(guitar playing)
- Hi everybody my name is Jens Larsen.
Very often, when we are practicing jazz,
we are getting lost in all the exotic scales
and advanced arpeggios and upper structures,
and really if you check out transcriptions,
and if you listen to some of the great solos,
it's surprising that most of the stuff
that's going on is really just a simple basic stuff
that's already there in the chords.
So that's also what you want to practice the most.
In this video I took a blues in G,
and I'm going over a solo that I played on that blues in G,
using different triads really focusing mostly
on the diatonic triads.
There are five different triads that you can work with
that work extremely well if you're improvising over G7.
This is stuff that I'm using all the time
and I'm going over that but also covering
some triads for the other chords
and also a few altered surprising triads
that you can throw in there if you want to.
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and improve the way you solo,
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(jazz guitar music)
The first phrase is really simple because
this is a blues in G.
The first quarter is a G7.
And the most simple basic triad to use
is a G major triad.
And that's also what I'm doing here.
It's really just a root position G major triad.
I'm starting on the third
and then I'm playing the repeated fifth here,
so the D is played twice.
And you really wanna have also just solid vocabulary
of the very basic phrases,
especially if you're playing on something like
a 12 bar blues, because that's probably a little bit
more about playing down in the chord
and closer to the original changes and not so much
in the upper structures, and alterations and extensions
and here I'm just using the root position
and repeating the fifth here at the end of the phrase.
So that's definitely something you wanna check out using,
you also want to check out also the inversions.
So the first inversion
and the second inversion and see if you can make some
lines with that.
I would really just say sit down and play the chord.
See what you come up with.
(jazz guitar music)
And just playing a little bit around
see if you can find some notes around there.
Use mostly the notes from the scale,
so in this case G7.
And you have the C major scale around it,
that is all the pool of notes
that I'm drawing from, and what you also notice is that
I'm using some leading notes.
In this case, I'm sliding into the third
which of course the third is a good note
to have a leading note for
when it comes to the major chord
and especially for blues.
And I don't really think of it as a passing note
or as a cro-menic note.
I'm not really assigning that much importance to it.
It's really just a matter of phrasing
and you can do with all of the notes in the triad.
(jazz guitar music)
And that's also worthwhile checking out.
And I really think the best way to work with this
is just take the triad and just try and come up with
some melodies and see if you can hear something.
And in that way, get something into your vocabulary.
From the first phrase, I'm moving into the second bar,
just using a small phrase to pick up
and to point towards the C7 and the second bar.
I'm gonna do that just using the D and the F, so,
and then resolving that to the third of the C7
and then I'm just adding these two notes
of the E and C and the B flat,
all core tones, all arpeggio notes,
nothing too fancy, but not any triads either.
Then I move back to the G7.
And here we have the triad from the third of the chord.
So in this case, this is a G7
and the third is a pause of B.
The triad that we have here in the scale
is a b diminished triad.
(guitar playing)
And really the melody is pretty much the same
as what I played or a variation on what I played on the
G in the first part, and so we have the (jazz guitar music)
and here it's (jazz guitar music)
and then I'm extending it.
So the idea is still just using repeated notes
and just using the triads (jazz guitar music),
and then of course also just adding, the idea that
I'm ending the melody on an offbeat
which makes it just a little bit more jazzy.
And it makes it easy to phrase nicely.
And again you can use, it's almost as if
I'm using D as a pedal note in this case.
(jazz guitar music)
From here the solo moves on
to the next note in the chord really.
So that's just the triad that's found
on the fifth on the chord.
So in that case, this is the D minor right?
So D, F and eight.
Now we have just the fifth, the seventh,
and then the ninth in there.
And I continue with this one,
but then immediately after having played this triad,
we're kind of in the transition to the C7 in bar five
and I'm doing that by altering the G7 dominant.
And here I'm using the triad of the tritone substitution.
So if we have a D7, the tritone of G is D flat
and because we have G and now we have the fifth,
flat five is D flat.
That's actually the triad I'm using.
So I first play the D minor triad.
And then go into the D flat,
(jazz guitar music)
and then that's pulling me,
it's kind of giving me this sound
and pulling me to the C7,
which I'm also just (jazz guitar music)
resolving to with a G.
On the C7, I'm also using the triad from the fifth
of that chord, so the fifth of C is of course G
that's a G minor triad.
So I'm coming out on the G on B1,
transfer to E, and then I'm adding descending G minor triad
from the third, so that's second inversion,
descending G minor.
(jazz guitar music)
And then that's also kind of taking me to the E
on B1 of the C sharp diminished bar here.
(jazz guitar music)
And here the notes that I'm using are all
just C sharp diminished triad notes.
So I'm starting on the third,
then up to the flat five down to the root.
And this then takes me back to the G7,
because that's the note that I can just easily resolve
up to G7 by moving up to D.
Back on the G7 in bar seven,
the triad I'm using now is the triad from the
seventh of the chord.
So I'm still just moving up the chord really
and the triad that we have up here is F major triad.
So that's what I'm playing here.
I'm coming out with the D on B1.
And then I'm playing the F major triad
as a descending triplet.
And then also following it up with a B and a G.
So the F major triad if you play it as a chord,
it's gonna give you like a G7 source.
Actually a G7 source with a nine.
And that's not really something that sounds like G7.
But you can still use it in your lines,
but you need to be a little bit careful with
kind of dealing with the C in some way.
And you will see it used really often
either just as an F major triad
or as the upper structure of a D minor seven arpeggio.
It's used all the time,
but you would also see it used mostly where
the B is introduced right after it's played
and that's usually the way that you'll find it
in a solo from George Bensen or Charlie Parker,
where it's just used to really target the B
and get that up there as well.
But it's really a useful triad to have in there
and use, because you're sort of creating some movement
and that actually makes the line a little bit more
interesting to listen to.
So in that way it can also be useful to just explore
how can I play this triad.
(jazz guitar music)
And then still get some sounds to some lines
that really sound like a G7.
The next bar is a two five to A minor.
So it's a secondary cadence to the A minor 7 chord,
which is the two chord and the key,
'cos we are in the key of G.
And keys we have is, we have to manage to E7,
of course it's to a minor chord so you would expect
that to be like a half diminished
and in E7 flat nine
and the line that I'm playing here is actually
also only using triads.
So for the B half diminished
I'm using the triad from the third of the chord.
So that's a D, so that's a D minor triad.
And then moving into, here I have,
I am ending on the A
and that's just really neatly taken with the G sharp
on the E, and then here I'm using an F diminished triad.
So when you have an E7 flat nine,
then essentially that's G sharp diminished
with an E in the base.
That means that you have (jazz guitar music)
all these diminished triads available.
So you have the one from G sharp,
one from B, the one from D
and the one from F.
The one I'm using here is really just the one from F.
So playing first the G sharp on to the B
and then down to the F.
And then I can resolve that to the fifth of A minor,
which is E.
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On the A minor seven, I'm using two triads
to make up the line.
I'm coming out on the E.
And that's close to fifth of the quarter
I'm playing the triad, from that notes
that's an E minor triad.
And then I'm using the top note here B
to leap into the next triad
which is a triad from the third of the chord,
which is a C, and then I'm playing the triad also ascending.
Then I move on to the D7 altered.
D7 altered is a D7 dominant
where I'm using the altered scale,
which is in this case D7 altered
is the same as E flat melodic minor.
And two of the triads that I have available
in E flat melodic minor are A flat.
So that's the triad from the tritone of the D.
So I'm using that one first this para.
(jazz guitar music)
And then I'm skipping up and using the E flat minor triad
because of course an E flat minor,
we have an E flat minor triad.
Same pattern.
So really working with this pattern, I'm also,
(jazz guitar music)
and I'm actually resolving this
because I'm playing an E flat minor triad here
I can resolve that upper half step
and then play an E minor triad
when I go back to G7.
And just repeat the melody
and that way, that's sort of making a smooth transition.
And the E minor triad is actually a great triad
for the G7 because I have really the third is in there.
It's clear that that's part of the chord, the root,
and then the 13.
So notes that work really well on a G7.
And I'm taking this a little bit further
because after that to go back to the beginning
of the course we have a D7.
And I am using the same pattern,
but then using again the triad that's essentially
from the auto scale which is (jazz guitar music)
in this case like a D augmented
or an F sharp augmented triad.
So playing the same melody as I did on the E.
And then that's taking me to the one
in the next chorus.
So for the G7, the triads that I went over
in this video, and which I'm really mostly just talking
about the basic G7 and not so much about G7 altered.
Then we have the main triad of the course
of just G major triad.
Of course just move up through the chord
and then the one from the third,
which is B diminished and then the D minor.
And also the F major triad.
And then also the E minor triad.
So that means that we have (jazz guitar music)
five different triads that we can use
and then the remaining two triads,
which is like an A minor and C major triad
are not that easy to use on a G7.
You could explore them a bit,
but I would say with the amount of triads you already have
available now, then I would just work on those.
Really just take one of them.
Like let's say we work with the D minor triad
and then just hear or put in a loop or a G7 like this.
(jazz guitar music)
And see if you can call to some lines,
mix the triad and don't only play the triad notes.
You can do that as well of course
but see what it is like to make some melodies
where you're using the triad
and then adding the scale tones that are in between 'em,
because then you can make much more varied melodies
and I think that's a better way of developing
some good sounding melodies with the triad
that still fit this chord.
If you wanna check out the guitar player
who is really fantastic at using triads
in his solos and creating some really great sounding
bebop lines, mostly based on triads,
then check out this video on our George Bensen solo
on Billy's Bounds.
If this is the first time you see one of our videos
and you wanna learn more about jazz guitar
the subscribe to my channel.
If you want to 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 time.



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