Yes, sometimes those books are DENSE, and it isn't clear how much we can do with ONE little line from ONE page. This is all about digging fewer holes, but deeper ones. I'm so happy you are finding some traction. Hey, please subscribe if you haven't yet. There is MUCH more good stuff coming. And if you haven't already, please jump in to a Free 30 Day Limited access to JazzWire. I would love to work together with you in a more meaningful (and not too expensive) way. With the Free 30 Day Trial, you’ll see what we're doing behind the wall! You'll be inside in about 20 seconds, no credit card required. www.jazzwire.net/free-trial/. These videos are great, but they are a SHADOW compared to the real work and we can do together!
So happy you enjoyed it. I hope you get a LOT of use from this. Hey, if you haven't already, please jump in to a Free 30 Day Limited access to JazzWire. I would love to work together with you in a more meaningful (and not too expensive) way. With the Free 30 Day Trial, you’ll see what we're doing behind the wall! You'll be inside in about 20 seconds, no credit card required. app.jazzwire.net/free-trial. These videos are great, but they are a SHADOW compared to the real work and we can do together!
I'm so happy that you are enjoying the video. Please subscribe if you haven't yet. There is MUCH more good stuff coming. And hey, if you haven't already, please jump in to a Free 30 Day Limited access to JazzWire. I would love to work together with you in a more meaningful (and not too expensive) way. With the Free 30 Day Trial, you’ll see what we're doing behind the wall! You'll be inside in about 20 seconds, no credit card required. www.jazzwire.net/free-trial/. These videos are great, but they are a SHADOW compared to the real work and we can do together!
Inspiring lesson, Jeff! I bought the Weiskoff book on triad pairs and was sort of itimidated by its apparent difficulty but years hv passed n weve learned a bit more n im ready for this. A piano nearby helps a lot to put some accompaniment to the pairs. You mentioned intervals, sticking some compatible triads in fourths down in the left hand w the triad pairs moving in the right can produce some very unusual and beautiful sounds. A good example of the use of triad pairs in a solo is Oliver Nelsons in Stolen Moments. You are doing great work educating us in jazz! Many thanks!
I'm so happy that you are enjoying these videos! Please subscribe if you haven't yet. And yes, "books" are just not the way to learn this stuff, sad to say. I love Walt and his information is GREAT, but the medium of books just isn't the way to get traction. There is MUCH more good stuff coming. And hey, if you haven't already, please jump in to a Free 30 Day Limited access to JazzWire. I would love to work together with you in a more meaningful (and not too expensive) way. With the Free 30 Day Trial, you’ll see what we're doing behind the wall! You'll be inside in about 20 seconds, no credit card required. www.jazzwire.net/free-trial/. These videos are great, but they are a SHADOW compared to the real work and we can do together!
Jeff, Thanks for another great, informative video. Because of this, I now hear myself playing things which the great saxmen had me bewildered by. There is a lot of work ahead of me, but at 61, I am more energized about playing jazz sax, than ever before. Thanks again.
Thanks for tuning in, and for the nice words Dave. I DO love helping people through this music, so I'm glad that it comes across. I hope we'll have you along for the ride on the future Digging Deeper videos.
knowledge unlocked....ive known about triad pairs for a while but your wonderful examples along with your wisdom is helping me develop a new voice and confidence. Thanks Jeff
Thanks for the note, and the kind words. I'm so glad that, although you've known about this device for awhile, we helped you get into it a bit deeper. I love it! Please stay in touch.
Jeff Antoniuk - Educator hi Jeff the video is an absolute gold mine. I've, so far only used the root and 1st inversions but with some of my favorite rhythm groups... it produces an almost infinite number of motif ideas with completely new, to me , intavalic combinations...my wife also stopped crying ( for those 'other reasons' that you mentioned) and asked me what I was playing!... thanks again.
@@robinmarwick1982 Love it! Man, I hope we can work together at www.JazzWire.net. This is a faint hint of the power of what we are doing at Jazz Wire. See you there!
Jeff Antoniuk - Educator Once again , Jeff, I have to say how useful this and your other triad pair videos have been. I've been in a rut for a considerable time - years in fact - playing the same old uninspired lines over and over. I have a Bmus with classical guitar and writing techniques as my major so my theoretical knowledge of contemporary harmony is ok. I analysed the Bartok viola concerto and theoretically understand the axis system/tritone substitution but have never been able to comfortably write or play a convincing line. But...now I'm using #f as a cadence point over a cmaj7 chord...nothing special to a real jazz musician but I wouldn't have got there without your triad pairs...thanks again
@@robinmarwick1982 , I really want to see you at www.JazzWIre.net. That "rut" you mention is very typical, but something you can quickly leave behind. Join me and our great Community. You'll be happy you did, I guarantee!
Thanks! Glad you enjoyed this. I mentioned in another comment you made about joining us at www.JazzWire.net. We use a LOT of these sorts of frameworks to get people REALLY moving ahead with their playing and understanding of the the music. It doesn't have to be so hard!! See you there.
I'm with you. So many people try to teach or learn 45 variations at once. BAD IDEA!! Stay with ONE thing, and dig deeper. So glad you enjoyed this. I hope that perhaps we'll be able to do some real work together at www.JazzWire.net. I hope to so you there, John!
Thanks Sam. Yes, the Digging Deeper videos are for ALL instruments. I play bass myself, and use this stuff all the time! Please stay in touch, brother.
Love that sound Jeff. I just spent an hour on those two triad, the c Mai and d maj, great. I just started with this approach last week and was using the tonic and the 2 min, ie c maj with d min but I love the d maj... Keep well and Thankyou Ray
Hi Jeff. Love your channel! Congratulations! I would love to see something about the blues since that is what I am trying to learn lately. I am a little confused about the pentatonics and all that stuff. Thank you for the videos. They are really amazing.
Thanks for writing. I'm so happy that you are enjoying the videos. You know, we are going to be working a TON on the blues at the new web site, www.JazzWire.net. I hope you'll join us there. That said, we have probably 6 or 8 Digging Deeper videos that address various aspects of the blues, or use the blues as an example. Look back and you'll find some things for sure.
Hi Jeff thanks man , i love your lessons and your vibe (you are a gentleman) could you recommend a book to learn this triad stuff, again much love and total respect
Thanks for taking the time to write, Justin. You know, I don't think books are a good path forward at all, frankly. Working in a community is how to make real progress, so that you get feedback daily and weekly. I hope you'll join me at www.JazzWire.net. Let me know if you have any questions. That would be a way for us to work together, and really get you some traction.
So glad you are enjoying this material. If you want more, we have just the thing for you! Visit www.JazzWire.net, and join us there. You'll have a blast, and meet 100's of great amateur and semi-pro musicians from around the world. You'll love it.
I love it! "Light bulbs" are some of my favorite things!! So glad this helped. Please tune in to the Digging Deeper series, Samuel. We have a new video every Friday. Hope to have you with us.
Thanks for the note, and so happy that you are enjoying Digging Deeper. Please subscribe if you haven't - much more good material coming (especially DD # 49 this week).
I’ve been working with concept for a little while now. Just one pair to get a feel for the sound and intervals. The challenge I find is getting away from “etude sound” and getting to the jazz sound. Any suggestions?
"Rhythm" is how we make patterns sound more like music. Vary the rhythms, and you have some amazing sounding stuff happening VERY quickly. I'm so happy that you are enjoying these videos. Please subscribe if you haven't yet. There is MUCH more good stuff coming. And hey, if you haven't already, please jump in to a Free 30 Day Limited access to JazzWire. I would love to work together with you in a more meaningful (and not too expensive) way. With the Free 30 Day Trial, you’ll see what we're doing behind the wall! You'll be inside in about 20 seconds, no credit card required. www.jazzwire.net/free-trial/. These videos are great, but they are a SHADOW compared to the real work and we can do together!
@@JeffAntoniukEducator Thank you for responding! Working on this daily, searching for some rhythmic variation. The triad pair is an astonishing “simple” way to get a modern colorful sound away from the regular chord/scale construction I’ve been confined to. Mind blowing, really. Glad I found out about it. Wish it was much sooner! After experimenting with your idea, I switched to using Emin/Dmaj triads over Cmaj, to capture the 7 th and avoid the root. I guess they call that the hexatonic. I’ll be moving to video #2 shortly! Thanks again, and aloha!
Coffin Man great observation. Sanborn (and so many others) have gotten some good mileage from this stuff. Stay in touch and let me know how it goes for you.
I'm learning Lotus Blossom on tenor right now. I started it at proper pitch but haven't got the dexterity from my G4 and A4, so I decided to learn it from the alto sheet instead (Lol that's how he played it). Not quite there yet playing the 16th notes with the accurately pulsed feel he gets, still trying to confirm it all in memory and muscle. I guess once I get it.... He makes a whole big thing into one phrase doesn't he! I was learning The cost of living but there's a bit in the solo, I can follow it mentally (but only slowly to retain the mental detail as I go), I think it's impossible to reproduce. Same thing at the end of the common ground solo, it's like someone lit a rocket. And if you learn these solos and then leave those bits out it will sound totally crap of course. One day maybe I can play these things. Until then, I busk and people like Pink panther and such stuff so it's ok.
Of all the videos ive watched on triads, this has been the easiest to understand. Thank you so much, I am now going to try this out. Triad pair G and A?
Clarity and Awesomeness are my two stated goals. I'm going for "two out of two!" Yes indeed, G triad and A triad over a G chord. Let me know how it goes for you, Liam.
Jeff Antoniuk - Educator can improvising be a combination of 2 triads and the pentatonic scale of the key? Ie in say key of G can you improvise with triads G and A and then maybe halfway through the solo jump to the pentatonic? Or would it just not fit? Thank you
You know, @@liamf1463 , you are 100% ready for www.JazzWire.net! This is EXACTLY what we dig in to day in and day out there. In short . . . those are two tools you mentioned, and absolutely it could work. Or not! Depends on your approach . . . . If I heard you play and try it, I could certainly guide you easily. I hope we'll get to work together at Jazz Wire., Liam.
Thanks for checking out the video, and welcome to the community! Drop me a line at DiggingDeeperJazz @ gmail.com if you'd like any of the past pdfs. Much more good stuff coming!
Glad you liked it Yolanda. Please subscribe to the channel if you haven' yet. Much more good stuff to come (every week!). Yes, please write us at DiggingDeeperJazz @ gmail.com and we'll send that pdf off to you.
‘’I like talking about larger concepts, then turning you loose”. I would love to see a video on your large concept in regards to modal playing. I found two broad concepts on TH-cam that got me excited. Somehow I missed this instruction at UNT 🙁 Rick Beato (Music Theory Basics: Modes and How To Use Them) drives home the point of targeting the half steps found in each mode, since they define the mode. Frank Gambale (Guitar Lessons, Modes, No More Mysteries) teaches a very simple system for hearing the characteristics of each mode by building chord progressions for each mode using the first note of the mode in the bass as a pedal tone and the IV - V of the major scale it is derived from, then improvising over those chords. C Ionian = F/C and G/C, C Dorian = Eb/C and F/C, C Phrygian = Db/C and Eb/C, C Lydian = C and D/C, C Mixolydian = Bb/C and C, C Aeolian = Ab/C and Bb/C, C Locrian = Gb/C and Ab/C. You can generate really great jam tracks that perfectly compliment each mode using only two chords. Sometimes Frank will add a third chord, I.e., C maj. for C Ionian, C min. for C Dorian and C Aeolian.
I love Frank's approach . . . I'm going to have to try that out. That really, to me, is the way to do it. It's all about de-mystifying the sound of each mode, since that is what they are . . . "sounds." Getting used to the internal logic of each. I think you have everything you need right there!
Jeff Antoniuk - Educator Glad you found it useful. There are many complicated formulas, some I remember from my arranging days, but nothing that so completely simple. What a great ear training technique.
hey jeff i just smoothed over cmaj7 vamp in lydian for the first time and its all thanks to you. Great video! but i got adventurous half way through and tried adding a 7th to the upper triad. it sounded sooooo bad. like wow. that really doesnt work!
Nice video!.........hey, Stravinsky and the “classicals” might have used it as a compositional tool but, did they SWING?.......tonic dominant harmony is everywhere in jazz, yes! But, the most difficult part in playing Coltrane or ornette or joe Henderson isn’t the notes or harmony it’s that dam POLY RYTHMN and POLY METER!
I'd agree 100%. The harmony is something we talk about a lot, but the RHYTHM is really where it's at. Time, groove, feel, rhythm . . . the secret sauce. We'll be digging into the rhythmic side of things a LOT at the new www.JazzWire.net site. I hope it may be of interest to you. We'll be working regularly a lot of deeper ideas.
Thanks Preston! So glad that you are digging them. If you haven't yet, check out the video on JazzWire. It's a new project for 2018 that is going to really add a ton of value and connection for you and the thousands of other adult semi-pros and amateurs out there. I can't wait to get you involved.
Thanks Gary. Stay tuned, as there is much more cool stuff coming, plus the Jazz Wire web site launching September 1, 2018. Glad you are enjoying Digging Deeper, and our approach.
Awesome lesson Jeff thank u! I’ve been trying to wrap my head around triad pairs for a while too. Could this also be seen as an A minor pentatonic with an added 13 / C major pentatonic with an added #11 over a C maj 7 or is that looking into it to deeply?? The second inversion of the triad has that wide 4th “sound” from the G to the C like you said so would it be wise to stick to a certain intervallic sound produced by the triads inversion rather than adding a note to a pentatonic or is this two sides of the same coin?? Regards
The notes add up to that, as you say. But . . . the power of the triad pairs is that they are NOT a scale, they are triads, with the built-in thirds and fourths that a triad has. If you reduce triad pairs to a scale (which we can do), we lose the cool shapes inherent in the triad pairs. Good reasoning though!!
Jeff Antoniuk - Educator Thank you Jeff for clearing that up this has been bugging me for awhile now. Ive been trying to get away from that stepwise scaled sound and develop a more cohesive open sound that wants to jump and swing. I will take this approach and run with it! Regards
Phoenicia Hotel very kind of you. I’m so happy that you are enjoying the videos. Definitely let me know if you want any of the PDFs for the Digging Deeper videos.
Seems like the C and D triads would miss out on the b7 for a dominant. How about a three triad move over C Bb and D. (Might need a couple of bars to make it work)
You bet , , , that would work. The only possible thing is that with three triads, you now have 8 notes . . . and are getting dangerously close to having a scale, which is what we were trying to get away from with the triads. Triad PAIRS are classic, but moving from one triad to another works fine. For instance, try playing major triads up chromatically. It's entirely chromatic of course, but it's a cool sound. All 12 triads, yet it doesn't sound like a scale (well, the chromatic scale maybe).
Learn one thing at a time- good advice that. I know a guy who studied with this Zen master in Japan. For the first year he was only allowed to play one note on his bamboo flute. I prefer master Jeff's methods. He gives us six notes to play.
I'm probably missing something obvious, but how do you choose which two triads to play? I would have jumped (mistakenly) to picking diatonic pairs, but I don't think that is what you are doing with the first example of the C and Dmaj triads? So if I'm playing, say, in Bb, how would I know which pairs to play?
There are a LOT of different "tried and true" triad pairs to use, and it just takes some study and/.or a good teacher to guide you to them. Join us at www.JazzWire.net if you want it all in SPADES! Hope to see you there!
He does not explained clearly..the chord symbol should be Cmajor +11 Buy the walt weiskopt-triad pairs...but basically you can use any triads from a major scale ,meloc.minor,harmonic minor,diminished....or jerry bergonzy the true masters
Hi Jeff, thanks for another great video! Also, I'm wondering when you were improvising were you still playing 3 note combinations while you were switching back and forth or were you just playing various combinations of any of those 6 notes?
Great questions - Always alternating "these 3 notes, and now these 3 notes." If you just play combinations of the 6, you end up with a scale, which is NOT the point. Always alternating between the two groups of notes. Very good question!
Well Grant, this is a "one on one" sort of thing. It's all about the context of the rhythm. This is exactly the level that we get to inside www.JazzWIre.net every day. Join us there, and let's dig into it! (use the code "diggingspring" when you register to save some $$).
Green Dolphin Street and Four, here I come. I've said it before, but I've made great strides in my playing already. Can't wait to get home so I can start getting these under my fingers. They don't like me practicing in the motel room. I don't know why. Here's a question. I've always been troubled by whole tone scales. How do you get something to resolve when there's no half step? Quartile harmony is sort of the same thing, but at least I've been able to create some cool sounding licks by working the arpeggios up and down basically by half steps. The problem there is where do I use them and over what chords.
+MrHeadingSouth I hope you make it out of the hotel unscathed! I'm so glad that this stuff is hitting home for you. Yes, Whole Tone Scales are a whole other thing… Sounds like a good topic for a video coming up! Same with fourths… Another fantastic sound, but it isn't immediately obvious how to fit it in with everything else. Great observations.
Not silly at all. "Lydian" is the mode that gives us a scale with a #4. The "C Lydian" scale is C - D - E - F# - G - A - B - C. So, the Triad Pair of C and D (C - E - G and D - F# - A) has a Lydian sound. There is that #4 (F#) in there. Ta-da! Problem solved.
Robert Norris basically think of it of a good old fashioned major scale and raise that 4 up a half step (#4)! Major C D E F G A B Lydian C D E F# G A B Any major scale that has that raised 4th typically has that “Lydian sound” because of that beautiful sunny vibrant magical sound Lydian evokes... like a cadmium yellow or hansa yellow oil paint. Other modes can have a characteristic sound... that “Dorian sound” or that “Phrygian sound”... all part of exploration of what colors each mode are invocation of. Good luck and have fun!
I thought that it was great. I am reading a book about arranging and how to spice up the chord charts in my fake book, you know, with extra chords, or modal concepts, It is a Berkeley School of music book and it's tough for us aging Blue's dude's that at last have some chops but wanna learn jazz without paying 50$ an hour every week for the neck two years, let alone tuition etc for a quality school( mommy, daddy, where are you now that I'm not cute and cuddly).
Yes, I'm afraid those books (most books . . .?) aren't going to get you where you want to go. Thanks for tuning in here to Digging Deeper. We have much more good stuff, so I hope you'll keep visiting. And, if you want to get really serious and get some actual personal attention in your playing and development, visit us at www.JazzWire.net. I'd love to work with you there. $50 a month, and worth about eight times that!!
Paige Carr so glad you are enjoying the Digging Deeper videos! You ask a great question, which doesn’t have a straight forward one sentence answer! Join us a www.JazzWire.net. This is the stuff we do day in and day out there! Hope to work with you soon!
thank you very much. all of income comes from playing my ax. mostly solo..4-5. hours. I have 1 weekly. restaurant. gig going on. 5 years. the. rest is street perf ormance. standards and classic bebop. I'm add Joe Henderson Wayne Shorter Woody Shaw. to the mix.. I am convinced after watching this once that you can help me a lot .I'm over 60 years old and just finally got on the internet. Question: Very few people seem too know what I'm doing. people often comment that I am always playing the same song. I don't expect. people. to know. music. but do you most are tone deaf. ?
Thanks for the note! You mentioned "playing solo." Is that JUST sax, with no accompaniment? That could be why people have a hard time hearing what is going on . . . it is very challenging (and fun) to pull this off. To have them hear the harmony that you are implying. In a previous video I talked about Unaccompanied Playing (th-cam.com/video/UdPNVeVi2_s/w-d-xo.html). Check that out and see if it helps.
Thanks for tuning in and writing, brother. If you want a longer video, with less information, I might suggest a "Cute Cat Compilation" video. I think you'll find them VERY long, and with almost no information. :)
![BOWKYLION - วิงวอน (ex-change) [Official MV]](http://i.ytimg.com/vi/cLdnZWDaO-w/mqdefault.jpg)
Jeff, I have the Walt Weiskopf book on triad pairs which I love but this helps me to apply it soooo easily. Thanks a million!❤❤❤❤❤
Yes, sometimes those books are DENSE, and it isn't clear how much we can do with ONE little line from ONE page. This is all about digging fewer holes, but deeper ones. I'm so happy you are finding some traction. Hey, please subscribe if you haven't yet. There is MUCH more good stuff coming.
And if you haven't already, please jump in to a Free 30 Day Limited access to JazzWire. I would love to work together with you in a more meaningful (and not too expensive) way. With the Free 30 Day Trial, you’ll see what we're doing behind the wall! You'll be inside in about 20 seconds, no credit card required. www.jazzwire.net/free-trial/. These videos are great, but they are a SHADOW compared to the real work and we can do together!
This could not have been more clear. You are a good instructor.
So happy you enjoyed it. I hope you get a LOT of use from this. Hey, if you haven't already, please jump in to a Free 30 Day Limited access to JazzWire. I would love to work together with you in a more meaningful (and not too expensive) way. With the Free 30 Day Trial, you’ll see what we're doing behind the wall! You'll be inside in about 20 seconds, no credit card required. app.jazzwire.net/free-trial. These videos are great, but they are a SHADOW compared to the real work and we can do together!
This was brilliant thanks for sharing..
I'm so happy that you are enjoying the video. Please subscribe if you haven't yet. There is MUCH more good stuff coming. And hey, if you haven't already, please jump in to a Free 30 Day Limited access to JazzWire. I would love to work together with you in a more meaningful (and not too expensive) way. With the Free 30 Day Trial, you’ll see what we're doing behind the wall! You'll be inside in about 20 seconds, no credit card required. www.jazzwire.net/free-trial/. These videos are great, but they are a SHADOW compared to the real work and we can do together!
Inspiring lesson, Jeff! I bought the Weiskoff book on triad pairs and was sort of itimidated by its apparent difficulty but years hv passed n weve learned a bit more n im ready for this. A piano nearby helps a lot to put some accompaniment to the pairs. You mentioned intervals, sticking some compatible triads in fourths down in the left hand w the triad pairs moving in the right can produce some very unusual and beautiful sounds. A good example of the use of triad pairs in a solo is Oliver Nelsons in Stolen Moments.
You are doing great work educating us in jazz!
Many thanks!
I'm so happy that you are enjoying these videos! Please subscribe if you haven't yet. And yes, "books" are just not the way to learn this stuff, sad to say. I love Walt and his information is GREAT, but the medium of books just isn't the way to get traction.
There is MUCH more good stuff coming. And hey, if you haven't already, please jump in to a Free 30 Day Limited access to JazzWire. I would love to work together with you in a more meaningful (and not too expensive) way. With the Free 30 Day Trial, you’ll see what we're doing behind the wall! You'll be inside in about 20 seconds, no credit card required. www.jazzwire.net/free-trial/. These videos are great, but they are a SHADOW compared to the real work and we can do together!
Jeff,
Thanks for another great, informative video. Because of this, I now hear myself playing things which the great saxmen had me bewildered by. There is a lot of work ahead of me, but at 61, I am more energized about playing jazz sax, than ever before. Thanks again.
dig it man
A very clear presentation of this concept. You show your love for this material, and to me that's what teaching is all about
Thanks for tuning in, and for the nice words Dave. I DO love helping people through this music, so I'm glad that it comes across. I hope we'll have you along for the ride on the future Digging Deeper videos.
knowledge unlocked....ive known about triad pairs for a while but your wonderful examples along with your wisdom is helping me develop a new voice and confidence. Thanks Jeff
Thanks for the note, and the kind words. I'm so glad that, although you've known about this device for awhile, we helped you get into it a bit deeper. I love it! Please stay in touch.
Awesome lesson,thanks!
Thanks Jeff ...a coffee and one of your videos is a great way to start a wet Saturday morning.
Love it Robin! Please stay in touch, and please try this stuff out. I'd love to hear how it goes for you.
Jeff Antoniuk - Educator hi Jeff the video is an absolute gold mine. I've, so far only used the root and 1st inversions but with some of my favorite rhythm groups... it produces an almost infinite number of motif ideas with completely new, to me , intavalic combinations...my wife also stopped crying ( for those 'other reasons' that you mentioned) and asked me what I was playing!... thanks again.
@@robinmarwick1982 Love it! Man, I hope we can work together at www.JazzWire.net. This is a faint hint of the power of what we are doing at Jazz Wire. See you there!
Jeff Antoniuk - Educator Once again , Jeff, I have to say how useful this and your other triad pair videos have been. I've been in a rut for a considerable time - years in fact - playing the same old uninspired lines over and over. I have a Bmus with classical guitar and writing techniques as my major so my theoretical knowledge of contemporary harmony is ok. I analysed the Bartok viola concerto and theoretically understand the axis system/tritone substitution but have never been able to comfortably write or play a convincing line. But...now I'm using #f as a cadence point over a cmaj7 chord...nothing special to a real jazz musician but I wouldn't have got there without your triad pairs...thanks again
@@robinmarwick1982 , I really want to see you at www.JazzWIre.net. That "rut" you mention is very typical, but something you can quickly leave behind. Join me and our great Community. You'll be happy you did, I guarantee!
One of the most clear explanations of the subject I have found online, Thanks a lot for putting this together.
Jeff I"m familiar with the triad pairs and love how you expand on it. Great stuff!
Thanks! Glad you enjoyed this. I mentioned in another comment you made about joining us at www.JazzWire.net. We use a LOT of these sorts of frameworks to get people REALLY moving ahead with their playing and understanding of the the music. It doesn't have to be so hard!! See you there.
Just came across this and it’s great advice so thanks! I’ve been avoiding triad pairs due to the scope but this is a great place to start.
I'm with you. So many people try to teach or learn 45 variations at once. BAD IDEA!! Stay with ONE thing, and dig deeper. So glad you enjoyed this. I hope that perhaps we'll be able to do some real work together at www.JazzWire.net. I hope to so you there, John!
@@JeffAntoniukEducator indeed! And that’s a nice site you built over there. I’ll definitely check it out when I’m ready to focus on my jazz chops.
@@JohnCoughlan_JAC Thanks John. I'd be thrilled to work with you when the time is right.
I love your video keep sharing I learned a ton today it’s amazing how simple you made it for me gonna use it right away on bass
Thanks Sam. Yes, the Digging Deeper videos are for ALL instruments. I play bass myself, and use this stuff all the time! Please stay in touch, brother.
Love that sound Jeff. I just spent an hour on those two triad, the c Mai and d maj, great. I just started with this approach last week and was using the tonic and the 2 min, ie c maj with d min but I love the d maj...
Keep well and Thankyou
Ray
Thanks for tuning in Ray. I hope we can stay in touch and keep the ball rolling!
Thank you for sharing your talent and videos. These are very helpful.
Hi Jeff. Love your channel! Congratulations! I would love to see something about the blues since that is what I am trying to learn lately. I am a little confused about the pentatonics and all that stuff. Thank you for the videos. They are really amazing.
Thanks for writing. I'm so happy that you are enjoying the videos. You know, we are going to be working a TON on the blues at the new web site, www.JazzWire.net. I hope you'll join us there. That said, we have probably 6 or 8 Digging Deeper videos that address various aspects of the blues, or use the blues as an example. Look back and you'll find some things for sure.
Hi Jeff thanks man , i love your lessons and your vibe (you are a gentleman) could you recommend a book to learn this triad stuff, again much love and total respect
Thanks for taking the time to write, Justin. You know, I don't think books are a good path forward at all, frankly. Working in a community is how to make real progress, so that you get feedback daily and weekly. I hope you'll join me at www.JazzWire.net. Let me know if you have any questions. That would be a way for us to work together, and really get you some traction.
< Love Triad Pairs . Wonderful lessons ! My playing has improved greatly since I started Digging Deeper, Thanks ! >
Ok ! Very good teaching and playing. Need more
So glad you are enjoying this material. If you want more, we have just the thing for you! Visit www.JazzWire.net, and join us there. You'll have a blast, and meet 100's of great amateur and semi-pro musicians from around the world. You'll love it.
Top vid man, very cool thankyou 😎🎷👍
A light just came on! Thank you
I love it! "Light bulbs" are some of my favorite things!! So glad this helped. Please tune in to the Digging Deeper series, Samuel. We have a new video every Friday. Hope to have you with us.
Really clear explanation. Glad I found it
Glad it was helpful! Thanks for taking the time to write. I hope you tune in more to Digging Deeper!
Sir, this is awesome! thanks a lot! encouraging atitude and brilliant teaching, you re fantastic!
Thanks for the note, and so happy that you are enjoying Digging Deeper. Please subscribe if you haven't - much more good material coming (especially DD # 49 this week).
I’ve been working with concept for a little while now. Just one pair to get a feel for the sound and intervals. The challenge I find is getting away from “etude sound” and getting to the jazz sound. Any suggestions?
"Rhythm" is how we make patterns sound more like music. Vary the rhythms, and you have some amazing sounding stuff happening VERY quickly.
I'm so happy that you are enjoying these videos. Please subscribe if you haven't yet. There is MUCH more good stuff coming. And hey, if you haven't already, please jump in to a Free 30 Day Limited access to JazzWire. I would love to work together with you in a more meaningful (and not too expensive) way. With the Free 30 Day Trial, you’ll see what we're doing behind the wall! You'll be inside in about 20 seconds, no credit card required. www.jazzwire.net/free-trial/. These videos are great, but they are a SHADOW compared to the real work and we can do together!
@@JeffAntoniukEducator Thank you for responding! Working on this daily, searching for some rhythmic variation.
The triad pair is an astonishing “simple” way to get a modern colorful sound away from the regular chord/scale construction I’ve been confined to. Mind blowing, really. Glad I found out about it. Wish it was much sooner! After experimenting with your idea, I switched to using Emin/Dmaj triads over Cmaj, to capture the 7 th and avoid the root. I guess they call that the hexatonic. I’ll be moving to video #2 shortly! Thanks again, and aloha!
Great lesson, thanks.
These pairs remind me of how Sanborn used to play, but just not quite.
Coffin Man great observation. Sanborn (and so many others) have gotten some good mileage from this stuff. Stay in touch and let me know how it goes for you.
I'm learning Lotus Blossom on tenor right now.
I started it at proper pitch but haven't got the dexterity from my G4 and A4, so I decided to learn it from the alto sheet instead (Lol that's how he played it). Not quite there yet playing the 16th notes with the accurately pulsed feel he gets, still trying to confirm it all in memory and muscle. I guess once I get it.... He makes a whole big thing into one phrase doesn't he!
I was learning The cost of living but there's a bit in the solo, I can follow it mentally (but only slowly to retain the mental detail as I go), I think it's impossible to reproduce. Same thing at the end of the common ground solo, it's like someone lit a rocket. And if you learn these solos and then leave those bits out it will sound totally crap of course.
One day maybe I can play these things. Until then, I busk and people like Pink panther and such stuff so it's ok.
Thanks for your time and effort into making these vids!
+Kevin Lau you are so welcome. Glad to hear that you are enjoying them.
Awesome video! Thank you so much for this!
9th, +11th, 13th, no 7th works well with chords with major 3rds (major, dominant)
Of all the videos ive watched on triads, this has been the easiest to understand.
Thank you so much, I am now going to try this out. Triad pair G and A?
Clarity and Awesomeness are my two stated goals. I'm going for "two out of two!" Yes indeed, G triad and A triad over a G chord. Let me know how it goes for you, Liam.
Jeff Antoniuk - Educator can improvising be a combination of 2 triads and the pentatonic scale of the key?
Ie in say key of G can you improvise with triads G and A and then maybe halfway through the solo jump to the pentatonic? Or would it just not fit?
Thank you
You know, @@liamf1463 , you are 100% ready for www.JazzWire.net! This is EXACTLY what we dig in to day in and day out there. In short . . . those are two tools you mentioned, and absolutely it could work. Or not! Depends on your approach . . . . If I heard you play and try it, I could certainly guide you easily. I hope we'll get to work together at Jazz Wire., Liam.
Great video thanks
great lesson !!! thanks so lot
Glad you enjoyed it! Please subscribe and check out more of the Digging Deeper videos. Lots of god stuff here!
@@JeffAntoniukEducator subscibe is ok for me , I have send also to your @gmail for receved your PDF
@@pascaletienne7734 Excellent. We'll get it off to you soon!
Awesome!!!!
great lesson Thank You
Thanks for checking out the video, and welcome to the community! Drop me a line at DiggingDeeperJazz @ gmail.com if you'd like any of the past pdfs. Much more good stuff coming!
Thanks Jeff I sent you a request for the triad PDF do I need a gmail email to receive it?
Great lesson! I certain would like. a copy of pdf.
Glad you liked it Yolanda. Please subscribe to the channel if you haven' yet. Much more good stuff to come (every week!). Yes, please write us at DiggingDeeperJazz @ gmail.com and we'll send that pdf off to you.
‘’I like talking about larger concepts, then turning you loose”. I would love to see a video on your large concept in regards to modal playing. I found two broad concepts on TH-cam that got me excited. Somehow I missed this instruction at UNT 🙁 Rick Beato (Music Theory Basics: Modes and How To Use Them) drives home the point of targeting the half steps found in each mode, since they define the mode. Frank Gambale (Guitar Lessons, Modes, No More Mysteries) teaches a very simple system for hearing the characteristics of each mode by building chord progressions for each mode using the first note of the mode in the bass as a pedal tone and the IV - V of the major scale it is derived from, then improvising over those chords. C Ionian = F/C and G/C, C Dorian = Eb/C and F/C, C Phrygian = Db/C and Eb/C, C Lydian = C and D/C, C Mixolydian = Bb/C and C, C Aeolian = Ab/C and Bb/C, C Locrian = Gb/C and Ab/C. You can generate really great jam tracks that perfectly compliment each mode using only two chords. Sometimes Frank will add a third chord, I.e., C maj. for C Ionian, C min. for C Dorian and C Aeolian.
I love Frank's approach . . . I'm going to have to try that out. That really, to me, is the way to do it. It's all about de-mystifying the sound of each mode, since that is what they are . . . "sounds." Getting used to the internal logic of each. I think you have everything you need right there!
Jeff Antoniuk - Educator Glad you found it useful. There are many complicated formulas, some I remember from my arranging days, but nothing that so completely simple. What a great ear training technique.
hey jeff i just smoothed over cmaj7 vamp in lydian for the first time and its all thanks to you. Great video! but i got adventurous half way through and tried adding a 7th to the upper triad. it sounded sooooo bad. like wow. that really doesnt work!
Nice work! I'm so glad you gave this try, and found that it WORKS!!
that's Awesome ..u r great.....
Nice video!.........hey, Stravinsky and the “classicals” might have used it as a compositional tool but, did they SWING?.......tonic dominant harmony is everywhere in jazz, yes! But, the most difficult part in playing Coltrane or ornette or joe Henderson isn’t the notes or harmony it’s that dam POLY RYTHMN and POLY METER!
I'd agree 100%. The harmony is something we talk about a lot, but the RHYTHM is really where it's at. Time, groove, feel, rhythm . . . the secret sauce. We'll be digging into the rhythmic side of things a LOT at the new www.JazzWire.net site. I hope it may be of interest to you. We'll be working regularly a lot of deeper ideas.
Love these videos!!!!!!
Thanks Preston! So glad that you are digging them. If you haven't yet, check out the video on JazzWire. It's a new project for 2018 that is going to really add a ton of value and connection for you and the thousands of other adult semi-pros and amateurs out there. I can't wait to get you involved.
+Preston Bledsoe that is great! Keep tuning in… Much more cool stuff to come.
Amazing man
Thanks Gary. Stay tuned, as there is much more cool stuff coming, plus the Jazz Wire web site launching September 1, 2018. Glad you are enjoying Digging Deeper, and our approach.
Awesome lesson Jeff thank u! I’ve been trying to wrap my head around triad pairs for a while too. Could this also be seen as an A minor pentatonic with an added 13 / C major pentatonic with an added #11 over a C maj 7 or is that looking into it to deeply?? The second inversion of the triad has that wide 4th “sound” from the G to the C like you said so would it be wise to stick to a certain intervallic sound produced by the triads inversion rather than adding a note to a pentatonic or is this two sides of the same coin?? Regards
The notes add up to that, as you say. But . . . the power of the triad pairs is that they are NOT a scale, they are triads, with the built-in thirds and fourths that a triad has. If you reduce triad pairs to a scale (which we can do), we lose the cool shapes inherent in the triad pairs. Good reasoning though!!
Jeff Antoniuk - Educator Thank you Jeff for clearing that up this has been bugging me for awhile now. Ive been trying to get away from that stepwise scaled sound and develop a more cohesive open sound that wants to jump and swing. I will take this approach and run with it! Regards
This is the best saxophone teacher on youtube...second is scott paddock
Phoenicia Hotel very kind of you. I’m so happy that you are enjoying the videos. Definitely let me know if you want any of the PDFs for the Digging Deeper videos.
Seems like the C and D triads would miss out on the b7 for a dominant. How about a three triad move over C Bb and D. (Might need a couple of bars to make it work)
You bet , , , that would work. The only possible thing is that with three triads, you now have 8 notes . . . and are getting dangerously close to having a scale, which is what we were trying to get away from with the triads. Triad PAIRS are classic, but moving from one triad to another works fine. For instance, try playing major triads up chromatically. It's entirely chromatic of course, but it's a cool sound. All 12 triads, yet it doesn't sound like a scale (well, the chromatic scale maybe).
Learn one thing at a time- good advice that. I know a guy who studied with this Zen master in Japan. For the first year he was only allowed to play one note on his bamboo flute. I prefer master Jeff's methods. He gives us six notes to play.
David Cox love it!!!
@@JeffAntoniukEducator I met that guy at a blues jam. He didn't play his Shakuhachi flute. He likes to wail away on harmonica and sing.
I'm probably missing something obvious, but how do you choose which two triads to play? I would have jumped (mistakenly) to picking diatonic pairs, but I don't think that is what you are doing with the first example of the C and Dmaj triads? So if I'm playing, say, in Bb, how would I know which pairs to play?
There are a LOT of different "tried and true" triad pairs to use, and it just takes some study and/.or a good teacher to guide you to them. Join us at www.JazzWire.net if you want it all in SPADES! Hope to see you there!
Bb and C triads
He does not explained clearly..the chord symbol should be Cmajor +11
Buy the walt weiskopt-triad pairs...but basically you can use any triads from a major scale ,meloc.minor,harmonic minor,diminished....or jerry bergonzy the true masters
Hi Jeff, thanks for another great video! Also, I'm wondering when you were improvising were you still playing 3 note combinations while you were switching back and forth or were you just playing various combinations of any of those 6 notes?
Great questions - Always alternating "these 3 notes, and now these 3 notes." If you just play combinations of the 6, you end up with a scale, which is NOT the point. Always alternating between the two groups of notes. Very good question!
Thank you Sir! Most appreciated and now off to the shed!!! @@JeffAntoniukEducator
You bet. Say HI to the shed for me!!
Could you please explain how to break down Charlie Parker rhythms
Well Grant, this is a "one on one" sort of thing. It's all about the context of the rhythm. This is exactly the level that we get to inside www.JazzWIre.net every day. Join us there, and let's dig into it! (use the code "diggingspring" when you register to save some $$).
Kindly send the weekly PDF to me thank you
if you would, email us at DiggingDeeperJazz @ gmail.com, and we'll get it off to you!
Hi Jeff where do I get the Triad Pairs PDF?
just drop us a line at DiggingDeeperJazz @ gmail.com and we'll get it off to you!
Thanks man, just had a revelation. actually I'm gonna call my band : The revelation!!!
Love it!! I'm all about the revelations. Can't wait to hear your band!! :)
Green Dolphin Street and Four, here I come. I've said it before, but I've made great strides in my playing already. Can't wait to get home so I can start getting these under my fingers. They don't like me practicing in the motel room. I don't know why. Here's a question. I've always been troubled by whole tone scales. How do you get something to resolve when there's no half step? Quartile harmony is sort of the same thing, but at least I've been able to create some cool sounding licks by working the arpeggios up and down basically by half steps. The problem there is where do I use them and over what chords.
+MrHeadingSouth I hope you make it out of the hotel unscathed! I'm so glad that this stuff is hitting home for you. Yes, Whole Tone Scales are a whole other thing… Sounds like a good topic for a video coming up! Same with fourths… Another fantastic sound, but it isn't immediately obvious how to fit it in with everything else. Great observations.
Silly question Jeff, but why is it called the Lydian sound?
Not silly at all. "Lydian" is the mode that gives us a scale with a #4. The "C Lydian" scale is C - D - E - F# - G - A - B - C. So, the Triad Pair of C and D (C - E - G and D - F# - A) has a Lydian sound. There is that #4 (F#) in there. Ta-da! Problem solved.
Jeff Antoniuk - Educator so basically it’s the flat 4 sound, right?
Robert Norris basically think of it of a good old fashioned major scale and raise that 4 up a half step (#4)!
Major
C D E F G A B
Lydian
C D E F# G A B
Any major scale that has that raised 4th typically has that “Lydian sound” because of that beautiful sunny vibrant magical sound Lydian evokes... like a cadmium yellow or hansa yellow oil paint.
Other modes can have a characteristic sound... that “Dorian sound” or that “Phrygian sound”... all part of exploration of what colors each mode are invocation of.
Good luck and have fun!
I thought that it was great. I am reading a book about arranging and how to spice up the chord charts in my fake book, you know, with extra chords, or modal concepts, It is a Berkeley School of music book and it's tough for us aging Blue's dude's that at last have some chops but wanna learn jazz without paying 50$ an hour every week for the neck two years, let alone tuition etc for a quality school( mommy, daddy, where are you now that I'm not cute and cuddly).
Yes, I'm afraid those books (most books . . .?) aren't going to get you where you want to go. Thanks for tuning in here to Digging Deeper. We have much more good stuff, so I hope you'll keep visiting. And, if you want to get really serious and get some actual personal attention in your playing and development, visit us at www.JazzWire.net. I'd love to work with you there. $50 a month, and worth about eight times that!!
Does it have to be only maj7 chord. When do I use these.
Paige Carr so glad you are enjoying the Digging Deeper videos! You ask a great question, which doesn’t have a straight forward one sentence answer! Join us a www.JazzWire.net. This is the stuff we do day in and day out there! Hope to work with you soon!
Correction- not every thing comes from classical..in fact jazz is the most unique form of music using improvisation.
thank you very much. all of income comes from playing my ax. mostly solo..4-5. hours. I have 1 weekly. restaurant. gig going on. 5 years. the. rest is street perf ormance. standards and classic bebop. I'm add Joe Henderson Wayne Shorter Woody Shaw. to the mix.. I am convinced after watching this once that you can help me a lot .I'm over 60 years old and just finally got on the internet. Question: Very few people seem too know what I'm doing. people often comment that I am always playing the same song. I don't expect. people. to know. music. but do you most are tone deaf. ?
Thanks for the note! You mentioned "playing solo." Is that JUST sax, with no accompaniment? That could be why people have a hard time hearing what is going on . . . it is very challenging (and fun) to pull this off. To have them hear the harmony that you are implying. In a previous video I talked about Unaccompanied Playing (th-cam.com/video/UdPNVeVi2_s/w-d-xo.html). Check that out and see if it helps.
PLSE SEND ME THESE TRIAD PAIRS PDF . THANX IN ADVANCE
You bet. Email us at DiggingDeeperJazz@gmail.com and we'll get them off to you.
Speak to much
You know, I'd love to talk to you about that. Do you have an hour? 😂
👍🤣🤣😉
@@UandMisterG thanks for taking that as a joke, which of course is how I meant it. I'm a terrible smart ass, and I DO talk too much!!
long video, less information...
Thanks for tuning in and writing, brother. If you want a longer video, with less information, I might suggest a "Cute Cat Compilation" video. I think you'll find them VERY long, and with almost no information. :)