Lesson

 #17:  Intro  to  Triad  Pairs  

http://allegedartist.wordpress.com  
 

 
The following is an excerpt from the intro to Gary Campbell’s book, Triad
Pairs for Jazz Improvisation:
1. By limiting note selection to six tones (each triad consisting of three), a
more concise sonority is created. For example, the conventional chords
used in the Jazz idiom are oftentimes associated with parent chord-scales
of seven or more tones (melodic minor, major, minor, harmonic minor,
and so on). Rendering these scales in the form of triad pairs yields more
variety in tone color and suggests novel melodic possibilities.
2. Each of the triads expresses a tonality. By using two triads, bi-tonal
effects are created. This effect is multiplied when the triad pair is used over
a root tone that is not present in either triad.

3. The structure and "tensile strength" of triads give the melodic line an
independent internal logic. The "stand alone" sound is oftentimes enough
to make a strong, effective melodic statement regardless of how it is (or
isn't) relating to the harmony over which it is being used.

4. The triads offer a skeleton structure to base lines on. This can be very
helpful in modal settings where there are no diatonic, cycle-forth root
movements or resolutions and where each chord change may last a long
time (for instance, four, eight, or sixteen measures)"
 Now, let’s take a look at some possible triads for use over an Ab7 chord:

Ab Lydian b7 derived from:

Eb Melodic Minor scale notes: Eb F Gb Ab Bb C D

Triads: min min aug maj maj dim dim

Extended: min/maj7 min7 maj7#5 dom7 dom7 m7b5 m7b5

i ii III IV V vi vii
Ebmin Fmin Gbaug Abmaj Bbmaj Cdim Ddim

 
Chord                                          Notes                                              Relationship  to  Chord  
                                               
1)  Eb  min.                            Eb,  Gb,  Bb                            5,  b7,  9  
 
2)  F  min.                                  F,  Ab,  C                                      13,  R,  3  
 
3)  Gb  Aug.                            Gb,  Bb,  D                                b7,  9,  #11  
 
4)  Ab  Maj.                            Ab,  C,  Eb                                  R,  3,  5  
 
5)  Bb  Maj.                            Bb,  D,  F                                        9,  #11,  13  
 
6)  C  dim.                                C,  Eb,  Gb                                    3,  5,  b7  
 
7)  D  dim.                                D,  F,  Ab                                        #11,  13,  R