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Guitar Basics
Introductory Guitar Concepts for All Players
Tricks & Techniques
An Assortment of Techniques for Specific Playing Situations
Jazz Basics
Introductory Jazz Guitar Concepts
Jazz Advanced
Advanced Jazz Guitar Concepts
Gypsy Guitar
Concepts and Techniques for Playing the Gypsy Style
Lick Breakdowns
Detailed Analysis of Specific Licks and Melodic Ideas
AGU Tunes
30 Day Challenge
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Jazz & More Guitar Lessons: Superimposed Triads

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Jazz Advanced, Superimposed Triads.
I'm gonna show you another concept now
where I use kind of the same basic
thoughts behind it as when I
did the pentatonic section.
It means that you can play triads.
You think,
instead of thinking scales now or
pentatonics, you can think about triads.
Triads are probably the strongest
structures you can find in music.
You can always hear when it's a triad.
It doesn't matter what chord I play.
And if I play something over it,
it might sound completely strange.
You we'll still hear that it's a triad.
So the triad, triads are really strong in,
in western music.
And you can take advantage of this,
you can play triads that are inside.
Like if you have a C major chord,
we can play a triad like C major,
where all the notes are inside.
Same like G major triad, still inside,
but it has a slightly different flavor.
Then you can start finding
one note that is outside.
It can be almost any note,
as long as the two other notes are inside.
So we can take like an,
let's see what we gonna use here,
we can use a we can use a A triad.
Here we have the 6th,
it's within the chord scale.
We have the 3rd,
it's within the chord scale.
And then this note is the flat 9.
It's a note that doesn't belong to C
major, but it can still sound hip.
We can go even further out.
We can take a triad at like this, B.
And there we have a major
3rd no a major 7th.
And this is inside,
it's from the chord scale, this one.
Is the sharp 4,
it doesn't belong to C major Ionian.
So it's a Lydian flavor,
a Lydian note, and
then, this is the minor 3rd or
the sharp 9.
Create an interesting slash chord.
A over C and D over C.
Then you can go even further up and
use a triad where three notes are,
where none of the notes
belong to the chord scale.
But that, I would recommend to start
first two get used to these ones,
the ones that have one or
two hip notes within.
So another one.
Let's see, we have, A worked, B worked.
What else can I show you?
Yeah, I can show you one that
is completely outside just for
the fun of it like an F sharp.
'cause this would be the, the minor 7th.
This would be the.
This would be the sharp 11,
and this would be the flat 9,
so like this.
It's pretty out there, but it works.
And the same goes for minor chord types
just as well as major chord types.
And dominant chords the same concept.
Pick a triad where one or
two notes are slightly outside, and
mix them with your regular phrases, and
you will have a really interesting result.
So, I am going to try here to play over
the, once again over the chord changes of
Green Dolphin Street, on Green Dolphin
Street, the old standard, using triads.
Major triads.