I applaud you for not going after 101 content. there is a plague of it. I know everyone does that because it "helps with the algorithm", instead you chose to offer content no one else is covering this deeply. I am thankful for a few golden nugget content creators like you Adam. keep up the awesome and inspiring work.
Thank you. For this and all the rest. Open Studio is the rising tide that floats all boats; for both the individual player and other content creators. As a guitarist I feel it's easier to learn from a pianist. Visually eliminating all the "guitar stuff" really helps me visualize your concepts.
Man, such great stuff here. I miss being a member with y’all. I’ve been writing your dues off as continuing education, but after the covid dry spell I just cant afford it. The free material is always appreciated. Thanks Adam.
This is great because you're showing these triad pairs relative to the underlying chord's harmonic function in a tune. I've seen a lot of videos where someone will say "play the flat 6 over a VII chord" but not show how or where that VII chord is functioning in the tune. Here you have given tune and key context, and the "levels" provide good ideas about what to match with what. Nice video. I'm going to turn the three levels into a 12-key spreadsheet and would be happy to share if anyone's interested.
Rob, once you have that spreadsheet, would you mail a copy to jazztemple2@aol.com? Put "jazz" in the subject line and I will search for it. Thank you sir!
Maybe next study coud be somerhing as esgd EBG# B C# E B B# C# G# E# C# G# A Bb etx as maybe over a F7 blues to play octatonuc over Each chord( bebep or Oscarish Blues using one Lick and one chord or few licks that are going from 4ths to 3tplets to 8ths ton3plets to 16ths to even 5 on the beat the lesson could be take 1hour + no problen....
It's interesting you should mention that. "Jazz" functional harmony's been my bread and butter for, well, decades now, and I'm actually taking a stretch in the opposite direction. Species counterpoint by the rules, what the hell is a 6/4 chord, and so forth. It's really very enjoyable and interesting, and useful too. Cheers.
Man, I'm just gonna keep on sayin' it...love you guys' content. So well applied as well as explained; and your playing in the background is a real help for me as a melody instrument to get some practice in. Loop, enjoy, repeat! 😁
Ganz toll! Du hast den Groove :-) I like your basslines! The Triads, the sound of triads and voicing, thanks for your „half whole“ triads as well! So viel zu lernen !!! Dankeschön aus Deutschland!
So my take away is this: Thinking relative to the actual chord you are playing (current bass note) .... For any minor chord the triad pair is (b3maj & 4maj) OR (b7maj & 1min) For any altered chord the triad pair is (b6maj & b5maj ) OR (b7maj & 1maj) 👈this second option is not as cool or altered really but it was given as a triad pairing in his first etude And for any major chord the triad pairing is ( 5maj & 6min) OR (2maj & 3min) I'm thinking of the triad pairings relative to the chord you are currently playing and not the chord progression or the tonic key. This allows the triad pairs to be more easily translatable to any key or any song/chord progession... at least for me... which is why I took the time to write this out.
Just wanted to say that as a guitarist that's trying to figure out how to make triads work, this video has been incredibly useful. I've been struggling with the idea of using them, and this lesson has really helped break down some barriers. Thanks!
Me too Andrew. I just commented on the same thing. Guitarists teaching guitarists is both helpful and a hindrance. Learning from a pianist really eliminates all the technical "noise" we must endure in dealing with our quirky instrument.
Can someone explain the substitution of G7 with B7 in "level 3"? I've heard of substituting dominant chords a minor 3rd away (as a diminished kind of thing) but never heard of MAJOR 3rd away substitution on dominant. Adam kind of glosses over this and says "it happens all the time". Is that true? Any links to recordings that do this? This is a weird substitution that I think deserves a little more explanation. Thanks!
It kinda comes from the altered scale I assume since B major is relative to G#/Ab minor and Ab melodic minor is basically G altered. I don't know how accurate this assumption is, but overall I've learned you shouldn't stress TOO much about functions and more about how you can release that tension in the next chord/phrase.
@@kennethreed8746 Ok yea makes sense, especially about not stressing too much about function. Thinking about it a little more, I guess Balt is the same as C melodic minor, so we get a sense of minor to major resolution when Balt (C mel minor) resolves to Cmajor. If anyone else has any more (informed) input on this topic I'd love to hear it.
I don’t think it’s a substitution for G7, in the sense that B is not dominant in the key of C. It is a subdominant cadence, analogue to F7 going to C in the blues. In any key there are 4 dominants (G7,Bb7,Db7, E7) and 4 subdominants (F7, Ab7, B7, D7) that go to the tonic. So B7 functions as a subdominant.
yes and no, yes because the melody can lead somewhere and the triad technically has some chord functions, but also no because you don't have to take your melody places all the time
It's because he's using that cheez . . .uh. that is . . . ahem . . . other-than-optimal SM7, instead of the incredible RE20 with effective proximity effect reduction. Sax players know this.
I wish you had discussed that you are playing tritones on your left hand(F & B) without adding the root to them as well as playing 4ths on the left hand ( EAD) without any explanation. This kind of assumed randomness is mighty confusing to the student when they think you are supposed to be playing literally what is written on the music. When you take a sharp turn without a full and clear explanation , it creates grey areas not only in sound potential but also in chord concepts and the absence of the supportive theoretical explanation.
So my seggesrion is Polychords..there is maybe a subtile diffetence poly chord could Use 16 different shapes ovet a dominat built on major or Minor Mediant....the idea of upper structure stays the same the Triads are there interwoven as wel....Generic Modality Compressipn
Generic Modality Conpressipn could be a next.step after the Triads and Polychord being the more Herbieish Chickish Keithish more MCcoyish step even more the Maldauish Or Geraldish or Joost Swartish or Timothy Funnelish step Maybe Poly rythn Polychords and Modality Compression to be the Last steps in the Process life time of Work...relative freedom in Both ryrhn
Also over G7.to mix minor and major Triads ( Ambivalent and #9 triad pairs to mix up Tonal Gender of the Triafs like ovet G7 Bb G D - G E D- EC# G# or even in slow 16ths Bb GDB- GEBG# EC# G#E# and then a step aftet that could be using DEG D GEBG# Or EG D D# G EBG# Or C# B EB C# E#G# A Bb Db Ab A Db Bb F D...those last tiny Hancock licks are te be played with finger caps( Corona...we can't be cautious enough) What.if the Jazz Police catch us???? MIAUWWWW
As an extra Lick over a Dominant G7 we could play from lower to higher(st four last 4 descending motion) Ab Db DG Ab Db DA so 4ths as melodic content or even G B Ab Db BD Db F DG F Ab G B Ab Db lick very Herbie to Bulls eye your solo some more and have your Triads backed up by some solid Alternatives( the last 2 were actually tritone Triads of course for Adam all this stuff is Piece of Cake and Mouse in mouth...just suggestions to being Hip when being Square
Adam you're are Heroe.and Best Teacher on UA-cam.You are taking the Time for.Jazz Monkeys like me....I learned how to use 3ths in the Left hand with this Crazy Stuff Totally Clear and Understood!!!!
Umm... 1st 2 min.....what are triad pair? Not going to answer, why shoud i .... Im only making this lesson.....not going to difine it. Just say there modern....
I applaud you for not going after 101 content.
there is a plague of it. I know everyone does that because it "helps with the algorithm",
instead you chose to offer content no one else is covering this deeply.
I am thankful for a few golden nugget content creators like you Adam.
keep up the awesome and inspiring work.
Gotta agree. Literally THE BEST channel for intermediate to advanced players. Fcking love these guys so much.
Thank you. For this and all the rest. Open Studio is the rising tide that floats all boats; for both the individual player and other content creators. As a guitarist I feel it's easier to learn from a pianist. Visually eliminating all the "guitar stuff" really helps me visualize your concepts.
Man, such great stuff here. I miss being a member with y’all. I’ve been writing your dues off as continuing education, but after the covid dry spell I just cant afford it. The free material is always appreciated. Thanks Adam.
This is great because you're showing these triad pairs relative to the underlying chord's harmonic function in a tune. I've seen a lot of videos where someone will say "play the flat 6 over a VII chord" but not show how or where that VII chord is functioning in the tune. Here you have given tune and key context, and the "levels" provide good ideas about what to match with what. Nice video. I'm going to turn the three levels into a 12-key spreadsheet and would be happy to share if anyone's interested.
Rob, once you have that spreadsheet, would you mail a copy to jazztemple2@aol.com? Put "jazz" in the subject line and I will search for it. Thank you sir!
This is Realy Cutting Edge Study!!!
Yes, please dm when you have them available.
Maybe next study coud be somerhing as esgd EBG# B C# E B B# C# G# E# C# G# A Bb etx as maybe over a F7 blues to play octatonuc over Each chord( bebep or Oscarish Blues using one Lick and one chord or few licks that are going from 4ths to 3tplets to 8ths ton3plets to 16ths to even 5 on the beat the lesson could be take 1hour + no problen....
I'd love a copy too man. Thanks so much! a.trinchera@gmail.com
Level 3 on my own I couldn't track mentally but my ears opened up to that thing where you could play almost anything!
You're bassline work is lovely
Your personality… speaks volumes, as well as your prowess. Cheers Adam 🙏🏽🇦🇺
Your teaching is really good for me.
I learn so much from you.
Thank you
Love triad pairs :-) Thanks for laying them out on a II-V-I-VI in such a hip way! Love it!
This is amazing. I missed out on so much focusing solely on classical in uni
It's interesting you should mention that. "Jazz" functional harmony's been my bread and butter for, well, decades now, and I'm actually taking a stretch in the opposite direction. Species counterpoint by the rules, what the hell is a 6/4 chord, and so forth. It's really very enjoyable and interesting, and useful too. Cheers.
you´re a great teacher, Adam. Its useful, its fun, I get to play with you and I can feel that i learn something. Thank you!
Wowww! Such precious stuff and clear explanations to use triads!!! Tks a Lot
Man, I'm just gonna keep on sayin' it...love you guys' content. So well applied as well as explained; and your playing in the background is a real help for me as a melody instrument to get some practice in. Loop, enjoy, repeat! 😁
This is exciting. Glad I found this channel
Ganz toll! Du hast den Groove :-) I like your basslines! The Triads, the sound of triads and voicing, thanks for your „half whole“ triads as well! So viel zu lernen !!! Dankeschön aus Deutschland!
Awesome. And such fun. Just the thing after a furiously busy day at work.
So my take away is this:
Thinking relative to the actual chord you are playing (current bass note) ....
For any minor chord the triad pair is (b3maj & 4maj) OR (b7maj & 1min)
For any altered chord the triad pair is (b6maj & b5maj ) OR (b7maj & 1maj) 👈this second option is not as cool or altered really but it was given as a triad pairing in his first etude
And for any major chord the triad pairing is ( 5maj & 6min) OR (2maj & 3min)
I'm thinking of the triad pairings relative to the chord you are currently playing and not the chord progression or the tonic key. This allows the triad pairs to be more easily translatable to any key or any song/chord progession... at least for me... which is why I took the time to write this out.
Man this is crazy! Thank you so much.
Great teaching, great material!
I think I hear some resonance on that B1 key on the piano, especially when Adam is playing that bass line at 7:36
Thank you. Very nice. I learned something, bro! Keep up the good work.
Just wanted to say that as a guitarist that's trying to figure out how to make triads work, this video has been incredibly useful. I've been struggling with the idea of using them, and this lesson has really helped break down some barriers. Thanks!
Me too Andrew. I just commented on the same thing. Guitarists teaching guitarists is both helpful and a hindrance. Learning from a pianist really eliminates all the technical "noise" we must endure in dealing with our quirky instrument.
Genius. Love it!
That's it. I'm a nerd for this.
Love the blurred background
Level 4 is playing C over all the changes on giant steps
Yeah, you hear that video where 'Trane is doing that? It was awesome! (lol)
Good stuff!
Thank you so much Adam, it would help if you change this: B-flat, for this: Bb
Great leason!! If there’s a good book on this subject please recommend it.
Triad pairs by Gary Campbell
First thing you played reminded me of sara by fleetwood mac
Adam: "Okay, let's try this together now; play along."
Me: 👁👄👁
merci trop cool!!
Hi Open Studio,
I think there is a typo in your title !
Great video by the way
A wholesome first comment, beat me to it.
Bien evidemment ;)
Thanks for the head's up. Fixed!
Lev 3 has a Red Clay vibe to it
Thank you.. This is what I wanted to know. I will practice from now. Again thank you
< ! Feel SOoo gOOd...see you tomorrow! >
Can someone explain the substitution of G7 with B7 in "level 3"? I've heard of substituting dominant chords a minor 3rd away (as a diminished kind of thing) but never heard of MAJOR 3rd away substitution on dominant. Adam kind of glosses over this and says "it happens all the time". Is that true? Any links to recordings that do this? This is a weird substitution that I think deserves a little more explanation. Thanks!
It kinda comes from the altered scale I assume since B major is relative to G#/Ab minor and Ab melodic minor is basically G altered. I don't know how accurate this assumption is, but overall I've learned you shouldn't stress TOO much about functions and more about how you can release that tension in the next chord/phrase.
@@kennethreed8746 Ok yea makes sense, especially about not stressing too much about function. Thinking about it a little more, I guess Balt is the same as C melodic minor, so we get a sense of minor to major resolution when Balt (C mel minor) resolves to Cmajor. If anyone else has any more (informed) input on this topic I'd love to hear it.
@@ggck.sounds I was saying B major is similar to G altered
I don’t think it’s a substitution for G7, in the sense that B is not dominant in the key of C. It is a subdominant cadence, analogue to F7 going to C in the blues. In any key there are 4 dominants (G7,Bb7,Db7, E7) and 4 subdominants (F7, Ab7, B7, D7) that go to the tonic. So B7 functions as a subdominant.
@@kennethreed8746 yea i got u, i was just thinking of it from another angle.
When playing the Triad Pairs, does it make a difference which one you start with?
yes and no, yes because the melody can lead somewhere and the triad technically has some chord functions, but also no because you don't have to take your melody places all the time
bagus sekali. matur suksma
🙏
Good stuff, but got pretty convoluted for me in the third iteration.
👌
👍🏼
thank u i am retire .i can not afford it.
Great practice exercises...only why couldn't you write Bb instead of B -FLAT which is something my brain refuses to process? ;)
That font only uses upper case🤷♂️
@@OpenStudioJazz Gottcha! Great Video though...thanks a lot !
highpass filter would be great, my dude! Voice is so boomy
It's because he's using that cheez . . .uh. that is . . . ahem . . . other-than-optimal SM7, instead of the incredible RE20 with effective proximity effect reduction. Sax players know this.
I wish you had discussed that you are playing tritones on your left hand(F & B) without adding the root to them as well as playing 4ths on the left hand ( EAD) without any explanation. This kind of assumed randomness is mighty confusing to the student when they think you are supposed to be playing literally what is written on the music. When you take a sharp turn without a full and clear explanation , it creates grey areas not only in sound potential but also in chord concepts and the absence of the supportive theoretical explanation.
Too advanced for me to comprehend.
'some modern players' *names three players that arent alive*
I think you might be confusing modern with contemporary.
i believe hes using the term as a classification of of style, not really how trendy or hip it is
Hahaaa😂😂😂 that is TOTALLY musician talk when you play something somewhat substantial and then look at someone and be like:
“know what I’m sayin?”
😂😂😂😂
It was Cherokee that Herbie wrote the solo on - your correction instincts were right!
fancy meeting you here!
Je suis guitariste, et c'est la meilleure vidéo que j'ai trouvée sur les triad pairs ! Merci !
I’m getting Bob Ross vibes lol idk why
I wasn't getting that at all ha 🤣
Its the enthusiasm!
we don't make mistakes just happy little accidents... ok now lets play some happy little Bmaj7:)
Au niveau 2,2º mesure,j'ai cru entendre "well you needn't" ! super Adam !
Can somebody explain to me how the G7 was change to B7 ? In level 3
Did he use modal interchange ? Or ?
years of confusion boiled down into a digestible format. You’re doing gods work
Deus abençoe
Thank you for this! I will be exploring this a lot in my practicing
So basically playin g major pentatonic on the II V I VI you are good to go
Thanks a Lot for your video!!!
So my seggesrion is Polychords..there is maybe a subtile diffetence poly chord could Use 16 different shapes ovet a dominat built on major or Minor Mediant....the idea of upper structure stays the same the Triads are there interwoven as wel....Generic Modality Compressipn
Generic Modality Conpressipn could be a next.step after the Triads and Polychord being the more Herbieish Chickish Keithish more MCcoyish step even more the Maldauish Or Geraldish or Joost Swartish or Timothy Funnelish step Maybe Poly rythn Polychords and Modality Compression to be the Last steps in the Process life time of Work...relative freedom in Both ryrhn
Also over G7.to mix minor and major Triads ( Ambivalent and #9 triad pairs to mix up Tonal Gender of the Triafs like ovet G7 Bb G D - G E D- EC# G# or even in slow 16ths Bb GDB- GEBG# EC# G#E# and then a step aftet that could be using DEG D GEBG# Or EG D D# G EBG# Or C# B EB C# E#G# A Bb Db Ab A Db Bb F D...those last tiny Hancock licks are te be played with finger caps( Corona...we can't be cautious enough) What.if the Jazz Police catch us???? MIAUWWWW
As an extra Lick over a Dominant G7 we could play from lower to higher(st four last 4 descending motion) Ab Db DG Ab Db DA so 4ths as melodic content or even G B Ab Db BD Db F DG F Ab G B Ab Db lick very Herbie to Bulls eye your solo some more and have your Triads backed up by some solid Alternatives( the last 2 were actually tritone Triads of course for Adam all this stuff is Piece of Cake and Mouse in mouth...just suggestions to being Hip when being Square
Adam you're are Heroe.and Best Teacher on UA-cam.You are taking the Time for.Jazz Monkeys like me....I learned how to use 3ths in the Left hand with this Crazy Stuff Totally Clear and Understood!!!!
nevwr heard of generic modality compression, sounds interesting
❤
YES!!!!!
Nice one. Really really nice. Have heard but don't know the application but now I understand. Masterfillz from Nigeria
As a musician with almost no jazz training, this really helps answer a question which has often nagged at me - “why does jazz sound like that?”
great lesson. Everything is starting to come together about the whole art of playing outside
Lay that bass line down on double bass and record a jam for us ;)
Nice video man ! encouraged me to play more triadic stuff... great
And to think, I was just about to go to bed too. Great lesson.
Thanks for sharing this wonderful information!
Wow love your approach to the triads.
AWESOME! THANKS FOR SHARING.
Omg, soooo good! Thanks a lot! 🤯🙏
Great masterclass!!
Very cool
Thanks so much!
GREAT LESSONS
Crispy! Great stuff Adam!
Great stuff to share - thanks!
Are the left hand voicing supposed to be rootless? I dont know why, in version 1 for example, Dmaj7 w/ Fmaj is voiced as FGAC. I assume rootless?
Isn't it Dmin7?
Yes, rootless. He also added some extensions to the chords
I HAVE A TRANSCRIBING REQUEST PRAYERS FOR RAIN BY BLUETECH (DUB MIX) ITS ABOUT A MINUTE IN AND IS A FILTHY SOLO
Umm... 1st 2 min.....what are triad pair? Not going to answer, why shoud i .... Im only making this lesson.....not going to difine it. Just say there modern....
a pair is a group of two. a triad pair is a group of two triads.