If your in key of D playing a blues. Your playing the 1 in a blues A7. Can you use the minor triad pairs Em and F#m.. and then mix the Em and Gmaj triad (being the 1 and 6 of the key of G.. and the Amaj and F#m (being the same 1 and 6). Theoretically it should be possible.. which also in that case be able to play the tritone and a relative minor as a triad pair.. I would be interested upon your thoughts of such experimentations.. this way moving from a 1 into 4 in the blues.. using triad pairs would bring on some interesting intervalic concepts ..
You’ve sucked all life out of your playing at this point though - play it... does it sound good? Who cares if “theoretically it should be possible”, because “theoretically” the triad pair in this video shouldn’t be possible
I know this comment is late, but I'd like to answer it anyway. You are talking about a 12 bar blues in A. Now the first thing I want to point out is that we are talking about a chord *progression* here. A basic blues chord progression goes like this: A7-A7-A7-A7 D7-D7-A7-A7 E7-D7-A7-E7 So you've got several bars of A7 (bars 1, 2, 3, 4, 7, 8 and 11), BUT they happen at different points in the progression. You need to understand that if you want to sound good, you have to be aware not only about the chord that is playing right now, but also the chord that is next. In other words, play with a *direction*, depending on what is coming next. For example the A7 in bar 1 is followed by 3 other bars of A7 (so A7 to A7). That tells you that at this point we're not moving anywhere, so most likely we want to play something that give a sense of stability or resolution. On the other hand, the A7 on bar 4 is followed by a bar of D7 (so A7 to D7). So in this case we are moving somewhere else. In this case playing something that is more tense, or unstable can work, as long as you resolve it nicely. Back to the initial topic: as you can hear in this video, Levi is giving you a nice tool that allows you to create tension on a dominant chord. In order to use this tool properly you have to look at chord progressions and decide where you want to put this tension, where it makes sense to *your* ears, wether you like it or not. Like I've explained above, on some chords it will sound jarring, on some chords it will be nice and spicy. But you have to listen and be aware of the context. And at the end of the day it's all up to you to decide if you like a sound or not.
Wow these triads remind me of Zelda! Definitely going to go through these and learn them, motivated by games! \m/ Thanks for the lesson Levi, I've been learning quite a bit from you and Martin Miller.
Absolutely killer playing! Earned a sub here from!
Really great stuff Levi!
Great lesson, bro! Can’t wait for the next one! -Jeff
nice man! would be cool to maybe do a follow up vid that could touch base on some enclosures and approaches with these triad pair ideas?
If your in key of D playing a blues. Your playing the 1 in a blues A7. Can you use the minor triad pairs Em and F#m.. and then mix the Em and Gmaj triad (being the 1 and 6 of the key of G.. and the Amaj and F#m (being the same 1 and 6). Theoretically it should be possible.. which also in that case be able to play the tritone and a relative minor as a triad pair.. I would be interested upon your thoughts of such experimentations.. this way moving from a 1 into 4 in the blues.. using triad pairs would bring on some interesting intervalic concepts ..
You’ve sucked all life out of your playing at this point though - play it... does it sound good? Who cares if “theoretically it should be possible”, because “theoretically” the triad pair in this video shouldn’t be possible
I know this comment is late, but I'd like to answer it anyway. You are talking about a 12 bar blues in A.
Now the first thing I want to point out is that we are talking about a chord *progression* here.
A basic blues chord progression goes like this:
A7-A7-A7-A7
D7-D7-A7-A7
E7-D7-A7-E7
So you've got several bars of A7 (bars 1, 2, 3, 4, 7, 8 and 11), BUT they happen at different points in the progression. You need to understand that if you want to sound good, you have to be aware not only about the chord that is playing right now, but also the chord that is next. In other words, play with a *direction*, depending on what is coming next.
For example the A7 in bar 1 is followed by 3 other bars of A7 (so A7 to A7). That tells you that at this point we're not moving anywhere, so most likely we want to play something that give a sense of stability or resolution.
On the other hand, the A7 on bar 4 is followed by a bar of D7 (so A7 to D7). So in this case we are moving somewhere else. In this case playing something that is more tense, or unstable can work, as long as you resolve it nicely.
Back to the initial topic: as you can hear in this video, Levi is giving you a nice tool that allows you to create tension on a dominant chord. In order to use this tool properly you have to look at chord progressions and decide where you want to put this tension, where it makes sense to *your* ears, wether you like it or not. Like I've explained above, on some chords it will sound jarring, on some chords it will be nice and spicy. But you have to listen and be aware of the context. And at the end of the day it's all up to you to decide if you like a sound or not.
Wow these triads remind me of Zelda! Definitely going to go through these and learn them, motivated by games! \m/
Thanks for the lesson Levi, I've been learning quite a bit from you and Martin Miller.
I know where you’re coming from! Good spot
Secrete sauce 👍
Disharmony