Overall Rating: 3.6 (of 5)
Soloing With Triads 2: Maj II-V-Is
Triads are such a strong and coherent sound that they make a
great way of organizing your solos.
Try this exercise. We aren't using the triads of the chords
themselves, but triads that sketch out the "extensions" of the
chord. They are in effect catching some of the "pretty" notes of
the chord, and moving in very small intervals like seconds to
give a feeling of "flow".
For example, the first triad is
an F major. This, over a Dm7 chord, sketches out the b7, b3 and 5
of the Dm7 chord.
In the next bar, we move to...an E major triad! Hold on, you
say...over a G7? Well, the chord implied is a G13 with a b9.
Check it out- the E major triad sketches out the 3rd, 13th and b9
of the chord. Listen again to the example.
We then move to an E minor triad, which catches the Maj7,
3rd and 5th of the C maj7 chord. But we go one step further in
the fourth bar and change to an Amin triad over the same C maj
sound, which gives us the 6th, root and 3rd of the C chord. Have
a listen to the modulation...can you see the same progression
modulating up a semitone? Watch for the "twist" in bars 7 & 8 and
figure out where they go...