ex.1 3:20~ on 1-2-3 弦 ex.2 3:42~ on 2-3-4 弦 ex.3 4:07~ on 3-4-5 弦 ex.4 4:30~ on 4-5-6 弦 ex.5 4:53~ up & down on 1-2-3 弦 vartical approach ex6 6:10~ I will be working on the horizontal approach, ex.1-4 this month. ex.5 in February ex.6〜 in spring
By far the most comprehensive yet clearly explained video on triads with a detailed and methodically explained approach to learning, applying and practicing: vertical and horizontal fretboard approach. Very professional!
I finally bought this. Listening to the Mixolydian pair example, I’m 99% sure this is how Jerry Garcia was approaching life. It sounds so much better than just noodling on pentatonics over dominants.
Nice video. There are thousands of guitar players out there who are hungry for theory the way you present it, and I think you have tapped into a good market with this video. I remember a triad pairs video you did a long time ago that was really cool but it was more for horn players and the whole thing was a bit inscrutable for guitarists who weren’t extremely autodidactic. Still, that previous video was enough to set me on the path to discovery and I am happy to say that I already figured out what your guitarist collaborator here is demonstrating. But it’s great. As a guitarist, the two most important things (mechanically) are realizing that you have to come to terms with playing triad pairs horizontally and vertically. Just find those fingerings and commit them to muscle memory both horizontally and vertically. This was a great demonstration of that. The theory issues are much broader. I appreciate that you always like to think in terms of affect (like what sounds brighter or what sounds mysterious, etc) and that’s cool. I’m more practical. I just want to know what intervals I’m getting and what the harmonic applications are for each triad pair from a purely academic standpoint. Like the fact that two major triads a whole step apart beginning on the minor 3rd of a minor chord will give me a blur of notes with a Dorian sound, for instance. One thing you did not address is how to approach using triad pairs on changes, and that’s a pretty big deal. It doesn’t take long to start using F and G triads over the D minor chord in So What, but bringing this concept into playing over changes is another story. I hear it happening all the time in the horn playing of badass modern saxophone players, so I know it is doable. So far I’ve had two breakthroughs: 1) it occurred to me that the same triad pair that works off the 3rd degree of a minor 7 chord will also work over that minor chord’s related dominant 7 chord. So you can play that F and G triad pair over Dmi7 and G7, thereby using it over the whole 2-5 part of a 2-5 in C major. 2) I’ve found a few tunes where it’s fairly easy to practice changing triad pairs with the changes. For example Summertime in A minor. Use a C triad and a D triad over the first 4 measures of A minor, then switch to the F and G triads when the song goes to its IVmi chord, D minor. This is just a baby step, but it gets one going in the right direction. I’d love to see you do a video where you address using triad pairs over changes, I’m sure I’d learn a lot. Also, It would be useful to me to have a little less reverb on the guitar and maybe a clean acoustic piano sound when you demonstrate these harmonies, since all the swimmy synth pads kind of start to get mushy and to my ear. And because I play with jazz combos that have acoustic pianos, which is the way I’m used to recognizing the chords you are demonstrating. Thanks for a really good video!
Thank you for this video. There's a lot of ideas available. I used to play a blond Fender Jazzmaster in 1960 through a Sears Silvertone 2x12 amp. Great tremolo.
That's a really cool vid ! We can also " modally " explain why this works : In major scale harmony we can see the two adjacent ( one tone apart ) major triads as coming from mode IV ( Lydian ) and V ( Mixo ) so they would work on the other chords from that tonal major harmony. On the other hand on an altered chord we can see them as coming from Lydian b7 and Mixolydian b6 where altered is mode VII. In this way we can quickly find the major triads on any harmonic context. Crazy stuff if you use them to also harmonise chord changes !
Why the CAGED system? As it is I think this lesson opens the door for guitar players of all styles. The CAGED sometimes locks people into a cage and they can’t come out of vertical playing. Playing horizontally helps to give more fluidity; for me at least. I however get your suggestion as beginner players find the CAGED system easier to understand but remember this channel is for all instruments.
I wouldn’t want the examples to be played with just a piano sound though. Using pad like sounds ensures the sound or chord textures are sustained so one can hear the effect of the triads. Using this approach over chord changes is very possible and the options would be infinite. It seems that you can choose what options work for you depending on what effect (dark, bright, mellow, harsh etc) you want to convey. All in all I think this is one of the best channels for expanding your Jazz horizons 😀
How can we now whats chords works or whats chords are available for every triad pair?. is there some rule for the harmonic base ? Or every triad pair works over any chord, independent the tonality?. By the way, that´s very interesting, thanks for this videos. Sorry my english, saludos from chile.
If you buy the pdf you will get the information you want. It is all in there and well laid out. Choose a chord and you will find the the two triads that make a goo fit and why.
@@j.s.m.5351 Not everyone has 6 hours a day to devote to practice over a 10 year period - and there's a big market for what I'm looking for and for those authors willing to make what I'm after they would do quite well, unless of course they have some pride issue going on that everyone else has to practice music the way they did...
@@janinesvideos7742 I understand where you're coming from, but if you're looking to learn how to improvise, the most efficient way to improve is by learning to listen. You're telling this guy who makes tons of FREE, invaluable content to be redundant and tailor his channel more towards you because you can't be bothered to play your instrument without reading a TAB.
@@j.s.m.5351 I agree, recently started to train my ear a lot more and it makes practicing super fun. Your brain starts to build up a connection between the fretboard and pitches and it feels so much less limiting than relying on visual shapes and memorization. Trial and error, don't be afraid to make mistakes. It is daunting in the beginning but feels very satisfying
This is a great topic! I enjoyed the demonstration, but I wonder how do we find these pairs? is it just exploration and trial and error or do we have a general idea or compass like resorting to mediants or to certain degrees and modes? Thanks to anyone willing to help me digesting this concept!
I just happen to be working on triads for fretboard mapping, little by little seeing that invisible grid and your exercise at 3;23 I just seen the whole thing at once the drew it out in C and D. A shaped C E shaped C E shaped D D shaped C D shaped D and at this point I seen them on the High frets mapping them out and Ive always kind of struggled in that area but can see the continuing A shaped C and A shaped D 💡 💡 💡
This is used by Jerry Garcia. I think his banjo training produced it. It's not hard at all. Since there aren't any repeated notes you might want to try that as well as snare drum and other folks rhythms
Best video to understand triad pairs harmonically !! Great awesome job ! Your videos are so valuable for everyone of us out there. Thank you so much for your work, and your sharing philosophy.
Nice start! You want to relate to more guitar players? Begin with the CAGE system. Relate the key, then the related triad pairs. That way you’ll give us a handle on the process. Major triad pairs first, then after thoroughly incorporating keys and associated major pairs, move to other combinations. That will sell.
I know this must sound totally dumb-ass of me, but as a guitar player, playing the arpeggio from high to low is like some "OMG!" revelation, because obviously the habit is to play low to high strings due to the instrument layout.
Learn to play vertically and horizontally. The CAGED system gets players locked into a kind of mechanical approach. Best to listen to the notes/tonality and play the melody across the fretboard rather than being locked into a position. The CAGED system is probably one of the reasons why too many guitar players sound very alike.
This is like opening a whole new door into a different world. Love it.
Just revisited this video - absolutely fantastic - this has unlocked a new world. Will purchase the download this time ... 🙂
Your presentation is like hearing with the eyes and seeing with the ears.
This will help all musicians with their improvisation when practice these techniques
We need more guitar videos please
I second part. More guitar videos please. This one is explosive.
Yes please more guitar videos
ex.1 3:20~ on 1-2-3 弦
ex.2 3:42~ on 2-3-4 弦
ex.3 4:07~ on 3-4-5 弦
ex.4 4:30~ on 4-5-6 弦
ex.5 4:53~ up & down on 1-2-3 弦
vartical approach ex6 6:10~
I will be working on the horizontal approach, ex.1-4 this month.
ex.5 in February ex.6〜 in spring
By far the most comprehensive yet clearly explained video on triads with a detailed and methodically explained approach to learning, applying and practicing: vertical and horizontal fretboard approach. Very professional!
This video is amazing. Please add more guitar videos for different varieties of paired triads. Thanks so much for this!
Damn exercise 6 was a mind bender, took me more than half an hour to execute properly. Learned a lot in this vid, thank you !
Best improvisational tool.I would personally recommend your lesson to all guitarist of all genera of music.
Thanks for the focus on guitar. I love your instructional videos.
Thank you for this lesson! I’ve been into triad pairs a lot recently and this is encouraging to keep walking that line!
I finally bought this. Listening to the Mixolydian pair example, I’m 99% sure this is how Jerry Garcia was approaching life. It sounds so much better than just noodling on pentatonics over dominants.
Nice video. There are thousands of guitar players out there who are hungry for theory the way you present it, and I think you have tapped into a good market with this video. I remember a triad pairs video you did a long time ago that was really cool but it was more for horn players and the whole thing was a bit inscrutable for guitarists who weren’t extremely autodidactic. Still, that previous video was enough to set me on the path to discovery and I am happy to say that I already figured out what your guitarist collaborator here is demonstrating. But it’s great. As a guitarist, the two most important things (mechanically) are realizing that you have to come to terms with playing triad pairs horizontally and vertically. Just find those fingerings and commit them to muscle memory both horizontally and vertically. This was a great demonstration of that. The theory issues are much broader. I appreciate that you always like to think in terms of affect (like what sounds brighter or what sounds mysterious, etc) and that’s cool. I’m more practical. I just want to know what intervals I’m getting and what the harmonic applications are for each triad pair from a purely academic standpoint. Like the fact that two major triads a whole step apart beginning on the minor 3rd of a minor chord will give me a blur of notes with a Dorian sound, for instance. One thing you did not address is how to approach using triad pairs on changes, and that’s a pretty big deal. It doesn’t take long to start using F and G triads over the D minor chord in So What, but bringing this concept into playing over changes is another story. I hear it happening all the time in the horn playing of badass modern saxophone players, so I know it is doable. So far I’ve had two breakthroughs: 1) it occurred to me that the same triad pair that works off the 3rd degree of a minor 7 chord will also work over that minor chord’s related dominant 7 chord. So you can play that F and G triad pair over Dmi7 and G7, thereby using it over the whole 2-5 part of a 2-5 in C major. 2) I’ve found a few tunes where it’s fairly easy to practice changing triad pairs with the changes. For example Summertime in A minor. Use a C triad and a D triad over the first 4 measures of A minor, then switch to the F and G triads when the song goes to its IVmi chord, D minor. This is just a baby step, but it gets one going in the right direction. I’d love to see you do a video where you address using triad pairs over changes, I’m sure I’d learn a lot. Also, It would be useful to me to have a little less reverb on the guitar and maybe a clean acoustic piano sound when you demonstrate these harmonies, since all the swimmy synth pads kind of start to get mushy and to my ear. And because I play with jazz combos that have acoustic pianos, which is the way I’m used to recognizing the chords you are demonstrating. Thanks for a really good video!
Fantastic!! I finally understand what's going on with this idea! Using this immediately! Thank you!!
Brilliant lesson. Love the sounds❤ I will be giving this a go and expand the concepts. Thank you🤘
Very cool! Inspiring and best way to teach this. Thanks
Excellent study.
My first time here and you got me subscribed at half way thru the video. Thanks for posting a great lesson.
Thank you for this video. There's a lot of ideas available. I used to play a blond Fender Jazzmaster in 1960 through a Sears Silvertone 2x12 amp. Great tremolo.
this is the most incredible and so far so good lesson. thanks soooo much!!!!
I've always heard/played these moods/colors, but this is very clearly explained and really, really useful. Thank you. 👏
Thank you for sharing. Easy understand.
A lesson well done! Congratulations
More guitar videos please!
That's a really cool vid ! We can also " modally " explain why this works : In major scale harmony we can see the two adjacent ( one tone apart ) major triads as coming from mode IV ( Lydian ) and V ( Mixo ) so they would work on the other chords from that tonal major harmony. On the other hand on an altered chord we can see them as coming from Lydian b7 and Mixolydian b6 where altered is mode VII. In this way we can quickly find the major triads on any harmonic context. Crazy stuff if you use them to also harmonise chord changes !
Well said sir 😀
Why the CAGED system? As it is I think this lesson opens the door for guitar players of all styles. The CAGED sometimes locks people into a cage and they can’t come out of vertical playing. Playing horizontally helps to give more fluidity; for me at least. I however get your suggestion as beginner players find the CAGED system easier to understand but remember this channel is for all instruments.
I wouldn’t want the examples to be played with just a piano sound though. Using pad like sounds ensures the sound or chord textures are sustained so one can hear the effect of the triads. Using this approach over chord changes is very possible and the options would be infinite. It seems that you can choose what options work for you depending on what effect (dark, bright, mellow, harsh etc) you want to convey. All in all I think this is one of the best channels for expanding your Jazz horizons 😀
I second that Sir
Wonderful information
great lesson, you should get this guitar player more often for teaching jazz guitar, it will open up to a new crowd.thx 🍻
Very inspiration and helpful for developing improvisation and composing melody and harmony, thanks for share 🙏
Lovely stuff! Thanks again for all the superb tutorials!
Wow great lesson and great channel!
Best vidéo. ... Très pédagogique merci beaucoup
Beautiful stuff. Thanks so much. Need to start practicing!
Jazz Duets, I love you!
One of my favorite two chords to use for this are just two major triads a tritone apart. Ebmaj-Amaj, Cmaj-Gbmaj, etc...
revelador, excelente, muchisimas gracias
Great vid and your voice is so relaxing to listen to
This is so so great. Thanks!
Bien ahí (58")ese gaucho con el mate! Capo
Excellent lesson!
What happened to early access to the YT video? BTW, checked out the sample and I’m very excited for this!
Great lesson - thanks.
Ha, I've always liked the horizontal approach.
Hi , does the book cover differnt combinations ? Minor, major, aug, dim? Relationships between différent chord progression ? Thx
Muchas gracias por los consejos y también por el esfuerzo de hablar en español. Saludos de México.
Excellent, thank you!
How can we now whats chords works or whats chords are available for every triad pair?. is there some rule for the harmonic base ? Or every triad pair works over any chord, independent the tonality?.
By the way, that´s very interesting, thanks for this videos. Sorry my english, saludos from chile.
If you buy the pdf you will get the information you want. It is all in there and well laid out. Choose a chord and you will find the the two triads that make a goo fit and why.
Guitar! Most excellent! ♬♬♬
I like the Romanian Major Scale w/ major chord pairs #4 apart ( Lydian Dominant ♭2 )
( E, A♯ ) ( i + ♯iv )
can also do that with diminished scale with maj triads a minor 3rd apart (spicy)
Thank you!
thank you
mille merci maestro
You need to make more fundamentals stuff for guitar - but of course make the audios / practice material 'swing' and fun to practice...
Janine's Videos, relate major triads to CAGE system
If you use your ear every Jazz Duets video is "for guitar". You can't really play if someone is holding one of your hands all the time.
@@j.s.m.5351 Not everyone has 6 hours a day to devote to practice over a 10 year period - and there's a big market for what I'm looking for and for those authors willing to make what I'm after they would do quite well, unless of course they have some pride issue going on that everyone else has to practice music the way they did...
@@janinesvideos7742 I understand where you're coming from, but if you're looking to learn how to improvise, the most efficient way to improve is by learning to listen. You're telling this guy who makes tons of FREE, invaluable content to be redundant and tailor his channel more towards you because you can't be bothered to play your instrument without reading a TAB.
@@j.s.m.5351 I agree, recently started to train my ear a lot more and it makes practicing super fun. Your brain starts to build up a connection between the fretboard and pitches and it feels so much less limiting than relying on visual shapes and memorization. Trial and error, don't be afraid to make mistakes. It is daunting in the beginning but feels very satisfying
This is a great topic! I enjoyed the demonstration, but I wonder how do we find these pairs? is it just exploration and trial and error or do we have a general idea or compass like resorting to mediants or to certain degrees and modes? Thanks to anyone willing to help me digesting this concept!
excelent , i will purchase , thanks a lot
Thank you so much.... Love this stuff
Esto me será bastante útil!. Saludos mr. Nick!.
Thanks
I’ve used that for many years. I call them hexatonic scales.
There are also nonatonic scales, with three triads.
Awesome Sir🙏🙏🙏
I just happen to be working on triads for fretboard mapping, little by little seeing that invisible grid and your exercise at 3;23 I just seen the whole thing at once the drew it out in C and D. A shaped C E shaped C E shaped D D shaped C D shaped D and at this point I seen them on the High frets mapping them out and Ive always kind of struggled in that area but can see the continuing A shaped C and A shaped D 💡 💡 💡
Pls my question is why do they work so that i can expand on them
This is used by Jerry Garcia. I think his banjo training produced it. It's not hard at all. Since there aren't any repeated notes you might want to try that as well as snare drum and other folks rhythms
Beatuifuuuul !!!
You understand if I write in Spanish I think you should after the second mate in the morning
Second part PLEASE!
Best video to understand triad pairs harmonically !! Great awesome job ! Your videos are so valuable for everyone of us out there. Thank you so much for your work, and your sharing philosophy.
yee haw! there's gold in them thar chords.
Second part please!
Great!
Nice start! You want to relate to more guitar players? Begin with the CAGE system. Relate the key, then the related triad pairs. That way you’ll give us a handle on the process. Major triad pairs first, then after thoroughly incorporating keys and associated major pairs, move to other combinations. That will sell.
This is really interesting, would like to apply it to more exotic base chords.
The Allman Brothers did this a lot for a nifty hexatonic soul feel
Fab!!
Yes
Diverse digitations ! Noice
🔥🔥🔥
Is this kinda like what Wes Montgomery does?
Molt boooo, joan, Catalonia free👏👏💋
cool! :D
I know this must sound totally dumb-ass of me, but as a guitar player, playing the arpeggio from high to low is like some "OMG!" revelation, because obviously the habit is to play low to high strings due to the instrument layout.
🙏
and here I thought you have jumped over to the dark side, guitar no sax. Hey it’s all good.
💚❤💜💛💙🌻
hay
3日後って、年明けですな。子年〜
👍🏾👍🏾👍🏾🇧🇷
9:09 LICK
I was just going to comment that!!
Mate
Are you drinking mate? So I
A Jazzmaster playing jazz? Wtf!?
Plz dont do caged system lmao, so garbage.
Is there a better system?
Learn to play vertically and horizontally. The CAGED system gets players locked into a kind of mechanical approach. Best to listen to the notes/tonality and play the melody across the fretboard rather than being locked into a position. The CAGED system is probably one of the reasons why too many guitar players sound very alike.