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The Kurt Rosenwinkel Forum » Tag: triads - Recent Posts http://www.kurtrosenwinkel.com/forum/ The Kurt Rosenwinkel Forum » Tag: triads - Recent Posts en Mon, 27 Jun 2016 05:48:44 +0000 Anonymous on "Kurt's Use of Triads" http://www.kurtrosenwinkel.com/forum/topic/kurts-use-of-triads#post-2199
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Thu, 05 Aug 2010 06:59:30 +0000
Anonymous 2199@http://www.kurtrosenwinkel.com/forum/ <p>Thanks again for all the replies guys.</p> <p>I like your idea of using the 3, 7 and 9 of chords, Colonel Trane and this is something I will definitely be experimenting with. </p>
Sandemose on "Kurt's Use of Triads" http://www.kurtrosenwinkel.com/forum/topic/kurts-use-of-triads#post-2195
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Thu, 05 Aug 2010 04:39:34 +0000
Sandemose 2195@http://www.kurtrosenwinkel.com/forum/ <p>Cool stuff Colonel Trane, I will def. dig into this chord extension stuff alot more...I just need to get the basics down first...</p> <p>Best, Sandemose </p>
Colonel Trane on "Kurt's Use of Triads" http://www.kurtrosenwinkel.com/forum/topic/kurts-use-of-triads#post-2193
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Wed, 04 Aug 2010 13:53:01 +0000
Colonel Trane 2193@http://www.kurtrosenwinkel.com/forum/ <p>Just to add a little more to this topic I&#39;ll bring in some other triads I work with (and have heard in Kurts work) Taking just the 1 3 and 7 of a maj7 min7 or dom7 chord and just using that to imply harmony. When you start to work with inversions you get some really interesting voicings and that continues when you experiment with bass notes as shown by sandemose in his other post. Lately something else I&#39;ve been working on has been just using the 3 7 and 9 of all these chords as well as all the versions of that, also some interesting voicings there though more ambigious sounding. </p>
Matt on "Kurt's Use of Triads" http://www.kurtrosenwinkel.com/forum/topic/kurts-use-of-triads#post-2190
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Wed, 04 Aug 2010 08:19:02 +0000
Matt 2190@http://www.kurtrosenwinkel.com/forum/ <p>Sandemose - that voicing is very interesting. really applicable.</p> <p>Also, your comping ideas seem to be very unique ie non-root voicings, close harmonic movement (that&#39;s me attempting to talk &#39;musician talk&#39;), and creating a lot of tension.</p> <p>i like it. :) </p>
silverwater on "Kurt's Use of Triads" http://www.kurtrosenwinkel.com/forum/topic/kurts-use-of-triads#post-2186
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Tue, 03 Aug 2010 18:38:20 +0000
silverwater 2186@http://www.kurtrosenwinkel.com/forum/ <p>One thing you can do (and easily conceptualize and apply) is to take the root of the dominant chord you&#39;re playing over, and build a diminished 7 chord from the root:</p> <p>For example, our chord is a G7. Building a diminished chord from the root would give us the notes G, Bb, Db, E.</p> <p>Now, you can build major triads from each of those notes, and wank away from there.By the way, all these notes come from an Ab W/H diminished scale, a scale that most would use over a G7 chord to begin with, so you know it&#39;s kosher.</p> <p>My favorite is to use the triad builds off the m3 and M6 (bb7), especially when playing over a dom7 b9 nat13 chord. </p>
Anonymous on "Kurt's Use of Triads" http://www.kurtrosenwinkel.com/forum/topic/kurts-use-of-triads#post-2185
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Tue, 03 Aug 2010 12:22:37 +0000
Anonymous 2185@http://www.kurtrosenwinkel.com/forum/ <p>This has turned out to be a great thread. Thanks for all the info, guys. I will try some of these chordal ideas later on and see what I can come up with myself.</p> <p>I also found a nice blog with a lesson on how Kurt uses triads in his lead playing - <a href="http://sharp11.wordpress.com/2009/11/11/kurt-rosenwinkel-triad-licks/" rel="nofollow">http://sharp11.wordpress.com/2009/11/11/kurt-rosenwinkel-triad-licks/</a> </p>
filters on "Kurt's Use of Triads" http://www.kurtrosenwinkel.com/forum/topic/kurts-use-of-triads#post-2183
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Tue, 03 Aug 2010 09:15:24 +0000
filters 2183@http://www.kurtrosenwinkel.com/forum/ <p>Thanks a lot Sandemose. I didn&#39;t get you in the first one, that&#39;s clear now. </p>
Sandemose on "Kurt's Use of Triads" http://www.kurtrosenwinkel.com/forum/topic/kurts-use-of-triads#post-2182
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Tue, 03 Aug 2010 08:25:16 +0000
Sandemose 2182@http://www.kurtrosenwinkel.com/forum/ <p>Yeah, I hear you. I agree about the triad minor thirds appart tend to sound &quot;wrong&quot; outside, at least when I mess with them.<br /> But try this one then:</p> <p>--2--------<br /> --3-------<br /> --2--------<br /> --1-------<br /> -----------<br /> ----------</p> <p>You can see it as F7, Ab7, B7, and a D7. So, what are the relative IIm7 chords to each of these ones? Well, Cminor, Ebminor, F#minor, and Aminor. Which voicinings, near this one can you find for each of these IIm7 chords?</p> <p>-1----2----1----<br /> -3----3----1--<br /> -3----2----0---- Cminor &gt; F13b9 &gt; Bbmajor7<br /> -1----1----0-----<br /> --------------<br /> -------------</p> <p>--1----2---1---<br /> --2----3---1----<br /> --3----2---1----- Ebminor9 &gt; Ab13#11 &gt; Dbmajor7<br /> --4----1---------<br /> -------------4-----<br /> ------------------</p> <p>-4----2----2----<br /> -2----3----0----<br /> -2----2----1---- F#m9 &gt; B7#9 &gt; Emajor9<br /> -2----1----1-----<br /> -------------------<br /> -------------0--</p> <p>-3----2----2----<br /> -1----3----3---<br /> -4----2----2----<br /> -2----1--------- Aminor9 &gt; D7b9 &gt; Gmajor7<br /> ---------------<br /> ------------3---</p> <p>Then, move up the diminshed structre one minor third and do same thing again, voiceleading the closest way.</p> <p>Best, Sandemose </p>
Matt on "Kurt's Use of Triads" http://www.kurtrosenwinkel.com/forum/topic/kurts-use-of-triads#post-2181
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Tue, 03 Aug 2010 08:00:14 +0000
Matt 2181@http://www.kurtrosenwinkel.com/forum/ <p>Great ideas, sandemose. This opens up somne harmonic doors for me:)</p> <p>i have experimented with the symmetrical diminished scale (Half-Whole), which can be used to play dom.7 triads minor 3rds above minor7/dom.7 chords ie over a C7 or Cmin7, you can play Eb7, Gb7, A7 triads. unfortunately, they sound rather awful. or at least the contexts i&#39;ve tried. </p>
Sandemose on "Kurt's Use of Triads" http://www.kurtrosenwinkel.com/forum/topic/kurts-use-of-triads#post-2180
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Tue, 03 Aug 2010 07:54:46 +0000
Sandemose 2180@http://www.kurtrosenwinkel.com/forum/ <p>Yeah sure, sometimes I cant get my thought across as I want it. I´ll TAB it instead:</p> <p>--2------------<br /> --3------------<br /> --2------------<br /> --------------- D major<br /> --5------------<br /> ---------------</p> <p>--2--------------<br /> --3--------------<br /> --2--------------<br /> ---------------- Dmaj/C#<br /> --4--------------<br /> ----------------</p> <p>--2--------------<br /> --3--------------<br /> --2--------------<br /> ---------------- D/C<br /> --3-------------<br /> ----------------</p> <p>--2--------------<br /> --3--------------<br /> --2--------------<br /> ---------------- Bm7<br /> --2--------------<br /> ----------------</p> <p>--2--------------<br /> --3--------------<br /> --2--------------<br /> ---------------- Bbmaj7#5<br /> --1--------------<br /> ----------------</p> <p>--2--------------<br /> --3--------------<br /> --2--------------<br /> ---------------- Asus13 (?) or D/A<br /> --0------------<br /> -----or 5-----</p> <p>--2--------------<br /> --3--------------<br /> --2--------------<br /> ---------------- Ab7b9#11<br /> ----------------<br /> --4--------------</p> <p>--2--------------<br /> --3--------------<br /> --2--------------<br /> ---------------- G major7add9 (not really lydian as I wrote before)<br /> ----------------<br /> --3-------------</p> <p>--2--------------<br /> --3--------------<br /> --2--------------<br /> ---------------- D/F#<br /> ----------------<br /> --2--------------</p> <p>--2--------------<br /> --3--------------<br /> --2--------------<br /> ---------------- F13b9<br /> ----------------<br /> --1--------------</p> <p>--2--------------<br /> --3--------------<br /> --2--------------<br /> ---------------- Esus (works nice as a Em11 as well).<br /> ----------------<br /> --0-------------</p> <p>--2--------------<br /> --3--------------<br /> --2--------------<br /> --1-------------- D/Eb (diminished sound, symetrical sounding?)<br /> ----------------<br /> ----------------</p> <p>Thats what I meant. Take one triad, and move the bass note cromatically one octave. What sounds can you use in a chord progression situation? Hope it helps,</p> <p>Best, Sandemose </p>
filters on "Kurt's Use of Triads" http://www.kurtrosenwinkel.com/forum/topic/kurts-use-of-triads#post-2178
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Tue, 03 Aug 2010 07:11:39 +0000
filters 2178@http://www.kurtrosenwinkel.com/forum/ <p>Great topic; Cool post Sandemose.</p> <p>But I didn&#39;t understand this part : &quot;I would start out systematically with major/minor triads and just shift bass note cromatically beneath it. Like a D major triad on the G,B,E strings with F# on top. Then start with the D,C#,C (major7, dom7 sounds), B = minor7, Bb = major#5, A = sus13, Ab = b9,b5,7 sound, G = lydian, F# = D/F#, F = 13b9 sound, E = (implied minor (?), minor11, Eb = perhaps the Kurt/Mark hip &quot;major7#11#9 sound&quot;?. The Eb will ofcourse sound very diminished (as the 13b9 sound above, now with a dom7 note if you see it as a F13 chord).&quot;<br /> Could you explain it again please ? :) </p>
Sandemose on "Kurt's Use of Triads" http://www.kurtrosenwinkel.com/forum/topic/kurts-use-of-triads#post-2176
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Tue, 03 Aug 2010 04:39:00 +0000
Sandemose 2176@http://www.kurtrosenwinkel.com/forum/ <p>Yeah, I would start out systematically with major/minor triads and just shift bass note cromatically beneath it. Like a D major triad on the G,B,E strings with F# on top. Then start with the D,C#,C (major7, dom7 sounds), B = minor7, Bb = major#5, A = sus13, Ab = b9,b5,7 sound, G = lydian, F# = D/F#, F = 13b9 sound, E = (implied minor (?), minor11, Eb = perhaps the Kurt/Mark hip &quot;major7#11#9 sound&quot;?. The Eb will ofcourse sound very diminished (as the 13b9 sound above, now with a dom7 note if you see it as a F13 chord).</p> <p>Do the same thing with the D minor triad as well. Organize the material so that you get an arsenal of posibilities for minor7 (IIm7), for dominant 7 (V7), and major chords (Imajor7). The most obvious solution would be:</p> <p>Eb major triad (Cm7) IIm7<br /> D major triad (F13b9) V7<br /> D minor triad (Bbmajor7) Imajor7</p> <p>Thats at least something to start with. The major/minor triads are so strong that I find them hard to master. I takes alot of conviction to make the to familiar D major triad to sound like F13b9, but you will sound very harmonically indipendent when you nail it. Major/minor triads are also quite hard (at least for me) to execute well on guitar. I think Lage Lund and Jonathan &quot;JESUS&quot; Kreisberg really do that well. </p> <p>Good luck, and thanks for bringing it up, the major/minor triads are so important but often forgotten in the theoretical discussion. I always practice standards playing only triads staying in the same position on the same strings. I find harder to learn the tune by heart, and realize whats going on benath all the voicing hysteria and get into the core of harmony.</p> <p>Best, Sandemose </p>
jazznan on "Kurt's Use of Triads" http://www.kurtrosenwinkel.com/forum/topic/kurts-use-of-triads#post-2175
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Tue, 03 Aug 2010 02:10:35 +0000
jazznan 2175@http://www.kurtrosenwinkel.com/forum/ <p>here&#39;s a simple one, take a root note, i.e. C, and put major triads above it, i.e. C/D (gives u CMaj6/9#11, or C/E give you Maj#5 or Dominant) etc...hope that helps a bit </p>
Matt on "Kurt's Use of Triads" http://www.kurtrosenwinkel.com/forum/topic/kurts-use-of-triads#post-2173
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Mon, 02 Aug 2010 21:22:18 +0000
Matt 2173@http://www.kurtrosenwinkel.com/forum/ <p>Bitonality? </p>
Anonymous on "Kurt's Use of Triads" http://www.kurtrosenwinkel.com/forum/topic/kurts-use-of-triads#post-2172
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Mon, 02 Aug 2010 19:19:03 +0000
Anonymous 2172@http://www.kurtrosenwinkel.com/forum/ <p>If you get into hybrid chords (slash chords, polychords, whatever...) and the nature of why THEY sound hip, you`re hearing. A lot of it is also upper structure triad stuff. Look it up, homie. </p>
Anonymous on "Kurt's Use of Triads" http://www.kurtrosenwinkel.com/forum/topic/kurts-use-of-triads#post-2171
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Mon, 02 Aug 2010 17:01:49 +0000
Anonymous 2171@http://www.kurtrosenwinkel.com/forum/ <p>I&#39;ve been listening to Kurt&#39;s playing a lot and been looking at some transcriptions and I see he uses simple triads a lot. Thing is, when he plays them they sound so different and hip. Can anyone shed some light on what approach Kurt uses when he plays triads? </p>
Anonymous on "Self-comping: additional topics" http://www.kurtrosenwinkel.com/forum/topic/self-comping-additional-topics#post-2071
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Sat, 17 Jul 2010 02:04:04 +0000
Anonymous 2071@http://www.kurtrosenwinkel.com/forum/ <p>A compiler is a computer program (or set of programs) that transforms source code written in a programming language (the source language) into another computer language (the target language, often having a binary form known as object code). </p>
colinmanko on "Self-comping: additional topics" http://www.kurtrosenwinkel.com/forum/topic/self-comping-additional-topics#post-2015
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Fri, 09 Jul 2010 02:38:45 +0000
colinmanko 2015@http://www.kurtrosenwinkel.com/forum/ <p>I use hybrid picking and can play fast rhythms that way. So unless you prefer the strumming, just practice the hybrid stuff a bunch. Sometimes I pick the top notes of lines and can get back to the chords under my lines with the pick on the bottom string with no problem. So just do what you like the sound of better. For me, the sound of the hybrid stuff sounds more together, like a piano, which I like. It also allows me to play each note individually in time when comping. </p>
Quintricacy on "Self-comping: additional topics" http://www.kurtrosenwinkel.com/forum/topic/self-comping-additional-topics#post-1718
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Fri, 04 Jun 2010 11:34:07 +0000
Quintricacy 1718@http://www.kurtrosenwinkel.com/forum/ <p>John Stowell is a pretty interesting guitar player who delves into some of this kind of thing. Check out his comping on Solar.</p> <p><a href="http://www.youtube.com/watch?v=qIw8Eb-0j9E&amp;feature=related" rel="nofollow">http://www.youtube.com/watch?v=qIw8Eb-0j9E&amp;feature=related</a> </p>
Sandemose on "Self-comping: additional topics" http://www.kurtrosenwinkel.com/forum/topic/self-comping-additional-topics#post-1711
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Thu, 03 Jun 2010 16:58:22 +0000
Sandemose 1711@http://www.kurtrosenwinkel.com/forum/ <p>momix: thanks for commenting my old post. Dont remember what I wrote though. I think that being systematic is key to success, at least to a certain degree. Since I dont remember what I wrote, I might repeat myself. For me I would start with one particular structure and work that out through a whole tune.</p> <p>x-x-3-2-1-x, if we take this structure, the typical major chord. If we would play a II-V-I progression in G major, one could use this structure for different substitution possibilites. For the D7, these structures work, x-x-12-11-10-x (1, 3rd, 5th) of course, but also x-x-9-8-7-x (13th, b9th, 3rd), x-x-6-5-4-x (b5, 7th, b9th), or x-x-3-2-1-x (#9, 5th, 7th). I dont have a guitar at hand, but perhaps x-x-5-4-3-x (A11), x-x-6-5-4-x (D7b9), x-x-5-4-3-x (G major). I like to practice in a way that I only play one line per bar, and if I play a line over the Aminor chord, I must play the chords D7, and G. If I play the Aminor chord, I can play a line over D7 etc. That way I force myself alter between playing lines and chords in a quite systematic manor. </p> <p>Best, Sandemose </p>
jazznan on "Self-comping: additional topics" http://www.kurtrosenwinkel.com/forum/topic/self-comping-additional-topics#post-1709
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Thu, 03 Jun 2010 13:17:03 +0000
jazznan 1709@http://www.kurtrosenwinkel.com/forum/ <p>You just have to keep doing it until your fingers figure out how to do it. The easiest way is to use the very standard three note chords, i.e. </p> <p>low to high: 6th string, 3rd fret, first finger, G, then, 4th string, 3rd fret, F, then 3rd string, 4th fret, B</p> <p>this gives you a G7 three noted chord, Freddie Green style. Just strum it until you only hear the F and B notes on 4th and 3rd string </p>
momix on "Self-comping: additional topics" http://www.kurtrosenwinkel.com/forum/topic/self-comping-additional-topics#post-1707
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Thu, 03 Jun 2010 06:09:59 +0000
momix 1707@http://www.kurtrosenwinkel.com/forum/ <p>Friends,<br /> my name is Massimo (from Rome, Italy) and only today I had the opportunity to read the &quot;self-comping&quot; topic appeared in the forum about six months ago.<br /> Very interesting the Sandemose&#39;s response, providing gold ideas for a step-by-step approach to interesting comping (i.e. double-stops, triads, extenstions, etc.)<br /> Currently I&#39;m trying to evolve in this direction. For example I&#39;m trying to start to cope with 3rd and 7th of the chords only (guide tones). The idea is to master this technique, and then start to include some extensions to add (if and when possible) some colours.<br /> Up the moment I get a good sound using fingerstyle technique (or hybrid) to play the &quot;two-note&quot; chords. But in some situations, a strumming technique would provide a most effective sound, also in terms of rhythm. This requires a more advanced technique for muting the four strings not used for the two-note chords. A similar problem is encoutered playing the &quot;octaves&quot;, ala Wes Montgomery, but I found a lot of video materials (first of all Lee Ritenour) which helped me to understand how to get the muting (my understanding, in this case, is the muting is got only by the left hand, freeing the right hand to strum the octaves, which provides a sound completely different from the octaves played with fingerstyle technique).<br /> Do you have some suggestions about strumming &quot;two-note&quot; chords.<br /> Thanks<br /> Ciao<br /> Massimo </p>