Exactly! I got that from guys that studied w/ Biancas
(SP?).
It's like a Mcoy Tyner thing too.
Mark
--- Ken <kuboken1@...> wrote:
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So what I do a lot is just pick 2 triads and mix
up the notes.
Explore the possibilities of just using the notes
in the
G major triad and the A major triad and you will
find lots of new
stuff
to play over B-7b5. Take an hour or more just
exploring
all the combinations of notes, skiping octaves,
just use one note
of one triad and all of another, etc.. it's
endless.
I think this is sometimes called triad pairs, or a
simplified
variation of Charlie Bonakas' (spell?) bitonal
pendulum approach.
By picking 2 triads, you have 6 notes to play with
(out of 8), so you
have most of the scale available to you anyway.
The interesting part comes in thinking triads
because the phrasing
will tend to move in thirds and fifths, which gets
you 1. away from
straight up and down scale playing (which is the
easiest thing to do
on the guitar) and 2. have a little more freedom
and variation than
simply arpeggiating a chord.
You hear this a lot especially in the modern
saxaphone players
(Brecker, Lovano etc...)
Ken
