Triad and Picklrv

NOV at this pint we'll at straight ahead Major and MJmy arpeggios.
i left them until thJS point because they are the most difficult to play. Triad
playing verv Imm»rtant In SO's music. because Of the abundantuse of slush chords
i.e.. toad With ditterent bass notes, e.g., Bb/C, ch'Yd creates C! I
sand alt}KN.jghIt 'S not, technically speaking. 0t the 3rd
and 'th Irom C tnåror. Bb/C IS a vowing of Its own. havtng Itsdbqensc
Of the
own sou'ld. If we
analyze rhus voicing, rt Bb triad, Notes Ebb.D and F, which the b7, 9 and
I J Of C major, plus Of course the C
Thß IS Jtßt me possibility 01 a Slash atl combtnatms have been used. and
all are Very much part of rnus:c. Getting back to the when
you play a atraaght A (l 3) arpeggio over an A/D chord. It's "tup••
sounding and certainly d.rsn•t sound like a regular L. 3, triad.
Here are other possibilities Oi Stash using an A maj« toad from tn•i'de
to most outside sounding Ones.

(tbually V E maj«)
2. A/D (Drna19 s«md 3rd. I or IV
(Sameas Fotn7)
(l,kc d C'm7NS, or vr ch«d)
rmrd)
6. (same as G6/9'll A7 With 7th in bass, IV chord)
7. (same as Frna17'5, Ill chord 01 D Melodic minor)
(like an Ama17 with the 7th bass, Ill chord of E major)
9. A/Bb (A chord Withb' In bass, Dtmrnished hole the A
10. A/C (tlke Cl}b9 less b7, Dimlmshed Whole 0t C)
11. (like an A7bib' less the Yd)