Learn how triads are key to understanding harmony, soloing, and comping. Triads are the basis of all harmony. By understanding how they relate to larger chord structures, you will improve your command over harmony generally and be able to use triads more effectively in all your playing.
Through visualizing and using the common triads on the first three strings, you will create smooth lines that make sense of the chords even when the song changes keys or modes.
Audio includes live guitar, bass, and drums performing rhythm tracks, guitar demonstration tracks, and play-along tracks based on common jazz progressions. Examples are in traditional notation and guitar chord diagrams.
You will learn to:
- Identify, organize, and use triads in your improvising: major, minor, diminished, and augmented
- Use inversions to improve transitions between chords, flowing from one to the next (i.e., voice leading)
- Develop your chord/muscle memory through the use of shapes, which will improve your intuitive mastery of the fingerboard
- Understand the relationship between triads, seventh chords, and tensions
- Improvise using triads as the basis for navigating chord changes
- Use triads as the basis of comping parts
“In Triads for the Improvising Guitarist, Jane Miller presents a comprehensive overview of not only ‘the what,’ in terms of the theory of understanding triads, but ‘the how,’ in terms of applying them effectively in a practical musical context.
“Jane has a very accessible and valuable approach to sharing her knowledge of this most essential musical utility, and players of all levels will find ways to benefit from the work she has assembled here.”—Professor Sheryl Bailey, Assistant Chair of Guitar, Berklee College of Music
“I came to the guitar with a keyboard background so I went hunting for the triads and the scales. If I’d had Jane Miller’s book, I would have found all the triad shapes in all the keys and I would have seen how the scales are woven into the triads. And I would have seen the triads lurking in the seventh chords. Jane not only shares the information; she shares her perspective.”—John Knowles, C.G.P., Composer, author, performer, and teacher; Certified Guitar Player, as honored by Chet Atkins
“Utilizing a guitarist’s propensity for visualizing ‘grips,’ Professor Miller investigates superimposing triads from diatonic harmonic extensions to advanced altered dominant, upper structure triads and modal applications.
“Her approach clearly presents a thorough system for seamlessly balancing linear and vertical playing. A fresh approach and generously shared. Brava!”—Professor Rich Falco, Director of Jazz Studies at WPI; Faculty Curator, New England Jazz Hall of Fame
“All guitarists will benefit from the info in this book. Read and learn!”—Danny “Kootch” Kortchmar, Session Guitarist (James Taylor, Carole King, Linda Ronstadt, the Section), Songwriter, Producer
“Jane Miller’s book Triads for the Improvising Guitarist goes deep into an often-overlooked elemental part of understanding the fretboard, and, well . . . music in general. It’ll be a revelation for many who are looking for a way to ‘connect the dots’ in their playing.”—Duke Levine, Solo Artist, Session Guitarist (Peter Wolf, Mary Chapin Carpenter)