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henricksen

Page 76

Just Jazz Guitar

I

November 2008

and how to apply what we have learned over the previous two columns in a new way. Any of these triads could be used over a D Minor/Major7. You can easily substitute any triad from a chord’s relative “chord-scale” for that chord. In my experience as a jazz student and teacher. However. then any triads derived from any chord in that chord-scale can work. Below is how this concept works when applied to various D minor sounds. if you pay attention to the details and the explore all possibilities. At first glance. n the past few issues we have looked at playing triads in all inversions. the melodic minor modes. the mileage you can get out of the simplest idea can take you to places that you may have never before imagined. I chose the three main scales used in jazz: the major modes. You should experiment and see what triads get the ‘colors’ or extensions you desire. tend to bypass some of the fundamentals of music in a rush to get to what they may think is ‘hipper’ or more impressive at the time.The Power of Triads: Part 3 D Melodic Minor D minor E minor F augmented G major A major B diminished C # diminished Just Jazz Guitar I To offer a different color you could choose different scales to get your triads from. I mentioned in my first column that a lot of musicians. This lesson will look at how to take triads that we already know and superimpose them over various chords to get extensions and different colors in our chords. D Minor 7 D minor E minor F major G major A minor B diminished C major The following example illustrates a D Dorian sound when using the any of the following triads over a D pedal. triads are typically not very appealing for the beginner to intermediate musician. I by Brandon Bernstein November 2008 Page 77 . the triad. To better exemplify this concept. and the harmonic minor modes. serious students will find it wise to pay close attention to fundamentals in order to avoid glaring weaknesses. A good starting point to this concept is the application of triads with modes we already know. by nature. This is where I will segue into this month’s column as we begin to explore some of the mileage we can get out of such a simple 3-note chord. Some triads work better then others. yet. as with most things in music. with suspensions. and looked at some examples of how to voice-lead them on the guitar. both closed and open voicings. If you know the chord-scale harmony as it exist in 7th chords. I have found this attitude to be a very natural tendency in the aspiring musician.

Example 3 uses various triad substitutions over “All The Things You Are.Here is the same principle using harmonic minor.” (At the bottom of the example is the ‘real’ harmony as it exist and at the top are various triad substitutions I chose using the ideas mentioned earlier). Example 1 demonstrates using triad substitutions over a iiV-I progression in Major. D Harmonic Minor D minor E diminished F augmented G minor A major Bb major C# Diminished The following examples below demonstrate superimposing triads over various chord progressions. Example 2 demonstrates triad substitutions over a minor ii-V-i. Feel free to contact me at jazzyb64@hotmail.com if you have any questions or would like copies of my previous columns on triads. Example 2: ii-V-I Example 2: ii-V-i Example 3: Based on “All The Things You Are” Page 78 Just Jazz Guitar I November 2008 .