Week 8 of 8
Our final lesson in the 8-week series on dyads. Today we take a look at how to create a set of dyads over an altered E7 chord by voice leading through different triads. Using harmonic and arranging techniques we've already discussed to develop a tonal landscape over a "modal" vamp that is not trapped within one scale or mode while sticking with dyads. It offers changing colors and textures as the triads string together to develop the melody and dyadic harmony.
Week 7 of 8
This time, we're looking at how to use two types of dyads to play solo guitar over a jazz blues. The first type is the basic dyad created by using the 3rd and b7th for a dominant7 chord. The other type is an idea I stole from Thelonious Monk to help create movement through a chord progression. Check it out. Take your time with combining the dyads with the single note melodies.
Week 6 of 8
Check out lesson #13 first if you haven't done so already, as this is an extension of the information presented there. In #14, we're looking at an etude over the blues. It uses dyads with diatonic and chromatic connecting lines to create a counterpoint style of playing through the progression. Have fun!
Week 5 of 8
Here we're checking out ALL the possible dyads that exist within the chord tones of a basic dominant 7 chord. Once we find them all and can see them, we're going to put them together for next week's lesson and check out a two-voice etude playing through the blues.
Week 4 of 8
This lesson's exploration of dyads is a follow up to part 3. It's actually the exact same riff and uses the same upper structure triad... but here, it's major, and we're playing the dyads as an arpeggio.
Week 3 of 8
In today's exploration of dyads, we're taking a look at how to use upper structure triads to our advantage. We're using an E major triad over an Amin chord which gives us the AminMaj9. Once we get the E triad under our fingers, we add two more notes (C and F#) to function as melodic tension notes against that triad, and bada bing bada boom... we got ourselves a killing little pentatonic scale designed specifically for this minMaj9 tonality. For there, we just extract out the dyads we want. Easy, right?
Week 2 of 8
Today we look at how to use dyads to comp through the first 8 bars of the popular jazz standard, Blue Bossa, by Kenny Dorham and made famous by Joe Henderson.
Week 1 of 8
Today marks the first lesson in our eight week exploration of dyads, techniques for developing them, and ideas for application and use. We're going to try and do things a little differently this time. Instead of the very short video with the very in-depth newsletter explaining what's going on, now we're going to try having longer videos with the explanation right here.
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