Digging Deeper #31 - "Triad Pairs" (part #3) - The Tritone Sound
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- Опубліковано 11 лют 2025
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FOR ALL INSTRUMENTS - Welcome to DIGGING DEEPER. In video #31, we take our 3rd look at Triad Pairs. This time, we look at two different applications of the tritone relationship of major triads. Sound complicated? Sorry, I was just showing off with big words I know. It isn't that bad. It's actually SIMPLE to understand, and sounds super-hip. What's not to love?
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Maestro Jeff, you just have this awesome talent in simplifying intricate topics into bite size meals that even newbies can consume. Bless you and more power to you..
So glad to have you along with us, and I'm so happy that you are enjoying the videos. If you haven't yet, visit www.JazzWire.net. That is the place where we can REALLY get you moving along with your playing, and where we can interact together, and with our global community. I hope I'll see you there one day.
Thanks Jeff! Great stuff. I'm enjoying your videos tremendously and learning a bunch!!
I'm so happy you are digging this material. Please stay with us, there is much more cool stuff coming.
very very nice man
This is so great Jeff, it's helping me get to the sound I want.
Roger Whybrow Fantastic!! This is a great device, right? Please stay in touch Roger.
Jeff, thanks for a great video!
More stuff! Keep it coming. I love it.
"Cool, Organized BS" - I'm stealing it! Goes along with my other favorite saying "Close enough for jazz."
Glad I'm coming up with some good quotes for y'all!
Thank you , thank you , Jeff!!!!!!!!!!!!!!!!!!!!!!!!!
Thanks man, great stuff!!!
Cool Organized Bullshit!
Ahhhhhhhhh i love thiiiiiiiiiiiiis video (and the rest) man i just want to take a notebook.
Have some notes and PLAY the whole week, without going to work haha.
¡Gracias! Thanks a lot for this, it's amazing.
"Organized Bullshit," © Jeff Antoniuk. Please send me $0.02 every time you use that phrase!!! Thanks for tuning in, brother. Glad you are enjoying the Digging Deeper videos. Much more good stuff coming.
Just awesome. So that was the secret ha..ha. Purchased that[famous] thick book on triad pairs a year back. Got confused and dumped that. It is working ..only thing is getting lost in measures. can you suggest how to count the bars as my head is constantly thinking of the two altered triad pairs
Thanks for the great note. NOTHING against people who write books and compile knowledge obviously, but those books just don't work for most of us. I'm eager to find a better way, myself. Yes getting lost can be an issue with this stuff. I'll often "work it out ahead of time." I'll sit down with a pencil and piece of paper, and actually figure out how long "8 alternations" takes, or whatever. To begin with, be very didactic like this, very prescribed. Once you have "the feel" of four measures or eight measures or whatever, you'll be able to easily expand from there.
Genial!🎼🎷👏👏👏
I would say it is rather a diminished sound (octatonic) ,you could easily throw Eb and A triad in there also.
This sound can go a lot of different ways, and the diminished direction you mention is a big one. You nailed it! And your comment about "easily throwing in Eb and A" is correct . . . . except that it is NOT taking the approach of Digging Deeper! Personally, I'm all about digging into one sound for a good long time (both aurally and mentally) before moving ahead too quickly. As a young guy, I too jumped right into all four triads - C and Eb and F# and A. Pedagogically and developmentally, I definitely should have stayed with C and F# for a month!!
If you look ahead to Digging Deeper Video #39 (ua-cam.com/video/haM9MCuulTs/v-deo.html), we talk about EXACTLY this (all four triads). What I did is presented C and F# triads here, and then waited EIGHT WEEKS between the two videos, before adding the next two triads. After 35 years of teaching, I know that this slower pacing is "where it's at." Thanks again for the great input!
Great way to come up with a V altered7 in a II V I
It sure is!! This is a great device for piano/guitar voicings, for melodic ideas . . . the gift that keeps on giving!
I love also C E - C# F# E G - F# A#...
I don't know why you say it isn't theoretically sound to play it over rhythm changes like you did. For one thing, music theory is descriptive, not prescriptive, so nothing is unsound or 'wrong', and for another, it's a perfectly normal set of harmonic substitutions, each chord is simply replaced with the secondary dominant of the chord it precedes: I - vi - ii - V becomes V/V/V/V - V/V/V - V/V - V. There's really only one note which stands out as odd, and that's when you play the F# over the final G7 chord. A single passing dissonance is hardly going to raise too many eyebrows. So, you could say that the overall harmony you generate is something along the lines of C7#11b9 - A13#9b9 - D11#5 - Gdimmaj13 (or something like G13b5#9 with an natural seventh as an NCT / Db13!11#9 with a natural seventh as an NCT.
Well, "true theory folks" will yell at me for saying that this approach is perfectly sound, and an enlightened theory individual such as yourself will say I didn't go far enough!! Making everyone on the internet happy is indeed closing proposition!! Thanks for tuning in.
Well that's about the coolest lick i've heard in use over the Rhythm Changes! nice! ! Now let me see if this works over Sweet Georgia Brown. :)
Thanks for subscribing Bruce! And yup, that lick will work on ANY song where you have four beat (or more, or less!) of a dominant chord. Sweet Georgia Brown would be perfect. Let me know how it goes for you.
Thanks Jeff, really enjoying this.