Advanced Jazz Chords Using Triads (minor ii V7 i) || Jazz Guitar Lessons Daily 55

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From our free, Jazz Guitar Lessons Daily Series: Lesson 55
Fridays - Advanced Melodic Triads Concepts
3/26/21
Usually when the topic of advanced jazz harmony, chords, and comping comes up it immediately sparks conversations about altered extensions, chord tones in the upper structure of a harmony, chord substitutions, chord scales, mode mixture, varying applications of melodic minor and harmonic minor, and all kinds of joint breaking, carpal tunnel inducing chord voicings requiring the most insane hand positions and fret stretches you can imagine.
But not today, my friends… not today.
Today I want to talk about how we can use the fundamentals to create more advanced jazz harmony. Specifically, triads. Yes that’s right. Basic, elementary, 1-3-5, triads. The thing that most eight year old piano students can probably already play through all of their inversions. But I assure you, once we apply our secret technique to these triads and get them on the fretboard, moving through chord progressions and applied to jazz standards, nobody will notice they’re just triads. It will sound like some of the most advanced harmonic playing you’ve ever produced.
You might be asking yourself right now, “How can I access advanced jazz harmony for comping, chord melody, and piano-less trio playing using triads and without worrying about upper extensions or modern drop voicings?”
It all comes down to this… inner voice movement.
If you listen to great post-bop piano players, like Bill Evans, or even some of the masters of jazz guitar, we aren’t necessarily going to hear hip sounding block chord after hip sounding block chord. There IS a time and a place for a big, tricky, finger-twisting, statuesque voicing that we put out there and then let go of to move on to the next voicing. But when we listen to great masters of harmony, there is movement. Not simply from one chord to another, but even INSIDE of a single chord. I call this effect, “liquid harmony.”
There are many techniques that we, as guitar players, can take advantage of to create liquid harmony. We’re not going to discuss every way possible today. Just one. A very simple one that takes advantage of basic triad shapes. But while it’s a simple concept, it will likely take you some practice to get used to. It’s worth it. The benefits of this technique are too many to list, but there are three big ones I want to point out before you give this a shot...
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28 мар 2021

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Комментарии : 7

@mikebryant4146 3 года назад

Really helpful to see quadtratonics applied to a standard. What about the other tensions beyond 2? Would be good to see a video using T4,T6, etc. on a standard. Thanks!

@pickinstone 3 года назад

He show's b6 and 6 on his Nica's Dream video. Also, if you handle too many triad + 1 ideas at once, you might lose the idea of this as a concept of harmonic movement and start seeing it just as grips. Here, JC talks about hearing how each triad + 9 works on different parts of the harmony--the ii V i. Gets you into the Jim Hall/Ed Bickert realm of playing because you start seeing harmony just as an opportunity to play melodies in different voices that sometimes occur simultaneously and sometimes occur separate. You ween yourself off of thinking of harmony as snapshot chords and start seeing harmony as a movie or series of moving pictures that flip through to show motion, like a flip book. I like applying this to contextual ear training because I don't hear everything as a 9th. I hear it in relation to the key. So Cminor + 9 still works the same, but Fminor+9 becomes the sound of the b6 R 5 (Ab C G) against the Cminor home tonality. JC has a different way of hearing it. Importance is that you treat these as sounds to get into your ear as oppose to rote grips to plug in play--my opinion, not JC's.

@mikebryant4146 3 года назад

@@pickinstone thanks much. I will check out the Nica’s Dream video. Many 🙏🏿

@jordanklemonsjazzguitar 3 года назад

The other tensions are great, Mike. As pickinstone mentioned, there are some other RU-vid videos of me using them. Since you're in the study group though, I'd recommend you start with the courses you have access to, as they offer a more holistic view of the process and the big picture than I can create in a single RU-vid video. The Intro To Melodic Triads is a great course to get a quick feel for all of the tension notes. Tension 2 and b2 are so versatile and are GREAT sounds to get to know. And by "know" I don't simply mean intellectually... I mean in the ear (as PS mentioned) as well as in your own vocabulary. You can play SO MUCH beautiful music with these two notes. When you consider that leading tones and chromaticism can be applied to these melodic structures, this really unlocks everything you would need to play in any situation over any chord type on any standard. That said... yes... other tensions are totally allowable and even IDEAL sometimes. And if you continue working through the study group materials, you'll eventually be lead to our pentatonic scales (triad + 2 tension notes) and then our melodic triads bebop scales (triad + 3 tension notes gives us a 6 note bebop scale... and then we can expand that out to 7, 9, and 12 note bebop scales). The triad is truly like a seed you can plant in the ground. The primary tension note is sort of like the seed starting to sprout. This is enough to create a living organism breaking out of the earth towards the sky. From here, leading tones and chromaticism will grow that little sprout into a sturdy little tree. But this is only the beginning of the journey. It will continue to grow if you continue to nurture it. It doesn't take too long to start spontaneously making really precise, lyrical, intentional melody. But we can spend multiple lifetimes exploring all of the additional layers of growth that little tree could move through. Quick access to purposeful, colorful, masterful melody... lifelong access to never falling into a rut again, and always having something fascinating to explore that's built directly from something else you're already making music with. If you follow the process :)