Superimposition of triads for a modern intervallic sound - PART 1

I really enjoy the "open" and angular sound that I hear in players like Lage Lund, Jonathan Kreisberg, Ramain Pilon, Michael Brecker, et al. One way to achieve this sound is to superimpose triads over individual chords, or even ii-V-I and rhythm changes bridge type progressions. I have read that some people even play completely random triads, connected by half-step, over progressions to achieve the same effect. That's a lot of fun to do, but more challenging than you may think to keep the line moving. Here are some ideas that I have been working on: Major and minor triads derived from the C HW diminished scale - C, Cm, A, Am, Eb, Ebm, F#, F#m (there are other triads to be found, for sure, but I'm sticking with major and minor, exclusively) Try playing these over C7, A7, Eb7, and F#7 or Gb7 This is most pleasing to my ear when I utilize all the inversions available, as this allows one to connect the triads somewhat linearly, and enables you to create nice motifs in your lines. Once I figure out how to add Finale files and YouTube videos to this blog, I will add examples. Happy practicing!!!

Be the first to respond!

Leave a comment: