{"id":383,"date":"2013-05-20T17:33:07","date_gmt":"2013-05-20T23:33:07","guid":{"rendered":"http:\/\/lynnbakerjazz.com\/blog\/?p=383"},"modified":"2013-05-20T17:33:07","modified_gmt":"2013-05-20T23:33:07","slug":"triads-from-diminished-scales","status":"publish","type":"post","link":"https:\/\/lynnbakerjazz.com\/blog\/?p=383","title":{"rendered":"Triads from Diminished Scales"},"content":{"rendered":"<p>The symmetrical diminished or octa-tonic scale consists of a series of half-steps and whole-steps (or whole and half, depending on when it is started).  This organization also generates sets of triads, each a minor third apart.  In addition, those triads may be either major or minor.  Many jazz phrases utilize a symmetrical relationship of these triads, using either minor or major triads.  This is convenient because it creates patterns that repeat very frequently and the strength of using the same triad-type gives the line a sense of cohesion.  However, more interesting shapes can be made from combining triads of different modes.<\/p>\n<p>I have recently begun focusing my practice on combining a major triad with a minor triad a minor third above the root of the major triad.  For instance, combining a C Major and Eb Minor triad generates these tones: C, Eb, E, Gb, G, Bb.  When each of these triads are alternated in arpeggiation very interesting melodic shapes appear.  In addition, since these conveniently create sets of three note, interesting rhythm shapes can be implied.<\/p>\n<p>Try experimenting with these shapes and see how they impact your improvising.<\/p>\n<p>Best,<\/p>\n<p>Lynn<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The symmetrical diminished or octa-tonic scale consists of a series of half-steps and whole-steps (or whole and half, depending on when it is started). This organization also generates sets of triads, each a minor third apart. In addition, those triads may be either major or minor. Many jazz phrases utilize a symmetrical relationship of these [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[15],"tags":[],"class_list":["post-383","post","type-post","status-publish","format-standard","hentry","category-jazzimprovisation"],"_links":{"self":[{"href":"https:\/\/lynnbakerjazz.com\/blog\/index.php?rest_route=\/wp\/v2\/posts\/383","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/lynnbakerjazz.com\/blog\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/lynnbakerjazz.com\/blog\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/lynnbakerjazz.com\/blog\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/lynnbakerjazz.com\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=383"}],"version-history":[{"count":1,"href":"https:\/\/lynnbakerjazz.com\/blog\/index.php?rest_route=\/wp\/v2\/posts\/383\/revisions"}],"predecessor-version":[{"id":384,"href":"https:\/\/lynnbakerjazz.com\/blog\/index.php?rest_route=\/wp\/v2\/posts\/383\/revisions\/384"}],"wp:attachment":[{"href":"https:\/\/lynnbakerjazz.com\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=383"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/lynnbakerjazz.com\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=383"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/lynnbakerjazz.com\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=383"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}