Advanced Jazz Chords Using Triads (minor ii V7 i) || Jazz Guitar Lessons Daily 55

From our free, Jazz Guitar Lessons Daily Series: Lesson 55
Fridays - Advanced Melodic Triads Concepts
3/26/21
Usually when the topic of advanced jazz harmony, chords, and comping comes up it immediately sparks conversations about altered extensions, chord tones in the upper structure of a harmony, chord substitutions, chord scales, mode mixture, varying applications of melodic minor and harmonic minor, and all kinds of joint breaking, carpal tunnel inducing chord voicings requiring the most insane hand positions and fret stretches you can imagine.

But not today, my friends… not today.

Today I want to talk about how we can use the fundamentals to create more advanced jazz harmony. Specifically, triads. Yes that’s right. Basic, elementary, 1-3-5, triads. The thing that most eight year old piano students can probably already play through all of their inversions. But I assure you, once we apply our secret technique to these triads and get them on the fretboard, moving through chord progressions and applied to jazz standards, nobody will notice they’re just triads. It will sound like some of the most advanced harmonic playing you’ve ever produced.

You might be asking yourself right now, “How can I access advanced jazz harmony for comping, chord melody, and piano-less trio playing using triads and without worrying about upper extensions or modern drop voicings?”

It all comes down to this… inner voice movement.

If you listen to great post-bop piano players, like Bill Evans, or even some of the masters of jazz guitar, we aren’t necessarily going to hear hip sounding block chord after hip sounding block chord. There IS a time and a place for a big, tricky, finger-twisting, statuesque voicing that we put out there and then let go of to move on to the next voicing. But when we listen to great masters of harmony, there is movement. Not simply from one chord to another, but even INSIDE of a single chord. I call this effect, “liquid harmony.”

There are many techniques that we, as guitar players, can take advantage of to create liquid harmony. We’re not going to discuss every way possible today. Just one. A very simple one that takes advantage of basic triad shapes. But while it’s a simple concept, it will likely take you some practice to get used to. It’s worth it. The benefits of this technique are too many to list, but there are three big ones I want to point out before you give this a shot...
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