Alright jazz guitarists...
I wrote a short, 2-measure idea for you that combines both topics applied to a basic V7 -> I6 chord progression. Then I moved that progression through the entire circle of 5ths so you could try it in all 12 major keys. You can download the PDF below.
Let me briefly explain what each of these two topics means, and then I'll analyze what's happening in the exercise.
This is a name I use anytime I'm attempting to create harmony in a way that does not simply involve playing this chord voicing, then the next chord voicing, then the next chord voicing, and on, and on, and on......
Look! Up in the sky!
It's an octatonic scale!
It's a dyad run!
It's triad pairs!
Yep, this whole run started with one simple major triad. But like a seed planted in the ground, watered, and tended to... it's bound to grow into something else.
Here's the basic theory going on that turned a simple A major triad into... that ^^^^
Actually first, let's talk about Bruce Lee for a second. Bruce once said that he's not afraid of a person who's practiced 10,000 different kicks once. He's afraid of a person who's practiced one kick 10,000 times. We'll come back to that in a minute. Let's pick up from the A major triad.
I'm using an A major triad over a C7 chord. There's a lot to cover, so I'm not going to explain too much about that.
I like to add a...