After playing a tune for a while, it can seem like you are playing the same ideas or licks over the changes every time. For example, you see a D minor chord and think “okay D minor, I can play a D dorian scale or a D harmonic minor scale or arpeggiate from the third…”
And after a while, it can see like there is nothing new to play or that you are going down the same path on this chord every time. Feeling uninspired or bored with your playin tis a recipe for burnout, not to mention it’s just not fun…
So one thing you can do in this situation is to find a completely new way to approach those familiar changes, forcing yourself to try a new technique so you avoid playing those same old licks. One option is to approach those common chords, on which you would normally play scales, with triads or groups of triads to create a new harmonic sonority.
There are endless ways of combining triads harmonically, rhythmically and melodically to create new ideas for improvisation. Check out this live clip of Chris Potter playing with Dave Holland to get an idea of the possibilities of using triads (and fourths) in a solo.
Okay…thank you Chris, now that we all want to quit our instruments. But seriously, that video was an example of what can happen when you explore new approaches to chords and really master the technique behind them. Here are some ideas on how to start incorporating some triads into your playing…
Diatonic Triads
The first way to utilize these triads is to use ones that you are already familiar playing; triads that occur naturally in the modes of the major scale. Start with a simple group of two diatonic major triads and alternate between the two in every inversion. Say you are trying to solo over a D-7 chord, instead of approaching this chord as you usually would, try improvising with just an F major triad and a G major triad as shown in the example below:
Because these triads are constructed diatonically, they will work over chords (or modes) that naturally occur in the C major scale. As shown in the example, you could play the alternating F and G major triads over a C Major, G7 or F Major 7 #11 chord. Each of these combinations creates a different harmonic result, some more effective than others.
For example, over the G7 and F Major 7#11 chords, all the notes of those two triads are fairly stable, one triad emphasizing strong chord tones while the other emphasizes upper structures. Over the C chord it does not work as well because the third of the chord is not played, but it can be effective if you emphasize the G triad and use the F triad in passing, not landing on the harmonically weaker notes (root, 4th) on strong beats.
Just as you practice all your exercises, practice this triad concept in all four directions ascending and descending to explore every possibility available. Since the above example shows the Up Up direction, below are the remaining three directions shown ascending:
Up Down
Down Down
Down Up
Once you get this sound in your ears, find a practical way to apply these triads based on the type of harmony you want to imply. If you are on a major chord and want to create a lydian sound you can play the root triad and the triad a whole step above the root, for example on a C Major chord, use a D major triad over a C triad. The same is true for a lydian dominant sound; if you are on a G7 chord you can play a G triad and the triad a whole step up, an A Major triad that includes the C# or #11.
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