Your tutorials are really superb. You come straight to the point (no one telling me for more than 30 minutes which note is the 7th note counting from C). Tempo is perfect - not too fast, not too slow. Acoustic and graphic information support each other in a very effective way. This is really helpful and in addition fun to watch and to listen to. Thank you very much.

The perfect example of triad pairs. Nice work. Thanks

This is just a great lesson, so useful, clearly explained and ultimately musical in application. Thank you for this and the many other quality lessons you've posted. Oh it deserves to be called out that your tone is stellar; as a musician I find your playing a joy to listen to all round. Liked & subscribed - all the best!

Just fantastic.Thank you.Beautiful colour tones.

Fantastic! The angular sounds of Joe Farrell - I admired - is now revealed! Thanks Nick. Please keep 'em coming!

OMG! I wish I knew all this stuff when I started out. I am practicing like an obsessed child again. Thank you

Always like your lessons! Love triad pairs, needed this.

thank you so much for all your wonderful lessons, this is one of the most useful things ive ever come across, you are the best instructor on youtube

Your videos are on my top list of favorites.

Thanks, Maestro Nick.. Bless you for sharing these concepts.

I enjoyed all 3 parts. Great explanation of a concept that I'm just starting to explore.

Thank you, for giving me answers on many questions that I ask myself every day. One of five top channels on KZfaq that I use every day. Btw I can copy this sentence on every video youv postet.

Excellent lesson and demonstration, I really appreciate the effort and teaching! Many Blessings, Max T.

Good lesson and Great sound on your soprano.

I love your lessons. Very inspiring. Thanks very much.

Amazing lesson and work put into this video. Well done.

Beautiful tonality. I love this fail-safe approach. You set up a system that is inherently melodic and harmonically rich. It seems whatever you play sounds pleasing in this application "exercise". And yes your sax sound is also amazing; soprano sax is probably my favorite horn to listen to in Jazz. (Note, I don't play sax. I'm just a humble bass player).

This is beyond brillant. Thanks !

Somos muito gratos pela belíssima iniciativa. Deus abençoe você.

such a fabulous lesson.brain opening! a lot of gratitude.Thanks

Beautiful sound on soprano, one of the best I've heard. Reminds me of Joe Viola's sound, my sax teacher in the early 1970's. Nice work!

So good your videos!!! Thank you so much for this inspiring insights!

Brilliant channel!! Thank YOU!

Awesome. Just awesome and thanks a million.

This is so so so so so so cool!

Great sound! Thanks!

Man, you are the best!

this video has inspired me. Thank you very much.

Tremenda lección ! Muchas gracias !

wow amazing lesson, will apply on my guitar. Thanks for sharing. All the best.

I just came over this lesson yesterday. As a humble guitarist, and a non reader at that I struggle. However you evoke a very etherical floating quality to the song which is so very very soothing, musical and interesting. I am sure that there is more for you to tell with this approach, and you have obviously created a following. Very nice, thanks!

Uma das melhores explanações, pois demonstra muito bem o efeito de cada sobreposição. Obrigado!

Great lesson! Thank you!

Tchau e muito obrigado from Brazil!

Alegría!!! Buenísimo!!!

Thank you for your content man

Io ti amo!!!!! Sei il bodhisatva del jazz! 💙💙💙💙

Very good video👍🎶

really good lesson, God bless you

Great soprano sound man! Nice videos

excellent, very enlightening...!

Fantastic as usual! Never sure if I’m listening to a song or a practice! Probably both!!! Thanks again Nick! I’m not offended if you don’t respond to every comment. I know editing keeps a person astoundingly busy. 👍🏼😇

gracias!!!! tremendo!!

Siempre espectacular, Nick! Estoy avanzando mucho c el material del 2do video. Pronto ya tendrás el acento serrano! Fenómeno! Más triads pairs pronto!

love your lessons. I try to apply everything on guitar, but it's not always possible. CIAO as they say here in Italy :) :) :)

Many Thanks ! Terima Kasih ! 谢谢 （xie xie）! Great ! Hebat ! 赞 !

Brilliant. These videos are so well done and are teaching me a ton. I love how you emphasize the "feel" of the pairs and encourage the player to listen. You have an error (I think) when analyzing the Eb chord in the G7 measure. You've labeled the G as the 3rd instead of the root - unless I'm misunderstanding something, which is very possible.

mind blowing ,, maan !!

Bravissima!!!!!!!!!!

Thx!

I really thank ya for the super clear n creative explanations, and as an Italian saxophonist your final ciao is always soo fuckin jazzy man, 'ppreciate it

Wow!!

Great content, thank you! You said you play simple base piano chords without anything else. Correct me if I'm wrong but I hear D note added for the very first example of a base chord which is C-

Love the lesson series and your wonderful tone.Do you sell this as a lesson?Can`t seem to locate it...

Yeah

👊🏾

Hello! Awesome videos. Love this triad pair concept! Question to you is if there exists a system you know of that uses quartal harmony as pairs?

loved your video what led you to apply E o & D o over D -7b5 thank you

Great lesson as always! Thanks! Just a question though: on the Dm7b5, the Eo gives an E natural. Sounds odd to me. Should it not be a Eb? (I.e on that chord I would play D, Eb, F, G, Ab, Bb, C, D.) Can anyone advise? Thanks

Hi Nick, loved your video. One question; on blue bossa it is clear why you chose the triads for the first 4 bars but subsequently your choice of triads was unclear. What led you to Eb/Db over G7 and more perplexing why Am/Bm over Ab7 and Eb/Fm over Dbmaj7. Thanks Tony in Vancouver

Would like to know the reason for choosing the triads you do over certain chords. What are the rules of your choices?

Could you provide a chart with the triad pairs for each and every chord family? Thanks to your Blue Bossa treatment we already have Major, Minor, Dominant and Half Diminished. How about the other chords - Diminished, Augmented, Altered etc. ? I very much like your presentation, it's a breath of fresh air.

good, ciao :-D

Superb lesson and sounds. Could you explain your triad choices a bit more? Am Bm over Ab7 for example. Many thanks

Quick question regarding transposing this to tenor key, would measures 5 & 13 use E-dim and F-dim or F#-dim as the transposed triad pairs in your example? Thank you.

Tchau!

Hi, I love your videos! Thank you so much! I'm looking for video 2 of this triad pair system series but can't find it, where is it?

0:12 0:20 0:21

What would you recommend to do to get fluent with triad pairs system? I mean how not to think which triads to use while playing solo.

How about same approach with another tune or other triads?

Tchau!!! :)

Sums up the ways u use triad pairs 👍🏽

My question is this: for Triad pairs, are you thinking bebop rules: playing off the weak beats (tension) to strong beat (release)? Or, is the triad pair a model fixture that opens up the time? Just asking because you are using the triad pairs for a standard and not a modal tune. By the way, the best person to listen to for triad pairs is OLIVER NELSON! Yes Coltrane uses them, but Oliver Nelson uses them like Miles--therefore, his stuff is easier to work into your playing (and transcribe). You should do a vid on his "Sound Pieces" composition.

I must be missing something here but I don't see how the E and D diminished triads come from the F melodic minor scale (which does not contain Db or Cb). In fact I don't understand where these triads came from at all. Any theory behind this??

EvoKTTT

Em7 A7 2nd 4th bar and substitue Dm7b5 G7 Bm7b5 E7 in two bars and also Ebm7 Ab7 Cm7 F7 for 2nd ior third chorus play the F# Triad ovver A7!!! I don't like the sound of minor triads in root position on the Am especially upwards...am i also play over Ab...why not contrary motion DTriad E Triad over Ab7 then Fm Eb over D?? instead of Triad Bm over Ab7 I would say: Bmi Tetratonic: like BA E D BA and then permutation: ED BA E D and more fast playe if you're triads are to slow they are to recognizable....and you have always the same degree almost of outside, that doesn;t sound too well...If you play Cm comping than don't play triad Cminor that is dedundant play D Triad over C maybe start with C then D but don't come back to C you touch the ground the flying stops....G7alt I like stronger Out like E Triad as I try to say play fisrst chorus alt or Db Eb I agree upon that one but only 1st or 2nd chorus than apotheosus E Triad or even Bttriad go to Cmaj will sound much more interesting...What Coltrane understood well is that certain licks only work by speed..you have to work on degree of alteration this to mechanical...good as lesson for others..but you have yourself to learn something I try to tell you that try to listen tp Eef Albers he perfected Art of John Coltrane.....He qas 1973 best guitarist of the world try Hybrid hexatonic...use the tritone as axe there lie the secret..this will bring you not any further...

People using this method need to try not to sound like you are playing from an excercise book with repeated melodic patterns. Break it up.

fenomenal, thanks a lot for what you do