Triad Masterclass

[pax]

Wim Dijkgraaf at Jazzharmonica has a triad masterclass for under ten bucks that's opening up the harmonica to me. He makes it look so easy. The baggage you carry into learning a New instrument leave large holes to fall into. I always thought triads were classical stuff. To me everything started from 7th chords. this is the twentieth first century right? Triads over major or minor harmonies. A new perspective for me! And what a way to find out what's in all these holes on this little buttoned tin box.

Triad masterclass
http://www.jazzharmonica.org/learn-how-to-play-improvise-jazz-harmonica/

[Chrotrane]

Thanks for bringing up the subject.
I heard about triad pairs about 6 years ago, but disregarded the concept.
Now I'm exploring the almost endless possibilities the concept provides and it would be interesting to hear what kind of new ideas other players have found.

Surely the pair of major chords a whole step apart sounds great and has many harmonic possibilities.
But I am interested in hearing about other combinations that you might have found appealing.

I have experimented a lot lately and would like to suggest a couple of pairs of triads and some of their harmonic applications.

A major and a minor chord a whole step apart: G/Am yields a Cmaj13 omitting the avoid note f of the Ionian mode.
This one can also be used over an A minor chord thus yielding an Am11
Another possible application would be over an F root yielding an Fmaj13#11 (omitting the root)

And what about this nice altered dominant solution: G+/Db yielding a G7#5 (b9 #11)

That's just a few options

[keithfre]

into. I always thought triads were classical stuff. To me everything started from 7th chords.

Triads extracted from the 7th chords (and their extensions) are very useful. Working with three notes at a time enables you to come up with interesting rhythms, instead of just running 8th-note 7th-chord arpeggios.

[pax]

After six weeks, all I can say is that, this is a daily epyphany path! For this beginner, major triads over minor harmonies seamed a bit much but a triad is only three notes & the circle of fourths  covers all the holes on the Chromatic if you want it to. Add leading tones...well that's where I'm at.
  I - IV - V are the major triads...the blues?

[Gnarly He Man]

You can harmonize most stuff with these three triads--not completely, but good enough.
That's why the Chordomonica works well enough.
Actually, you can stumble through a majority of tunes with just I and V--but it sounds awful.

[pax]

ya gotta crawl before ya walk?

[Chrotrane]

But isn't the whole concept of triad pairs based on mutually excluding triads? that is to say two triads that don't have any notes in common.
In that case the IV and V would work as a pair.

I suppose you could use that pair on the blues changes since they work over a dominant chord.
In that case you could play Eb/F on the F7, Ab/Bb on the Bb7 and Bb/C on the C7, if you play in F of course.

Personally I've returned to the world of pentatonics where I could be occupied for the better part of my life, but perhaps I'll revisit the triad pairs one day, triads are nice, but don't work overly well on the dimi layout though IMO.

[keithfre]

triads are nice, but don't work overly well on the dimi layout though IMO.

They work fine on my dimi! I like to use the triads starting on the 3rd and higher notes of the chord, not the root.

[pax]

Honestly Chrotrane Triad Pairs is NOT what Wims' class is about, at least he don't mention triad pairs although I may be wrong? I'm just starting out, maybe a year, scales in 12 keys and all the stuff is a bit much, this breaks a scale down to three triads which overlap and intermingle. It is NOT the end all answer to improvisation, just a humble place to start. I'm sure that more will be revealed in Wims' next offering. This class cost less that 10 bucks. Worth every penny!

[Chrotrane]

They work fine on my dimi! I like to use the triads starting on the 3rd and higher notes of the chord, not the root.

I suppose in a sence they work better on dimi than on solo since they can be narrowed down to three patterns, it's just that I've been practicing certain patterns that appealed to me, and I just couldn't make it work all that well.
For instance I liked to play up one triad and down another for instance 135 on D and up to 1 in C then down 153 in C
That is to say up: d f# a  and down: c g eb
These kind of patterns in all inversions appealed to me, but didn't work so well though.

Pax,
I must be honest, I haven't actually watched his triad master class, I just looked triad pairs up on youtube...
Does he mention the kind of triad pairs I talked about, and does he relate triads to hexatonic scales?

Best regards

[pax]

I wish I could help, these are questions for the author, Wim Dijkgraaf! I believe these ideas are jumping off points or key notes...and how you get from one point to another is the next step but that said I'm about 70% through the video.