ii.i.!.:..

:1j,

itrr+

ry*;
jí'-*
rÉq
*"?
TriaüPai[$z
!>
l*mffi-

Pojecl Manager: Péle BaÍenBregge

Projectcoordinatori Edínond Flandle
coveí DesignI Debbig Johns

íílBl
\Z
WABNER BRos. PUBLlcATloNs. THE GLoBAL LÉAoER lN PRll{T
USA: 15800 NW 48th Avenue, Mlami, FL 33014

O 2OO1 BELWIN.I\,IILLS PUBLISHINO CORP

All Rights Adminisléred by. WARNEF BRos. PUBLlcATloNs U.s' lNc.
All Bighls R€seNed lncluding Public Peíormanco Íor pÍoíit

Any duplicalion, ádaptaljon oÍ arrang€ment oí the compoGilioíls

ísquiíeslhe wíilten consent of the Publisher
conlained in this col|€ction
No pan oí lh]s book may b6 photocopied or repíoduced n any way w]lholJt permlssion'
Unauthorized uses aaé an inlringemenl oÍ ihé U.s' copyriohl Act and are punishablé by law.
 Table of Contents

Pairs?
\\'hr Practice Triad ....................3

{pplr ing Triad Pairs..... ........................4

Triad Pairs Within Conventional, Seven-Tone, Diatonic Scales..4

Triad Pairs Within Symmetrical Scales ......................................6

Triad Pairs as lndividual Entities Within Various Environments..g

Determining Applications.. ...........1()

How to Practice Triad Pair Patterns......... ................12

Basic Three-Note Patterns.. ..........13

Basic Four-Note Patterns. .............36

Linking Triads............ ........................54

Six-Note Patterns .........................54

Continuous Chain Based on Six-Note 1inks............................69

Eight-Note Patterns ......................71

Triad Pairs Linked With a Chromatic Passing Tone..................85

Other Triad Linking Possibilities.... .....................89

Pairs
Stacked Triad .......91

Variations..... ..............100

Variations on Basic Four-Note Patterns.................................101

lnterchanging Patterns and Altering Chord Sequence...........l05
Approach Tone Variat|ons.................,. ............107

Variations
Rhythmic ...................11()

Triad Mutation.................. .........113

1icks............. .............117

Solos Using triad pair applications on

- changes........
standard tune chord ..................124

Solo Application Cuide ...................125

Cary Campbell Biography ...............142

 Why PractÍce Triad Pairs?

Working with triad pairs is a very effective strategy for constructing fresh sounding melodic
lines. Here are some reasons why:

1. By limiting note selection to six tones (each triad consisting of three), a more concise sonority
is created. For example, the conventional chords used in tt'e jazz idiom are oftentimes associated with
parent chord-scales of seven or more tones (melodic minor, major, harmonic minor, and so on).
Rendering these scales in the form of triad pairs yields more variety in tone color and suggests novel
melodic possibilities. (I'll present a brief procedure for extracting triad pairs from these seven-tone
scales later on.)

2. Each of the triads expresses a tonality. By using two triads, bi-tonal effects are created. This
effect is multiplied when the triad pair is used over a root tone that is not present in either triad.

3. The structure and "tensile strength" of triads give the melodic line an independent internal
logic. The "stand alone" sound is oftentimes enough to make a strong, effective melodic statement
regardless of how it is (or isn't) relating to the harmony over which it is being used. It sounds "right."

4. The triads offer a skeleton structure to base lines on. This can be very helpful in modal set-
tings where there are no diatonic, cycle-of-fourth root movements or resolutions and where each chord
change may last a long time (for instance, four, eight, or sixteen measures.)

An in-depth study of this subject is presented in my book Connecting Jazz Theory (Houston
Pub. - Hal Leonard). I also highly recommend Walt Weiskopf's book Intervalic Improvisation
(Aebersold).
 Applying Triad Pairs
Perhaps the clearest way to conceptualize the ways in which triad pairs can be used is to consid-
er them as an alternative to using a chord-scale (parent scale) over a given chord or chord progression.
How do we determine which triad pairs can be used in place of of the given scale? Simple:

Use any two adjacent díatonic triads within a parent scale.

Triad Pairs Within Conventional

Seven-Tone Diatonic Scales

1) Major Scale
C Major Scale

cHÁí out lHr{ quM Aur íolM

2) Harmonic Minor Scale

C Harmonic Minor Scale

0vr 0 oru Ébtuq íut Qurt AbrA{ 6oru 0ur

Dalr Dalr

pair pair
 3) Melodic Minor Scale

C Melodic Minor Scale

4) Byzantine or Double Harmonic Scale

C Byzantine or Double Harmonic Scale

0 r4a{ obult É}1l F rlt AtAuq cuAí

oair

pair

5) Harmonic Major Scale

C Harmonic Major Scale

guA{ oolH (.tr Ir,rr qHM 3 o lr.{ cuAí
 Tliad Pairs Within Symmetrical Scales

The symmetrical scales present a radically different chordal environment from that of the con-
ventional seven-tone scales. kt's examine the auxiliary diminished and augmented scales

1) Auxiliary Diminished Scale

C Auxiliary Diminished Scale

Diminished chords include:

Q íl, íl' rlo l otttturreo

0ü'É'q'ürc$oumilro
 Major and minor chords include:

The auxiliary diminished scale yields two diminished seventh chords, four major triads, and four
minor triads. (Note their symmetry.) Any two of these chords that do not share a common tone consti-
tute a viable triad pair.

Starting with a C major triad, we can move each chord-tone up stepwise to get this progression
of diatonic triads. Of course, any two adjacent triads constitute a viable triad pair.
 2) Augmented Scale

C Augmented Scale

0huq qAuq

The augmented scale yields two augmented triads, three major triads, and three minor triads.
Any two of these that share no common tones constitute a viable tiiad pair.
 Triad Pairs as Individual Entities
Within Various Environments

For ease of reference, let's consider triad pairs in generic terms. That is, the quality of each triad
(major, minor, augmented, and so on) and the distance between the two (for example, half-step, whole-
step).
As we go through the process of determining the triad pairs contained within various scales, we
begin to notice that most generic triad pair types can be found within more than one class of parent
scales. For instance, Cmin/Dmin can be found among the diatonic triads of the C melodic minor scale
as well as those of the Bb major scale.

Diatonic Tiiads Within the C Melodic Minor Scale

0t'tr Or'tr

Diatonic Triads Wihin the Bb Major Scale

oHr our

So, theCmin/Dmin triad pair can function the same as the C melodic minor scale, as well as the
Bb major scale. In generic terms: Two minor triads a whole-step apart may be interpreted as the i and
ii triads of melodic minor as well as the ii and iii triads of major.
 D etermining Applications
The focus of this book is on mastering the manipulation of triad pairs while presenting a gener-
al guide to determining chord applications. All the fundamental information you need has been pre-
sented in the preceding pages. For an in-depth study of applications, I recommend my book
Connecting Jazz Theory (Houston Pub. - Hal Leonard). I will, however, illustrate the application
process with two scenarios.

1) Starting With a Chord-Scale

First of all, for any given chord or chord progression, there is no single solution as to what to
play. There is no single "correct chord scale" from which to draw There may be many choices. Issues of
style, harmonic context, the music's tolerence for dissonance, and so on, are all criteria. So, as I present
the following illustrations, I presuppose that these factors have all been considered and the choice of a
particular chordscale has been made.
Let's say you have chosen a melodic minor scale as the chord-scale for a situation and you want
to see what triad pairs can be used. Upon examination, we see that within a C melodic minor scale are
the following triads:

The possible triad pairs are:

0r/0ut Ou'/É|luq Éilovít{lírHMlqHM Qn/Aorx Aorr/0otx Úolt/clm

Of these, my preferred selections are:

cut/ottt Étruq/íH^{íilílq!il{

Conclusion:

The above triad pairs can be used wherever you would use the C melodic minor scale.
Experiment and determine which sounds best.

t0
 2) Starting With a Tiiad Pair

Let's say I've mastered the triad pair F Maj/G Maj and I want to determine over which chords I
can use it' I have examined the diatonic tÍiads within several parent scales and have found this triad
pair within the C melodic minor scale and the C major scale.

Diatonic Tiiads Within the C Melodic Minor Scale

fuA{ qHA{

Diatonic Tiiads Within the C Major Scale

A C meiodic minor scale can effectively be applied to these chords:

0ut(ula7) 0ru(lt) Ébula'(5) |1uLL) q?Ó!á) g1^l1

^í

AC major scale can be applied to these chords:

cMAfl Our? (.euai]ill') íulr?(l"t) Qrurll AurQo) gi

Conclusion: The triad pair F Maj/G Maj may be applied to all of the above chords. Experiment.
Remember the criteria mentioned under Starting With a Chord-Scale on the previous page.

11
 I{ow to Practice
TrÍad Pair Patterns
The exercises in this book illustrate the inexhaustible possibilities for playing triad pairs. By
practicing these exercises daily, you can absorb the overall sound of the triad pairs and learn many
ways to weave melodies from them. Then the process of integrating these sounds into your playing can
begln.

The exercises also serve as great exercises for developing instrumental technique. Some will lay
easily on the instrument while others may be quite awkward. Always practice slowly with a
metronome, maintaining precision and relaxation throughout the range of the instrument. This is not
always easy to accomplish because your mind's eye is concentrating on the triadic patterns. When the
mind is stressed, physical tension can creep in and debilitate technique and sound production. So take
your time! This way of practicing is great discipline for Íhe jazz improviser.

In this book I've put the practice patteÍns and the application StlategieS ín separate chapters.
My approach has always been to first practice the patterns as isolated entities, like technical etudes,
concentrating on how they sound, developing a mind's-eye image of them, and learning to manipulate
them in various ways. Then! once they are mastered, I'm ready to determine which application possibil-
Íties I prefer and begin practicing the triad pairs within a given musical context. Detailed suggestions
and illustrations of this process are included in my book Connecting Ja77 Theory (Houston Pub. - Hal
Leonard).

The first exercises are simple, conjunct patterns with basic variations. As we go, the patterns
become more involved and perhaps more difficult to grasp. For this reason, I suggest mastering the
beginning exercises before proceeding to the more complex ones. Otherwise, you will easily get lost
and disoriented. Remember: These exercises are wÍitten out in only one key! You must transpose them
into all 12 keys in your head. When needed, brief explanations or comments will accompany each
group of patteÍns.

l2
 Basic Three-Note Patterns
NoÍe:
Most of the patterns presented hereafter are in the following order:

1. Tiiads going up-ascending/descending pattern.

2. Tiiads going down-ascending/descending pattern.
3. Tiiads alternating (one up, one down)-ascending/descending pattern.
Many alternating patterns are not shown. Figure them out!

knportant: Don't forget to do all of the transpositions for each pattern, and reverse the order in alter-
nating patterns. For maximum results, be thorough!

Notation: With regard to the use of accidentals-I have notated sharps and flats in such a manner as to
facilitate reading and to help identify each triad as a separate entity. Accordingly, accidentals may be
marked more than once within a given measure, and sharps and flats may coexist within a given meas-
ure.

1) Major Triads A Whole-Step Apart

Ascending
0gAí - 0ÍA,Í

Descending

13
 Ascending
culí 0HAí

Descending

Ascending
0HAí 0HA,!

Descending

Practice the 11 other transpositions before continuing.

With all altemating patterns, also start on the second triad to leveÍse the alternation order.
osA{ gHA{

1.4
 Before going on to the next section, I'd like to suggest something. The preceding patterns were
majoÍ tliads a whole-step apart based on the C major triad as the starting point' The second triad was
D major, a whole-step up from C major. Now, when I practice these whole-step apart pattems I like to
think of them two ways: 1) as starting on the "central triad" (in this case C) followed by the triad
either a whole-step above (D), as in the preceeding patterns or 2) as the central triad (C) followed by
the triad a whole-step below (Bb).
Despite the fact that these two sets of patterns are both major triads whole-step apart, I beiieve
it is useful to think of them as sepalate patterns rather than as the same patteÍn eithel starting on C
major going up to D major, or starting on Bb major going up to C major. This way of imagining triad
pairs around a "central triad" is useful when you get to the application stage of this study.
For example, with a C7f 11 chord we might think of the triad pair C Maj/D Maj. Whereas, with a
C7sus11 chord we would think of the triad pair C MajiBb Maj.In both cases the C Maj. triad is the
"central triad" accompanied by one of the two others.
Therefore, I will include both versions of these patterns.

Ascending
curí Úlurt

Descending

15
Ascending
CHr{

Descending

Descending

l6
 2) Major Triads A Half-Step Apart

Ascendins*
0.urí Olur,l 0HAí

Descending

Ascending
CHA( obult

Descending

).1
 Ascending
0vrr Olurt

Descending

Don't forget to reverse the order, Db -up, C down. Also, the transpositions.

Ascending
c'HAí gHlí

Descending

18
 Ascending
gHlí 8urí

etc.

Descending

Reverse the order - B up, C down. Tianspositions!

l9
 3) Major Triads A Tiitone Apart

Ascending
c'urí ílult

20
 Ascending
CHr{ Í{xlt

Descending

Do all transpositions. Reverse alternation order.

2I
4) Minor Triads A Whole-Step Apart

22
 Ascending
0ut 0vr

Descending

Do all transpositions. Reverse alternation order.

Ascgnding
0'ur $lur

23
 Ascending
0ur 6lyr

Do transpositions and reverse alternation.

24
 5) Minor Triads A Half-Step Apart

Ascending
Ovr Obur

Descending

25
Do transpositions and reverse alternation.

Descending

zÓ
 Ascending
0r'rr 6xr

Descending

Descending

Don't forget transpositions and reversing alternation.

6) Minor Triads A Tritone Apart

28
 Ascending
0vr r{yr

Don't forget all transpositions and alternations.

29
 7) Whole-Step Apart

Ascending
clrí slrrr

Descending

Ascending
cn,Í 6lur c Hrí

Descending

Also do alternating.

30
 Ascending
0'xr 6lult

Ascending
O'ut s'}'(lí

Also do alternating pattems.

31
 Ascending
gxr oxll

Descending

Do alternating patterns.

32
 8) Half-Step Apart

Ascending
0'vr Obum

Ascending
0vr
- Obulr

Do an alternating version of the preceding pattern.

33
 Descending

Ascending
Cua,r Sur

Descending

Do alternating patteÍns.

34
 9) A Tritone Apart
Ascending
0MAí tftlr

Aiso do the "triads going down" version, as well as the alternating versions.
Ascending
0'ur F{xlc 0r'rr ffull

Descending

Also do the "triads going down" version, as well as the alternating versions.

This concludes the basic three-note patterns for major/major, minor/minor, and major/minor
triad pairs. There are, of course, more possibilities for combining major tÍiads with minor triads. Some
of these may be found in the chapter Tiiad Pairs Within Symmetrical Scales.
Now we will continue, exploring basic four-note pattelns oveÍ many of these same triad pairs.
These should be a bit easier to get a grip on if you have mastered the preceding three-note patterns.
Later, as we continue into more and more complex patterns, the process should actually become easi-
er. Tirrn on your metronome.

35
 BasÍc Four-Note Patterns

The most basic four-note pattern is essentially the same as the basic three-note pattern, the dif-
ference being the addition of the fourth note, one octave above the first note.

Basic three-note pattern

Basic four-note pattern

Go back and practice the triad pairs you've already done, now in the above four-note pattern.
Assuming you have put in considerable time practicing the three-note patterns, this transition should
be pretty easy. Please observe that I do not illustrate these very basic four-note versions. Instead, we'll
start with another simple four-note pattern in which the fourth note of each unit is a repetition of the
first note.

36
 1) Major Triads A Whole-Step Apart
0ulí ouAí ouA{ oyA,Í etc.

Ascending
cHA( ouA{

Descending

3'7
Tiy to figure out what the alternating version of the preceding pattern would be.

Ascending
0uA{

Descending

Descending

38
 2) Major Triads A Half-Step Apart
Ascending
0HAí cyA{ o'HAí etc'
'lutt

Descending

Ascending
0ur{

Descending
Ascending

0HA{

Ascending
cuA,Í

Descending

40
 3) Major Tiiads A Tritone Apart
Ascending
0uAí F{xm cuA,Í í#uM etc'

Ascending
CrA{ Éfult

Descending

Tiy alternating.
 4) Minor Tiiads A Whole-Step Apart

Descending

ltttT l

Descending
Ascending
0ur

Descending

Ascending
Cvr
 5) Minor Triads A Half-Step Apart

Descending

Descending
Ascending
0ur

Descending

-T--Í-T

Ascending
0vr 8ur

Descending
 6) Minor Triads A Tritone Apart
Ascending
0ur í#vr 0'ur tlur

Ascending
c'H

L
 Selected Mixed Pairs - Major With Minor
7) Whole-Step Apart
Ascending
0'HAí slut cllAí 6but

Descending

Ascending
cyA,Í

Descending
Descending
Ascending
Clt ouAí

Descending

Descending
 8) Half-Step Apart
Ascending
0rr

Descending

Descending
 Descending

Ascending
0HAí

Descending

Alternate.
51
 9) Tritone Apart
Ascending
0yA'Í Í+!r

Descending

ttt
lt

Ascending
CHA{
 Ascending
Cxr í+t{M

Ascending
0ur í {xll

Descending

This concludes my selections for mixed triad pairs - major and minor. Other possibilities can be
found in the chapter Tiiad Pairs Within Symmetrical Scales.

53
 Linking Triads
Six-Note Patterns
In the patterns presented thus far' the basic unit of patteÍnization was a single triad, either in
three-note or four-note form. Now we will link the two triads of the pair together, forming a basic unit
of six notes or eight notes. Let me illustrate some of the possibilities.

Basic Three-Note Tiiad Unit

The above pattern is formed by alternating between C major and D major triads in root position, first
inversion, second inversion, root position, and so on. Now, when we "link" the triads we first play C
major in root position. Rather than proceeding with D in root position, we go down from the third
note of the C triad (G) to the closest note of the D triad (F#) and build the D triad from there. This
forms a six - note unit. Then, we build six - note units from each successive inversion of the C major
triad.

six note unit six note unit

cuAí 0Mr{ oHAÍ oyAí

link point Iink point link point link point

root position lst inversion 2nd inversion root position

Important: As with all of the preceding pattems, the pattems that follow are written out relative
to C only. Be sure to practice the other 11 transpositions.
54
 1) Major Triads A Whote-Step Apart

Ascending
c'ua( oyll

Descending

Alternating.

Ascending
0Hr{ oHr{
 Ascending
oua{ Sbult

Alternating.

Ascending
ouA( 6'H^í

56
 2) Major Tiiads A Half-Step Apart

obvr{ oHA'!

Ascendíng
oHA{ obHA{ cur,í

57
Ascending
c'uAí 8lrt

Ascending
0xrr 6rlí

58
 3) Major Triads A Tritone Apart

Ascending
cuÁí F{ttll

59
 4) Minor Tiiads A Whole-Step Apart
Ascending
CHr Our 0'ur Our etc.

60
Ascending
0r 6bur

61
 5) Minor Triads A Half-Step Apart

Obtu 0,ur Obyr etc.

Descending

Descending

62
Ascending
0ur 0ur Bur

b-t
6) Minor Triads A Tritone Apart

64
 Selected Mixed Pairs
7) Major With Minor
guAí sul etc.

Ascending
cHM 8$ CYA,r

65
Ascending
0'ur Obvlr

Descending

Ascending
c'r'u otHA(

66
Ascending
curí 6lyl

Ascending
cH^í 8byt

67
Ascending
0,ur 6lutl

68
 Continuous Chain
Based on Six-Note Links

We can construct continuous línks.

Ascending Descending
ouAí oMA{ 0ult

Ascending Descending
oulí $blArí

Ascending Descending
ouAí olult

Ascending Descending
0tll,í

69
Ascending Descending

Likewise, construct six-note continuous chains with the other triad pairs:

Two minor triads a whole-step apart.

Two minor triads a half-step apart.

Two minor triads a tritone apaÍt'

The mixed pairs, as before.

By now, you should be familiar with the sequence and procedure I've been using to assemble
the various patterns - major triads at various intervals, minor triads at various intervals, mixed triads at
various intervals, and so forth. Therefore, from now on, I'll write out only the first few examples of
each new patteÍn. If you have difficulty' refer to the sequence I've used up to this point and write out
the new patterns for yourself.

70
 Eight Note Patterns
1) Major Tiiads A Whole-Step Apart

Descending

Ascending
0uAí

Descending
Descending

Descending

1Z
 2) Major Tiiads A Half-Step Apart
Ascending
cHAí olult

Descending

Ascending
0HA{

Descending

73
Descending

14
 3) Major Triads A Tritone Apart

Descending

Ascending
0Hlí

'75
 4) Minor Tiiads A Whole-Step Apart
Ascending
out oul out olt etc'

Descending

76
Ascending
c,ttr Bbyr

Ascending
Cvr

Descending

71
 5) Minor Triads A Half-Step Apart

Ascending
0ur

Descending

78
Ascending
c'r'u 6r'rr

Descending

79
 6) Minor Triads A Tritone APart

Descending

80
 7) Selected Mixed Pairs

Ascending
0uAí

Descending

Ascending
0HA{

81
 Ascending
0xr

Ascending
0ur

82
Ascending
cMAí

Descending

Ascending
c yAí

Descending

83
Ascending
0vr

Descending

Ascending
0vr

84
Triad Pairs Linked With A Chromatic Passing Tone
It is possible to link tÍiads together with a chromatic passing tone (that'S not part of either
triad.) Where there is the ínterval of a whole-step between the last note of one triad and the fiÍst note
of the other triad, a chromatic passing tone can be inserted, tinking the triads together. This type of
link is verli tricky. Unlike our basic patterns, these patterns often work only if the they start with the
first triad in a particular inversion (root position, first inversion, or second inversion.) Furthermore,
the order of the triad alternation (in which one goes first) may be reversed in the descending version
of the pattem.
In the following few pages, I have illustrated some of these tricky patterns that work. In each
new pattern, observe the features mentioned above very carefully. Then proceed with the transposi-
tions. I'm sure that lf you play with these enough, you'li find othór possibilities.

Ascen,ring 1) Major Triads A Whole-Step Apart

cl'{Aí stHA{ 4A{ Bbly.a4

passing tone passing tone passing tone

In the pattem above, notice that the ascending veÍSion Starts with C major whereas the
descending version starts with Bb major. Also, the ascending pattern only works when the C major
chords are in root position and the descending veÍSion starts with the 3rd of the Bb major chord.

0HÁí 6byll c yÁ( Slurr etc.

passing tone passing tone

passing tone tone passing tone

8-5
2) Minor Tiiads A Whole-Step Apart

86
 3) Augmented Triads A Whole-Step Apart
Ascending

Ascending
o^uq Sbruq

87
 4) Major and Minor Triads
A Whole-Step Apart
Ascending
0ur

etc.

ffitJ,
5) Major Triads A Tritone Apart
Ascending
0ua{ Élult

Descending

This is the only ínversion that works.

Ascending
6) Minor Triads A Tritone Apart

Again. this is the only inversion that works.

88
 Other Tiiad Linking Possibilities

The possibilities for linking triad pairs are many. The preceding section dealt with linking triads
with a chromatic passing tone, joining the last note of one triad with the first note of the other triad.
This creates a smooth, connected sound.
Tiiad pairs can also be linked in a number of other ways. First, select two triads to be linked.
(As before, we define a triad pair as having no common tones.) If the distance between the last note of
the first triad and the first note of the second triad is greater than a whole-step, we have a choice of
two possible passing tones. If the notes to be linked are a half-step apart, an approach tone from the
other direction can be used.

For instance:
Ascending
0HAí oyAí

chromatic passing tone chromatic approach tone

In Jhe example above, I chose a chromatic approach tone to link Db to C (bar 1 to bar 2).I
could have opted for a whole-step approach tone (In the ascending version).

0HAí

chromatic passing tone whole-step approach tone

The choice of Bb as the (whole-step) approach tone would imply the parent scale of F harmonic minor,
whereas the original choice of a B natural (chromatic) approach tone would imply a C Byzantine or
double harmonic parent scale. Accordingly, different overall sonorities can be created from the same
two triads depending on the choice of linking tones. This is an area for experimentation.

89
Another possibility:

cromatic approach tone

Descending non--cromatic passing tone

, ,r/

90
 Stacked Triad Pairs

We can stack triads, one on top of the other, to create one large broken chord. Owing to the
extensive range of the piano, pianists are able to stack many chords. The same holds true for guitarists.
Wind instruments, on the other hand, have a much more limited range. So, limiting our discussion to
triad pairs (two triads only) witl be particularly applicable to wind instruments. Assuming that the
reader has spent ample time practicing the basic patterns, these stacked patterns shouldn't present any
major difficulty. The challenge here concerns the visualization (in the mind's eye) of the greater
expanse of a stacked broken chord. The units within the basic patterns usually fit within one octave or
possibly a ninth. The stacked triads usually extend to an eleventh-a little harder to "see" on a horn.
These exercises are not easy. They require intense concentration. Go slowly.

1) Major Triads A Whole-Step Apart

Ascending
CMI( ouA{ 0YAd curí

Descending

91
Ascending
c'HA( 6butc

Descending

2) Major Triads A Half-Step Apart

Ascending
0Hrd obylt olytt c,HAí

9Z
Ascending
cHAí íul{

3) Major Tiiads A Tritone Apart

Ascending
0uAí Flylt r*ull cHAí etc.

93
4) Minor Tiiads A Whole-Step Aparr

94
 5) Minor Tiiads A Half-Step Apart

Ascending
O'ur Ohl

Descending

95
6) Minor Triads A Tiitone Apart

96
 7) Augmented Triads A Whole-Step Apart

Ascending
oAUq Sbluq 0Auq Cauq

Descending

Ascending
Úluq AAuq

The above patterns yield the two Whole-Tone Scales.

97
 8) Augmented Tliads A Half-Step Apart
Ascending
0luq úluq Cruq

.
tlons:
The pattern above yields an augmented scale. Don't forget that
there are three other transposi_

Db aug/E aug

D aug/F aug

Eb aug/F* aug

As always, when dealing with augmented triads, they are symetrical and any of the
three chord
tones could be considered as being the root, for example:

C+5 = E+5: G#+5

C*+5=F+5=A+5

D+5=Fil+5=Bb+5

Eb+5: c+5 = Bb+5

98
 9) Diminished Chords A Half-Step Apart
Ascending
Cou 0borv CoM

The above stack forms a C auxiliary diminished scale. There are two other transpositions: Db dim/D
dim and D dim/Eb dim.
10) Mixed Triad Pairs
Stack mixed triad pairs following the same procedure. I'11 illustrate only one example.
Ascending
oyrí -

Descending

99
VarÍations

100
 Variations on BasÍc Four-Note Patterns

We'll start with simple variations on the Basic Four-Note Patterns (see page 36). I'll illustrate
these using only the basic Two Major Tiiads triad pairs. Of course, you must alio practice these varia-
tions with all of the others-minor/minor and mixed pairs.

Ascending
OxAí Ourr

Descending

etc.

Ascending
0)il{

Descending

Ascending
0 urí

l0r
 Ascending
c uAí

The following are similar to the preceding variations, except the direction of every second four - note
group is reversed:

Ascending
cHA{ 0! í
etc.

Descending

etc.

r02
 Descending

etc.

Ascending
C Hr{

Descending

Ascending
C ur{

Descending

etc.

103
 Ascending
Cntt

There are many other possible variations of this type. To use triad pairs successfully in your
improvisation, fluidity is essential, so experiment!

104
 Interchanging Patterns and Altering
the Chord Sequence

Here I have selected a few basic patterns and illustrated some ways to make them more inter-
esting (I hope). In the first example, I alter the basic Two Major Tiiads a Whole-Step Apart, the central
triad being C major. Rather than pair it with D major only, I interchange Bb major (for D) every other
time.

Descending

105
 This time I have C major as the central triad and pair it with Bb major and then F* major.

Ascending
0i4l{ íbutl 0uAí Í#utt etc.

Descending

Using the same triads (C, Bb, and F{, here is a variation on one of the Tiiad Pairs Linked With A
Chromatic Passing Tone patterns.

106
 Approach Tone Variations
First the approach tone is placed before the lowest tone of each triad.

Ascending
CvA{
triad

Descending
CHr{
tÍlad

For the following patterns, I'll show only the ascending patterns. Figure out the descending versions
similar to the pattern above.

triad

107
 CHA6 t{*r

approach tones approach tones

Here the approach tone is placed before the uppermost note of the triad.

0 H{í

approach tones

6l*o ,nuo

approach tones
approach tones

108
109
 Rhythmic Variations

In Íhe jazz idiom in particular, rhythm has always played a dominant role' The basic pulse of the
music underpins syncopations, rhythmic displacements, feeling of "swing," rendering the clave (particu-
larly in Afro-Cuban music), sensations of pushing or pulling back, and all other rhythmic elements
essential to the music.
The patterns presented in this book have all been rendered in straight three-or four-note
groups. Here ale some Íhythmic variations to use when practicing the patterns. The rhythmic variations
and displacements not only break up the monotony of constant eighth notes, but they can also mask
or disguise the nature of the pattems, making them sound less "patterny." They also rhythmically shift
or displace the points at which each triad sounds.
Having practiced these variations myself as well as assigning them to many students, I can testi-
fy to the fact that they can be very difficult! You may think you really know how a particular pattern
sounds until you try the rhythmic variations! Be patient and use a metÍonome (slowly). Good luck.

110
Here is a basic three-note triad pattern in triplet form:

0 Hlí ourí 0l^{ ouA,r

Here is the same pattern rendered as eighth notes rather than triplets:

Here are triads rendered as four-note chords:

0'uAí OHAí

Now as triplets:

Crr( 01,(A,r

gl

Remember: lJse a metronome and concentrate on where the downbeats are!

111
Here is an approach tone pattern, rendered as eighth notes, starting on the downbeat of one:

cuA'Í ouAí

The same pattem, starting on the up-beat of one:

0HAí 0MAí

The same patteÍn, as triplets:

0MAí

Now, the triplets start on the upbeat of one:

0tl^í 0ra{

These few simple rhythmic variations are enough to keep anyone busy for quite some time.
Remember: Practice these pattems with all triad pairs-maj/maj, min/min, maj/minor, and so on.

112
 Triad Mutation
Another interesting way to vary the patterns is to actually change the structure of the triads. In
this case, I use only two tones of the first triad, and then four tones (doubling the first tone) of the sec-
ond. This i) shifts the harmonic rhythm of the triads to form a longer, irregular design and 2) effects
the relative presence of the triads, giving more emphasis to the sound of the four-note chord.

113
Using the Rhythmic Variations procedure illustrated in the last section, these eíght-note mutated triads
can be rendered as triplets, creating a very interesting effect.

cxrí 8HA't 0ur{ 6yrí

r14
 0urt ífilt

Reversing the preceding pattern, use four tones of the first triad and then two tones of the second.

0Hrí

115
Again, convert the eight-notes to triplets.

Slult 0vlt

The possibilities for variations on all of these pattems is almost limitless. (Apply these patterns
to all of the pairs (maj./rnaj., min/min, mixed) shown in the Basic Patterns sections of this book.) This
is fantastic ear training and great discipline to get your fingers away from their old habits. Go slowly,
using your friendly metronome.

116
Licks

1r7
 Although the purpose of this book is to present a method for practicing and mastering triad
pairs outside any specific musical context, I will show how these pairs might be applied to a few stan-
dard chord progressions (functions). After a thoughtful and thorough study of the opening chapters of
this book (Applying Tiiad Pairs), you should be able to determine which triads can be used in given
situations. Therefore, I'll keep explanations in this regard to a minimum. Although these licks are illus-
trated in a pretty basic from, I encourage you to experiment with other pattern combinations, rhythms,
displacements, and so on, to suit your playing style.

A downward progression of Major triads (two pairs) in whole-steps, starting on the V chord
performs a ii minT-V7 alt function.

ii min7-V7 alt
0uíl q7ALí 0urí?
G triad F triad

Using a chromatic passing tone link, here are three inversions of the same pattern:

0llÍ7 q?^tí CHrrT

G triad F triad Db triad

0uí q?Atí cuí?

G hiad F triad Eb triad Dt triad

118
 0
'?rLí Eb triart Db rriad
cuAí?

More chromatic passing tone links:

0r.u? 0?^Lí
' vrrl

-,-
0
G triad F triad Eb triad

bE

q?ALí 0Hrr?
Eb triad Db triad

119
A combination of patterns:
0vr? q7Atí 0u^í7
G triad F tÍiad Dt triad

A variation on the approach tone patterns, starting on the upbeat of one:

0ur7 q?ltÍ 0ult?

G triad F triad triad
Eb Db triad

Rendered as triplets:
0v17 q?ALí 0ul,Í?

Mutated triads (two-note/four-note) rendered as triplets:

out? q?ALí 0 uAí?

Gmaj/Fmaj Ebmaj/Dbmai

r20
Approach tone to the uppermost chord tone:

Approach tone to the lowest chord tone:

(delayed cadence)

121
 Y7-r
Here are some V7-I pattems, first using major triads a tritone apart.

Mutated triads:

s?di) CxArl
Gmaj Dbmai
Dbmal

Starting on the third beat of the bar:

q?df)

Chromatic passing tone links:

q?di) 0l^í7
€

r22
 c?df)

Mutated diminished seventh chords:

q i G Auxiliary Dimjnjshed Scale 0tlAí?

Passing tone links using minor triads a whole-step apart (i and ii of the Ab melodic minor scale) in
three different inversions:

q?Atí
Curr?
Blmin
Abmin

b*l
 Solos
The following solos illustrate some possibilities for triad pair application over the chord changes
to a few well-worn tunes. The solos are intentionally over-saturated with triad pairs, an indulgence I
wouldn't recommend in an actual playing situation. Overused, any device can sound contrived and
become boring. even annoying.

Today, the world of improvised music is very broad. Jazz is experiencing the growing influence
of music (musicians) from the Caribbean, Brazil, Africa, Europe, and other countries. Established con-
cepts of melodic structure and phrasing must expand and mutate to suit and serve stylistic evolution.
The phrasing, rhythms, and melodies that are effective in one context may fail in another. Even within
the existing realm of "straight-ahead" American jazz, possibilities are vast. For these reasons, style is
an issue I prefer to shy away from in discussions ofjazz theory. So, I have constructed the following
solos in a pretty generic fashíon, basing the melodic lines on eighth notes.

Analysis

It is your task to identify the triad pairs within these solos and determine in which parent scales,
chord alterations, or chord substitutions they are being used to express. To facilitate this analysis, I
made a Solo Application Guide that shows some of the applications I have used in the solos.

Note: I have written these solos with no key signatures, with all accidentals indicated. Both sharps and
flats often appear within the same measure. I have chosen these enharmonic spellings to facilitate the
reading and identification of the individual triads used in each particular situation. The chord symbols
reflect only the basic chord changes, occasionally indicating the upper-structures of dominant seventh
chords.
Each solo is written for Concert, B-flat, and E-flat instrurnents.

1?4
 Solo Application Guide

Two Major Triads A Whole-Step Apart

Used in place of a Melodic Minor Scale, the triads built off the 4th and 5th degrees of the scale.

C Melodic Minor Furr Qurt

Used for: 81111. n#ttl Afr

or - used in place of a Major Scale, triads built off of the 4th and 5th degrees of the scale.

Fvr'r Qurr
Used for: oui? Q?ara

Two Minor Triads A Whole-Step Apart

Used in place of a Melodic Minor Scale, triads built from the 1st and 2nd degrees of the scale.

C Melodic minor

Used for: 0ui% 811i.1.

12,5
 Two Major Triads A Half-Step Apart
Used as part of a Diminished Scale, to create the "Maj7 diminished sound,"
uses the Major triads off the root and the 7th - CMaj/BMaj

0oru(ult1)

Used for: 0orx(ulr?) 8/C

Two Major Triads A Tritone Apart

Used as part of an Auxiliary Diminished or Tritone Scale

Used for: a'ítil r*'íil)

A Minor Triad and an Augmented Triad A Half-Step Apart

Used as part of a Melodic Minor Scale, triads from the 2nd and 3rd scale degrees.

C Melodic Minor

Used For: CyiS!

126
 8b fiuues
0o*cecr
sl lrrsíeuuailtc
8b Suues
ÉblNsre'uueNts
8b Suueg
0oriceer
floEgl'

(n Crotus)
Cnr(nrr?

Cxr(ml?
8l lxrrtuueNts Sosst

(rt crocur) Our(ult?)

0ur(ulr?)

lJ ul0.4Aí i /

0xr(xrr?)
É,lHÉíeuuÉNíi Sosge

Axr(urr?)
0orore,t
$tzeet

0ui?

o'?ftíl

Orr(*r)
9 lNtíguHat{Íg Steeat

0urr?

L34
Éllxsreuuelrs iteeet

fi$il c
Coxcscr 9rro{
úcoutrt
? lilsí?'uyrltg Seoou

A1 Ab?
É'l{gÍ?uHÉNít Seoox
 #es.
Coroeqt

/il'il
0?lbll
í} lNstlul,{gxrs $tee

|*íI

Avi?
ÉbluglcuuelrE
$tee

c{rt

/*il!
É?li9l
 Gary Campbell

Saxophonisti composer Gary Campbell's life as a jazz musician began in his

hometown of Indianapolis, Indiana' the city that spawned j azz gÍeaÍssuch as J. J.
Johnson, Freddie Hubbard, Slide Hampton, Wes, Buddy and Monk Montgomery, and
many others. As a teenager he was introduced to the "Naptown', jazz community
through his teacher and mentor David Baker. Learning the ropes by sitting in at local
clubs and jam sessions, he played with the likes of organist Mel Rhyne and guitarist Ted
Dunbar. After brief stints at Indiana University and the University of Miami, Gary
migrated to New York City. From the late '60s through the '70s he was active in the
innovative, energetic, and notorious loft scene-.the testing ground for dozens of
creative yotng jazz musicians. As a performing member of Free Life communications,
an organization of yotng jazz artists founded by David Liebman and Richie Bierach,
Gary presented concerts of original music with John Abercrombie, Jan Hammer,
Michael Moore, Bobby Moses, and many others.
He appeared on records alongside Randy Brecker, John Abercrombie, Dan
Wall, Adam Nussbaum, David Friesen, Ira Sullivan, and others. He has shared conceÍ,
festival, and nightclub stages with (in addition to the above) John Scofield, Dave
Liebman, Tom Harrell, Jaco Pastorius, Andy Laverne, Red Rodney, James Moody,
George Adams, Hank Crawford, Mose Allison, Arturo Sandoval, and many more.
Since moving to Miami in 7982, Gary has become one of the most influential
figures on south Florida's re-emerging Latin-flavored jazz scene-gigging and recording
wtth jazz greats Ira Sullivan, Chubby Jackson, Dr. Lonnie Smith, Bobby Thomas Jr.,
Rene Luis Toledo, and the great Cuban drummer Ignacio Berroa.
Gary is becoming one of this country's most sought_ afÍer jazz educators. He
taught for 12 years at the University of Miami (where he earned a master of music
degree in jazz perÍormance), is now assistant professor of jazz studies/saxophone at
Floiida International university, and for many years has been a performer/clinician at
the Jamey Aebersold Summer Jazz Workshops. Gary has been awarded numerous
National Endowment for the Arts performance grants and has previously published
four highly acclaimed books on jazz improvisaÍion. Patterns For Jazz (co-authored
with Jerry Coker); Expansions, a method for developing new material for
improvisation; Hank Mobley Transcribed So/os,.and Connecting Jazz Theory.
Gary regularly performs and records original material. His compositions have
also been recorded by John Scofield, Ira Sullivan, Jeff Palmer, Duffy Jackson, Mike
Orta, and the University of Miami Concert Jazz Band.
His exciting CD, Intersection (Milestone Records), provocatively blends the
currents of Afro-Cuban and Brazilian music into the mainstream of modern jazz. His
recent CD release, Thick & Thin (Dotftle-Time Records), features guitar great John
Abercrombie.

r42
 ;'. !íi:É{Ú_qii *_
.ü"

4
#
#
re to thc nert ler.c1. Designe<l tbr individuals or gror.rps,

t' each volumc contaius e[ht stantllrds conlnonly cdled

orr jazz gigs, sotgs like Sunnutitnc, Sath Doll, I (kt
4?"
Nlfilnn, Pg'düln, JÍld C,ottwnil. You get tlre Íantastic
rhr.tlrnr section tnckgr.ould vou cxpcct oll the pl.rr-along
Cl). trut voLr also get mor.e:
. A clemonstrltion ofthc hcad urd a siurrple irnprorisecl solo
. PetÍbrrnarrces bv professionll jazz mrrsiciirns Like Chris Vadala and
I{on Elliston . A rvritten-out jazz solo to help get \ou staftecl
He mitrg' prrrcticing, and sftldvin€!
tiese solos rr.ill quicldv brrild 1,ov jazz
xrcabulm' ald irnprovisine sliills. Tirm the page, and thcr.e's more :
. Space to transcribe r solo . Insights into the corrposcr
" \\tittcn-out scirlcs and chords . Licks and riclcs to use in
roLu'so]os . A discogrlplrv diÍecting Yorr to classic recorclirrgs

''t t ltc
r<rrrg
_

FoLrr pages clcCicatcd to each nrne, so vou rrdll_y gct to knolv the
\ong. Not just plav along.

lbr C, 8., E!, and Bass Clef instrunents, Rhrthm

-\r .rilrblc
Scction,tConductor, al)d a correlated book for Jazz voc ists.

.lpproacbhn tbe Standartls, bt, Dr. Willie L. Hill fr.

ilronght to vou by Wrmcr Bros. Pulrlicatior.rs.
 Way to leaÍn about his music and his lechniques Íor
tion' The Pettorming Artist Masler Class CD includes excerpls 0Í
scribed solo recordings, inslrumental examples/demo
sion oÍ the loIlowing lopics:

FEATURESI
. Blues/Íhylhm changes
. Playino in lime
. Compositional prosess with piano
. Motive devel0pmenÍ
" Use oÍ space and pacing your solos
. Soloing with dtums
. Harmonie tension . PerÍorming
. Latin considerations . D iscogra phy/Biog

Jazz, Blues & Funk Etudes

14 Blues & Funk Etudes

A colleclion oí studies composed ÍoÍmusicians Wbo Wish to extend
themselves in improvisation, composition, sight-Íeading, and
oeneÍal musicianship skills. Each etude has a theoretical explanation, suggestions Íor períor-
manc€, and tips lor practice roÚlines. TWo cos of combo accompaniments perÍoÍmed by members
ol the Yellowiáckets are included' All books are compatible and wrilten so that lhey can be
peÍíolm€d logether' AvailablB for c' Bb, Bb TÍümpet and clarinet, Eb, and Bass cleÍ instrumenls'

Warner Bros. Publications

ÍÍomyouÍ Íayorile music sloÍe, or call 1-800-327_7643 exl' 7399 Íor more
 lsBN 0-7579-0357-6
-
"llllrulililil[Ljilil
g tt7g07 57ttg03 57 1l

effi{

AW
4 "Ít

e\

$z t .9s
in USA

0482ts
il|lulJilIil[ilililt|