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Perfect Fourth Triads
Perfect Fourth Triads
Date Posted: November 06 2010
Written By: Frank Caruso
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Perfect Fourth Triads
By Frank Caruso
Jazz players have used a triadic approach to improvisation for many years. Triadic devices such as major triads connected by playing a major triad followed by the major triad a half-step above the last note of the existing triad is one of several devices. Others are approached by playing the major triad of the upper structures of the chord being played in a progression, a device used by many contemporary players.
A very good explanation of triadic playing can be found in the May 2009 issue of DownBeat magazine in the “Woodshed” section, in an article written by George Garzone. George is a true jazz luminary who has used and created several “cutting edge” improvisational techniques that are intellectually and sonically very interesting.
The technique I am discussing in this article is one I have been using for as long as I can remember. It is based on playing improvisational lines using individual notes as reference notes for executing Perfect Fourth Triads. It naturally creates alternating tonal centers while still playing lines in the original tonality you are playing in any given tune.
Let’s examine the chart exercises:
Measures 1 and 2 are perfect fourth triads in all twelve positions. It is best to think of the “top note” of each of these triads as the “reference note.” When teaching this technique to my students, I point out that the ability to immediately execute each of the twelve triads is the only key to being able to use these triads effectively while improvising.
Measures 3, 4 and 5 are descending patterns of each triad in all twelve positions.
Measures 7, 8 and 9 are ascending patterns of each triad in all twelve positions.
Measures 11 and 12 are descending patterns on the positions of a “C Blues Scale.”
These few exercises are designed to help you develop “muscle memory” in all twelve positions. The last exercise is designed to illustrate the use of perfect fourth triads on a simple scale. From these examples you can easily see that this triadic approach can be applied to any scale or chord tone patterns you choose to use. I stress with my students that the mastery of this can be a very effective device which can create a highly desired tension in linear and rhythmic patterns.
I hope these exercises will help you develop alternative musical atmospheres for your ideas as they have helped me.
Frank Caruso currently serves on the jazz studies faculties at North Central and Elmhurst College. Caruso also teaches at his home studio and has recently finished writing a book on piano improvisation, which is available on-line at pianoimprovisationsystem.com. Caruso may also be contacted at carusopiano@yahoo.com.
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