Jazz saxophonist and blogger David Valdez has recently posted some thoughts about using triad pairs to select note choices for improvisation. I’ve explored this a bit, using Walt Weiskopf’s book Intervalic Improvisation. The basic idea is that instead of using a scale or chord arpeggio, you can improvise over two different triads that relate in a particular way to the chord. For example, over a Cmaj7 chord you might use a C major triad and a D major triad.
This can produce some interesting sounds. While stepwise motion between pitches can happen while switching between the different triads, there is a tendency to avoid them and the line has a more “angular” sound to it. There is also a bitonal implication to the sound, even though all the tones played can be thought of as extensions of the 7th chord (D is the 9th, F# the raised 11th, and A the 13th).
The distinctive sound that this approach has is also its drawback.
It has a very obvious color to it that can get old pretty quickly, and I’ve found it can be hard to combine this with linear approaches in such a way to sound cohesive. David Valdez, though, has come up with several suggestions. He writes:
Here are some ways that I have found to make Triad Pairs sound less formulaic and more organic:
- Play only two notes of a triad before switching to the second triad
- Use two different types of triads (Maj/Aug or Min/Dim)
- Try using two notes of one triad and three notes of the second triad
- Side-slip chromatically to a triad(s) a half-step above or below one (or both) triads
- Stack the triads on top of each other to create uneven (chunky) vertical structures
- Add a pentatonic scale to the mix so you are alternating between three different elements
- Displace notes of the triads to create unusual spread structures (see exercise #2)
- Add a third triad to the mix (example: Over C-7 use Eb Maj, F Maj and G Maj triads)
- OR one of my favorite things to do- just start throwing some chromaticism into the mix
David has a downloadable PDF of his examples and more on this, and other jazz topics, at his blog.
