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Jazz & More Guitar Lessons: Superimposing Sus-Triads

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Jazz Advanced,
Superimposing Sus-Triads Part 1.
I have one more concept we
are going to try out and
fly over the chords of
Green Dolphin Street.
I learned this techniques from
a guitar teacher I had back in
the days when I went to high school.
And, he was very good at this technique.
Instead of super imposing these triads,
as we did in a previous lesson,
he super imposed and
used Sus-Triads instead of regular triads.
A Sus-Triad means you have, if you're
in the key of C you have C, you have F.
And, G, 1, 4, 5.
There are many different ways
of fingering these sus structures.
If you like these big stretches, you can
probably [SOUND] do that kind of stuff.
Or you can just find it in a position.
Or you can go, I try to find them all
over, it's only one, four, five.
One, four, five.
One, four, five.
So, let's just try to find these
sub-structures all over the guitar neck,
and practice that for a minute.
And then, we're gonna move on.
And, what we gonna do is,
I'm gonna show you, it's the same idea
as when I was working on the triads.
You can choose a sus structure that
is completely inside the chord scale,
like on C.
You can pick like a D.
D sus.
Then you have a 6th.
You have the 5th, then you have the 9th.
Like that.
It's a pretty nice flavor using this D sus
over C.
But, it's still,
still very much inside because all
the notes are within the chord scale.
But, you can then start picking
a structure which has one note,
or that is outside the chord.
For, for instance, I'm C major here.
You can pick this one, the B sus.
'Cause here you have the sharp 11,
the flat 5, 3rd and you have the major 7.
you will get that kind of Lydian sound.
you can pick one that has two
notes outside, and one inside.
And, that will be the F sharp sus.
This is [INAUDIBLE] Lydian note,
the sharp 11, slightly outside.
The flat 9, completely outside,
and the major.
Nice sound, isn't it?
So, it's like an F
sharp sus over C.
And then, you can pick one.
Where all the three notes are outside,
but I would recommend to start,
to just have, have sus structures with
one or two notes outside the chord.
The same goes for the other chord types,
like, minor 7 and dominant chords.
You do the same thing.
You pick a triad which is either
totally inside the chord scale or
slightly outside because one or
two notes are outside.
On a dominant chord, it's like,
if you have the 2 5 1.
You can see.
And once again, you can find this one.
[SOUND] First one inside,
G sus over D minor 7.
Then, [SOUND] then you
will play an A flat sus,
[SOUND] which will be the flat 9,
the sharp 4, flat.
Sharp 5, and a flat nine.
Creating an interesting sound.
And then, you also have
a direction cause you start here,
on the G chord, on the dominant chord, and
then, you have the 6th.
3rd, the 9th, and 6th.
We'll go the opposite opposite.
Works too.
So, think about having a,
a direction, and move.
Move like this instead of just jumping
around trying to find just random
sus structures.
It's good to have a thought behind it and
after a while you will
just start hearing it.
So, let's try to play along with
the back track of green dolphin street
using mainly sus structures.
Jazz Advanced,
Superimposing Sus-Triads Part 2.
One thing that is really important when
you practice these outside techniques,
triads substructures, pentatonics.
Even when you're just pract, exercising,
you know, practicing scales or modes or
melodies or whatever.
It's good to have a musical
thought behind it.
So it's a good exercise where you can
actually try to just have a musical motif.
And then you will try to expand this,
and continue and develop it.
So, if for instance on the first
chord of Green Dolphin Street, so
something like this.
Maybe on the next chord,
maybe you can continue.
Continue and then maybe.
Change it a little bit, like.
And some other idea.