1. Please take 30 seconds to register your free account to remove most ads, post topics, make friends, earn reward points at our store, and more!  

Diatonic Triads

Discussion in 'Ask Tony Grey' started by iwearpumas, Oct 23, 2013.

  1. iwearpumas

    iwearpumas Supporting Member

    Aug 12, 2011
    Middletown, NY
    I just saw your video on diatonic triads. Another great video, but my question is how can I apply it to be more than a finger exercise? I guess that is my problem, applying the knowledge I know of music theory.
  2. tony grey

    tony grey

    Oct 2, 2006
    Endorsements; Yamaha, Fodera, Aguilar, TC Electronic, Peterson, Zoom
    Hi there. Thanks for your question. So basically I practice this stuff if a few ways.
    You should definitely learn your Major Modes there is no real getting around that.
    To really be able to control the color you are going for you need to be able to hear and understand it at least to a point. Then the goal is to just play.

    I practice Diatonic Triads over a 1 octave range then a 2 octave range trying to find the best position shifts and fingering pattern.

    You can play these triads Ascending or Descending or Alternating like I do in the video.

    It's best to write out these and internalize them.

    I practice things at a slow tempo repeating 3 times without stopping. Once I can do that comfortably I just raise the tempo a small amount and keep building speed and control.

    Once I can play at a decent tempo I start trying to improvise freely with the idea.

    You can achieve this stuff really faster than you think with a good schedule and specific things to lead up to this.

    there are so many benefits to learning this stuff like a Great Technique work out, a great Ear Training Exercise, a great fingerboard awareness exercise and you are learning harmony in a music way.

    Here is a blog I did on whole range practicing to give you an idea how to practice this stuff.


    Hope this helps a little. It's work but it's fun.
  3. I just watched your Diatonic Triads video and your example at the end shows a fantastic way to apply the lesson. I've always admired this open-ended, very elastic approach to soloing. The context of each group makes the adjoining notes sound very musical. I'd be interested to hear how you might apply this to more fundamental aspects of the bass' roll- holding down the bottom of say a blues or over some changes. Perhaps the major scale feel of this would keep it out of the blues realm, but could more chromatics and a dominant seventh be used to make it bluesier? Just speculating, I do like your approach to the lessons though expanding on other uses of this vocabulary would be helpful. It is nice to have my high school learned music theory tried to its limits with your videos.
  4. tony grey

    tony grey

    Oct 2, 2006
    Endorsements; Yamaha, Fodera, Aguilar, TC Electronic, Peterson, Zoom
    Hi there. Well once you have a good understanding of Chord Tones and more importantly how they sound they will always improve your choices as far as bass lines go.

    I have 2 chapters in the Academy that talk about Pentatonic Scales and how to use them to create Bass Lines and Riffs.
    I also talk about the Minor sound against the Major to create that edgy Bluesy Sound.

    The other section is a Play Along where I talk about the construction and where these notes came from.

    Also learning how to walk Bass Lines really opens up your knowledge of Harmony and Chord Tones.

    Honestly I feel it's a balance of knowledge and training your ears. The more you hear the more you can create.
    There are endless ways to use this information.

Share This Page

  1. This site uses cookies to help personalise content, tailor your experience and to keep you logged in if you register.
    By continuing to use this site, you are consenting to our use of cookies.