Hey Noah I’m a guitarist and a theory nerd. When I want to learn something new I generally watch piano players on TH-cam for inspiration as they seem to have a lot more theory to teach. Just wanted to say your channel is by far the best. Awesome stuff man.
Hey Rob thank you so much for saying that man. Always working really hard to provide solid information. Glad you stopped by and hope you find lots of good value on my channel!
This kind of approaches are the only aspects I depend my improvisation journey on. Chord tones, major-minor triads, diminished 7ths, major and pentatonic scale, enclosures and a bit of chromatism is all you need that gives you too much options to practise and experiment. Don't get lost on all those fancy mody jazzy scales. Keeping your mindset "simple" is the key to keep you on track. Excellent tip Noah, thanks!
Jerry Bergonzi's Hexatonics Vol 7 book is the bible of triad pairs... 8 pages of him explaining them with words. After that, foreplay is over. No more talking. The remaining 288 pages are walls of written patterns to practice.
I found a triplet triad pair lick from transcribing a Ben Eunson solo the other day. He uses first inversion major triads built off the VI and bIII on a dominant seven. In this case he was pairing D# and A triads in first inversion over F#7.
Hello Master! I would like to know what fingering you recommend to play the pattern you do at minute 4:59 of the video, but in the 12 keys. Thank you very much in advance, greetings!!
Really like this cuz I'm studying piano to play better sax. As per Stan Getz and Jimmy Heath, that would really help in getting more out of the horn. INTERVALIC IMPROVISATION BY WALT WEISKOPF is a great book on triad pairs. I have a better idea what fingers to use on the triads. Thank you very much!❤❤❤❤❤❤
Damn, Noah ! Jazz really is about unpredictability. You really threw a curve ball today. You opted on wearing just a tee shirt, rather than your usual tasty button down shirts.
Over an open G# diminished (LH) I like playing the C# and D# pair. This has a super locrian sound, beautiful. Works great for example when playing in the key of F as a passing "tone" to Gminor.
The first ideas are just doing triads on Lydian - that seems to me much simpler than thinking of it as triad "pairs" with "inversions". Mind you, I suppose the more ways you can conceptualise the same ideas the better, as it facilitates speed. The minor "pairs" are also just a single mode played intervallically. I'm experimenting with triad pairs on dominants, where one changes the second pair on an improvised line. On dominants there are several possible second pairs. In those cases I do think it's easier to think of different pair combinations rather than changing modes. One can also change the bottom pair, which would technically be a reharmonisation, but using the same concept of triad pairs.
Thanks for the thoughts, Sheila. I think the advantage of thinking of Triad Pairs is as you said, conceptualizing it in a different way, and using it to open up yourself to exploring the same tonalities but from a different perspective so you can invent new lines that are outside of your comfort zone and usual repertoire.
Question: Is it practical to add in the 2 and 6 of the pentatonics as well, or would that just blur the tonality? You could play 1,2,3,5 cells up the C and D, then 3,5,6,1, starting on the E and F# notes, then 5,6,1,2, or 5,6,1,3 starting on the G...and then at that point it kind breaks down in terms of keeping the purity of the triad sound. So that's my question. I guess you could occasionally add in the 2 or 6, but using the whole pentatonic starts to ruin the actual triad sounds? Comments?
Yes! Perfect timing! I'm quarantined and I'm used to study jazz composition at the end of the day (at least, here it's the end of the day!). This video is just another add to a constantly growing online course. This one is the best about jazz piano I found on youtube so far. Thanks also for the books suggestions, I'll check it out. Hope to watch and listen to you soon! Have a great week!
Thanks Noah, you are a wonderful, patient teacher. Question: in this video, you are demonstrating the sound of playing the same two triad pairs--let's say C and D major--over a single chord in the left hand, in this case C major. What else can one play with the left hand while sticking to the same two triad pairs in the right hand without it sounding too wonky? Are there particular chord progressions which would allow you to stick with the same pair of triads? That might be another good exercise to practice. Thanks in advance!
Hey Warren, thanks for the kind words! Also great question. It really just comes down to chord-scale theory. Do the notes of the triad pair work over another chord besides the original? So for example the D/C could also work nicely with A Dorian.
Yeah. I just practice a bunch of vamp styles with runs for one chord and just play it whenever that chord comes up. The same here with runs. You'll never learn them all
Tons to look at within the diminished scale! Four major triads as well as tons of other minor, diminished, and augmented triads. Fun one is over C diminished using Eb and A major. Resolve to F. Have fun :)
I bought an excellent book on this subject some time ago. It's called Intervalic Improvisation by Walt Weiskopf. A favorite triad pair I learned there is for use on an altered dominant chord. You use the flat 5 & sharp 5 triads above the root. So on C dominant you play the F sharp & A flat major triads.
Hi, I'm a beginner bass player and I really like these videos. Can you tell me, specifically, how to go about fingering inversions, as someone with little to no technical piano knowledge.
Arpeggios really help. play each note of the chord once going up , then move your thumb up to the 2nd note ( if you did CEG, now you would do EGC. this will force your hand to learn how it feels to move through. On some inversions you can feasibly only use a certain finger, on others you might have 2 fingers that can reach, I find the 2nds inversion easier to play with my ring finger but can hit it with my pinky fine. Then once you get ok with going up AND down the chord and its inversion learn another one. Then do that for all the different chords and your hand will start knowing how to position itself in all situations
Sorry I can’t come over babe new Noah kellman dropped😩
priorities^^
Hahaha my apologies in advance to all the significant others out there 🤣 at least I didn’t release it on Valentine’s Day right?
BWAHAHAHA 🤣🤣😂🤣🤣
Hey Noah
I’m a guitarist and a theory nerd.
When I want to learn something new I generally watch piano players on TH-cam for inspiration as they seem to have a lot more theory to teach.
Just wanted to say your channel is by far the best.
Awesome stuff man.
Hey Rob thank you so much for saying that man. Always working really hard to provide solid information. Glad you stopped by and hope you find lots of good value on my channel!
This kind of approaches are the only aspects I depend my improvisation journey on. Chord tones, major-minor triads, diminished 7ths, major and pentatonic scale, enclosures and a bit of chromatism is all you need that gives you too much options to practise and experiment. Don't get lost on all those fancy mody jazzy scales. Keeping your mindset "simple" is the key to keep you on track. Excellent tip Noah, thanks!
Jerry Bergonzi's Hexatonics Vol 7 book is the bible of triad pairs... 8 pages of him explaining them with words. After that, foreplay is over. No more talking. The remaining 288 pages are walls of written patterns to practice.
Great vid! I like to ascend up one triad and descend down another.
Ex: C E G A F# D E G C etc
Awesome yeah that’s a great pattern!
I found a triplet triad pair lick from transcribing a Ben Eunson solo the other day. He uses first inversion major triads built off the VI and bIII on a dominant seven. In this case he was pairing D# and A triads in first inversion over F#7.
Mushroom message.... learn to play chess & and the music dictionary......found your channel awesome educator!
Hello Master! I would like to know what fingering you recommend to play the pattern you do at minute 4:59 of the video, but in the 12 keys. Thank you very much in advance, greetings!!
Really like this cuz I'm studying piano to play better sax. As per Stan Getz and Jimmy Heath, that would really help in getting more out of the horn. INTERVALIC IMPROVISATION BY WALT WEISKOPF is a great book on triad pairs. I have a better idea what fingers to use on the triads. Thank you very much!❤❤❤❤❤❤
Damn, Noah ! Jazz really is about unpredictability. You really threw a curve ball today. You opted on wearing just a tee shirt, rather than your usual tasty button down shirts.
Hahaha had to find a good way to keep things interesting
Over an open G# diminished (LH) I like playing the C# and D# pair.
This has a super locrian sound, beautiful.
Works great for example when playing in the key of F as a passing "tone" to Gminor.
which software do you use to display the chords? that's awesome for learning and teaching!! EDIT: ah your affiliate link, got it ;)
The first ideas are just doing triads on Lydian - that seems to me much simpler than thinking of it as triad "pairs" with "inversions". Mind you, I suppose the more ways you can conceptualise the same ideas the better, as it facilitates speed.
The minor "pairs" are also just a single mode played intervallically.
I'm experimenting with triad pairs on dominants, where one changes the second pair on an improvised line. On dominants there are several possible second pairs. In those cases I do think it's easier to think of different pair combinations rather than changing modes. One can also change the bottom pair, which would technically be a reharmonisation, but using the same concept of triad pairs.
Thanks for the thoughts, Sheila. I think the advantage of thinking of Triad Pairs is as you said, conceptualizing it in a different way, and using it to open up yourself to exploring the same tonalities but from a different perspective so you can invent new lines that are outside of your comfort zone and usual repertoire.
@@NoahKellman Thanks for taking the time to reply! Your videos are uniquely helpful and succinct, so please keep up the good work.
yes that is the entire point of the video, to play less linarly , hence the conceptualization of triad pairs instead of 8 note scale
What app are you using that indicates chords? Will it work with other instruments?
I prefer your channel to Jeff Schneider's...
When pairing triads are we speaking about 6 different notes?
Question: Is it practical to add in the 2 and 6 of the pentatonics as well, or would that just blur the tonality? You could play 1,2,3,5 cells up the C and D, then 3,5,6,1, starting on the E and F# notes, then 5,6,1,2, or 5,6,1,3 starting on the G...and then at that point it kind breaks down in terms of keeping the purity of the triad sound. So that's my question. I guess you could occasionally add in the 2 or 6, but using the whole pentatonic starts to ruin the actual triad sounds? Comments?
Thanks for cool video, Noah. My favorite pattern is 1, 5, 3, (1).
Yes! Perfect timing! I'm quarantined and I'm used to study jazz composition at the end of the day (at least, here it's the end of the day!).
This video is just another add to a constantly growing online course. This one is the best about jazz piano I found on youtube so far.
Thanks also for the books suggestions, I'll check it out.
Hope to watch and listen to you soon! Have a great week!
McCoy Tyner type intro
Thanks Noah, you are a wonderful, patient teacher. Question: in this video, you are demonstrating the sound of playing the same two triad pairs--let's say C and D major--over a single chord in the left hand, in this case C major. What else can one play with the left hand while sticking to the same two triad pairs in the right hand without it sounding too wonky? Are there particular chord progressions which would allow you to stick with the same pair of triads? That might be another good exercise to practice. Thanks in advance!
Hey Warren, thanks for the kind words! Also great question. It really just comes down to chord-scale theory. Do the notes of the triad pair work over another chord besides the original? So for example the D/C could also work nicely with A Dorian.
Was hoping for healthy lines, Noah Kellman. But can't say you didn't warn us.
I use a D Maj 7th over a E minor 7th.Wonderful combinations
Yeah. I just practice a bunch of vamp styles with runs for one chord and just play it whenever that chord comes up. The same here with runs. You'll never learn them all
Tons to look at within the diminished scale! Four major triads as well as tons of other minor, diminished, and augmented triads. Fun one is over C diminished using Eb and A major. Resolve to F. Have fun :)
Thanks Noah I understand today triads thanks to you 🙏🏼🙏🏼🙏🏼
Thank you teacher for this video, I really appreciate it
b5 & b6 triad pairs on D7 = D7alt. Use on rhythm changes bridge 💪
Thanks a lot for your excelent way of teaching!!!!
Noah its just not fair...hahah Congrats and thank you from Uruguay
i liked pairing the major with its tri-tone or the tritone of the fifth ex: c/f# or c/c#
Do you have any casual bar-piano type soloing of yourself out there?
I'm a guitarist. Great to learn these concepts to help build melodic sounding lines in triad pairs. Tnx
Very Useful! 💯👌Thank you so much✌🌹🙏💞
Beginning reminds of Brad Mehldau a little bit
Very very very nice.....!! 👏👏👏👏👏👏👏👏👏👏👏👍👍👍🙏🙏🙏🙏🙏
Thank you Noah
You are a great help!
Please keep on doing what your doing
I love it ,I will use it .good explanation
great video! Thanks!
Great video Noah thx a lot! : -)
MAY GOD BLESS YOU
Thanks for the lesson Noah!
Triad Pairs by Gary Campbell Univ of Miami
Thanks for the suggestion!
Helpful !! Thank you !!
Great lesson
Noah thank you so much.
Thx. Was helpful.
great lesson!
Fantastic!
Great as usual !
Sick
Love it!!
🔥🔥🔥🔥🔥⛽️🌶
I bought an excellent book on this subject some time ago. It's called Intervalic Improvisation by Walt Weiskopf. A favorite triad pair I learned there is for use on an altered dominant chord. You use the flat 5 & sharp 5 triads above the root. So on C dominant you play the F sharp & A flat major triads.
Wow. And thanks for reference!
Super helpful thx 👍 I personally like minor root and minor fifth, e.g. Cm and Gm. (What is basically a Cm9 ripped apart 😁)
Hi, I'm a beginner bass player and I really like these videos. Can you tell me, specifically, how to go about fingering inversions, as someone with little to no technical piano knowledge.
Arpeggios really help. play each note of the chord once going up , then move your thumb up to the 2nd note ( if you did CEG, now you would do EGC. this will force your hand to learn how it feels to move through. On some inversions you can feasibly only use a certain finger, on others you might have 2 fingers that can reach, I find the 2nds inversion easier to play with my ring finger but can hit it with my pinky fine. Then once you get ok with going up AND down the chord and its inversion learn another one. Then do that for all the different chords and your hand will start knowing how to position itself in all situations