Using triad pairs is simply an intervallic approach to improvisation. The concept
is fairly basic, and it’s fun and challenging
at the same time. When used correctly, the
technique can generate some very interesting
sounds. Let’s get started.
First, we need to define what triad pairs
are. You can think of them in simple terms
as a pair of triad arpeggios that will be used
for improvising. But how do we know which
ones to use? Basically, any two triads generated from a diatonic scale that are next to
each other are a good choice. For this lesson
(and believe me this is just the tip of the
iceberg), we use F and G triads to solo over a
Dm7 vamp. The default scale for playing over
minor-7th chords in jazz is the Dorian mode.
In this example, we’ll select D Dorian, which
contains the same notes as the C major scale.
The triads in the key of C major are C, Dm,
Em, F, G, Am, and Bdim. So all we have done
is select two triads that are the same quality
(major) and occur next to each other in the
scale. So F and G are a great choice. The notes
from these two arpeggios are F–A–C (F triad)
and G–B–D (G triad).
What’s cool about this concept is that if
you play lines that use the notes from these
two triads in sequence, you will end up play-
ing six of the seven diatonic notes from the
scale without repeating any other notes. Also,
you will generate lines with fairly wide inter-
vals (lots of thirds and fifths) that are typical
in modern jazz improvisation.
One of the byproducts of
this technique is that your
solos will take on a compositional sound because motivic
ideas and development will
naturally start to occur.
distinctly different from mindlessly running
through a scale or playing some melody that
doesn’t really seem to have a destination.
Both Fig. 3 and Fig. 4 combine a more
melodic approach with some syncopated
ideas, and demonstrate how these techniques
can give your improvisation a very compositional quality. In Fig. 5, I use the inversions of
the F and G triads to move up the neck and I
add an E% passing tone in the last measure.
Basically, this concept is just a way to break
out of running scales and playing scalar lines.
It also forces us to be very accurate with our
note choices, and in many cases will expose
how little we actually understand the fretboard
and triad shapes (with their inversions) across
the fretboard. Good luck and have fun!
Fig. 1 Fig. 1
F
G
F
G
F
G
F
G
1
2
3
Fig. 2 Fig. 2
F
7 10
8
3
4
5
G
7
9
10
6
5
7
F
10
7 10
8
7
9
G
8
7
9
10
10
10
F
10
10
10
12
12
12
G
7
8
7
13
14
15
F
8
10
10
15
16
17
G
7 10
