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Triad pair Jazz Improvisational System- part 3- 'Blue Bossa' application
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- Опубліковано 26 кві 2017
- Triad pair exercises here:jazzduets.com/
In this 3rd video of the 'Triad pair System' series each chord of "Blue Bossa" is assigned a triad pair, at first in 'broken down' with analysis and comment then later the tune is played in 'real time'.
The triad pairs change with the chords evoking sounds and leaps perhaps new to non piano players. The video however is apt for
all instruments.
Inside the video:
1:10 Cminor -
1:40 F minor
2:10 D-7b5
2:50 G7
3:25 Eb-7
3:50 Ab7
4:15 Eb maj7
4:40 - Triads in 8th notes on Blue bossa
5:20 - Triplets
6:45 - 16th notes
Your tutorials are really superb. You come straight to the point (no one telling me for more than 30 minutes which note is the 7th note counting from C). Tempo is perfect - not too fast, not too slow. Acoustic and graphic information support each other in a very effective way. This is really helpful and in addition fun to watch and to listen to. Thank you very much.
The perfect example of triad pairs. Nice work. Thanks
Fantastic!
The angular sounds of Joe Farrell - I admired - is now revealed!
Thanks Nick.
Please keep 'em coming!
This is just a great lesson, so useful, clearly explained and ultimately musical in application. Thank you for this and the many other quality lessons you've posted. Oh it deserves to be called out that your tone is stellar; as a musician I find your playing a joy to listen to all round. Liked & subscribed - all the best!
OMG! I wish I knew all this stuff when I started out. I am practicing like an obsessed child again. Thank you
Good lesson and Great sound on your soprano.
Beautiful sound on soprano, one of the best I've heard. Reminds me of Joe Viola's sound, my sax teacher in the early 1970's. Nice work!
he was my teacher as well for a short time!
Beautiful tonality. I love this fail-safe approach. You set up a system that is inherently melodic and harmonically rich. It seems whatever you play sounds pleasing in this application "exercise". And yes your sax sound is also amazing; soprano sax is probably my favorite horn to listen to in Jazz. (Note, I don't play sax. I'm just a humble bass player).
Your videos are on my top list of favorites.
Just fantastic.Thank you.Beautiful colour tones.
I just came over this lesson yesterday. As a humble guitarist, and a non reader at that I struggle. However you evoke a very etherical floating quality to the song which is so very very soothing, musical and interesting. I am sure that there is more for you to tell with this approach, and you have obviously created a following. Very nice, thanks!
Best to learn this stuff by ear. I (also a non-reading guitarist) wanted to have a musical/melodic context to Triads, so I started with Bugle calls and then transposed them diatonically/modally over a pedal point. Then I applied them to the Blues, and then extended them to 4ths for Quartal Harmony (like in ESP). This had a "Dominoe Effect" on my ability to hear how Composers Like Irving Berlin, Vincent Youmans and George Gershwin use triads and 7th chords to create evocative melodies. Which is my goal as an improvisor.
Always like your lessons! Love triad pairs, needed this.
Excellent lesson and demonstration, I really appreciate the effort and teaching! Many Blessings, Max T.
thank you so much for all your wonderful lessons, this is one of the most useful things ive ever come across, you are the best instructor on youtube
Tchau e muito obrigado from Brazil!
Brilliant. These videos are so well done and are teaching me a ton. I love how you emphasize the "feel" of the pairs and encourage the player to listen. You have an error (I think) when analyzing the Eb chord in the G7 measure. You've labeled the G as the 3rd instead of the root - unless I'm misunderstanding something, which is very possible.
I enjoyed all 3 parts. Great explanation of a concept that I'm just starting to explore.
Thanks, Maestro Nick..
Bless you for sharing these concepts.
Great soprano sound man! Nice videos
Thank you, for giving me answers on many questions that I ask myself every day. One of five top channels on UA-cam that I use every day. Btw I can copy this sentence on every video youv postet.
Uma das melhores explanações, pois demonstra muito bem o efeito de cada sobreposição. Obrigado!
thanks !!!
love your lessons. I try to apply everything on guitar, but it's not always possible. CIAO as they say here in Italy :) :) :)
such a fabulous lesson.brain opening! a lot of gratitude.Thanks
Great sound! Thanks!
So good your videos!!! Thank you so much for this inspiring insights!
Fantastic as usual! Never sure if I’m listening to a song or a practice! Probably both!!! Thanks again Nick! I’m not offended if you don’t respond to every comment. I know editing keeps a person astoundingly busy. 👍🏼😇
I love your lessons. Very inspiring. Thanks very much.
This is beyond brillant. Thanks !
Very good video👍🎶
This is so so so so so so cool!
Io ti amo!!!!! Sei il bodhisatva del jazz! 💙💙💙💙
Amazing lesson and work put into this video. Well done.
Hi Nick, loved your video. One question; on blue bossa it is clear why
you chose the triads for the first 4 bars but subsequently your choice
of triads was unclear. What led you to Eb/Db over G7 and more perplexing
why Am/Bm over Ab7 and Eb/Fm over Dbmaj7. Thanks Tony in Vancouver
Yes some more explanation would be great here
Somebody correct me if I'm wrong but he simply picked any two triads from the a "tonality" that he chose. In the case of G7 he's going for a G Altered sound, G Altered is in Ab Melodic Minor. He could have picked any two triads from Ab Melodic Minor, he chose the IV and V degrees of the scale: Db and Eb. Same explanation for Am/Bm. Ab Altered is A Melodic Minor, he picked the I and II degrees of that scale. DbMa7 he's thinking of it as the Lydian IV chord and so on.
please.. more explanation/
anthony glass look at the intervals on each note on the staff for each triad chosen. For example the note A of Am on Ab7 gives you flat nine. The C of Am gives you,the major 3rd etc. Different triads give you different colour tones.
wow amazing lesson, will apply on my guitar. Thanks for sharing. All the best.
Man, you are the best!
Siempre espectacular, Nick! Estoy avanzando mucho c el material del 2do video. Pronto ya tendrás el acento serrano! Fenómeno! Más triads pairs pronto!
Somos muito gratos pela belíssima iniciativa. Deus abençoe você.
Alegría!!! Buenísimo!!!
this video has inspired me. Thank you very much.
Would like to know the reason for choosing the triads you do over certain chords.
What are the rules of your choices?
bit late, but anyone else wondering, check out his first video on triad pairs for the answer.
Awesome. Just awesome and thanks a million.
Brilliant channel!! Thank YOU!
Great lesson! Thank you!
Great lesson as always! Thanks! Just a question though: on the Dm7b5, the Eo gives an E natural. Sounds odd to me. Should it not be a Eb? (I.e on that chord I would play D, Eb, F, G, Ab, Bb, C, D.) Can anyone advise? Thanks
really good lesson, God bless you
Could you provide a chart with the triad pairs for each and every chord family? Thanks to your Blue Bossa treatment we already have Major, Minor, Dominant and Half Diminished. How about the other chords - Diminished, Augmented, Altered etc. ? I very much like your presentation, it's a breath of fresh air.
I found a review download of Walt Weiskopf’s book Intervallic Improvisation, which is like a degree-level treatise on triad pairs. After reviewing it I bought the full book. It’s a dense read, but everything you need to know.
Tremenda lección ! Muchas gracias !
gracias!!!! tremendo!!
Many Thanks ! Terima Kasih ! 谢谢 （xie xie）!
Great ! Hebat ! 赞 !
excellent, very enlightening...!
Great content, thank you! You said you play simple base piano chords without anything else. Correct me if I'm wrong but I hear D note added for the very first example of a base chord which is C-
Quick question regarding transposing this to tenor key, would measures 5 & 13 use E-dim and F-dim or F#-dim as the transposed triad pairs in your example? Thank you.
Thank you for your content man
Hello! Awesome videos. Love this triad pair concept! Question to you is if there exists a system you know of that uses quartal harmony as pairs?
terrific idea!
I really thank ya for the super clear n creative explanations, and as an Italian saxophonist your final ciao is always soo fuckin jazzy man, 'ppreciate it
I must be missing something here but I don't see how the E and D diminished triads come from the F melodic minor scale (which does not contain Db or Cb). In fact I don't understand where these triads came from at all. Any theory behind this??
F melodic does include these 2 triads E and D diminished , built on the 6th and 7th degree ascending
@@JazzDuets Ok, I so you mean the melodic minor as played classically rather than the scale as typically used in jazz. Thanks a lot.
Superb lesson and sounds. Could you explain your triad choices a bit more? Am Bm over Ab7 for example. Many thanks
Each choice references a mode or scale, and evokes a particular sound or mood. The choices he makes with both dominant 7 chords reference the altered scale in slightly different ways The order he uses (Eb to Db for G7, and A minor to B minor for the Ab7) determines whether the "color" tones come earlier or later in the sequences. Again, different sounds and feels. sometimes quite subtle. This concept combines scalar/modal and chordal approaches in a way that I hadn't thought of much before. Use triad pairs to evoke the sound/mood of different modes. Brilliantly and well-presented. Wow. Can't wait to explore this more.
Love the lesson series and your wonderful tone.Do you sell this as a lesson?Can`t seem to locate it...
loved your video what led you to apply E o & D o over D -7b5 thank you
What would you recommend to do to get fluent with triad pairs system? I mean how not to think which triads to use while playing solo.
mind blowing ,, maan !!
My question is this: for Triad pairs, are you thinking bebop rules: playing off the weak beats (tension) to strong beat (release)? Or, is the triad pair a model fixture that opens up the time? Just asking because you are using the triad pairs for a standard and not a modal tune.
By the way, the best person to listen to for triad pairs is OLIVER NELSON! Yes Coltrane uses them, but Oliver Nelson uses them like Miles--therefore, his stuff is easier to work into your playing (and transcribe). You should do a vid on his "Sound Pieces" composition.
I suppose his phrasing is definitely influenced by bebop rules, but not strictly.
Does doing these triad pairs create temporal tension (going against the weak beat strong beat principal of note placement)?
Hi, I love your videos! Thank you so much!
I'm looking for video 2 of this triad pair system series but can't find it, where is it?
cheeers! just finishing - 1-2 days!
Tchau!
Wow!!
0:12 0:20 0:21
Thx!
Bravissima!!!!!!!!!!
How about same approach with another tune or other triads?
Sums up the ways u use triad pairs 👍🏽
👊🏾
Yeah
good, ciao :-D
Em7 A7 2nd 4th bar and substitue Dm7b5 G7 Bm7b5 E7 in two bars and also Ebm7 Ab7 Cm7 F7 for 2nd ior third chorus play the F# Triad ovver A7!!! I don't like the sound of minor triads in root position on the Am especially upwards...am i also play over Ab...why not contrary motion DTriad E Triad over Ab7 then Fm Eb over D?? instead of Triad Bm over Ab7 I would say: Bmi Tetratonic: like BA E D BA and then permutation: ED BA E D and more fast playe if you're triads are to slow they are to recognizable....and you have always the same degree almost of outside, that doesn;t sound too well...If you play Cm comping than don't play triad Cminor that is dedundant play D Triad over C maybe start with C then D but don't come back to C you touch the ground the flying stops....G7alt I like stronger Out like E Triad as I try to say play fisrst chorus alt or Db Eb I agree upon that one but only 1st or 2nd chorus than apotheosus E Triad or even Bttriad go to Cmaj will sound much more interesting...What Coltrane understood well is that certain licks only work by speed..you have to work on degree of alteration this to mechanical...good as lesson for others..but you have yourself to learn something I try to tell you that try to listen tp Eef Albers he perfected Art of John Coltrane.....He qas 1973 best guitarist of the world try Hybrid hexatonic...use the tritone as axe there lie the secret..this will bring you not any further...
Tchau!!! :)
EvoKTTT
People using this method need to try not to sound like you are playing from an excercise book with repeated melodic patterns. Break it up.
fenomenal, thanks a lot for what you do