Triad Pairs For Jazz

[@gtpinter]

C & D Maj triads also work good on D7(sus). Someone in the comments mentioned IV & V from GMA. Or you can think CMA triad contains 3 of the 4 pitches from the Ami7 chord = (iimi7) and D MA triad like on D7. Now it's like a ii /V in G. Having the "sus" D7sus allows the "g" work better. the "f#" is still cool on the D dominant sus . C & D triads also work good on C7(#4) = C7(#11). Most scales are 7 different pitches, with the triad pair whole step away you get 6 different pitches, but the ability to group them separately and scramble them is where each players personal magic is. This also gives you access to intervals that are larger than diatonic whole steps and half steps. Tri-tone apart major triad pairs are also very useful for more advanced players... they work great on altered dominant chords (especially V7(b9)) or when thinking of tri-tone substitions. example: G7 goes to C and Db7 goes to C, so G & Db triads make a nice 5 pitch mixture ("f" is in both triads). G7(#4/b9) = Db7(#4/b9)

[@geestman9]

Very nice. Going to try that

[@espr7564]

Good sound !

[@alanhowell3646]

Great instruction, sounds great

[@nickmainella]

Thanks, Alan! Glad you enjoyed it!

[@mauricesoudre5102]

Good teaching,thank you !

[@pmarati]

Can you do a video on how the concept of triad pairs is different from George Garzone's Triadic Chromatic Approach?

[@nickmainella]

Sure thing!

[@ulysax1979]

I love this video

[@lilywhite1962]

Thanks Nick! Check out using the same triad pair idea over an augmented V chord (C triad and D triad over F# + 7 (tenor key) or E +7 in concert) Stole this from Hank Jones on "Like Someone in Love"

[@nickmainella]

That's a great tip! Hank Jones is the best!

[@ShaneBluesRI]

Great Lesson. Have you checked out Gary Campbells book on this topic? Great stuff

[@nickmainella]

That book is amazing. I worked on it years ago and need to pull it out again.

[@jakemf1]

Also Walt wieskoff-Great book

[@azzafadaly]

Audio is super soft

[@arthursantiago100]

Nice lesson. Is triad pair improvisation as effective a modality on keyboard ? It seems to flow so smoothly on Sax Thanks

[@nickmainella]

It's really amazing on any instrument. You may want to use them in a different way depending on what you play, but they for sure work with any instrument.

[@arthursantiago100]

Nick Mainella thanks. Great stuff !

[@leonardoadornetto1025]

Very useful video, i see you switched to a custom Z! How does it feel to play coming from a Mark VI?

[@nickmainella]

I think I'll do a video this week about why I switched and some of the advantages I feel the Yamaha brings to my playing. Thanks for the question!@

[@leonardoadornetto1025]

Nick Mainella good idea, you're welcome!

[@justinliberati150]

Hi Thanks very much for the free lesson, im a bit confused, does the pattern, go CEG, DFsharpA EGB FsharpACsharp GBD ACsharpE, and so on, i tried to play along with you and the first 2 triads fitted but the rest i got lost, thanks again .. Justin

[@nickmainella]

Hi Justin. You want to just play the C triad and the D triad only. Play them through the inversions. CEG DF#A EGC F#AD ......

[@dennis524]

What's your mouthpiece? thanks

[@nickmainella]

This was a Jody Jazz HR 8. Hope that helps!

[@ivrz]

Helpful videos thanks a lot. Could we describe this as the C Lydian(F#) scale without the 7th (B). But i dont find the B gets in the way although the Bb and the F natural completely alter the sound. Have a look for an irish song called My Lagan Love where use is made of this.

[@nickmainella]

This is definitely a Lydian sound for sure! The difference is when you play the triads instead of the scale, it gives a much greater effect of superimposing the different key. Great question!

[@usmc1875]

Hey man, ive got a question, could you please tell me if triad pairs are always next to each other ?

[@nickmainella]

Hey Lucas! Great question. They definitely don't have to be. Take a Tritone sub for instance. Those two triads are far apart technically, but the individual notes are actually pretty close to each other. Does that make sense?

[@usmc1875]

@@nickmainella hey amigo:), yeah it does:) im just trying to get how to make it work on my head:). Thanks for answering amigo:), I've got another question if you dont mind:) is it true that the triad pairs you use over a chord have to have no notes in common? Is this sth that always happen? :) thanks amigo:)

[@nickmainella]

@@usmc1875 They can have notes in common for sure. I do, however, think it's easier to work on triad pairs with unique notes at first.

[@usmc1875]

@@nickmainella oh man thats so clever :), would you please give me an example of two triads pairs with unique notes so I can analyse it, and think of if better?:)

[@gtpinter]

C & D Maj triads also work good on D7(sus). Someone in the comments mentioned IV & V from GMA. Or you can think CMA triad contains 3 of the 4 pitches from the Ami7 chord = (iimi7) and D MA triad like on D7. Now it's like a ii /V in G. Having the "sus" D7sus allows the "g" work better. the "f#" is still cool on the D dominant sus . C & D triads also work good on C7(#4) = C7(#11). Most scales are 7 different pitches, with the triad pair whole step away you get 6 different pitches, but the ability to group them separately and scramble them is where each players personal magic is. This also gives you access to intervals that are larger than diatonic whole steps and half steps. Tri-tone apart major triad pairs are also very useful for more advanced players... they work great on altered dominant chords (especially V7(b9)) or when thinking of tri-tone substitions. example: G7 goes to C and Db7 goes to C, so G & Db triads make a nice 5 pitch mixture ("f" is in both triads). G7(#4/b9) = Db7(#4/b9)

[@reginaldtaylor4880]

why am I hearing you start on B Flat. I play bass. Thanks

[@jackhanan5391]

Sax is a transposing instrument. Their written note "C" sounds as a Bb. (This is true with Soprano and Tenor Saxophones.) Alto and Baritone Sax' are Eb transposing instruments, meaning their written "C" sounds as an Eb. (He should have informed.)

[@hanktheblesseddeejay]

If you are playing these triad pairs a whole step apart then aren't you playing off the IV and V scale degrees?

[@nickmainella]

Playing them off of the root and 9th. It gives us a lydian sound. You can play pairs off the IV and V, but these are a different sound.

[@hanktheblesseddeejay]

Nick Mainella OK so you're not limited to the diatonic notes? Because I wouldve thought just playing over a C maj vamp you would just be playing in the Lydian mode in G major without adding any other context? Or is this really just modal substitution? And I can play any triad chord from the key I'm in and superimpose any other triad outside the key that doesn't share any common notes? That's a bucket load of choices!

[@nickmainella]

Definitely not limited to diatonic notes. In fact, The real interesting stuff usually happens with the tensions. Especially over dominant chords, you have so many options it can make your head spin. What instrument do you play?

[@bigbrownsound]

triangle

[@hanktheblesseddeejay]

K Bob Yes, a Pythagorian triangle. ....Thanks nick, I play the guitar but am really interested in theory, jazz and otherwise.. I see why they hold now if you keep one of triads as the target tones and the others as the tendency tones. I've been riffing over two majors a half step apart...sounds cool!

[@MARKLINMAN1]

Your voice mic is waaaaay TOO low.

[@matteur11]

4:02

[@thearno2885]

The Simpsons

[@serseriherif9530]

The lydian sound man

[@mustafa1name]

Being familiar with triads isn't enough, you need the much more specific skill of knowing the triad inversions, and knowing them so well that that you can pick the appropriate starting note without thinking about it. Most beginners will probably have ingrained the idea of only starting on the root, because that is how they are routinely taught? This whole set of exercises seems like a way of tricking unsuspecting green horns into learning chord inversions: what a absolute scam! 😄

[@nickmainella]

Yup that's me. Just scamming people non-stop. It's my goal in life!