Double Bass Triad Pairs

[John Goldsby]

Thanks Andrew. A first step would be to own all triads . . . first in one octave, then in inversions, then from the lowest possible note on the bass (not always the root) to the highest comfortable note. Once you master triads, then a lot of the other stuff (7th chords and triad pairs) becomes easier. Sounds like you have a good teacher who can help you out with all of that.

 

[Jack Clark]

This technique of using oppositional tones in melodic construction derives from classical theory about melodic construction, and has been put forth in the realm of Jazz pedagogy by the work of Mike Longo, in particular, whose exercises sound like what "the cats" actually play... I've become a big fan of his work. It's the antithesis of the scale - and pattern- based pedagogy that has become all too familiar to us.

Jon, I managed to find this website:
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which has two of Mike Longo's books, several of his cassette tapes, and some monographs, I believe.

Could you please put us on to the best source for Mike's exercises, which you mentioned above? Thanks.

 

[Doley50]

Hello ,

I have been following this thread with great interest , while I have a basic background in music theory , I have never been exposed to any
concepts like this , I am happy for the new challenge .

I was able to peek inside this book ( Triad Pairs for Jazz ) on Amazon
http://www.amazon.com/Triad-Pairs-Jazz-Application-Improvisor/dp/0757903576/ref=sr_1_1?ie=UTF8&s=books&qid=1260538626&sr=8-1-spell and I have " dumb down " the idea so I can understand.
If I were to take a simple Gmaj triad ( G B D ) and an Amin triad ( A C E ) and played them after one another ( G B D A C E ) this would be considered a triad pair ?
If my understanding is correct this is the same as playing a G 13 Arpeggio without the 7 th. tone. If the 7 th tone was added be it a maj or dominate. The approach is the same.
Again if my understanding is correct with the concept of playing triad pairs are we to play the high octave notes , the 9 , 11 , 13 or the low octave notes ( 2 , 4 , 6 ) or does it matter ?
I realize this is theory and the final outcome is to help with improvising , but I also figure that the concepts must have some basic rules in order for the idea to be established.

Thanks
John

 

[John Goldsby]

Hi John,

Yes, the G triad and Amin triad would be considered a triad pair. I would not use it over a G13 chord though, because the C would clash too much with the B (the 3rd of the G13).

You could use this triad pair, G triad and Amin triad over an Amin7, or more accurately, over an Amin11 chord (also written Amin sus11 or Amin sus4). Using the Amin triad as your "main" sound, the G triad provides the b7, 9, and 11 of the Amin7 chord. It sounds great.

For your other example, G13: If you were outlining a G13#11, you could use the G triad and the A triad. The G triad is the "main" sound and the A triad (A, C#, E) outlines the 9th, #11, and 13th of the G13#11. There is no 7th in there (F), but it still sounds good.

Have fun

 

[John Goldsby]

I just reread this and realized that the obvious triad pair for a G13 chord would be alternating Dmin and Emin triads.