Lesson

#17: Intro to Triad Pairs

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The following is an excerpt from the intro to Gary Campbells 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, lets 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: Extended: i Ebmin min min/maj7 ii Fmin min min7 aug maj7#5 IV Abmaj maj dom7 V Bbmaj maj dom7 vi Cdim dim m7b5 dim m7b5 vii Ddim

III Gbaug

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