c hapter two triads & triad pairs Triads work well over diminished chords.I find it easiest to use pairs of triads In Example 10 below, the four dominant chords can be derived in a few different ways. One way is to think of the chords or triads to be one half-step below each of the notes in the diminished chord: Chord Notes In Chord Bdim7 B D F Af Triads 1/2 step below Bf Df E G Or, you consider function. If the Bdim7 is functioning as a G7f9, for example, the four triads would be derived from the four notes a 1/2 step below a G7f9 chord.. The same would be true for Bf7, Df7 or E7. Although four major or minor triads will sound good on diminished chords the pair I find the most effective are the root and tritone based on function. For example: Bdim7 = G7f9 = G and Df triads. Track 20 Example 10 Four Triads There are patterns using 4 triads starting on page 75 in Chapter 4, Patterns. s ymmetric studies: diminished 43 & T A B 4 4 B dim7 G 7(b9) G B b 7(b9) B b ˙ ˙ ˙ ˙ ˙ ˙ b 3 4 5 6 7 8 D b 7(b9) D b E 7(b9) E ˙ ˙ ˙ b b ˙ ˙ ˙ # 4 6 6 7 9 9 E B b 3 œ œ # œ 3 œ œ œ b 7 9 9 7 6 6 D b G 3 œ b œ œ b 3 œ œ n œ U 4 6 6 4 3 3 Could be four different dominant chords or just the triads
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Transcript
chapter twotriads & triad pairs
Triads work well over diminished chords.I find it easiest to use pairs of triads InExample 10 below, the four dominant chords can be derived in a few different ways. Oneway is to think of the chords (or triads) to be one half-step below each of the notes inthe diminished chord:
Chord Notes In ChordBdim7 B D F Af
Triads 1/2 step below Bf Df E G
Or, you consider function. If the Bdim7 is functioning as a G7(f9), for example, thefour triads would be derived from the four notes a 1/2 step below a G7(f9) chord.. Thesame would be true for Bf7, Df7 or E7. Although four major (or minor) triads will soundgood on diminished chords the pair I find the most effective are the root and tritonebased on function. For example: Bdim7 = G7(ff9) = G and Dff triads.
Track 20 8 Example 10 Four Triads
There are patterns using 4 triads starting on page 75 in Chapter 4,Patterns.
symmetric studies: diminished
43
&
TAB
4
4
Bdim7G7(b9)
G
Bb7(b9)
Bb˙˙˙
˙˙˙b
345
678
Db7(b9)
Db
E7(b9)
E˙˙˙
b
b
˙˙˙
#
466
799
E Bb3
œœ#
œ
3
œœ
œb
79
9 76
6
Db G3œb
œœb
3
œœn
œ
U
46
6 43
3
Could be four different dominant chords (or just the triads)
I like the sound of the two triads a tritone apart like in the third and fourthmeasures in Example 10. These triplet figures fall nicely on the fretboard but there area lot of different fingering possibilities.
Track 21 8 Exercise 10 Triads in tritones / from 3rd up & 5th down
44
symmetric studies: diminished
&
TAB
4
4
G
Bdim7Ddim7Fdim7Abdim7
Db
3
œœ
œ
3
œbœ
œb
2 55 6 3
4
Bb
E7(b9)Bb7(b9)
E
Db7(b9)G7(b9)
3
œœ
œb
3
œnœ#
œ
53
3 46
7
Db G
3
œœb
œb
3
œnœ
œ
86
6 7 45
E Bb
3
œ#œ
œ
3œ
œœb
64
5 67
8
&
TAB
G Db
3
œœ
œ
3œb
œœb
43
3 46
6
Bb E
3
œœ
œb
3œn
œ#œ
76
6 79 5
Db G
3
œœb
œb
3œn
œœ
109
9 1012
12
E Bb
3
œ#œ
œ
3œ
œœb
1312
12 1315
15
&
TAB
Bb E
3œ
œœb
3
œ#œn
œ
1315
15 1312
12
G Db
3œ
œœ
3
œœb
œb
1012
12 109
9
E Bb
3œ
œ#œ
3
œœ
œb
79
9 76
6
Db G
3œb
œœb
3
œœn
œ
46
6 43
3
&
TAB
Bb E
3œ
œœb
3
œ#œn
œ
67
8 64
5
G Db
3œ
œœ
3
œœb
œb
34
5 31
2
E Bb
3
œœ#
œ
3
œœ
œb
46
7 53
3
Db G
3
œbœ
œb
3
œœn
œ
U
6 34 2 5
5
Or
&
TAB
4
4
Bdim7G7(b9)
G
Bb7(b9)
Bb˙˙˙
˙˙˙b
345
678
Db7(b9)
Db
E7(b9)
E˙˙˙
b
b
˙˙˙
#
466
799
E Bb3
œœ#
œ
3
œœ
œb
79
9 76
6
Db G3œb
œœb
3
œœn
œ
U
46
6 43
3
Could be four different dominant chords (or just the triads)
Track 22 8 Exercise 11 Triads in tritones / from 3rd up & 5th down
symmetric studies: diminished
45
&
TAB
4
4
A
C#dim7Edim7Gdim7Bbdim7
Eb
3
œ#œ
œ
3
œbœ
œb
4 77 8 5
6
C
Gb7(b9)C7(b9)
F#
Eb7(b9)A7(b9)
3
œœ
œ
3
œ#œ#
œ#
75
5 68
9
Eb A
3
œœb
œb
3
œnœ#
œ
108
8 9 67
F# C
3
œ#œ#
œ#
3œ
œœn
86
7 89
10
&
TAB
A Eb
3
œ#œ
œ
3œb
œœb
65
5 68
8
C F#
3
œœ
œ
3œ#
œ#œ#
98
8 911 7
Eb A
3
œœb
œb
3œn
œ#œ
1211
11 1214
14
F# C
3
œ#œ#
œ#
3œ
œœn
1514
14 1517
17
&
TAB
C F#
3œ
œœ
3
œ#œ#
œ#
1517
17 1514
14
A Eb
3œ
œ#œ
3
œœb
œb
1214
14 1211
11
F# C
3œ#
œ#œ#
3
œœ
œn
911
11 98
8
Eb A
3œb
œœb
3
œ#œn
œ
68
8 65
5
&
TAB
C F#
3œ
œœ
3
œ#œ#
œ#
89
10 86
7
A Eb
3œ
œ#œ
3
œœb
œb
56
7 53
4
F# C
3
œ#œ#
œ#
3
œœ
œn
68
9 75
5
Eb A
3
œbœ
œb
3
œ#œn
œ
U
8 56 4 7
7
Or
Track 23 8 Exercise 12 Triads in tritones / from 3rd up & 5th down
symmetric studies: diminished
&
TAB
4
4
AbF7(b9) D B F3
œœb
œb
3
œnœ#
œ
3
œ#œ#
œ
3
œœ
œn
31
1 24
5 64
4 57
8
D Ab F B3
œ#œ
œ
3œb
œœb
3œ
œ
œ
3
œ#œ#
œ
97
7 810
117
56 7
89
Ab D B F
3
œœb
œb
3
œnœ#
œ
3
œ#œ#
œ
3
œœ
œn
108
9 1011
128
77 8
1010
&
TAB
D Ab F B
3
œ#œ
œ
3
œbœ
œb
3
œœ
œ
3
œ#œ#
œ
1110
10 1113
13 1413
13 1416
16
B F Ab D
3
œ#œ#
œ
3
œœ
œn
3
œbœ
œ#
3
œ#œ
œ
1416
16 1413
13 1113
13 1110
10
F B D Ab
3
œœ
œ
3
œ#œ#
œ
3
œœ#
œ
3
œœb
œb
810
10 87
7 57
710
89
&
TAB
B F Ab D
3
œ#œ#
œ
3
œœ
œn3
œbœ
œb
3
œ#œn
œ
78
9 75
68
1011 9
77
F B D Ab3
œœ
œ
3
œ#œ#
œ
3
œœ
œn
3
œœb
œb
57
8 64
4 24
5 31
1
w
&
TAB
Ab D
œœb
œb œnœ#
œ œ#œ#
31
1 24
5 64
B F Dœ
œœ
œ œ#œ
œœb
4 57
8 97
7 8
Ab F Bœ
œb œnœ
œ œ#œ#
œ
1011
75
6 78
9
Ab D Bœ
œb
œb œnœ#
œ œ#œ
108
9 1011
128
7
&
TAB
F DAb
œœ
œœ œ#
œ
œœb
7 810
10 1110
10 11
F Bœ
œb œnœ
œ œ#œ#
œ
1313 14
1313 14
1616
Ab Dœ
œb
œb œnœ#
œœ
1716
16 1719
1916
w
U
&
TAB
4
4
A
C#dim7Edim7Gdim7Bbdim7
Eb
3
œ#œ
œ
3
œbœ
œb
4 77 8 5
6
C
Gb7(b9)C7(b9)
F#
Eb7(b9)A7(b9)
3
œœ
œ
3
œ#œ#
œ#
75
5 68
9
Eb A
3
œœb
œb
3
œnœ#
œ
108
8 9 67
F# C
3
œ#œ#
œ#
3œ
œœn
86
7 89
10
&
TAB
A Eb
3
œ#œ
œ
3œb
œœb
65
5 68
8
C F#
3
œœ
œ
3œ#
œ#œ#
98
8 911 7
Eb A
3
œœb
œb
3œn
œ#œ
1211
11 1214
14
F# C
3
œ#œ#
œ#
3œ
œœn
1514
14 1517
17
&
TAB
C F#
3œ
œœ
3
œ#œ#
œ#
1517
17 1514
14
A Eb
3œ
œ#œ
3
œœb
œb
1214
14 1211
11
F# C
3œ#
œ#œ#
3
œœ
œn
911
11 98
8
Eb A
3œb
œœb
3
œ#œn
œ
68
8 65
5
&
TAB
C F#
3œ
œœ
3
œ#œ#
œ#
89
10 86
7
A Eb
3œ
œ#œ
3
œœb
œb
56
7 53
4
F# C
3
œ#œ#
œ#
3
œœ
œn
68
9 75
5
Eb A
3
œbœ
œb
3
œ#œn
œ
U
8 56 4 7
7
Or
46
In the next two exercises IÕve tried to keep the chords and arpeggios on one stringset. Staying on the same string sets will give a smoother, more flowing sound to the biginterval jumps found in these triads arpeggios.
Track 24 8 Exercise 12a String set exercise
symmetric studies: diminished
47
&
TAB
4
4........
.
.
Cdim7Ebdim7Gbdim7Adim7
F D
˙˙˙
˙
˙˙#
123
324
F7(b9)B7(b9)
Ab
D7(b9)Ab7(b9)
F
˙˙˙
b
b
˙
˙˙n
456
657
B Ab
˙˙˙
##
˙
˙˙
b
b
789
9810
D B
˙˙˙
#
˙
˙˙#
101112
121113
&
TAB
F D
˙˙˙
˙
˙˙#
131415
151416
F B
˙˙˙
˙
˙˙
##
131415
121113
D Ab
˙˙˙
#˙
˙˙
b
b
101112
98
10
B F
˙˙˙
##
˙
˙˙
n
789
657
&
TAB
Ab D
˙˙˙
b
b
˙
˙˙
n#
456
324
F
www
123
F D Ab F3
œœ
œ
3
œ
œœ#
3
œbœ
œb
3
œ
œœn
32
1 32
4 65
4 65
7
B Ab D B
3
œœ#
œ#
3
œb
œbœ
3
œnœ
œn
3
œ
œœ#
98
7 98
10 1211
10 1211
13
&
TAB
.
.
.
.
.
.
.
.
.
.
F D F B
3
œœ
œ
3
œ
œœ#
3
œnœ
œ
3
œ
œ#œ#
1514
131514
16 1514
131211
13
D Ab B F
3
œœ#
œ
3
œb
œbœ
3
œœ#
œ
3
œn
œœ
1211
10 98
10 98
7 65
7
Ab D F
3
œbœ
œb
3
œ
œnœ#
3
œnœ
œ
œ
65
4 32
4 32
11
w
U
Or
Track 25 8 Exercise 12b More triadic exercises on one (or two) string sets.
symmetric studies: diminished
&
TAB
4
4........
.
.
Cdim7Ebdim7Gbdim7Adim7F D
œœ
œ
œ œ#œ
œœ#
32
11 2
32
4
F7(b9)B7(b9)
Ab
D7(b9)Ab7(b9)
F
œbœ
œb
œb œnœ
œœn
65
44 5
65
7
B Ab
œœ#
œ#
œœ
œb
œbœ
98
77 8
98
10
D B
œœ#
œ
œ œ#œ
œœ#
1211
1010 11
1211
13
&
TAB
F D
œœ
œ
œ œ#œ
œœ#
1514
1313 14
1514
16
F B
œœ
œ
œœ#
œ
œ#œ#
1514
1313 11
1211
13
D Ab
œœ#
œ
œœ
œb
œbœ
1211
1010 8
98
10
B F
œœ#
œ#
œœ
œn
œœ
98
77 5
65
7
&
TAB
Ab D
œbœ
œb
œbœ#
œ
œnœ#
65
44 2
32
4
F
œœ
œ
œ˙
32
11 5
D B
œœ#
œ
œ œ#œ
œœ#
54
23 4
44
6
F D
œœ
œ
œ œ#œ
œœ#
87
56 7
77
9
&
TAB
Ab F
œbœ
œb
œb œnœ
œœn
1110
89 10
1010
12
B Ab
œœ#
œ#
œœ
œb
œbœ
1413
1112 13
1313
15
B D
œœ#
œ#
œœ
œn
œœ
1413
1112 10
1010
12
&
TAB
Ab D
œbœ
œb
œbœ#
œ
œnœ#
1110
89 7
77
9
F B
œœ
œ
œœ#
œ
œ#œ#
87
56 4
44
6
D Ab
œœ#
œ
œœ
œb
œbœ
54
23 1
11
3
F
w
1
Or
48
&
TAB
4
4........
.
.
Cdim7Ebdim7Gbdim7Adim7
F D
˙˙˙
˙
˙˙#
123
324
F7(b9)B7(b9)
Ab
D7(b9)Ab7(b9)
F
˙˙˙
b
b
˙
˙˙n
456
657
B Ab
˙˙˙
##
˙
˙˙
b
b
789
9810
D B
˙˙˙
#
˙
˙˙#
101112
121113
&
TAB
F D
˙˙˙
˙
˙˙#
131415
151416
F B
˙˙˙
˙
˙˙
##
131415
121113
D Ab
˙˙˙
#˙
˙˙
b
b
101112
9810
B F
˙˙˙
##
˙
˙˙
n
789
657
&
TAB
Ab D
˙˙˙
b
b
˙
˙˙
n#
456
324
F
www
123
F D Ab F3
œœ
œ
3
œ
œœ#
3
œbœ
œb
3
œ
œœn
32
1 32
4 65
4 65
7
B Ab D B
3
œœ#
œ#
3
œb
œbœ
3
œnœ
œn
3
œ
œœ#
98
7 98
10 1211
10 1211
13
&
TAB
.
.
.
.
.
.
.
.
.
.
F D F B
3
œœ
œ
3
œ
œœ#
3
œnœ
œ
3
œ
œ#œ#
1514
131514
16 1514
131211
13
D Ab B F
3
œœ#
œ
3
œb
œbœ
3
œœ#
œ
3
œn
œœ
1211
10 98
10 98
7 65
7
Ab D F
3
œbœ
œb
3
œ
œnœ#
3
œnœ
œ
œ
65
4 32
4 32
11
w
U
Or
This is an example of how you might use these major triad pairs in context.
Track 26 8 Exercise 13 Triads (Excerpt from ÒIt Could Happen To YouÓ)
symmetric studies: diminished
49
&
TAB
b
b
b4
4
EbMAJ 7œ
œœ œ
œ œœ
78 5 8 5
Edim7‰
œnœ#
œn
œnœ
œ#
œ
76
55 6
76
Fmi7œn
œœ
œ
‰
J
œ
58 6 8
8
F#dim7
œn
œœ#
œn œb
œ
œœ
77
7 10 98
8 11
&
TAB
b
b
b
Gmi7œ œ
œ
‰J
œœ
10 1011 11 8
AbMAJ 7.œ
J
œœ
œ
Œ
10 8 10 8
Gmi7(b5)œb
œœ
œœ
œœ
11 810 8 10
8 11
C13(b9)œ
œnœ
œ œ#œ
œ#
œ#
109
88 9
11 7
11
&
TAB
b
b
b
Fmi7.œ
J
œ.œ
J
œ
10
8 98
Bb13(b9)œ
œ
œ œnœ#
œn
œnœ#
76
6 79
99 6
EbMAJ 7
˙nJ
œ .œ
57 8
Edim7
œ#
œ#œn
œ# œn
œœn
œn
67 10
9 88
910
&
TAB
b
b
b
Fmi7œ
œnœ
œœ
Œ
10 9 108 9
F#dim7
‰œ
œ#œn œb
œœ
œ
77 10 9
8 11 10
Gmi7œ
œœ œ
œœ
11 8 11 8
AbMAJ 7œ
œœ
Ó
108
&
TAB
b
b
b
Gmi7(b5)œb
3
œœ
œœn
3
œœ
œ
9 811 10 11
8
C13(b9)œ#
œ
œ# œnœn
œ
œn
œ
911 7
10 98
88
Fmi7œ
3
œœ
œœ
œ
11 9 8 9 8
Bb13(b9)œn
œ
œn
œ#œ
œb
œ
œ
79
9
9 1011
10
10
EbMAJ 7w
u
11
A triad F# triad D triad Ab triad
C triad F# triad
Bb triadE triad F# triad C triad
D triad Ab triad
F# triad C triad E triad Bb triad
All four minor triads will work as well but I find it a better sound to toggle betweenmajor and minor triads in just one pair rather than two. For instance:
C7(ff9) = C (Maj. & min.) and Fss (Maj. & min)
Because the chords are an equal distance apart (tritone), you can use these triadpairs for two different chords.