already downloaded the book!

[@MariapatriciaCepeda]

Great! Phil is sending his best students...so I try listeng to...but...Im not sure if I am going to understand...I am absulutley a foolish person...je veux dire que je ne sais pas rien...😢

[@TyMattt]

Hello l'ami, qu'est-ce que tu ne comprend pas?

[@TheStarlitfuse]

Next video triad triplets

[@0volume]

Found you today.. your materials make in order to become a prodigy fcking kid ling ling level to just be a kid 😅. How would you compare your book to Bergonzi Hexatonic book pros and cons ?

[@marcioramosfoto]

Ultimete guide... where is my money????