Let me introduce you to Adam Hancock; an excellent guitarist and wonderful human being. Adam has been studying the concept of Triad Pairs with me for about a year and half. As you can clearly hear, he’s making incredible progress. Adam is the kind of guitarist that keeps teaching interesting for me. Honestly, I can say that I probably learn more from instructing him than he does from me. What separates Adam from many young players is that he has clearly developed a strong blues aesthetic and applied it to his internal metronome. Rare is the player who embraces tradition but has an ear for contemporary concepts. Before he showed up in my life, Adam had the privilege of studying with both Steve Khan and Leni Stern. Not too shabby…
Anyway, as many of you might know, my Skype students often send me examples of the material they are working on and I will comment and/or critique their work between lessons. Recently, Adam sent me this wonderful example of the jazz standard “Bye Bye Blackbird” with the some observations that related to some of the concepts we were working on. He stated:
“What I’ve been up to since we last spoke is: analyzing interesting chord voicings against all possible bass notes like we discussed, as well as analyzing a major triad against all bass notes. I’ve made some discoveries, which are probably pretty basic, but I can feel myself hearing stuff slightly differently which is cool. Some observations are: A major triad over C for alt. dominant sound. So, in the key of F, I’ve sort of discovered G min- A maj- F , and So I’ve also been messing around with the triad pair of a minor triad and a major triad a whole step apart. In this case, G minor and A major resolving to F. I realize that there is only one note (C#) that is outside the key of F, but it’s sounding good to me at the moment. (baby steps)
Third: C major triad over Bflat for a Bflat major #11 sound.
I could analyze more, but I thought I would just mention the ones that had some immediate meaning in my playing (and in my ears)
Ive also been experimenting with the voicing that we analyzed together (Bflat, D, A) and similar shaped voicings against different bass notes. Like, D E Bflat for a G Dorian voicing, and harmonizing it up and down the neck. etc. And lastly, as you said, I’m trying to incorporate any cool voicing into my lines. I’m working to see things as triads and shapes, rather than scales, etc.”
Listen to the recorded example by clicking the link below: