This could not have been more clear. You are a good instructor.

Jeff, I have the Walt Weiskopf book on triad pairs which I love but this helps me to apply it soooo easily. Thanks a million!❤❤❤❤❤

Inspiring lesson, Jeff! I bought the Weiskoff book on triad pairs and was sort of itimidated by its apparent difficulty but years hv passed n weve learned a bit more n im ready for this. A piano nearby helps a lot to put some accompaniment to the pairs. You mentioned intervals, sticking some compatible triads in fourths down in the left hand w the triad pairs moving in the right can produce some very unusual and beautiful sounds. A good example of the use of triad pairs in a solo is Oliver Nelsons in Stolen Moments. You are doing great work educating us in jazz! Many thanks!

Jeff, Thanks for another great, informative video. Because of this, I now hear myself playing things which the great saxmen had me bewildered by. There is a lot of work ahead of me, but at 61, I am more energized about playing jazz sax, than ever before. Thanks again.

One of the most clear explanations of the subject I have found online, Thanks a lot for putting this together.

A very clear presentation of this concept. You show your love for this material, and to me that's what teaching is all about

knowledge unlocked....ive known about triad pairs for a while but your wonderful examples along with your wisdom is helping me develop a new voice and confidence. Thanks Jeff

dig it man

This was brilliant thanks for sharing..

Thank you for sharing your talent and videos. These are very helpful.

Awesome video! Thank you so much for this!

Jeff I"m familiar with the triad pairs and love how you expand on it. Great stuff!

Awesome lesson,thanks!

I love your video keep sharing I learned a ton today it’s amazing how simple you made it for me gonna use it right away on bass

Thanks for your time and effort into making these vids!

A light just came on! Thank you

Awesome!!!!

Love that sound Jeff. I just spent an hour on those two triad, the c Mai and d maj, great. I just started with this approach last week and was using the tonic and the 2 min, ie c maj with d min but I love the d maj... Keep well and Thankyou Ray

Top vid man, very cool thankyou 😎🎷👍

< Love Triad Pairs . Wonderful lessons ! My playing has improved greatly since I started Digging Deeper, Thanks ! >

Great video thanks

Sir, this is awesome! thanks a lot! encouraging atitude and brilliant teaching, you re fantastic!

Really clear explanation. Glad I found it

Hi Jeff. Love your channel! Congratulations! I would love to see something about the blues since that is what I am trying to learn lately. I am a little confused about the pentatonics and all that stuff. Thank you for the videos. They are really amazing.

Ok ! Very good teaching and playing. Need more

that's Awesome ..u r great.....

Love these videos!!!!!!

Amazing man

Just came across this and it’s great advice so thanks! I’ve been avoiding triad pairs due to the scope but this is a great place to start.

great lesson Thank You

Thanks Jeff ...a coffee and one of your videos is a great way to start a wet Saturday morning.

great lesson !!! thanks so lot

Hi Jeff thanks man , i love your lessons and your vibe (you are a gentleman) could you recommend a book to learn this triad stuff, again much love and total respect

9th, +11th, 13th, no 7th works well with chords with major 3rds (major, dominant)

Great lesson, thanks. These pairs remind me of how Sanborn used to play, but just not quite.

Of all the videos ive watched on triads, this has been the easiest to understand. Thank you so much, I am now going to try this out. Triad pair G and A?

Thanks man, just had a revelation. actually I'm gonna call my band : The revelation!!!

Great lesson! I certain would like. a copy of pdf.

‘’I like talking about larger concepts, then turning you loose”. I would love to see a video on your large concept in regards to modal playing. I found two broad concepts on KZfaq that got me excited. Somehow I missed this instruction at UNT 🙁 Rick Beato (Music Theory Basics: Modes and How To Use Them) drives home the point of targeting the half steps found in each mode, since they define the mode. Frank Gambale (Guitar Lessons, Modes, No More Mysteries) teaches a very simple system for hearing the characteristics of each mode by building chord progressions for each mode using the first note of the mode in the bass as a pedal tone and the IV - V of the major scale it is derived from, then improvising over those chords. C Ionian = F/C and G/C, C Dorian = Eb/C and F/C, C Phrygian = Db/C and Eb/C, C Lydian = C and D/C, C Mixolydian = Bb/C and C, C Aeolian = Ab/C and Bb/C, C Locrian = Gb/C and Ab/C. You can generate really great jam tracks that perfectly compliment each mode using only two chords. Sometimes Frank will add a third chord, I.e., C maj. for C Ionian, C min. for C Dorian and C Aeolian.

This is the best saxophone teacher on youtube...second is scott paddock

Nice video!.........hey, Stravinsky and the “classicals” might have used it as a compositional tool but, did they SWING?.......tonic dominant harmony is everywhere in jazz, yes! But, the most difficult part in playing Coltrane or ornette or joe Henderson isn’t the notes or harmony it’s that dam POLY RYTHMN and POLY METER!

hey jeff i just smoothed over cmaj7 vamp in lydian for the first time and its all thanks to you. Great video! but i got adventurous half way through and tried adding a 7th to the upper triad. it sounded sooooo bad. like wow. that really doesnt work!

Awesome lesson Jeff thank u! I’ve been trying to wrap my head around triad pairs for a while too. Could this also be seen as an A minor pentatonic with an added 13 / C major pentatonic with an added #11 over a C maj 7 or is that looking into it to deeply?? The second inversion of the triad has that wide 4th “sound” from the G to the C like you said so would it be wise to stick to a certain intervallic sound produced by the triads inversion rather than adding a note to a pentatonic or is this two sides of the same coin?? Regards

Seems like the C and D triads would miss out on the b7 for a dominant. How about a three triad move over C Bb and D. (Might need a couple of bars to make it work)

Hi Jeff, thanks for another great video! Also, I'm wondering when you were improvising were you still playing 3 note combinations while you were switching back and forth or were you just playing various combinations of any of those 6 notes?

Hi Jeff where do I get the Triad Pairs PDF?

Does it have to be only maj7 chord. When do I use these.

Green Dolphin Street and Four, here I come. I've said it before, but I've made great strides in my playing already. Can't wait to get home so I can start getting these under my fingers. They don't like me practicing in the motel room. I don't know why. Here's a question. I've always been troubled by whole tone scales. How do you get something to resolve when there's no half step? Quartile harmony is sort of the same thing, but at least I've been able to create some cool sounding licks by working the arpeggios up and down basically by half steps. The problem there is where do I use them and over what chords.

I thought that it was great. I am reading a book about arranging and how to spice up the chord charts in my fake book, you know, with extra chords, or modal concepts, It is a Berkeley School of music book and it's tough for us aging Blue's dude's that at last have some chops but wanna learn jazz without paying 50$ an hour every week for the neck two years, let alone tuition etc for a quality school( mommy, daddy, where are you now that I'm not cute and cuddly).

Correction- not every thing comes from classical..in fact jazz is the most unique form of music using improvisation.

Could you please explain how to break down Charlie Parker rhythms

Kindly send the weekly PDF to me thank you

Learn one thing at a time- good advice that. I know a guy who studied with this Zen master in Japan. For the first year he was only allowed to play one note on his bamboo flute. I prefer master Jeff's methods. He gives us six notes to play.

thank you very much. all of income comes from playing my ax. mostly solo..4-5. hours. I have 1 weekly. restaurant. gig going on. 5 years. the. rest is street perf ormance. standards and classic bebop. I'm add Joe Henderson Wayne Shorter Woody Shaw. to the mix.. I am convinced after watching this once that you can help me a lot .I'm over 60 years old and just finally got on the internet. Question: Very few people seem too know what I'm doing. people often comment that I am always playing the same song. I don't expect. people. to know. music. but do you most are tone deaf. ?

I'm probably missing something obvious, but how do you choose which two triads to play? I would have jumped (mistakenly) to picking diatonic pairs, but I don't think that is what you are doing with the first example of the C and Dmaj triads? So if I'm playing, say, in Bb, how would I know which pairs to play?

Silly question Jeff, but why is it called the Lydian sound?

PLSE SEND ME THESE TRIAD PAIRS PDF . THANX IN ADVANCE

long video, less information...

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