![]() It won’t ever sound cliche or cookie cutter because it’s not a common approach being taught or used in the jazz guitar world. But the majority of the technique relies on a basic triad. This is what will help make it seem like something more complex is happening than just triads. Because it focuses on creating inner voice movement, it has a pianistic quality to it that makes it an unusual texture to hear from the guitar.The benefits of this technique are too many to list, but there are three big ones I want to point out before you give this a shot. But while it’s a simple concept, it will likely take you some practice to get used to. A very simple one that takes advantage of basic triad shapes. We’re not going to discuss every way possible today. There are many techniques that we, as guitar players, can take advantage of to create liquid harmony. Not simply from one chord to another, but even INSIDE of a single chord. But when we listen to great masters of harmony, there is movement. There IS a time and a place for a big, tricky, finger-twisting, statuesque voicing that we put out there and then let go of to move on to the next voicing. If you listen to great post-bop piano players, like Bill Evans, or even some of the masters of jazz guitar, we aren’t necessarily going to hear hip sounding block chord after hip sounding block chord. It all comes down to this… individual and inner voice movement. You might be asking yourself right now, “How can I access advanced jazz harmony for comping, chord melody, and piano-less trio playing using triads and without worrying about upper extensions or modern drop voicings?” It will sound like some of the most advanced harmonic playing you’ve ever produced. But I assure you, once we apply our secret technique to these triads and get them on the fretboard, moving through chord progressions and applied to jazz standards, nobody will notice they’re just triads. The thing that most eight year old piano students can probably already play through all of their inversions. Today I want to talk about how we can use the fundamentals to create more advanced jazz harmony. Usually when the topic of advanced jazz harmony, chords, and comping comes up it immediately sparks conversations about altered extensions, chord tones in the upper structure of a harmony, chord substitutions, chord scales, mode mixture, varying applications of melodic minor and harmonic minor, and all kinds of joint breaking, carpal tunnel inducing chord voicings requiring the most insane hand positions and fret stretches you can imagine. The types of sounds that nobody would ever guess were derived from triads and shell voicings. On Friday's, during our Advanced Melodic Triads Concepts lessons, we explore some of the ways that we can arrange the fundamentals of triads and shell voicings into rich, complex, advanced, deep sounding music. because we're all made of the same stuff. Once you understand how just a few proteins can be arranged in a way to create people, trees, ants, and hamburgers, you could theoretically invent the most advanced complex life forms without ever using anything other than those same proteins. They're the building blocks of music like DNA is the building block of life. then you have a lifetime of exploring more advanced application ideas without ever needing to leave them behind. The REALLY cool thing about focusing on the fundamentals is that once you understand what they are, how to control them, and how to make beautiful music with them. You can improvise lyrical melodies and comp interesting harmonic stories through jazz standards. you can start making legitimate, authentic, spontaneous music quickly. The cool thing about focusing on the fundamentals of music is that, when done correctly, with the right mindset, and with the correct concepts for application. Friday: Advanced Melodic Triads Concepts Archive
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