Chords for 5 Triad Pairs That Sound Great - Adam Maness | You'll Hear It S2E79
Tempo:
88.1 bpm
Chords used:
C
Ab
Bb
Db
F
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Ab] [Bb] [Ab] [Bb]
[Db]
[Ab] Hey, what's up folks?
Adam Maness here for today's You'll Hear It podcast.
Still flying
solo [Db] as Pete's schedule would not allow in a You'll Hear It recording this week.
[Ab] But
we're at the piano, which is always a [Db] popular request from our [Bb] faithful You'll Hear It listeners.
[G] And today we're talking about [Db] something that we get asked about a lot and this [Ab] is triad
pairs and how to use them and some common ones.
So here are five triad pairs that I
think sound great.
These are fairly common and [Db] pretty useful.
But with [Dbm] triad pairs, I
always say, you know, they're kind of personal.
Like [A] you need to be fiddling around with [D] these
yourselves.
Find what works with your sound.
Find ones that you like.
The great thing about
triads is because they're structured [Bb] already for you.
They're triads.
They have a structure
that sounds familiar.
You can get away with like a lot of dissonance or a little dissonance
or no dissonance, whatever you want to do.
[Ab] Find the ones that you like.
But here's some
pretty common triad pair like [F] cliches almost.
The first one is the five and the six triad over
major chord.
So if we're in C, [C] like a C major seven, [Em] we can use the G triad [Am] and the A minor
triad.
Just [C] diatonic.
[Em] Pretty basic sound, [C] but gets you really good, happy results, you know,
on this major chord.
Now with triad pairs, one of the things to practice is doing them in all
kinds of ways.
You can do them straight up and down for sure, but mix it up.
[Em] Another cool thing
about triad pairs is sometimes you can just borrow one note from the triad.
And to me, that can be
really eye-opening as far as melodic content.
So if we have this G and this A minor, you know,
here I [E] have the G triad and I'm just adding the A from the A minor [C] above it or surrounding the A
minor triad here, you know, with a G major in the middle, you know what I mean?
Going between them.
Just adding one note from that other triad can really, then it becomes almost like a hexatonic
scale that you have all these options.
But it is useful too to keep them just in triads.
[G] All right,
so the five and [C] the six, the G and the A minor over a C major seven, [Dm] by the way, this works too,
like [F] over F, [Am] Lydian and C, whatever is in the key of C that's [Dm] diatonic [A] will all work.
Okay,
for our next sound, we're going to go Lydian, which I was just kind of talking about.
And this
is a different kind of a Lydian sound.
Actually, this is the same Lydian sound that you would do
on [F] that F, but we'll do it in C so you [E] can kind of see the consistency of [Em] everything.
So this is
the major two chord, [E] it's Lydian, so we have that sharp four, that F sharp here in C.
[C] And then the
three, which is E minor.
[G]
[E] [Gb]
[G] Great sound, really, really useful.
Number three, that is on a dominant
chord, just a straight mixolydian style dominant, like a C seven, [D] no alterations or anything.
[C] The
flat seven triad and the one triad.
You could use this on [F] a sus seven chord.
Here, I'm just adding
that one note from the other triad.
Such a great sound.
Or [F] just combining them.
[D] [Bb]
Just the key is to
really experiment with different ways to play these different orders to play these different
configurations.
Great stuff.
Okay, now let's alter that dominant [D] from what would be a C [Bb] seven
or a C sus seven with no alterations.
[C] Let's do like [Bb] an altered sound.
Now, the most common one
for this is the flat five, flat six.
The G flat [Ab] and the A flat over a [Gb] C altered [Bb] [C]
[Fm] to that F minor.
[Bb] Sounds so good.
[Ab]
Really gives you that altered sound, really gives you a lot to [Gb] play with and
is such a cool sound.
Okay, number five of our five triad pairs that sound great.
I'm not used
to talking this much without breaks.
I need my iced coffee.
I need a glass of water.
My mouth is
going dry here, but having fun at the piano.
Last one, major minor in minor thirds over a flat nine.
What the hell does that mean?
It's very simple.
So we know that a flat nine chord, you can use the
diminished scale, right?
So C [C] seven flat nine, use the half whole diminished scale.
Now, some,
these, and the funny thing about this last one is these aren't even triads.
These are kind of a
mixture of one chord.
So for this, we can use [F] four different major slash minor, not triads,
but four note shapes.
We can start with C major and minor.
So it has the major third and the minor
third, right?
C, E flat, E, G, and then up in [A] minor thirds, E flat, [C] major and minor.
[Ebm] E flat, G flat, [C] G, B flat.
See, we [C] have both major and minor, [Gb] and then G flat, major and minor, [Am] any inversion, [Gb]
[C] and then A major and [Am] minor.
Now, what's cool about this is you can go through these A major minor, G flat major minor, E flat
major minor, C major minor seamlessly, [G] and it gives you this half whole sound, this diminished sound.
Great for, [F]
I mean, isn't [Am] that, [Bb] [C]
[A] and again, mix up the order.
[Ab] Don't just go straight down and straight up all
the time.
[Gb] [C] Put little delays on it, but that sound is great.
So again, it's like a C flat nine sharp
11 [Am] sound, which is a common altered dominant sound.
[C] You have the C major and minor triad, the E flat,
the [Gb] F sharp, G flat, and [C] the A.
[Bb] [Ab] Such a cool sound.
So many possibilities with that one.
Okay, so [Em] just to
recap our list here, five triad pairs that sound great.
Number one, we have the five six over a
major.
Number two, we have the two and the three, the major two and the three over [E] a Lydian.
It's [C] D and E minor
over C.
[E] Number three, we have the flat seven and the one over a dominant chord.
[D] Number four, we have the flat five and the flat six over an altered [Gb] dominant.
[Bb]
[C] And number seven, we have the major minor, both at the same time triad in thirds, in minor thirds, for a flat nine sound, starting on the root of the flat nine.
Not starting on, but one of them.
That sequence.
[Am]
[Eb] [C] [F]
Such a cool sound.
Thank you so much for tuning in today.
[Eb] Still flying solo tomorrow, but we're going to be talking about Barry Harris's sixth diminished scale.
So stay tuned for that.
Go to youllhearit.com and ask us a question.
You can leave us a recommendation for future episodes.
You can buy yourself some You'll Hear It swag.
You can leave us a voicemail.
You can leave us a great seven star glowing review.
[Bb]
You can shout out [Eb] Peter and [Db] tell him that everything is just totally cool without him.
Whatever you want to do.
[Ab] And until tomorrow.
[Db] [Dbm] [Db]
[Dbm] [Ab] [E]
[Db]
[Ab] Hey, what's up folks?
Adam Maness here for today's You'll Hear It podcast.
Still flying
solo [Db] as Pete's schedule would not allow in a You'll Hear It recording this week.
[Ab] But
we're at the piano, which is always a [Db] popular request from our [Bb] faithful You'll Hear It listeners.
[G] And today we're talking about [Db] something that we get asked about a lot and this [Ab] is triad
pairs and how to use them and some common ones.
So here are five triad pairs that I
think sound great.
These are fairly common and [Db] pretty useful.
But with [Dbm] triad pairs, I
always say, you know, they're kind of personal.
Like [A] you need to be fiddling around with [D] these
yourselves.
Find what works with your sound.
Find ones that you like.
The great thing about
triads is because they're structured [Bb] already for you.
They're triads.
They have a structure
that sounds familiar.
You can get away with like a lot of dissonance or a little dissonance
or no dissonance, whatever you want to do.
[Ab] Find the ones that you like.
But here's some
pretty common triad pair like [F] cliches almost.
The first one is the five and the six triad over
major chord.
So if we're in C, [C] like a C major seven, [Em] we can use the G triad [Am] and the A minor
triad.
Just [C] diatonic.
[Em] Pretty basic sound, [C] but gets you really good, happy results, you know,
on this major chord.
Now with triad pairs, one of the things to practice is doing them in all
kinds of ways.
You can do them straight up and down for sure, but mix it up.
[Em] Another cool thing
about triad pairs is sometimes you can just borrow one note from the triad.
And to me, that can be
really eye-opening as far as melodic content.
So if we have this G and this A minor, you know,
here I [E] have the G triad and I'm just adding the A from the A minor [C] above it or surrounding the A
minor triad here, you know, with a G major in the middle, you know what I mean?
Going between them.
Just adding one note from that other triad can really, then it becomes almost like a hexatonic
scale that you have all these options.
But it is useful too to keep them just in triads.
[G] All right,
so the five and [C] the six, the G and the A minor over a C major seven, [Dm] by the way, this works too,
like [F] over F, [Am] Lydian and C, whatever is in the key of C that's [Dm] diatonic [A] will all work.
Okay,
for our next sound, we're going to go Lydian, which I was just kind of talking about.
And this
is a different kind of a Lydian sound.
Actually, this is the same Lydian sound that you would do
on [F] that F, but we'll do it in C so you [E] can kind of see the consistency of [Em] everything.
So this is
the major two chord, [E] it's Lydian, so we have that sharp four, that F sharp here in C.
[C] And then the
three, which is E minor.
[G]
[E] [Gb]
[G] Great sound, really, really useful.
Number three, that is on a dominant
chord, just a straight mixolydian style dominant, like a C seven, [D] no alterations or anything.
[C] The
flat seven triad and the one triad.
You could use this on [F] a sus seven chord.
Here, I'm just adding
that one note from the other triad.
Such a great sound.
Or [F] just combining them.
[D] [Bb]
Just the key is to
really experiment with different ways to play these different orders to play these different
configurations.
Great stuff.
Okay, now let's alter that dominant [D] from what would be a C [Bb] seven
or a C sus seven with no alterations.
[C] Let's do like [Bb] an altered sound.
Now, the most common one
for this is the flat five, flat six.
The G flat [Ab] and the A flat over a [Gb] C altered [Bb] [C]
[Fm] to that F minor.
[Bb] Sounds so good.
[Ab]
Really gives you that altered sound, really gives you a lot to [Gb] play with and
is such a cool sound.
Okay, number five of our five triad pairs that sound great.
I'm not used
to talking this much without breaks.
I need my iced coffee.
I need a glass of water.
My mouth is
going dry here, but having fun at the piano.
Last one, major minor in minor thirds over a flat nine.
What the hell does that mean?
It's very simple.
So we know that a flat nine chord, you can use the
diminished scale, right?
So C [C] seven flat nine, use the half whole diminished scale.
Now, some,
these, and the funny thing about this last one is these aren't even triads.
These are kind of a
mixture of one chord.
So for this, we can use [F] four different major slash minor, not triads,
but four note shapes.
We can start with C major and minor.
So it has the major third and the minor
third, right?
C, E flat, E, G, and then up in [A] minor thirds, E flat, [C] major and minor.
[Ebm] E flat, G flat, [C] G, B flat.
See, we [C] have both major and minor, [Gb] and then G flat, major and minor, [Am] any inversion, [Gb]
[C] and then A major and [Am] minor.
Now, what's cool about this is you can go through these A major minor, G flat major minor, E flat
major minor, C major minor seamlessly, [G] and it gives you this half whole sound, this diminished sound.
Great for, [F]
I mean, isn't [Am] that, [Bb] [C]
[A] and again, mix up the order.
[Ab] Don't just go straight down and straight up all
the time.
[Gb] [C] Put little delays on it, but that sound is great.
So again, it's like a C flat nine sharp
11 [Am] sound, which is a common altered dominant sound.
[C] You have the C major and minor triad, the E flat,
the [Gb] F sharp, G flat, and [C] the A.
[Bb] [Ab] Such a cool sound.
So many possibilities with that one.
Okay, so [Em] just to
recap our list here, five triad pairs that sound great.
Number one, we have the five six over a
major.
Number two, we have the two and the three, the major two and the three over [E] a Lydian.
It's [C] D and E minor
over C.
[E] Number three, we have the flat seven and the one over a dominant chord.
[D] Number four, we have the flat five and the flat six over an altered [Gb] dominant.
[Bb]
[C] And number seven, we have the major minor, both at the same time triad in thirds, in minor thirds, for a flat nine sound, starting on the root of the flat nine.
Not starting on, but one of them.
That sequence.
[Am]
[Eb] [C] [F]
Such a cool sound.
Thank you so much for tuning in today.
[Eb] Still flying solo tomorrow, but we're going to be talking about Barry Harris's sixth diminished scale.
So stay tuned for that.
Go to youllhearit.com and ask us a question.
You can leave us a recommendation for future episodes.
You can buy yourself some You'll Hear It swag.
You can leave us a voicemail.
You can leave us a great seven star glowing review.
[Bb]
You can shout out [Eb] Peter and [Db] tell him that everything is just totally cool without him.
Whatever you want to do.
[Ab] And until tomorrow.
[Db] [Dbm] [Db]
[Dbm] [Ab] [E]
Key:
C
Ab
Bb
Db
F
C
Ab
Bb
_ [Ab] _ _ [Bb] _ _ [Ab] _ _ [Bb] _
_ [Db] _ _ _ _ _ _ _
_ _ _ [Ab] Hey, what's up folks?
Adam Maness here for today's You'll Hear It podcast.
Still flying
solo [Db] as Pete's schedule would not allow in a You'll Hear It recording this week.
[Ab] But
we're at the piano, which is always a [Db] popular request from our [Bb] faithful You'll Hear It listeners.
[G] And today we're talking about [Db] something that we get asked about a lot and this [Ab] is triad
pairs and how to use them and some common ones.
So here are five triad pairs that I
think sound great.
These are fairly common and _ [Db] pretty useful.
But with [Dbm] triad pairs, I
always say, you know, they're kind of personal.
Like [A] you need to be fiddling around with [D] these
yourselves.
Find what works with your sound.
Find ones that you like.
The great thing about
triads is because they're structured _ _ [Bb] already for you.
They're triads.
They have a structure
that sounds familiar.
You can get away with like a lot of dissonance or a little dissonance
or no dissonance, whatever you want to do.
[Ab] Find the ones that you like.
But here's some
pretty common triad pair like [F] cliches almost.
The first one is the five and the six triad over
major chord.
So if we're in C, [C] like a C major seven, _ _ [Em] we can use the G triad [Am] and the A minor
triad.
Just [C] diatonic. _ _
_ [Em] Pretty basic sound, [C] but gets you really good, happy results, you know,
on this major chord.
_ _ _ Now with triad pairs, one of the things to practice is doing them in all
kinds of ways.
You can do them straight up and down for sure, but mix it up. _ _ _
[Em] _ Another cool thing
about triad pairs is sometimes you can just borrow one note from the triad.
And to me, that can be
really eye-opening as far as melodic content.
So if we have this G and this A minor, _ you know,
here I [E] have the G triad and I'm just adding the A from the A minor [C] above it _ or surrounding the A
minor triad here, you know, with a G major in the middle, you know what I mean?
Going between them. _ _ _ _ _
Just adding one note from that other triad can really, _ then it becomes almost like a hexatonic
scale that you have all these options.
But it is useful too to keep them just in triads.
[G] All right,
so the five and [C] the six, the G and the A minor over a C major seven, [Dm] by the way, this works too,
like [F] over F, [Am] Lydian and C, whatever is in the key of C that's [Dm] diatonic _ [A] _ _ _ will all work.
Okay,
for our next sound, we're going to go Lydian, which I was just kind of talking about.
And this
is a different kind of a Lydian sound.
Actually, this is the same Lydian sound that you would do
on [F] that F, but we'll do it in C so you [E] can kind of see the consistency of [Em] everything.
So this is
the major two chord, [E] it's Lydian, so we have that sharp four, that F sharp here in C.
[C] And then the
three, which is E minor.
_ _ _ [G] _
_ _ [E] _ _ [Gb] _ _ _ _
_ _ _ [G] Great sound, really, really useful.
Number three, that is on a dominant
chord, just a straight mixolydian style dominant, like a C seven, [D] no alterations or anything.
[C] The
flat seven triad and the one triad.
_ _ You could use this on [F] a sus seven chord. _ _ _ _ _ _ _
_ _ _ _ Here, I'm just adding
that one note from the other triad.
_ _ _ _ Such a great sound.
Or [F] just combining them.
_ _ [D] _ _ _ [Bb] _
_ Just the key is to
really experiment with different ways to play these different orders to play these different
configurations.
Great stuff.
Okay, now let's alter that dominant [D] from what would be a C [Bb] seven
or a C sus seven with no alterations.
[C] _ Let's do like [Bb] an altered sound. _ _ _
Now, the most common one
for this is the flat five, flat six.
The G flat [Ab] and the A flat over a [Gb] C altered _ [Bb] _ _ [C] _ _
_ [Fm] _ _ to that F minor.
[Bb] Sounds so good. _ _
_ _ _ _ [Ab] _ _ _
Really gives you that altered sound, really gives you a lot to [Gb] play with and
is such a cool sound.
Okay, number five of our five triad pairs that sound great.
I'm not used
to talking this much without breaks.
I need my iced coffee.
I need a glass of water.
My mouth is
going dry here, but having fun at the piano.
Last one, major minor in minor thirds over a flat nine.
What the hell does that mean?
It's very simple.
So we know that a flat nine chord, you can use the
diminished scale, right?
So C [C] seven flat nine, _ use the half whole diminished scale. _ _ _ _ _
_ Now, some,
these, and the funny thing about this last one is these aren't even triads.
These are kind of a
mixture of one chord.
So for this, we can use [F] four different major slash minor, _ not triads,
but four note shapes.
We can start with C _ major and minor.
So it has the major third and the minor
third, right?
C, E flat, E, G, and then up in [A] minor thirds, E flat, [C] major and minor.
[Ebm] E flat, G flat, [C] G, B flat.
See, we [C] have both major and minor, [Gb] and then G flat, major and minor, _ _ _ [Am] any inversion, [Gb] _ _
_ [C] and then A major and [Am] minor.
_ Now, what's cool about this is you can go through these A major minor, G flat major minor, E flat
major minor, C major minor seamlessly, _ _ _ _ _ _ _ _ [G] and it gives you this half whole sound, this diminished sound.
Great for, _ _ [F] _ _
I mean, isn't [Am] that, _ _ [Bb] _ _ _ [C] _
_ _ _ _ _ _ _ _
_ [A] and again, mix up the order.
[Ab] Don't just go straight down and straight up all
the time. _
_ _ [Gb] _ _ _ [C] Put little delays on it, but that sound is great.
So again, it's like a C flat nine sharp
11 [Am] sound, which is a common altered dominant sound.
[C] You have the C major and minor triad, the E flat,
the [Gb] F sharp, G flat, and [C] the A. _ _ _ _
[Bb] _ [Ab] Such a cool sound.
So many possibilities with that one.
Okay, so [Em] just to
recap our list here, five triad pairs that sound great.
Number one, we have the five six over a
major.
_ _ _ Number two, we have the two and the three, the major two and the three over [E] a Lydian.
_ It's [C] D and E minor
over C.
[E] _ _ _ _ Number three, we have the flat seven and the one over a dominant chord. _ _
_ _ [D] _ _ _ Number four, we have the flat five and the flat six over an altered [Gb] dominant.
_ [Bb] _ _ _
_ [C] _ _ _ _ _ And number seven, we have the major minor, both at the same time triad in thirds, in minor thirds, for a flat nine sound, starting on the root of the flat nine.
Not starting on, but one of them.
_ That sequence.
_ [Am] _
_ _ [Eb] _ _ [C] _ _ _ [F]
Such a cool sound.
Thank you so much for tuning in today.
[Eb] Still flying solo tomorrow, but we're going to be talking about Barry Harris's sixth diminished scale.
So stay tuned for that.
Go to youllhearit.com and ask us a question.
You can leave us a recommendation for future episodes.
You can buy yourself some You'll Hear It swag.
You can leave us a voicemail.
You can leave us a great seven star glowing review.
[Bb]
You can shout out [Eb] Peter and [Db] tell him that everything is just totally cool without him. _
Whatever you want to do.
_ [Ab] And until tomorrow. _
_ _ [Db] _ _ _ [Dbm] _ _ [Db] _
_ _ [Dbm] _ _ [Ab] _ _ _ [E] _
_ [Db] _ _ _ _ _ _ _
_ _ _ [Ab] Hey, what's up folks?
Adam Maness here for today's You'll Hear It podcast.
Still flying
solo [Db] as Pete's schedule would not allow in a You'll Hear It recording this week.
[Ab] But
we're at the piano, which is always a [Db] popular request from our [Bb] faithful You'll Hear It listeners.
[G] And today we're talking about [Db] something that we get asked about a lot and this [Ab] is triad
pairs and how to use them and some common ones.
So here are five triad pairs that I
think sound great.
These are fairly common and _ [Db] pretty useful.
But with [Dbm] triad pairs, I
always say, you know, they're kind of personal.
Like [A] you need to be fiddling around with [D] these
yourselves.
Find what works with your sound.
Find ones that you like.
The great thing about
triads is because they're structured _ _ [Bb] already for you.
They're triads.
They have a structure
that sounds familiar.
You can get away with like a lot of dissonance or a little dissonance
or no dissonance, whatever you want to do.
[Ab] Find the ones that you like.
But here's some
pretty common triad pair like [F] cliches almost.
The first one is the five and the six triad over
major chord.
So if we're in C, [C] like a C major seven, _ _ [Em] we can use the G triad [Am] and the A minor
triad.
Just [C] diatonic. _ _
_ [Em] Pretty basic sound, [C] but gets you really good, happy results, you know,
on this major chord.
_ _ _ Now with triad pairs, one of the things to practice is doing them in all
kinds of ways.
You can do them straight up and down for sure, but mix it up. _ _ _
[Em] _ Another cool thing
about triad pairs is sometimes you can just borrow one note from the triad.
And to me, that can be
really eye-opening as far as melodic content.
So if we have this G and this A minor, _ you know,
here I [E] have the G triad and I'm just adding the A from the A minor [C] above it _ or surrounding the A
minor triad here, you know, with a G major in the middle, you know what I mean?
Going between them. _ _ _ _ _
Just adding one note from that other triad can really, _ then it becomes almost like a hexatonic
scale that you have all these options.
But it is useful too to keep them just in triads.
[G] All right,
so the five and [C] the six, the G and the A minor over a C major seven, [Dm] by the way, this works too,
like [F] over F, [Am] Lydian and C, whatever is in the key of C that's [Dm] diatonic _ [A] _ _ _ will all work.
Okay,
for our next sound, we're going to go Lydian, which I was just kind of talking about.
And this
is a different kind of a Lydian sound.
Actually, this is the same Lydian sound that you would do
on [F] that F, but we'll do it in C so you [E] can kind of see the consistency of [Em] everything.
So this is
the major two chord, [E] it's Lydian, so we have that sharp four, that F sharp here in C.
[C] And then the
three, which is E minor.
_ _ _ [G] _
_ _ [E] _ _ [Gb] _ _ _ _
_ _ _ [G] Great sound, really, really useful.
Number three, that is on a dominant
chord, just a straight mixolydian style dominant, like a C seven, [D] no alterations or anything.
[C] The
flat seven triad and the one triad.
_ _ You could use this on [F] a sus seven chord. _ _ _ _ _ _ _
_ _ _ _ Here, I'm just adding
that one note from the other triad.
_ _ _ _ Such a great sound.
Or [F] just combining them.
_ _ [D] _ _ _ [Bb] _
_ Just the key is to
really experiment with different ways to play these different orders to play these different
configurations.
Great stuff.
Okay, now let's alter that dominant [D] from what would be a C [Bb] seven
or a C sus seven with no alterations.
[C] _ Let's do like [Bb] an altered sound. _ _ _
Now, the most common one
for this is the flat five, flat six.
The G flat [Ab] and the A flat over a [Gb] C altered _ [Bb] _ _ [C] _ _
_ [Fm] _ _ to that F minor.
[Bb] Sounds so good. _ _
_ _ _ _ [Ab] _ _ _
Really gives you that altered sound, really gives you a lot to [Gb] play with and
is such a cool sound.
Okay, number five of our five triad pairs that sound great.
I'm not used
to talking this much without breaks.
I need my iced coffee.
I need a glass of water.
My mouth is
going dry here, but having fun at the piano.
Last one, major minor in minor thirds over a flat nine.
What the hell does that mean?
It's very simple.
So we know that a flat nine chord, you can use the
diminished scale, right?
So C [C] seven flat nine, _ use the half whole diminished scale. _ _ _ _ _
_ Now, some,
these, and the funny thing about this last one is these aren't even triads.
These are kind of a
mixture of one chord.
So for this, we can use [F] four different major slash minor, _ not triads,
but four note shapes.
We can start with C _ major and minor.
So it has the major third and the minor
third, right?
C, E flat, E, G, and then up in [A] minor thirds, E flat, [C] major and minor.
[Ebm] E flat, G flat, [C] G, B flat.
See, we [C] have both major and minor, [Gb] and then G flat, major and minor, _ _ _ [Am] any inversion, [Gb] _ _
_ [C] and then A major and [Am] minor.
_ Now, what's cool about this is you can go through these A major minor, G flat major minor, E flat
major minor, C major minor seamlessly, _ _ _ _ _ _ _ _ [G] and it gives you this half whole sound, this diminished sound.
Great for, _ _ [F] _ _
I mean, isn't [Am] that, _ _ [Bb] _ _ _ [C] _
_ _ _ _ _ _ _ _
_ [A] and again, mix up the order.
[Ab] Don't just go straight down and straight up all
the time. _
_ _ [Gb] _ _ _ [C] Put little delays on it, but that sound is great.
So again, it's like a C flat nine sharp
11 [Am] sound, which is a common altered dominant sound.
[C] You have the C major and minor triad, the E flat,
the [Gb] F sharp, G flat, and [C] the A. _ _ _ _
[Bb] _ [Ab] Such a cool sound.
So many possibilities with that one.
Okay, so [Em] just to
recap our list here, five triad pairs that sound great.
Number one, we have the five six over a
major.
_ _ _ Number two, we have the two and the three, the major two and the three over [E] a Lydian.
_ It's [C] D and E minor
over C.
[E] _ _ _ _ Number three, we have the flat seven and the one over a dominant chord. _ _
_ _ [D] _ _ _ Number four, we have the flat five and the flat six over an altered [Gb] dominant.
_ [Bb] _ _ _
_ [C] _ _ _ _ _ And number seven, we have the major minor, both at the same time triad in thirds, in minor thirds, for a flat nine sound, starting on the root of the flat nine.
Not starting on, but one of them.
_ That sequence.
_ [Am] _
_ _ [Eb] _ _ [C] _ _ _ [F]
Such a cool sound.
Thank you so much for tuning in today.
[Eb] Still flying solo tomorrow, but we're going to be talking about Barry Harris's sixth diminished scale.
So stay tuned for that.
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