Triad Pairs Redeemed!

When I hear players (including myself) using triad pairs I usually find myself cringing. In theory it is an interesting technique that generates lines that are neither horizontal nor vertical. The bi-tonal effect can be pretty cool as well. I've worked out of both Gary Cambell's Triad Pairs for Jazz and Bergonzi's Hexatonic books and was pretty excited about the possibilities, at least at first. I soon realized that this technique usually sounds too much like a simple formula, which is of course exactly what it is. I even get bugged sometimes when I hear great players like Weiskopf or Bergonizi use Triad Pairs too blatantly.


Here are some ways that I have found to make Triad Pairs sound less formulaic and more organic:

• Play only two notes of a triad before switching to the second triad
• Use two different  types of triads (Maj/Aug or Min/Dim)
• Try using two notes of one triad and three notes of the second triad
• Side-slip chromatically to a triad(s) a half-step above or below one (or both) triads
• Stack the triads on top of each other to create uneven (chunky) vertical structures
• Add a pentatonic scale to the mix so you are alternating between three different elements
• Displace notes of the triads to create unusual spread structures (see exercise #2)
• Add a third triad to the mix (example: Over C-7 use Eb Maj, F Maj and G Maj triads)
• OR one of my favorite things to do- just start throwing some chromaticism into the mix

This last technique can really obscure the fact that you are using a formula to construct your lines. You can add simple single note chromatic approachs (like exercise #1) or fancy-pants multi-note Bebop enclosures. Since the Triad Pair/Hexatonic formula is a simple one to execute adding some chromatic approaches to it isn't a huge stretch.

Below are some examples I wrote to illustrate how chromatic approaches can make Triad Pair lines a little hipper sounding.  I've kept the patterns fairly simple for illustration purposes, so some of these still sound a bit formulaic. If you really mix all of these techniques together you can create some truly organic sounding lines.

(I used Major triads from the #11 and b13 over the dominant chord for an altered dominant sound)

(click the above graphic for a larger view)

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