There are a selection of how to develop your vocabulary past scales on the guitar, and one of the vital highly effective is triad pairs.
Triad pairs define chord adjustments and use easy fingerings, whereas by no means sounding like operating scales in your solos.
In impact, you us 6 of the 7 notes of any diatonic scale, with out enjoying that scale in word order.
As a result of triads are a standard musical sound, triad pairs are adopted by listeners as you weave them into your traces.
Triads are additionally singable, connecting you to the chord development and together with your viewers members.
On this lesson you dig deep into triad pairs on guitar.
You study necessary fingerings, follow patterns, licks and comping concepts, in addition to etudes over jazz requirements.
Triads seem to be small, easy, concepts.
However, with the suitable strategy and creativity, these three-note shapes create the power to solo over any chord or development.
And also you sound musical, join together with your viewers, and keep away from operating scales on the similar time.
A jazz guitar trifecta.
Triad Pair Fast Information
What are triad pairs? Triad pairs are main triads a tone aside that you just use in your solos to define chords and progressions. How do I take advantage of triad pairs? You utilize triad pairs by making use of them to your solos over particular chords or key areas. You too can add in a passing triad between the 2 main triads to create rigidity and launch in your solos. What chords can I take advantage of triad pairs over? You should utilize triad pairs to solo over any chord, you simply want to use the formulation beneath. How are triad pairs associated to scales? Triad pairs define 6 of the 7 notes of any scale or mode. So that they aid you play scales over chords with out sounding like scales over chords. Are triad pairs arpeggios? Triad pairs are three-note shapes that, when mixed, type a bigger form on the guitar. Arpeggios however are one giant form that you just use to solo over chord adjustments.
Triad Pair Lesson Contents (Click on to Leap Down)
What Are Triad Pairs
Earlier than you dig into the fabric, have a look at precisely what triad pairs are and the way you should use them to develop your jazz guitar soloing chops.
Right here’s a triad pair definition that you should use in your research.
Triad pairs are diatonic main triads a tone aside that define chord adjustments in your solos.
Although you should use different triads, minor, diminished, or augmented, you may define any chord change with solely main triad pairs.
Due to this, main triad pairs are very talked-about with jazz guitarists, as this enables you to solo over any chord with one triad sort.
When utilizing triad pairs to solo over chord adjustments, you utilize 6 notes from the underlying scale in your solos.
Although you utilize a lot of the notes from the diatonic scale, breaking that scale up into two main triads hides the sound of the dimensions in your traces.
Triad pairs permit you to sound the dimensions over any chord with out operating up and down that scale in your improvised traces.
As properly, since you use two an identical shapes a tone aside, triad pairs are nice for growing melodies in your enjoying.
You’ll be able to play one concept over the primary triad, after which repeat that concept over the identical triad form a tone greater.
This permits you to define the adjustments, break up the dimensions form, and make it straightforward to develop melodies in your solos.
As you may see, triad pairs are highly effective instruments for any jazz guitarist to have underneath their fingers.
In case you’re new to triad pairs, transfer on to the subsequent part to study frequent triad pair fingerings on the fretboard.
In case you’ve obtained some triad pair fingerings down already, skip forward and work on the follow patterns or chord research beneath.
Triad Pair Fingerings
Earlier than you find out how to apply triad pairs, have a look at two triad pair fingerings that you should use in your guitar follow routine.
Now, ultimately these two fingerings develop into combined collectively, and also you add your personal fingerings to the combination.
However, these fingerings are a leaping off level when studying triad pairs on the guitar.
As properly, since you use main triads to define every chord, you solely have to study main triads on guitar.
This narrows down the quantity of labor you’ve to do, as opposed to different triad strategies that use main, minor, diminished, and augmented fingerings.
When learning triad pairs, it’s useful to divide your fingerings into two classes:
- Vertical Triad Pairs
- Horizontal Triad Pairs
By working each fingerings, you allow your self to solo in a single place (vertical) and throughout the entire fretboard (horizontal) when utilizing triad pairs.
Listed here are each horizontal and vertical triad pair fingerings for Cmaj7#11 (C+D) to study and use as examples in your research.
After you study any of the triad pair fingerings beneath in C, use these workouts to take them additional.
- Memorize the fingerings in C.
- Follow the fingerings in different keys.
- Placed on a Cmaj7 backing monitor and solo.
- Transfer the backing monitor to different keys.
- Apply the 4 follow variations to these triad pairs (see beneath).
- Mix vertical and horizontal fingerings in your practising.
As you may see, these workouts deeply engrain triad pair fingering into your fingers, head, and ears.
Now that you understand how to follow triad pairs, study to play them on the fretboard, beginning with vertical triad pairs.
Vertical Triad Pairs
To start, listed below are two totally different vertical triad pair fingerings to study and use in your jazz guitar solos.
The first fingering is constructed from a 6th-string root, with each C and D triads performed inside a four-fret span.
After studying the fingerings beneath, placed on the Cmaj7 backing monitor and solo as you discover triad pairs in your solos.
From there, take the fingerings and soloing follow to different keys.
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Click on to hear triad pairs 1 
You too can study main triad pairs from the 5th-string.
Right here’s a fingering that you should use as a place to begin, or you may persist with this fingering as all the data you want is contained inside these 4 frets.
Once more, after studying the triads beneath, placed on the backing monitor and solo over Cmaj7 to hear these shapes in motion.
Then, once you’re prepared, take them to different keys.
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Click on to hear triad pairs 2 
Upon getting each positions down, 6th and 5th-string, solo over Cmaj7 and transfer between each positions.
This permits you to cowl fretboard from the twond to 10th frets with solely two shapes.
From there, you may fill any gaps by including horizontal triad pairs to your software belt.
Horizontal Triad Pairs
The first horizontal triad pair is constructed on the 654-string set.
When engaged on horizontal triad pairs, you begin on the basis place for the primary chord, after which transfer across the neck till you come back to that first form.
Whenever you get too excessive on the fretboard, leap down and begin from decrease octave.
You see this within the first instance, the place you begin on the C root-position triad and leap down once you attain the second inversion.
Every triad is written as a chord, all three notes plucked or strummed directly.
However, follow these triads as each harmonic (chords for comping and chord soloing) and melodic (single notes for soloing) shapes in your research.
For now, experiment with single-note approaches to these triad fingerings.
Then, when you get to the subsequent part, you have a look at 4 particular variations to follow melodic triad pairs in your soloing.
Listed here are the C and D triad pairs on the low three strings.
Although the backing monitor is a static chord, you may follow these shapes in a comping scenario over the backing monitor.
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Click on to hear triad pairs 3 
The subsequent horizontal triad pairs are performed on the 543-string set.
They start with the C root-position form on the threerd fret, and run up to the second inversion from that place to begin.
As a result of this key doesn’t go to excessive, you gained’t leap down the octave to play all inversions on this string set.
However, remember the fact that as you’re employed these shapes in different keys you want to leap round to keep away from going to excessive on the fretboard.
As all the time, study the shapes, then solo over the backing monitor and comp over Cmaj7 with these shapes.
From there, take them to different keys on the fretboard.
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Click on to hear triad pairs 4 
The subsequent triad pairs are on the 432 string set, beginning with C on the 10th fret.
Due to the vary and tonal high quality of the 432-string set, these shapes are used usually in jazz guitar solos and comping.
So, make sure that to spend time on these shapes, as, together with the 321 shapes, they arrive up repeatedly within the examples beneath.
Begin by studying these shapes as is, then solo and comp over the backing monitor, earlier than shifting them to different keys in your follow routine.
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Click on to hear triad pairs 5 
The closing horizontal triad pair is performed on the top-three strings of the guitar.
As was the case with the 432-strings, these shapes are very talked-about in soloing and comping due to their vary and tone.
So, take time to make sure that these shapes are comfy earlier than shifting on to the examples beneath.
Make sure to follow soloing and comping over the Cmaj7 backing monitor earlier than taking these shapes to different keys on the guitar.
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Click on to hear triad pairs 6 
When you’ve labored on these triad pair shapes on the guitar, you may take them additional in your follow routine.
Within the subsequent part, you study 4 follow variations that you just apply to each vertical and horizontal triad pairs.
How to Follow Triad Pairs
After you’re employed out a number of of the vertical and horizontal triad pair fingerings, take them additional with the next variations.
When engaged on single-note triad pairs, there are 4 variations to use to develop upon these shapes from each a technical and improvisational standpoint.
These variations are:
- Ascending
- Descending
- Alternating 1 up 1 down
- Alternating 1 down 1 up
Within the examples beneath, apply these 4 variations to each vertical and horizontal triad pair fingerings over a Cmaj7 chord (C+D).
The examples are offered over one vertical and one horizontal fingering, so apply them to any fingering for triad pairs on the fretboard.
As properly, take these follow patterns to different keys after you’re employed them out over C in your research.
Vertical Ascending Triad Pairs
Listed here are ascending triad pair shapes from the 6th-string that work up and down that place from that place to begin.
Word that you just play one C triad adopted by one D triad, working all inversions in a vertical place from that place to begin.
After you’re employed out this fingering, placed on the backing monitor and solo utilizing ascending vertical triad pairs in your traces.
Then, when prepared, take them to different keys as you develop this follow sample in your routine.
From there, transfer to the 5th-string vertical fingering and repeat these workouts in that place.
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Click on to hear triad pairs 7 
Horizontal Ascending Triad Pairs
Now you discover the ascending follow sample over a horizontal triad pair fingering.
On this instance, you’re employed on the 543-string set; so apply this sample to different fingerings and keys in your research.
As all the time, study the sample with a metronome and solo with it over the backing monitor.
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Click on to hear triad pairs 8 
Vertical Descending Triad Pairs
You now reverse that sample and work on descending triad pairs by means of the 6th-string vertical fingering.
Whilst you simply reverse the earlier sample, enjoying descending triads is hard, as you seeing every form from the highest down, not the basis up.
Due to this, spend time together with your metronome to get this sample comfy in your follow routine.
In case you discover that you just wrestle to keep in mind the shapes, take a step again to reinforce the sample.
Work the sample slowly with a metronome till it’s comfy, then go to the jam monitor and see if it’s simpler to solo after that.
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Click on to hear triad pairs 9 
Horizontal Descending Triad Pairs
You additionally apply the descending triad pair sample to horizontal shapes.
On this instance, you apply the descending sample to the 543-string set over Cmaj7.
Once more, work this sample with a metronome slowly at first.
Then, when comfy, take this sample to your soloing research and to different keys.
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Click on to hear triad pairs 10 
Vertical Alternating 1 Triad Pairs
You now mix the primary two patterns to type an alternating sample that performs up the primary triad inversion and down the subsequent.
This sample could be very efficient for studying fingerings and supplies inspiration in your triad-pair based mostly traces.
Once more, this can be a tough sample as you’re employed the descending sample over each second triad form.
Go gradual, use a metronome, and take your time with this sample as you develop into comfy with it from a technical and soloing perspective.
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Click on to hear triad pairs 11 
Horizontal Alternating 1 Triad Pairs
Right here’s an instance of the alternating triad pair sample utilized to a horizontal fingering sample, on this case the 543 strings.
Although horizontal triad pairs are simpler to use, it can nonetheless take a while to develop into safe in your enjoying.
Once more, work them slowly with a metronome over one string set, then solo over the backing monitor on that string set.
From there, transfer on to different string units and different keys in your examine of this alternating triad pair sample.
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Click on to hear triad pairs 12 
Vertical Alternating 2 Triad Pairs
The closing follow sample is a reversal of the earlier sample.
You now play down the primary triad and up the second on the fretboard.
On this first instance, you utilize this alternating sample over a vertical triad-pair fingering.
After you’re employed it from the 6th-string, take this sample to the 5th-string and to different keys as you’re employed it with a metronome and backing tracks in your research.
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Click on to hear triad pairs 13 
Horizontal Alternating 2 Triad Pairs
You end your triad pair follow sample research by making use of the second alternating sample to horizontal triad shapes.
Go gradual, work the sample over one string set, then take it to different string units and keys as you develop this sample on the fretboard.
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Click on to hear triad pairs 14 
m7 Triad Pairs
Now that you understand how to follow triad pairs, you can apply them to varied jazz guitar chords in your soloing and comping.
To start, study to apply a significant triad pair to any m7 chord.
To stipulate a m7 chord, you play a significant triad pair from the b3 and Four of that chord.
Which means in case you play over Dm7, you play F and G triads.
When doing so, you create the next interval patterns:
As you may see, these two main triads hit each interval from the Dorian scale, minus the 9th.
Now that you understand how to use triad pairs over m7 chords, apply these triads to your enjoying.
Start by placing on the Dm7 backing monitor beneath and solo or comp over that chord with F and G triads.
This introduces you to the sound of the foremost triad pair over m7 chords.
From there, study the examples to hear how these triads sound when utilized to m7 comping and soloing phrases.
m7 Triad Pairs Comping
On this comping instance, you utilize F and G triads to define a Dm7 chord.
There’s a variety of syncopation on this line, chords on the upbeats, which creates rhythmic curiosity.
After you find out how to play this instance, comp over a Dm7 chord, and different m7 chords, utilizing triad pairs from the b3 and Four of any m7 chord.
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Click on to hear triad pairs 15 
m7 Triad Pairs Vertical Lick 1
On this first single-note Dm7 triad pair lick, you play inside the 6th-string root fingerings from the primary part of this lesson.
The lick makes use of solely diatonic notes from the F and G triads over the Dm7 chord, ascending up the neck because it strikes by means of every triad.
There’s additionally a combination of 8th, quarter, and eightth-note triplets within the line.
It’s straightforward to develop into caught enjoying triplets with triads in your solos, as a result of triads have Three notes and a triplet has Three notes.
By utilizing different rhythms, quarter, 8th, 16th notes, and so on., you stop your triad pair traces from changing into predictable.
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Click on to hear triad pairs 16 
m7 Triad Pairs Vertical Lick 2
On this lick, from the 5th-string triad pair place, you add enclosures to create curiosity over a Dm7 chord.
When enjoying triad pairs, you may add enclosures to any word in each triads to carry chromaticism to your traces.
You’ll be able to see and listen to enclosures utilized in bar one, Gb-E-F, bar two, Ab-F#-G, and bar 4, Gb-E-F.
After studying this lick, solo over m7 chords and add enclosures to your b3 and Four main triads to apply this idea to your personal enjoying.
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Click on to hear triad pairs 17 
m7 Triad Pairs Horizontal Lick 1
Shifting on to horizontal fingerings, right here’s a Dm7 triad pair lick that makes use of a repeated rhythmic sample over a four-bar phrase.
By utilizing a repeated rhythm, you lead the listener by means of your solo in a unified style.
As properly, the rhythmic sample retains the triad pairs organized within the line by weaving a well-known thread in every bar.
After studying this lick, placed on the Dm7 backing monitor and solo with a rhythmic sample as you utilize triad pairs to define that chord in your solos.
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Click on to hear triad pairs 18 
m7 Triad Pairs Horizontal Lick 2
On this closing m7 triad pair lick, you utilize a standard chromatic addition to your triad pair shapes over the chord.
Right here, you add a chromatic passing chord between the 2 triads.
Which means when you have F and G triads, as within the instance, you add in an F# triad to join these two chromatically.
When doing so, don’t overdo it, as in case you play the chromatic chords an excessive amount of they lose their impact and develop into predictable.
As properly, you should use the chromatic triad any time in your solo, shifting up or down between the triad pair, simply make sure that not to relaxation on these chromatic notes.
So long as you resolve the chromatic passing chord, you may carry this idea to your triad pair solos at any time.
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Click on to hear triad pairs 19 
7th Triad Pairs
You now apply main triad pairs to dominant 7th chords in your comping and soloing.
As was the case with m7 chords, you utilize diatonic main triads to hit six of the seven notes over 7th chords.
You should utilize main triads from the b7 and root to define any dominant 7th chord in your comping or soloing.
When doing so, you carry a Mixolydian sound to your comping and soloing over any dominant 7th chord.
Within the case of G7, the triad pair could be F and G.
Listed here are the intervals highlighted when enjoying F and G triads over a G7 chord.
As you may see, the b7 and root triad pairs define each interval from the Mixolydian scale minus the 13th.
Due to this, these triads distinguish the Mixolydian sound in your traces from the Lydian dominant sounds you discover within the subsequent part.
To start, placed on a G7 backing monitor beneath and solo or comp over that chord with F and G triads.
When you try this, and have the sound of that triad pair in your ears, study the examples beneath.
7 Triad Pairs Comping
Right here you may see and listen to F and G triads getting used to comp over a G7 chord.
Discover that the F triad, which accommodates the 11th, builds diatonic rigidity, earlier than resolving to the G triad.
The 11th creates a suspended sound over any dominant 7th chord, so you need to use it with warning.
It’s completely nice to relaxation on F triad in order for you to create a 7sus sound in your comping.
Simply remember that’s what you’re doing, because the F sounds unresolved in contrast to the G triad on this occasion.
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Click on to hear triad pairs 20 
7 Triad Pairs Vertical Lick 1
On this 6th-string root lick, you utilize solely the diatonic triad pair, no chromatic notes, to define the G7 chord.
Discover that the triads are damaged up into two-note teams, in addition to being performed as whole triads.
Simply since you use triad pairs in your solos doesn’t imply that you’ve got to play the whole triad.
Lots of instances, the simplest method to carry triad pairs into your solos is to use the triad shapes as the muse to your licks, however not run them in full in your traces.
Then, combine some three-note teams with two-note teams to create curiosity and forestall your triad pair traces from changing into predictable.
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Click on to hear triad pairs 21 
7 Triad Pairs Vertical Lick 2
On this 5th-string root lick, you add enclosures to every triad as you snake your method by means of F and G over the underlying G7 chord.
Once more, triad pairs work properly with enclosures, so experiment bringing collectively these two improvisational ideas in your solos.
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Click on to hear triad pairs 22 
7 Triad Pairs Horizontal Lick 1
Shifting on to a horizontal G7 triad pair lick, you utilize each enclosures and chromatic passing chords to construct rigidity and launch on this line.
As triad pairs, at the least on this sense, and diatonic in nature, utilizing chromatic components in your enjoying is usually wanted to construct depth in your solos.
As all the time, the important thing to including chromaticism to triad pairs is to resolve that rigidity in order that it doesn’t get left hanging in your enjoying.
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Click on to hear triad pairs 23 
7 Triad Pairs Horizontal Lick 2
The closing G7 triad pair line strikes down the fretboard and down the strings as you mix vertical and horizontal shapes in your enjoying.
After you’re employed on each vertical and horizontal triad pairs in your research, you discover that these shapes develop into intertwined in your solos.
That is completely nice, and even inspired, because it permits you to transfer across the fretboard, but in addition give you the option to play in place when wanted.
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Click on to hear triad pairs 24 
7#11 Triad Pairs
When enjoying over 7th chords, the opposite facet of the coin that many gamers discover, past Mixolydian, is the Lydian dominant sound.
As was the case with Mixolydian, you should use triad pairs to define the 7#11 sound in your comping and soloing.
When doing so, you draw diatonic triads from the fourth mode of melodic minor to create the 7#11 sound.
To stipulate a 7#11 sound, apply main triads from the basis and a pair ofnd of any 7th chord.
An instance of that is enjoying G and A triads over G7 to create a G7#11 sound.
Whenever you play the basis and a pair ofnd main triads, you spotlight the next intervals.
- G = Root Three 5
- A = 9 #11 13
When utilizing the basis and a pair ofnd main triads over any 7th chord, you define each word from the Lydian dominant scale minus the b7.
This is essential in a while once you have a look at utilizing triad pairs over maj7#11 chords.
However extra on that later.
Within the meantime, placed on a G7 backing monitor and comp and blow with G and A triads over that chord.
When you experiment with that triad pair over G7, try the examples beneath to take this idea additional in your research.
7#11 Triad Pairs Comping
On this triad pair comping instance, you utilize a chromatic passing triad, Ab, in bar 2 and 4 to join G and A over the G7 chord.
Once more, this can be a smart way to create rigidity and determination in your comping, chromatic passing chords.
Simply resolve that rigidity and also you carry a hip sound to your enjoying, and never sound like a mistake in case you don’t resolve the passing chord correctly.
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Click on to hear triad pairs 25 
7 Triad Pairs Vertical Lick 1
On this 6th-string place triad pair lick, you utilize chromatic passing chords and enclosures to create curiosity over a G7 chord.
As properly, discover the totally different phrase lengths and rhythms used to carry an added degree of vitality and curiosity to the road.
Experimenting with varied phrase lengths can be one other method to improve the creativity in your traces.
In case you discover that you just begin or finish triad pair traces on the identical beat of every bar, work on that so your phrasing doesn’t develop into predictable.
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Click on to hear triad pairs 26 
7#11 Triad Pairs Vertical Lick 2
On this vertical G7 triad pair line, you utilize triplets, 8th notes and enclosures to create curiosity within the line.
Discover that within the third bar the triplets are damaged up with 8th notes on beat two, in between the 2 triplets on beats one and three.
By doing so, the road turns into much less predictable, and the triplets don’t lose their impact, as they may by enjoying too a lot of them in a row.
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Click on to hear triad pairs 27 
7#11 Triad Pairs Horizontal Lick 1
Here’s a typical rhythmic group for triad pairs over a G7 chord, one that’s discovered within the enjoying of Invoice Evans and jazz guitarist Kurt Rosenwinkel.
The rhythm sounds nice when utilized to triad pairs, because the three-note rhythm matches the three-note shapes completely.
However, make sure that not to overdo it in your traces, as then the rhythm loses its impact and fail to sound contemporary in your traces.
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Click on to hear triad pairs 28 
7#11 Triad Pairs Horizontal Lick 2
On this closing G7#11 lick, you utilize a rhythmic sample within the first three bars, earlier than altering the rhythm within the fourth bar of the road.
The sort of rhythmic strategy, three bars of the identical rhythm adopted by a brand new rhythm in bar 4, in discovered within the enjoying of many nice guitarists, together with Wes Montgomery.
After working this lick, choose a rhythm and solo with it for 3 bars earlier than altering it within the closing bar to carry this idea to your personal solos.
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Click on to hear triad pairs 29 
Maj7 Triad Pairs
You too can apply triad pairs to maj7 chords to carry an Ionian sound to your comping and soloing.
To stipulate maj7 chords in your comping or soloing, play main triads from the 4th or 5th of that chord.
An instance of those triad pairs is enjoying F and G over Cmaj7.
When doing so, you produce the next intervals.
As you may see, this triad pair outlines each word from the Ionian mode minus the threerd.
Due to this, main triad pairs sound extra open over maj7 chords than the opposite functions you’ve seen on this lesson.
Start by placing on the Cmaj7 backing monitor beneath and soloing over that chord with F and G triads.
After you’ve gotten the sound of these triads in your ears, study the licks as you develop this idea in your enjoying.
Maj7 Triad Pairs Comping
On this maj7 comping instance, you utilize F and G triads to define the Ionian sound over that chord.
Discover that the road doesn’t cease on an F triad at any level, as a substitute it all the time resolves to the G triad.
As a result of the F triad accommodates the 11th(4th), F, that triad creates a maj7sus sound when utilized to a maj7 chord.
This isn’t to say you could’t use it to finish your phrases over maj7 chords, simply remember that you just create a suspended sound when doing so.
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Click on to hear triad pairs 30 
Maj7 Triad Pairs Vertical Lick 1
This primary lick makes use of enclosures close to the top of the road to create rigidity and launch over the Cmaj7 chord.
As you’ve seen earlier than, this lick makes use of totally different combos of notes from every triad.
From one, to two, to three notes, this line makes use of varied teams of notes from the F and G triad to construct melodies over the Cmaj7 chord.
Experiment with totally different numbers of notes from every triad in your personal traces. So long as you retain the triads as the premise to your traces, you should use one, two, or three notes from these triads to construct your traces.
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Click on to hear triad pairs 31 
Maj7 Triad Pairs Vertical Lick 2
The subsequent vertical-based maj7 triad pair lick makes use of enclosures to create curiosity over the four-bar phrase.
As properly, discover the 8th-note rests between every phrase. Typically one thing as small as an 8th-note relaxation prevents your traces from operating on.
Respiration between phrases is one thing that horn gamers naturally do, however guitarists usually neglect to add phrasing to their solos.
In case you discover your traces are run-on sentences, insert small rests such to break up your traces and add curiosity to your enjoying.
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Click on to hear triad pairs 32 
Maj7 Triad Pairs Horizontal Lick 1
This maj7 triad pair lick makes use of an strategy notes on the twond string between every triad form.
As you’ve seen, including chromatic notes to triad pairs prevents them from sounding monotonous.
Strategy notes are a straightforward method to carry chromaticism to your traces, as they’re smaller than enclosures or passing chords, and sound hip in your traces.
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Click on to hear triad pairs 33 
Maj7 Triad Pairs Horizontal Lick 2
Talking of strategy notes, right here’s a lick that has numerous strategy notes inside the phrase.
In addition to utilizing strategy notes, this line makes use of a repeated phrase that begins on totally different components of the bar every time is happens.
You’ll be able to see this in bar one, beat one, bar two, and bar three, beat three, because the phrase begins on totally different beats in every measure.
Once more, this can be a smart way to keep a thread all through your traces, whereas creating rhythmic curiosity on the similar time.
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Click on to hear triad pairs 34 
Maj7#11 Triad Pairs
In addition to outlining Ionian, you should use triad pairs to define the Lydian sound over maj7 chords in your comping and soloing.
When doing so, you utilize a well-known triad pair to carry the maj7#11 sound to any maj7 chord.
To carry a maj7#11 sound to your enjoying, use triad pairs from the basis and a pair ofnd of any maj7 chord.
An instance of that is enjoying C and D triads over Cmaj7. Discover that this is similar triad pair used to define the 7#11 sound.
The cause that you should use the identical triad pair over each 7#11 and maj7#11 chords, is as a result of these triads don’t use the 7th.
That permits you to spotlight each interval wanted to sound the 7#11 or maj7#11 chord, with the identical triads, minus the 7th.
Right here’s how these intervals lineup when utilized to a maj7#11 sound.
- C = Root Three 5
- D = 9 #11 13
As you may see, the 7th is lacking from these triad pairs, giving it a maj6#11 sound when utilized to comping and soloing.
To start, placed on the Cmaj7 backing monitor beneath and comp and solo over that chord with C and D triads.
From there, study the licks to develop upon this triad pair additional in your research.
Maj7#11 Triad Pairs Comping
On this comping instance, you apply totally different inversions of C and D triads to a Cmaj7 chord, bringing a Lydian sound to that chord.
Discover that the D triad is used to create rigidity, earlier than that rigidity is resolved to the C triad in subsequent beats.
This isn’t to say you could’t relaxation on the D triad, simply remember that it’s tense in contrast to the C triad on this utility.
Cmaj7 Backing Observe Cmaj7 Backing Observe Sluggish
Click on to hear triad pairs 35 
Maj7#11 Triad Pairs Vertical Lick 1
On this Cmaj7#11 triad pair lick, you utilize C and D triads to spotlight the Lydian mode.
As properly, there’s an enclosure and triplet rhythm within the final bar to elevate the vitality degree on the finish of the phrase.
Cmaj7 Backing Observe Cmaj7 Backing Observe Sluggish
Click on to hear triad pairs 36 
Maj7#11 Triad Pairs Vertical Lick 2
Shifting on, this vertical Cmaj7#11 lick makes use of a variety of triplets to create depth within the line.
As properly, there are enclosures and strategy notes to add chromaticism to the phrase, elevating the vitality degree additional within the course of.
Cmaj7 Backing Observe Cmaj7 Backing Observe Sluggish
Click on to hear triad pairs 37 
Maj7 #11Triad Pairs Horizontal Lick 1
On this phrase, you see a chromatic passing chord, C#, used within the third bar to join the C and D triads.
On this case, solely two notes of the passing triad are used between C and D.
That is additional highlighted because the C and D triads use a triplet rhythm, whereas C# makes use of regular 8th notes.
That is the fruits of a variety of ideas explored earlier on this lesson, and helps to break up any predictability within the line.
Cmaj7 Backing Observe Cmaj7 Backing Observe Sluggish
Click on to hear triad pairs 38 
Maj7#11 Triad Pairs Horizontal Lick 2
The closing maj7#11 lick is a extremely syncopated line that makes use of largely upbeats throughout the four-bar phrase.
With none chromatic notes in its building, the syncopation helps to create vitality and curiosity all through the phrase.
Cmaj7 Backing Observe Cmaj7 Backing Observe Sluggish
Click on to hear triad pairs 39 
Main ii V I Triad Pairs Comping
As you’ve utilized triad pairs to every chord in a significant ii V I development, iim7-V7-Imaj7, you now have a look at examples of making use of triad pairs to ii V I chords.
Within the following 5 examples, you examine ii V I comping patterns that use triad pairs that you just’ve explored to date on this lesson.
Be taught every sample as written, then placed on the backing tracks and play the patterns over the tracks.
From there, comp over the backing tracks utilizing triad pairs to define the given ii V I chord development in these keys.
Main ii V I Triad Pairs Comping 1
This primary phrase makes use of diatonic triad pairs over every chord to define the ii V I development.
As a result of this can be a quick ii V I, performed over two bars, you gained’t all the time have time to use each triads over every chord.
In these instances, like over G7, solely one of many two triads is chosen to define that chord.
Then, triad pairs are used as a gaggle when extra time is allowed to apply each triads to the underlying chord.
ii V I Backing Observe ii V I Quick C Main Backing Observe
Click on to hear triad pairs 40 
Main ii V I Triad Pairs Comping 2
Right here, there are G7#11 and Cmaj7#11 sounds being highlighted with using triad pairs underneath these chords.
As was the case with the one-chord examples above, discover that the #11 triads are used to create rigidity, earlier than that rigidity is resolved to the basis triad over that very same chord.
ii V I Backing Observe ii V I Quick C Main Backing Observe
Click on to hear triad pairs 41 
Main ii V I Triad Pairs Comping 3
Within the subsequent instance, you utilize diatonic triad pairs to define an extended ii V I, this time over a three-bar phrase.
As you’ve seen earlier than, a rhythmic phrase is utilized in bars one and three to create a thread by means of the road that connects these measures.
ii V I Backing Observe ii V I C Main Backing Observe
Click on to hear triad pairs 42 
Main ii V I Triad Pairs Comping 4
On this comping instance, you carry out the 7#11 and maj7#11 sounds over G7 and Cma7 respectively utilizing triad pairs.
There’s additionally a rhythmic motive getting used, as every triad is positioned on the & of two and the & of Four in every bar.
The & of two and Four is a standard jazz comping rhythm, and one which you need to discover additional in your enjoying and performing.
ii V I Backing Observe ii V I C Main Backing Observe
Click on to hear triad pairs 43 
Main ii V I Triad Pairs Comping 5
On this closing comping instance, a gentle quarter-note rhythm is used, together with #11 intervals, to define the chord adjustments.
Although you affiliate the quarter-note pulse with Freddie Inexperienced chords, it may be used with any chord shapes, resembling triad pairs.
Give it a attempt, with this instance and on the whole, in your enjoying.
You may discover that quarter notes assist to elevate the swing really feel when performed over a jazz normal chord development.
ii V I Backing Observe ii V I C Main Backing Observe
Click on to hear triad pairs 44 
Main ii V I Triad Pairs Licks
In addition to practising comping patterns over ii V I adjustments, you may study pattern ii V I jazz guitar licks.
Within the following examples, you find out how to define ii V I chords utilizing the triad pairs from the primary half of this lesson.
Follow every lick as written, then take them to different keys in order for you to develop upon these traces in your enjoying.
As properly, placed on the backing tracks and solo over ii V I chords utilizing the identical triad pairs you discover within the written examples.
Main ii V I Triad Pairs Lick 1
This primary triad pair lick makes use of diatonic triads to define every chord within the development.
When enjoying in a single key, resembling this, you discover that F and G are used to solo over every chord.
When doing so, you utilize the Dorian, Mixolydian, and Ionian triad pairs over every chord within the development.
Till you begin to discover different tonalities, resembling 7#11 and maj7#11, you should use one triad pair to define all three chords in a major-key ii V I development.
ii V I Backing Observe ii V I Quick C Main Backing Observe
Click on to hear triad pairs 45 
Main ii V I Triad Pairs Lick 2
Shifting on, you now add within the 7#11 and maj7#11 triad pairs over a significant key ii V I chord development.
When doing so, you may not use one set of triad pairs to define every chord within the development.
Every chord now has it’s personal distinct triad pair.
ii V I Backing Observe ii V I Quick C Main Backing Observe
Click on to hear triad pairs 46 
Main ii V I Triad Pairs Lick 3
On this longer main key ii V I, you’ll use the F and G triad pair over the entire development.
However, to usher in a way of creativity past the triad pair, there are actually a number of enclosures added to the road in every bar.
Including enclosures may help to carry curiosity to your traces when utilizing one triad pair to define every chord in a significant key ii V I chord development.
ii V I Backing Observe ii V I C Main Backing Observe
Click on to hear triad pairs 47 
Main ii V I Triad Pairs Lick 4
Right here, you add the 7#11 and maj7#11 sounds to the foremost ii V I chord development.
Then, to take issues additional, passing chords are added to carry a deeper sense of rigidity and launch to the road.
As a result of there are solely 4 beats per chord, you want to use components of triads when utilizing triad pairs and chromatic passing triads in your traces.
ii V I Backing Observe ii V I C Main Backing Observe
Click on to hear triad pairs 48 
Main ii V I Triad Pairs Lick 5
This closing ii V I triad pair lick makes use of the 7#11 sound, in addition to diatonic triads over the opposite two chords within the development.
As properly, the rhythm in bar one, quarter plus two 8ths, comes from the Charlie Parker tune “Blues for Alice,” and is a standard rhythmic sample for triad pairs in a jazz context.
ii V I Backing Observe ii V I C Main Backing Observe
Click on to hear triad pairs 49 
Tune Up Triad Pairs
Now that you just realized how to play triad pairs, how to apply them to single chords, and the way to use them over main ii V I chords, take them additional by utilizing them over full jazz requirements.
Within the following two research, you utilize triad pairs to comp and solo over the Miles Davis normal “Tune Up.”
As properly, chromatic and rhythmic ideas are added in to create curiosity in each the comping and soloing research over the tune.
As soon as you may play the research, placed on the backing tracks and jam utilizing triad pairs and chromatic ideas to define these adjustments.
Tune Up Triad Pairs Comping
Right here’s an instance of how to comp over Tune Up utilizing triad pairs.
Go gradual when studying this examine, working 4 bars at a time. From there, join these four-bar phrases to type the examine as an entire.
As properly, extract any four-bar ii V I phrase and apply it to different jazz songs you’re engaged on within the follow room.
Whenever you’ve obtained this examine underneath your fingers, placed on the backing monitor and comp over Tune Up with triad pairs as you carry these ideas into your enjoying.
Tune Up Backing Observe Tune Up Backing Observe
Click on to hear triad pairs 50 
Tune Up Triad Pairs Solo
Shifting on, right here’s a solo over Tune Up utilizing triad pairs, in addition to the rhythmic and chromatic ideas lined on this lesson.
Start by studying every four-bar phrase earlier than pasting them collectively to type the solo as an entire.
And, as was the case with the comping examine, extract any lick you want beneath to add to your vocabulary.
Then, when prepared, placed on the backing monitor and jam utilizing solely triad pairs to define the chords in your improvisation.
Tune Up Backing Observe Tune Up Backing Observe
Click on to hear triad pairs 51 
m7b5 Triad Pairs
Now that you just’ve checked out triad pairs for main ii V I chords, you can transfer to minor key triad pairs.
You start your examine of minor key triad pairs with m7b5 chords.
When doing so, you spotlight the Locrian scale sound in your comping and soloing.
Use main triads from the b5 and b6 of any m7b5 chord to carry out a Locrian sound.
An instance of that is enjoying F and G triads over Bm7b5.
When doing so, you produce the next intervals:
- F = b5 b7 b9
- G = b13 R b3
As you may see, these two main triads hit each Locrian scale word besides 11th (4th).
Earlier than shifting on to the examples beneath, placed on the Bm7b5 backing monitor and solo and comp over that chord with F and G triads to hear how they sound.
m7b5 Triad Pairs Comping
On this first m7b5 triad pair instance, you utilize totally different inversions of F and G triads to create rigidity and determination over Bm7b5.
Each of those triads function rigidity notes, F has the b9 and G has the b13, so that you gained’t totally resolve this triad pair over m7b5 chords.
However, as a result of the m7b5 chord is often used as a iim7b5 chord in a minor key ii V I, that chord needs to transfer ahead in your enjoying.
iim7b5 chords are unstable and wish to transfer to the V7alt chord, so rigidity right here is OK.
Attempt it out and see what you assume.
After studying the lick, placed on the backing monitor and comp over Bm7b5 with F and G to get a really feel for these triads in a musical scenario.
Bm7b5 Backing Observe Bm7b5 Backing Observe
Click on to hear triad pairs 52 
m7b5 Triad Pairs Vertical Lick 1
The first single-note m7b5 triad pair lick makes use of the 6th-string vertical place to run over the Bm7b5 chord change.
Every word is diatonic to the triad pair, no chromatic notes, which is an introduction to this new triad pair.
Despite the fact that you may already add chromatic notes and triads to your traces, beginning with diatonic notes is the easiest way to introduce your ears to a brand new triad pair.
From there, when comfy, stretch out and produce chromatic notes into the equation.
Bm7b5 Backing Observe Bm7b5 Backing Observe
Click on to hear triad pairs 53 
m7b5 Triad Pairs Vertical Lick 2
The subsequent line introduces a number of passing triads, F#, performed as 2-note teams within the first and third bar of the road.
Once more, these two-note passing notes are used to join the 2 triads, in addition to break up the triplet rhythms that happen round them within the line.
Although there are two rigidity notes on this triad pair, b9 and b13, you continue to have all 4 chord tones at your disposal to resolve your traces, R-b3-b5-b7.
Use these chord tones to land on in your traces as you resolve any rigidity created by the 2 rigidity notes from this triad pair over m7b5 chords.
Bm7b5 Backing Observe Bm7b5 Backing Observe
Click on to hear triad pairs 54 
m7b5 Triad Pairs Horizontal Lick 1
Utilizing enclosures to create rigidity over a Bm7b5 chord, this lick additionally makes use of chord tones as decision factors all through the road.
It’s simpler stated than accomplished, resolving to chord tones, as you’ve to see them on the fretboard within the warmth of the second when soloing.
However, with time and follow, you may goal chord tones for decision in your enjoying over m7b5, or any, chords in a jazz context.
Bm7b5 Backing Observe Bm7b5 Backing Observe
Click on to hear triad pairs 55 
m7b5 Triad Pairs Horizontal Lick 2
The closing m7b5 triad pair lick is a busy line that makes use of a future of 8th notes, adopted by triplets, earlier than ending with extra 8th notes.
You don’t all the time need to run steady, or close to steady, notes in your traces.
However, generally a solo requires an extended line, both to construct rigidity or to distinction a variety of quick phrases you simply performed.
Engaged on busier traces resembling this one helps you create comparable traces in your personal improvised solos.
Bm7b5 Backing Observe Bm7b5 Backing Observe
Click on to hear triad pairs 56 
7alt Triad Pairs
You too can use triad pairs to define 7alt chords.
When doing so, you carry an altered scale sound in your enjoying, which is the 7th mode of the melodic minor scale.
To stipulate a 7alt chord, play triad pairs from the b5 and b6 of any 7th chord.
As you may see, this is similar triad pair as you used over m7b5 chord, from the b5 and b6.
For instance, when enjoying over E7alt, you’d use Bb and C triads in your soloing and comping.
Right here’s how the intervals from these triads line up over a 7alt chord.
- Bb = b5 b7 b9
- C = b13 R #9
As you may see, the C produces a #9, not a b3, because it did over m7b5 chords.
It’s because there’s no b3 over 7th chords, that word is written as #9 as a substitute.
With a #9 in place, these triad pairs define each word within the altered scale minus the threerd of the underlying chord.
Due to this, b5 and b6 main triads might be fairly tense when utilized to dominant chords.
This turns out to be useful when soloing over minor key ii V I adjustments, for instance.
However, ensure you perceive how a lot rigidity you construct earlier than making use of them to your enjoying.
These triad pairs are extremely efficient, however they’ll trigger an excessive amount of rigidity, particularly if unresolved, in your enjoying.
To start, placed on the E7alt backing monitor and play over that chord with Bb and C triads to discover these sounds on the guitar.
7alt Triad Pairs Comping
On this comping instance, you utilize Bb and C triads to create rigidity over an E7alt chord.
As there’s no 3rd on this triad pair, there’s no full decision level when utilizing these triads in a comping scenario.
This gained’t be a difficulty over a ii V I, as you need to create rigidity over V7alt chords, and that rigidity resolves to the Im7 chord within the subsequent a part of the phrase.
However, be cautious with this triad pair over 7th chords outdoors of minor ii V I’s, as you’ve resolve that rigidity in your traces, both over this or the subsequent chord.
E7alt Backing Observe E7alt Backing Observe
Click on to hear triad pairs 57 
7alt Triad Pairs Vertical Lick 1
The first single-note 7alt triad pair lick makes use of enclosures to carry rigidity to the E7alt chord.
Enclosures are efficient when highlighting an necessary word, as they focus the listener’s ear to the word that’s being enclosed.
Right here, the b9, #9, and b5 are all being enclosed.
These three notes are attribute sounds over 7alt chords, and the enclosures spotlight these necessary notes within the phrase.
E7alt Backing Observe E7alt Backing Observe
Click on to hear triad pairs 58 
7alt Triad Pairs Vertical Lick 2
On this 7alt triad pair line, you discover enclosures, in addition to combined rhythms that create curiosity all through the phrase.
As properly, there are key rests inserted within the first and second bars to break up the road earlier than it turns into a run-on sentence.
As you’ve seen, rigorously positioned rests go a great distance in making a line attention-grabbing, and stopping it from changing into predictable.
E7alt Backing Observe E7alt Backing Observe
Click on to hear triad pairs 59 
7alt Triad Pairs Horizontal Lick 1
On this line, you discover a decrease neighbor word, the primary beat of the second bar, used to add chromaticism to the underlying triad pairs.
Decrease neighbor tones are used to transfer from a diatonic word, down a fret (half step), and again to the unique diatonic word.
This motion creates rigidity and determination in your traces, which is resolved as you come back to the unique word.
Neighbor tones are generally present in jazz guitar solos of all eras, and are an idea you may extract from this line and discover additional in your enjoying.
E7alt Backing Observe E7alt Backing Observe
Click on to hear triad pairs 60 
7alt Triad Pairs Horizontal Lick 2
The closing 7alt triad pair lick makes use of a chromatic triad, B, within the second measure to create chromatic motion over that a part of the road.
On this occasion, these triads are performed utilizing 8th notes, Bb-B-C, which causes them to run over the size of a full bar within the line.
That is nice when enjoying over a static chord resembling this one.
However, when soloing over shifting chord progressions, resembling ii V I, you want to watch when enjoying over the bar line resembling this line.
It’s completely nice to delay your decision and play over the bar line together with your triad pairs.
Simply remember that’s what you’re doing, so that you just aren’t shocked by the sound an E7alt triad creates over a Im7 chord for example, earlier than you resolve it after that.
E7alt Backing Observe E7alt Backing Observe
Click on to hear triad pairs 61 
mMaj7 Triad Pairs
You now apply triad pairs to the tonic chord in a minor key ii V I, m7 chords.
When doing so, you create a mMaj7 sound over the underlying chord, which comes from the melodic minor scale.
To stipulate a mMaj7 sound, use main triads from the 4th and 5th of any m7 chord.
In case you recall your earlier triad pair examine, discover that this is similar triad pair from the Maj7 chord.
It’s because there’s no 3rd inside these triad pairs, and since the one word that’s totally different between Ionian and melodic minor is the b3 in MM.
What makes the distinction is the chord you’re soloing or comping over, as that defines the sound of those triads in your enjoying.
An instance of that is making use of D and E triads over an Am7 chord.
When doing so, you produce the next intervals:
As you may see, these notes symbolize six of the seven intervals within the melodic minor scale; solely the b3 is ignored as talked about earlier.
To start, placed on the Am7 backing monitor beneath and begin comping and soloing over that chord utilizing D and E triads.
After you’ve launched your ears to this idea, you may study the phrases beneath to take this triad pair additional in your guitar practising.
mMaj7 Triad Pairs Comping
Right here’s a comping instance that makes use of triad pairs to create a mMaj7 sound over an Am7 chord.
Discover that the E triad sounds extra tense in contrast to the D triad, as a result of E accommodates the word G#, the 7th over Am7.
Preserve this in thoughts as you apply these triads to your enjoying.
You don’t have to keep away from the E triad, simply perceive that it won’t sound secure when utilizing that triad as a decision level.
Am7 Backing Observe Am7 Backing Observe
Click on to hear triad pairs 62 
mMaj7 Triad Pairs Vertical Lick 1
On this first mMaj7 triad pair single-note line, you utilize solely the notes of the D and E triads to define the underlying Am7 chord.
Discover hose the three-note sample, which begins with the primary three notes of the phrase, is sustained for the subsequent three bars.
By shifting these three notes across the bar, beginning them on totally different beats, you may create curiosity in your traces with out having to add chromatic notes or triads to your phrase.
Am7 Backing Observe Am7 Backing Observe
Click on to hear triad pairs 63 
mMaj7 Triad Pairs Vertical Lick 2
This vertical mMaj7 triad pair line makes use of a number of enclosures at the beginning of the phrase, earlier than staying diatonic for the remainder of the road.
Discover that the primary bar is repeated within the second bar, solely this time it’s performed over E quite than D as within the first measure.
This is among the finest components of utilizing triad pairs in your solos.
Triad pairs make it straightforward to play one melodic concept over triad X, then repeat that melodic sample over triad Y.
This not solely aid you define the adjustments, it retains a powerful sense of melody in your solos on the similar time.
Am7 Backing Observe Am7 Backing Observe
Click on to hear triad pairs 64 
mMaj7 Triad Pairs Horizontal Lick 1
Utilizing passing triads, enclosures, and strategy notes, this Am7 triad pair line accommodates a wholesome dose of chromaticism.
Whereas there are a variety of chromatic strategies getting used within the line, it’s not overdone.
That is key when utilizing chromaticism in your triad pair traces.
Make sure to use chromatic notes and triads, creating vitality alongside the best way.
However, don’t overdo it, because the chromaticism can develop into predictable if utilized too usually in your solos.
Preserve these tension-building ideas for the suitable second they usually’ll stay an efficient soloing useful resource to draw upon in your enjoying.
Am7 Backing Observe Am7 Backing Observe
Click on to hear triad pairs 65 
mMaj7 Triad Pairs Horizontal Lick 2
This closing mMaj7 lick mixes collectively a variety of ideas that you just’ve realized up to this level within the lesson.
Utilizing chromatic notes and passing triads, in addition to rests and totally different rhythms, this line is a pleasant abstract of the varied triad pair strategies you’ve realized.
Am7 Backing Observe Am7 Backing Observe
Click on to hear triad pairs 66 
Minor ii V I Triad Pairs Comping
Now you could play triad pairs over the person chords in a minor ii V I, it’s time to put these three chords collectively in your practising.
Within the following examples, you study 5 comping patterns you could follow over minor ii V I chords in your guitar research.
After you study these patterns, placed on the backing tracks and comp over the Bm7b5-E7alt-Am7 chords utilizing the triad pairs you’ve realized on this lesson.
From there, you may push your practising additional by engaged on comping over minor ii V I chord progressions in 12 keys.
Minor ii V I Triad Pairs Comping 1
This comping instance makes use of a number of key rhythmic parts to create distinction inside the phrase.
The use of the dotted quarter word in bar one, in addition to the 8th-note relaxation at the beginning of the second bar, helps to distinction with the quarter and half-notes in different components of the road.
Utilizing dotted rhythms, and inserting rests into your comping, is an efficient method to stop your comping from changing into stale and encourage the soloist on the similar time.
Minor ii V I Backing Observe ii V I Am Quick Backing Observe
Click on to hear triad pairs 67 
Minor ii V I Triad Pairs Comping 2
Once more, right here’s one other variation on the rhythms you simply realized within the first instance.
This time, the road begins with a relaxation, after which makes use of the dotted quarter notes and eightth-note relaxation within the second bar to distinction the primary half of the phrase.
After you’re employed on this instance, placed on the backing monitor and add dotted quarter notes and eightth-note rests to your enjoying so as to create curiosity in your comping phases.
Minor ii V I Backing Observe ii V I Am Quick Backing Observe
Click on to hear triad pairs 68 
Minor ii V I Triad Pairs Comping 3
Shifting on, you now carry chromatic passing triads within the first and third bars to your ii V I comping.
As you probably did over a single chord, you should use passing chords between the triad pairs to create rigidity and launch in your comping.
Experiment with this idea additional in your enjoying.
It takes a little bit of time to your ears to get used to. However, with time, you may embody these passing chords in your comping with confidence over jazz requirements.
Minor ii V I Backing Observe ii V I Am Lengthy Backing Observe
Click on to hear triad pairs 69 
Minor ii V I Triad Pairs Comping 4
This phrase includes a rhythmic sample that repeats in every bar.
By utilizing one rhythm for every bar, you retain a thread operating by means of your comping phrase, which connects to the soloist and listener on the similar time.
The secret is to know when to transfer on from the rhythmic sample in order that it doesn’t develop into predictable.
Minor ii V I Backing Observe ii V I Am Lengthy Backing Observe
Click on to hear triad pairs 70 
Minor ii V I Triad Pairs Comping 5
On this closing comping instance, you concentrate on the & of two and Four in every bar as you define the adjustments with triad pairs.
The & of two and Four is a quite common comping rhythm, and one which you need to work additional in your personal enjoying. Watch that you just don’t rush the sort of phrase in your comping.
Utilizing upbeats is important in jazz guitar comping. However, in case you rush these beats the time can get away from you and the phrase lose its effectiveness.
So, use a metronome, go gradual, and ensure you’re being absolutely correct with the location of those syncopated chord hits.
Minor ii V I Backing Observe ii V I Am Lengthy Backing Observe
Click on to hear triad pairs 71 
Minor ii V I Triad Pairs Soloing
In addition to making use of triad pairs to your minor ii V I comping, you should use triad pairs to solo over those self same adjustments.
Within the following 5 examples, you utilize triad pairs to define every chord in a minor ii V I development.
After engaged on these examples within the given key, you may problem your self additional by working every lick in 12 keys.
As properly, placed on the backing tracks and solo over these adjustments with triad pairs as you develop upon these concepts in your soloing.
Minor ii V I Triad Pairs Licks 1
This primary minor ii V I triad pair lick makes use of the Invoice Evans rhythm you realized earlier within the first half of the road.
Within the second half, you play a standard triad sample, 3135, over every of the 2 Am7 triad pairs, D and E.
By mixing these two patterns collectively, one rhythmic and one melodic, you create curiosity within the line and forestall both from changing into predictable.
Minor ii V I Backing Observe ii V I Am Quick Backing Observe
Click on to hear triad pairs 72 
Minor ii V I Triad Pairs Licks 2
Shifting on, you utilize triplets and enclosures to create curiosity over this quick ii V I development in A minor.
As you noticed with the foremost ii V I progressions, you may’t all the time slot in each triads over every chord due to their harmonic length.
When this occurs, you should use triplets, or play one or two notes from every triad quite than define them as an entire in your phrases.
Minor ii V I Backing Observe ii V I Am Quick Backing Observe
Click on to hear triad pairs 73 
Minor ii V I Triad Pairs Licks 3
On this longer ii V I minor key lick, you utilize components of every triad over the primary chord, then have sufficient house to use each triads over the subsequent two chords.
There’s extra space on this lick as in contrast to others you’ve realized on this lesson.
This is a vital idea to discover when studying how to play jazz guitar.
Leaving house is simply as necessary because the notes you play, and might be an efficient method to body your melodic traces over frequent chord progressions in your solos.
Minor ii V I Backing Observe ii V I Am Lengthy Backing Observe
Click on to hear triad pairs 74 
Minor ii V I Triad Pairs Licks 4
On this line, you utilize an strategy word within the first bar to carry a little bit of chromaticism to the lick.
You discover that despite the fact that you’ve chromatic choices at your fingertips, you don’t have to use too a lot of them to define the adjustments.
Typically, triad pairs themselves are sufficient to construct a memorable phrase over minor ii V I adjustments, and you should use chromatic notes and triads sparingly over most of these phrases.
Minor ii V I Backing Observe ii V I Am Lengthy Backing Observe
Click on to hear triad pairs 75 
Minor ii V I Triad Pairs Licks 5
On this closing minor ii V I triad pair lick, you utilize a passing triad to carry some chromaticism to the Am7 chord within the line.
Once more, utilizing chromaticism is necessary when constructing jazz guitar solos.
However, you don’t have to overdo it. Typically instances one chromatic idea or sample is sufficient to create curiosity in a four-bar phrase with out going overboard in your solos.
Minor ii V I Backing Observe ii V I Am Lengthy Backing Observe
Click on to hear triad pairs 76 
Sugar Triad Pairs
That will help you take these minor key triad pairs additional in your research, listed below are two etudes over the jazz normal Sugar you could study in your follow routine.
The first examine supplies an instance of comping utilizing triad pairs over this basic jazz music.
Then, the second examine makes use of single-note soloing to define the adjustments to Sugar utilizing triad pairs.
After you’ve realized both examine, utilizing the backing tracks to follow comping and soloing over Sugar in your research, taking your triad pairs over this tune additional.
Sugar Triad Pairs Comping
To start, right here’s a pattern comping examine over the Sugar chord adjustments.
Go gradual and break down this examine to four-bar phrases if that helps get these chords underneath your fingers.
From there, you may construct the examine up to all 16 bars in your follow routine.
After you’ve realized the written examine, write out a Sugar comping examine of your personal utilizing triad pairs.
Typically instances writing out a comping examine organizes your ideas on the guitar, in addition to exhibits you belongings you won’t see within the second.
These realizations will then aid you develop into a greater comper when utilized to an actual time musical scenario.
Sugar Backing Observe Sugar Backing Observe
Click on to hear triad pairs 77 
Sugar Triad Pairs Solo
The closing triad pair examine includes a single-note solo over the jazz normal Sugar.
Once more, study the solo in four-bar phrases to make it simpler to memorize.
Then, be at liberty to extract these phrases and apply them to different conditions as you develop this materials in your solos.
You too can use the backing monitor to follow writing your personal triad pair solos, or soloing in actual time over Sugar in your follow routine.
Sugar Backing Observe Sugar Backing Observe
Click on to hear triad pairs 78 