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Master Class Woodshed | By matt shevitz Using Augmented/ Major Triad Pairs In Improvisation There are two types of “licks” used in jazz: melodic and harmonic. A specific phrase that is learned and then applied to a solo is a melodic lick. On the other hand, an approach that uses a particular progression or scale is a harmonic lick. A harmonic approach provides an improviser with musical vocabulary in a more customizable way than a melodic approach. The progression or scale dictates which notes to use, but not how to use them. That’s up to you. In traditional jazz education, triad pairs (which are harmonic licks) are a more advanced concept. Triad pairs are exactly what the name implies: two triads that are paired together. We will focus on triads that are a whole step apart, although other intervals can be used. Ours will consist of an augmented triad and a major triad a whole step above it. We’ll focus on a C augmented/D major triad pair. What makes augmented triads so interesting is the fact that there are really only four kinds. For instance, if we spell the C augmented triad in root position, the notes are C–E– G#. Now think of the triad in first inversion (with E on the bottom). The order of the notes will be E–G#–C. The enharmonic equivalent to C is B#, and if we use that name for that pitch we have an E augmented triad in root position. The same goes for spelling the C augmented triad in second inversion (G#–C–E). If you change the G# to an Ab, you have an Ab augmented triad in root position. Let’s revisit the C augmented/D major triad pair we were discussing. Since an E augmented triad would be paired with an F# major triad and an Ab augmented triad with a Bb major triad, we now have three triad pairs for the C augmented triad. This greatly expands the chords and progressions that are possible and makes it easier to move from one triad pair to another. If you are using a C augmented/D major triad pair and want to switch to an E augmented/F# major triad pair, all you have to do is change the major triad you are playing; the augmented triad can remain the same. In terms of chord possibilities, it is up to you to decide which chords you want to implement this approach over. If you stay with conventional alterations, then you have a fair amount of choices. However, if you want to break some of the traditional rules of jazz education, your options expand greatly. You may choose to use the pairing only over chords where both triads work well, or just one. For example, a C augmented/D major triad pair will work over a D7. The C triad highlights the b7, 9 and #11, and the D triad outlines the basic triad for the chord. The D major triad will not work well (according to traditional jazz education rules) over an Emaj7, while the C augmented triad definitely will (it will provide a #5—again, think enharmonically—which is acceptable). If you are open to it, however, you can still use the pair, as the notes in the D major triad will most likely not be sustained long enough for the clash to really be heard. As long as you resolve it (say, from D up to D# or A down to G#), it will sound fine. If you open yourself to making alterations freely, you can use the three pairs over 21 different chords and six basic chord progression types. Figure 1 shows the three different triad pairs and the chords they can be used over. When you consider that you can change from one pair to another, you can find many different progressions that the pairs will work over. For example, the second triad pair will work over an Ebm7, while any of the pairs will 102 DOWNBEAT DECEMBER 2011
Figure 1 Chords: C, C7, D7, E7, G#7, B7, Am(maj)7, Bm7, F#m7(b5) Figure 2 Chords: E, E7, F#7, G#7, C7, Eb7, C#m(maj)7, Ebm7, Bbm7(b5) Figure 3 Chords: Ab, Ab7, Bb7, C7, E7, G7, Fm(maj)7, Gm7, Dm7(b5) work over an Ab7. This means that over an Ebm7–Ab7 progression, you could use the second triad pair at first and then switch to any of the other ones. In addition, these pairs will work over the infamous Coltrane progression. In the key of C, the chord progression is C–Eb7–Ab–B7–E–G7–C. There are a number of combinations of triad pairs for this progression. One of the simplest is to think of the second triad pair for the first two chords, the first triad pair for the next two and the third triad pair for the last three. As you can see, there are a lot of possibilities with this one approach. I strongly recommend that you find a couple of progressions that you would like to use this over and focus on them. As with any approach, keep practicing it until it comes out naturally in performance. A forced idea is rarely an effective one. DB Matt Shevitz is a saxophonist and educator based in Chicago. He teaches at Harold Washington College, where he is also the music program coordinator. Visit him online at mattshevitz.com. DECEMBER 2011 DOWNBEAT 103
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