Triads - How To Make Jazz Licks and what to Practice

Triads - How To Make Jazz Licks and what to Practice
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    ( ♪ Jazzy guitar solo ♪ )
    - Hi everybody, my name is Jens Larson.
    Every scale exercise or arpeggio exercise that you play,
    you should consider a melodic building block.
    You really only wanna practice the things that you wanna use
    when you're soloing, and it's also important to realize
    that it's not enough just to play the right notes
    over each of the chords.
    You also have to play a melody that's strong
    and that really makes sense if you wanna play a good solo.
    Triads is one of the strongest melodic building blocks
    that we have, and it doesn't really matter if you're
    checking out Wes Montgomery, or Kurt Rosenwinkel,
    or Lage Lund; everybody is using triads,
    and you wanna have that in your vocabulary.
    You wanna use it in your solo.
    In this video, I'm going to go over some different
    triad ideas, check out some inversions,
    and some different patterns and some spread voice triads,
    and show you how you can use that.
    I'm going to do that by giving you a II-V-I lick
    that's using one of these patterns,
    and then also some exercises, so you're not only gonna get
    some triad use, you can also really test how good you are
    at playing your scales, because some of those diatonic triad
    exercises are pretty difficult to play.
    If you wanna learn more about jazz guitar,
    improve the way that you solo, check out
    some interesting arpeggios or chord versings,
    then subscribe to my channel.
    If you wanna make sure not to miss anything,
    then click the little bell notification icon
    next to the subscribe button.
    One of the most effective ways to practice your arpeggios
    is to practice them as diatonic arpeggios,
    and there's a reason for that, because when you're
    improvising, then you might be playing an arpeggio,
    but at that time in the song, then there's
    a chord happening, and on the chord you have a scale,
    and the arpeggio is a part of that scale.
    So, you kind of have two layers: you have the arpeggio
    that you are using on the chord, and then you also have
    the rest of the notes that are available,
    and that's the scale.
    So it makes a lot of sense to practice your arpeggios
    in that scale, because you already have a connection between
    the larger context, and then the notes that you are using
    at that point.
    And it's also because when you're using the arpeggio,
    then the rest of the line is probably gonna be made out
    of scale notes from that scale.
    ( ♪ Jazzy solo ♪ )
    The first example here is really a good example
    of how you can super-impose diatonic triads onto the chords.
    So in the first line, I'm starting off with
    a chromatic enclosure.
    ( ♪ Demonstrating slowly♪ )
    Targeting the F on beat three, and from there I play
    an F major triad. ( ♪ Demonstrating ♪ )
    This is on the D minor 7 chord, so if you look
    at what the notes are in a D minor 7, then that would
    be D, F, A, and C, and then the triad that I'm using
    is the F major triad, so that's just the top three notes
    of those, and that way I'm just using this open-structured
    triad, and it makes a lot of sense to just check out what
    the different triads are against a chord so you have
    an idea about what will work and what doesn't work.
    From there,
    I continue with a G major triad on the G7,
    and then a short D minor pentatonic fragment,
    and then on the C major 7, I'm using actually three
    different triads, so first, the one from the third.
    So E minor, then A minor,
    and then a G major.
    And that's because then I get from the E minor,
    I have the third, the fifth and the seventh.
    Then on the A minor, that's the sixth or the thirteenth,
    the root, and the third, so everything is really easily
    related to the chord.
    Then the last one is a G major, so that's the fifth,
    the seventh, and also the ninth.
    These basic diatonic triads are really important to practice
    and also, as you can tell, really useful to know.
    There are two ways I would suggest you practice them.
    The first one would be to just take the scales,
    any kind of C Major scale in this case, that you wanna use,
    and then try and play that in diatonic triads.
    That could be something like this.
    ( ♪ Demonstrating ♪ )
    The other way you wanna practice this is probably
    to take them along the neck, so if I start with
    the middle string set, the first diatonic triad I have here
    is then the F major triad, and then I get this exercise.
    ( ♪ Demonstrating ♪ )
    It's important that when you're practicing this, then ...
    So you kind of need to know what triads are found where.
    You wanna know that C major, D minor, E minor, F Major,
    G major, A minor, B diminished and then back to C,
    you wanna know which triad is where,
    and also it's very useful to try and relate all
    the different notes to the different roots,
    so think about what will work and what's possible
    on the D minor by just looking at,
    well, if I play the F major, then I have the third,
    the fifth, and the seventh.
    If I play the B diminished triad, then I have the
    thirteenth, the root, and the third.
    And then you can also experiment a little bit with
    what notes will sound well and figure out if you like
    the sound of that when you're using them in your solos.
    ( ♪ Demonstrating ♪ )
    The first variation is to start working with inversions,
    and here I'm using the first inversion.
    So the first inversion, if we have the C major triad
    like this: C, E, G, then an inversion is just to take the C
    and move it up an octave, and then play from what is now
    the lowest note, that would be the E.
    So then instead of having C, E, G, we now have E, G, and C.
    And that's what I'm using here on the D minor.
    I'm starting with the D minor triad in first inversion,
    so I'm starting on the third: F, A, D.
    Then from here I'm moving to an A minor triad
    and playing that, so that's C, E, and A.
    Now, the A minor triad against the D minor is the C,
    which is the seventh, E is the nine, and A is the fifth.
    Then, on the G7 altered,
    first a B augmented triad,
    and that's really not an inversion at this point even though
    augmented triads are symmetrical, so if you invert them,
    you're just gonna get another augmented triad.
    Then from there, I'll move on to a D-flat first inversion
    major triad, so that's F, A-flat, D-flat.
    In that case, that's of course the seventh, the flat-nine,
    and the flat-five.
    And then resolving that to C where I'm coming out
    on the G here, and then playing a C major first inversion,
    so E, G, C, and then down an A minor first inversion triad:
    A, E, and C.
    And of course you wanna practice this through the scale,
    and that will be something like this.
    ( ♪ Demonstrating ♪ )
    A lot of the time, the difficult part of practicing this
    is that you have to start thinking of the triad
    from the third, and not from the root,
    which is what we're used to, but that's an extremely good
    exercise, and it's also really gonna help you get
    an overview of what the notes are in the triad
    so that you can really think, "okay, I'm playing
    a G major first inversion triad, so I'm starting on B,
    and then going up to D, and then G.
    Then get A minor, so the third is C, and then E, A,"
    and so on and so forth.
    And that's just a great exercise.
    I think when you're actually just playing it without
    naming the notes, you can get pretty far
    by just learning the melody.
    And then sort of playing it by ear through the scale,
    which is also useful to check out, because you're
    also relying on your ear a lot when you're playing
    scale exercises, and of course, also when you're soloing.
    ( ♪ Demonstrating ♪ )
    Of course, when I'm talking about the first inversion
    of a triad, it makes sense also to just take a look
    at the second inversion.
    So first inversion is of course,
    so, first the root position, then the first inversion,
    which is starting on E.
    Now if we start the triad on the fifth,
    and then move up to the root and up to the third,
    then we have the second inversion, so ...
    And in this case, I'm using some diatonic passing chords,
    so the first triad I'm playing is
    just a D minor first inversion,
    then I'm moving them up and playing an E minor
    first inversion, and then moving up again to an F minor
    first inversion, and then from there, a G major,
    and then using a short scale melody to resolve
    to the third of the C major 7.
    So the idea here is that I'm using a dominant
    that's coming out of C minor, so I'm using C harmonic minor
    on the D7, and then I'm using an extra chord from C harmonic
    minor, because I'm first playing the D minor,
    and then E minor, and then F minor, which is kind
    of borrowed from C harmonic minor in this case.
    Moving up to G7, and then resolving that to C major.
    So the F minor here is actually
    coming out of C harmonic minor.
    And I'm also playing a little bit with the rhythm,
    because I'm actually starting with the F minor already
    in the D minor bar, so it's also moving a bit with the key.
    But it's a nice trick to work with,
    and using material from the minor key on the dominant
    is a really good idea if you wanna get some variation
    into the lines.
    And again, of course, you can practice this in the scale,
    and if we do one octave of second inversion triads,
    then that would be this.
    ( ♪ Demonstrating ♪ )
    As I said in the beginning, it's important that you
    think about these different triads and different exercises
    as melodies, and you also wanna be aware of the fact that
    melodically, there's a difference between playing a triad,
    that's just being one, three, five, and then
    playing them in a different order.
    So it makes sense to also check out
    some different patterns for the triads.
    So in this case, I'm only gonna cover one; there are a lot
    of different patterns you can use of course.
    But instead of playing one, three, five,
    you can also play three, one, five.
    And this introduces a nice fifth interval that you can also
    use which is gonna break up the lines
    in a really nice way, I think.
    So in the example, I'm using that styling on the A,
    so I'm using the F major triad on the D minor,
    and then first A and then down to the F,
    and the up to the C.
    So that's, for an F major triad, three, one, five.
    And then from here I'm moving on to a D sus 4 triad,
    which is another great structure that you can use
    on your chords, but I'm not gonna
    really go into that in this video.
    So we have ... ( ♪ demonstrating ♪ )
    And then from here, just a small diatonic third,
    we went up from E to G, and the on the D7,
    I'm using a D7 altered,
    and I'm playing first an F diminished triad, so ...
    And then playing that like three, one, five,
    and then G diminished three, one, five,
    and then up to the E-flat and down to the B,
    and then resolving to the ninth of the C.
    And then from here I'm also playing an A minor triad,
    that's three, one, five.
    Practicing this through the scale sounds like this.
    ( ♪ Demonstrating ♪ )
    And I think this is a good example of a melody
    also as an exercise that you can really
    hear how natural the melody is.
    ( ♪ Demonstrating ♪ )
    And probably you could play it-
    If you know your diatonic triads, you can fairly easily
    play this just by trying to hear how it's gonna sound
    for the next step in the scale.
    ( ♪ Demonstrating ♪ )
    And then you don't have to think
    about what note you're playing.
    Of course, you do want to think about that in the long run,
    but it is worth noticing that
    you can kind of do this by ear.
    ( ♪ Demonstrating ♪ )
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    I'm very grateful for that, and if you wanna help me
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    I can also give you something in return for your support.
    ( ♪ Demonstrating ♪ )
    This example is using a spread triad,
    or an open voiced triad, and the way you construct this
    is if we take the C major triad again, so C, E, G,
    then if you take the second note, the E, and move that up
    an octave, then you have this structure.
    And that's a really nice chord, and you can,
    of course, make inversions of it as well.
    And you can use them both as chords
    and that will work quite well,
    and it's also a great arpeggio,
    mainly because it has a lot of really large intervals,
    but it's still pretty consonant
    and easy to make melodies with.
    In the example, I'm starting with the D minor
    first inversion, spread voiced triad, so F,
    and then also the D, and up to the fifth, the A,
    and then a scale run, and this is really just,
    when you have this sort of large, these large intervals,
    and a lot of movement in one direction,
    then I'm kind of resolving that melody
    by just moving stepwise in the opposite direction.
    So a descending scale one ... ( ♪ demonstrating ♪ )
    And then on the G7 also, I'm first using an E-flat major
    first inversion triad on top of the G7,
    so that's giving me the flat thirteen, the root,
    and then the sharp nines are really
    some altered sounds in there.
    And I'm playing that first, the E-flat, then down to the G,
    then back up to the E-flat and then the B-flat,
    and then I'm adding this Coltrane pattern,
    A-flat minor Coltrane pattern ... ( ♪ demonstrating ♪ )
    and then resolving to a D on the C major 7.
    And from here, I'm playing a first inversion G major
    open voiced, spread triad, so skipping down to a B,
    and then up to the G, and then the D,
    and ending the line on the third, the E.
    The spread triads can be kind of difficult to play,
    but they're also really great right hand exercises.
    And you probably wanna check them out just in inversions,
    like this ... ( ♪ demonstrating ♪ )
    And besides that, it's also useful to try and play them
    through the scale like we did with the other exercises,
    and here we do have to have a pretty good overview
    of the scale, but of course, if you're practicing this,
    you've also already built your overview,
    so that would be something like this ...
    ( ♪ Demonstrating ♪ )
    When you're practicing the spread voiced triads,
    it does make sense, especially with the inversions,
    to just play ...
    just to get used to the different string skips,
    because you're skipping different strings all the way up.
    And that's quite difficult for your right hand,
    but it is, at the same time, of course, also
    a really good exercise.
    ( ♪ Demonstrating ♪ )
    If you wanna check out some more ideas
    on how you can use open structured triads and spread triads,
    then check out this video where I'm taking the song,
    "Out of Nowhere" and then going over both an analysis,
    but also how you can use different triads
    when you're soloing over it.
    If you wanna learn more about jazz guitar,
    and this is the first time you've seen one of my videos,
    then subscribe to my channel.
    If you wanna help me keep making videos,
    then check out my Patreon page.
    That's about it for this time, thank you for watching,
    and until next week.
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