INTRO TO TRIAD PAIRS
HTML-код
- Опубликовано: 5 сен 2024
- www.scottpaddo... - STUDY SAX WITH SCOTT PADDOCK
Today we tackle triad pairs! With this intro to triad pairs, we will break down the concept, figure out how and why it works, and teach you how to effectively use them in improvisation.
SKYPE LESSONS: I do give Skype lessons! For more info, contact via my website link below or through Instagram.
INSTAGRAM: @scottpaddocksax
www.scottpaddock.com
Scott Plays:
P. Mauriat 67RX Influence alto sax
Barkley Brazil Kustom Pop 7 Blue mouthpiece
Legere Signature 2.5 reeds
BG Silver Duo ligature
Awesome stuff! The next thing I tried after this exercise is playing up the first triad with 4 notes and down the next triad with 4 notes since it fits better over 4/4 time with eighth notes. So using G triad and A triad: G B D G and then up to the A and down. So G B D G (up) A E C A down, then B D G B up and C A E C down, etc. This takes more focus than the presented idea of course but gives a unique sound. Like Scott said there are almost an infinite number of patterns that can be applied.
For those new incoming watchers of the video, Mr. Paddock is basically composing a pattern using notes of G Mayor and, the next note A, as A Minor. If you put the 7 notes for each in order then you pick 1st, 3rd & 5th (135). The second set: you pick in the order 351 from both scales (G Mayor and A Minor); then for the 3rd set you pick 513. That explains why F# is no where to be found; the triad 135 and alterations of itself does not include it. This is a basic difference to chords from a scale (example: C7 - 1 3 5 7) in which every scale has 7 chords.
👍👍👍
I dont mean to be off topic but does anyone know a method to get back into an instagram account??
I was stupid lost my password. I love any assistance you can give me!
@Juan Cassius Instablaster =)
@Steven Callen thanks so much for your reply. I got to the site through google and Im waiting for the hacking stuff now.
Looks like it's gonna take a while so I will get back to you later with my results.
@Steven Callen it worked and I actually got access to my account again. I'm so happy!
Thank you so much you saved my ass :D
i love that sound. and i don't mean tone per se, but the control over articulation, starts and stops without any awkward artifacts
This is a really nice pattern to work with. Thank you for posting all of these helpful videos!
Thanks!
Nice one Scott. I was hunting around for a video on "which pairs to pair(hehe) with what chords". Perfect explanation, thank you!
Hey Jonnie! I'll be doing some more chord pairs videos in the near future.
Simply explained Nice 1
Scott
Thank you very much for this. Very helpful
Glad it was helpful!
Thanks a lot. Your explanation will be very helpful.
👍👍👍
Very good video. I had been experimenting with these and it didnt sound right to me because i wasnt putting emphasis on the first note. I'll have to try it that way and see if i get better results. Thanks Scott !!
Yeah, it's crazy how different can sound when you just tweak one thing. Accenting the right note could definitely be the fix!
Thanks it was very clear!
The best channel about music tutorial, tkns the Best Scott😎
excellent
What’s a good method for practicing triad pairs to become proficient in all 12 keys? And should we play eight notes to a 4/4 meter at about 80 bpm? I like going up each triad diatonically and then back down.
Hi scott..I needed this..thank u..thank u ..thank u..
Glad it was helpful!!!
Thanks Scott just brilliant! So effectively from our triad pair G major and A minor we are then playing their inversions?
exactly. And you can do pairs with any chords that don't share the same note.
@@ScottPaddock Excellent thanks!
Nice alto tone.
So in F concert, the pair notes are FAC and GBbD because we must recognize the key is F? The pair is F/Gm. We would only have FAC/GBD if we were playing against a C Chord?
I've listened several times and learned a lot from your clear and simple explanations. In choosing which triad pair to use in G major, for example, when playing the I chord would you use G major and A minor? And when the IV chord is used would you use C major and D7?
Hey Joe! The pairs change with each chord in the progression. So for G major you would play G major and A minor (or any chord pairing in the key of G major). When the chord symbol switches to C major the pairing is now based in C. So it would be C maj & D min. The pairs are based on the key signature of each individual chord symbol. So in more simple terms, it doesn't matter that Cmaj7 is the 4 in the key of G. When it changes to Cmaj 7 your chord pairs have to switch to all natural. IF it went to C-7 then your chord pairs would have to switch to Bb & Eb since that is the key signature of C-7. Does that make sense?
Thanks Scott! I'll experiment with this!
@@ScottPaddock So if improvising over, say 12 bars, and each bar had a different chord, then 12 separate triad pairs would need to be played?
For the moment assume that I am talking concert key and therefore I’m going to select G so the notes are the same as yours. One pair would be GBD and the other pair would be ACE . The pair would be G/Am in the key of G, which you would play against a G chord. The only time you would play a G major triad and an A major triad would be in the key of D over a D chord?
I just read a similar question and response later on in the comment section. However, please comment anyway if you have the opportunity.
Hey Scott I just want to take this time to praise you for another amazing and informative video. I have a question though about sharps and flats in triads how will you know when and where to put sharps or flats. I know the G major i saw did not have. Is it that you can just do what you want to experiment?
Hey Jason, thanks! The flats and sharps are determined by the root scale. The example in the video I did was based in the G scale. So I did the triad pairs for the 1 chord and the 2 chord in the G scale. The 1 chord is G (GBD) and the 2 chord is A (ACE). It is C natural because you build the chord according to the root of the scale. The fancy word for that is diatonic. Does that clear things up?
Yes it does, thanks much and for your patients as well. :)
Great Video! I would have like to hear a backing track with you playing the triad pairs.
It's more difficult to add a backing track to these recordings than you'd think :-)
@@ScottPaddock Scott, I definitely understand. What I am trying to communicate is that your lessons are very good and a backing track allows the student a better understanding on how to apply what you just taught. Just a suggestion, your lessons are great!
If I’m playing Summertime (concert C/Am), where are the triad pairs applicable and best suited?
Lastly is that a plastic reed? or Cane? Not familiar with the reed type you mentioned.
Hi Scott, what mouthpiece do you use, and how do you get that bright big sound?
Thanks Scott! Ive been working with my triads since april.about 2hours a day total practice time. Ive noticed my bottom teeth are moving in from the extra play. Im working on adjusting my embrochere to put no pressure on the teeth. I tire quick and sound bad with my new embrochere any hints would be appreciated.
Hey! Check out this video I did on embouchure it should help answer any questions you've got. If you're playing to the point that your mouth hurts... stop playing you're doing more damage than good. ruclips.net/video/5vh_5DakK_c/видео.html
The simplest way to explain this stuff is by using music notation. You could probably save about 10 minutes of your explanation. IMHO the most interesting part is about articulating (not to use triplets).
This sounds really cool..when improvising..i think would of been great to see like a four bar improv with some chords to figure out how they are used..me just starting playing..this helps a lot..thanks..no dog around this time..lol.."she"..u should of intro her into your vids..marketing..lol..
Great video !! What setup do you play ? Horn ? Thanks !!
Scott thanks again. Why with the 3 position BDG. Can’t understand why you go to the 4th G. And not F# which is in the G scale
Scott I’ll try and talk to a music teacher. Thank you oh so for explaining. Tom
Ok, one last try :-) In this exercise we are using the G triad which only has these three notes in it GBD. So you can only use those notes. No other notes are in the G triad. Even though an F# is in the G major scale, it is not in a G triad. Get out your saxophone and play these notes in order just like this:
G B D (root position of a G triad).
B D G (1st inversion of a G triad. Meaning still playing the notes in a G triad which are G B D but starting on the 3rd which is B).
D G B (2nd inversion of a G triad. Meaning still playing the notes in a G triad which are G B D but staring on the 5th which is D).
If you play those notes in order like that on your saxophone, I think you'll hear it.
What chords can I use this over. How do I use these. I don’t need to use it over certain chords do I or can I just use it when I’m in whatever key
So this is a triad pair on the 1 chord and the 2 chord. So you could play it over any major 7th chord in the key of the 1. So if you had a Cmaj7 chord you could play the triad pair based in C major which would be CEG/DFA
Scott thanks for reply. One thing about You and you site is that you always reply prompt. You try your best to explain to me and other. Sorry I still don’t understand why your not using F# instead you play G. Tom
Scott could it be that the note on screen is a miss print? Look all over internet and no explains why you don’t use the F# in G scale
I guess I’ll just stick with other scales. Thanks again. Tom
Hey Thomas. This exercise is based on the G scale, but is not a G scale. It is two sets of chords being played back and forth. Neither chord has an F# in it. The first chord is G major (GBD) the second chord is A minor (ACE). Those are the only notes used in the exercise. They are both triads meaning 1 3 5. Not 7th chords. And not scales.
A little further explanation without notes, that might help you see it a little more clearly. For this exercise you go back and forth between 2 triads. In my example the 1st triad was G major (GBD). The second triad was A minor (ACE). The order of what you would play is below....
1st TRIAD: 135
2nd TRIAD: 135
THEN MOVE UP THE TRIAD TO START
1st TRIAD: 351
2nd TRIAD: 351
THEN MOVE UP THE TRIAD TO START
1st TRIAD: 513
2nd TRIAD: 513
Then repeat in the next octave up.
Notice that the only notes that you are using are 135 in each chord. Hope that helps clear it up.
what strength reed are you using and do you doctor your reed?
Currently I'm using a 2.25 Legere American Cut. I've also played Signature cuts in the past. With synthetic reeds there is no doctoring. Just put them on and play. It takes about a week for them to break in.
Is it necessary to pair up triad with the next available diatonic triad? Or I can have pair any two triad not necessary to be diatonic but have same notes?🤔
There really aren't a ton of rules when it comes to triad pairs, you can pair up any triad that has different notes in the triad that are in the same diatonic scale. You can also change the rhythms and the order of the notes in the triad.
@@ScottPaddock ohh okay and thanks for your reply 😁
Wow.... Explicit!
👍
Ok
Test
Suena a pito murga