Using “triad pairs” has become a popular method to help generate melodic material. I first heard Oliver Nelson use triad pairs in his 1961 solo from Blues in the Abstract Truth. John Coltrane also used the concept extensively. Since that time many players seem to use triad pairs at some point in their exploration of improvisation.
Varying rhythms and phrasing, leaving space, changing the number of notes from each triad pair, mixing line direction and triad shape all while listening to the rhythm section, can turn this potentially dry concept into a very creative way to create melodic lines spontaneously.
I notice a tendency for myself and other players to outline the triads in “non-broken” arpeggios so I came up with these 3 melodic patterns that utilize broken arpeggios as well as alternating triadic shapes. This basic idea is covered in detail in my Triad Mastery book.
The melody below will hopefully allow for more knowledge and freedom when working with triad pairs and can be applied to any two triads or 3 note cells. You can download the PDF below.
For further study, I recommend Mick Goodrick/Tim Miller: Creative Chordal Harmony For Guitar.
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