This is Adam Manus.

And I'm Peter Martin.

And you're listening to the You'll Hear It podcast.

Daily Jazz advice coming at you.

Today we're going to give you three ways to use triads in your lines.

So we almost never do a list of three. Is this a play on the triad thing? Da, da, da, da, yes it is. I like it. All right, that's very meta. I like that a lot. Yeah. Cool. Why don't you kick this one off? Because I have some ideas about this, but I don't really know how to put them in words. So I'm hoping that

once you and your eloquence and verbacity... I don't think that's a real word, but I'll go with it.

Verbasity. Verbosity? Verboastness. So the first thing that I usually think of when I think of

triads is triad pairs. And this is a really easy concept where you can combine two different triads that work in the diatonic scale of whatever chord tone you're in,

a chord you're playing on, excuse me, and you can play them in their inversion.

So if you are playing over C major seven chord, you can do, let's say it's a C major 7 sharp 11.

You could do the triad of E minor and D major, D major E minor, and do those in their inversions one after the other.

So D major, E minor, D major, E minor, up there inversions.

And it gets you this really organized sound.

It's a way to kind of organize your lines into these patterns.

And that's usually the first way you can kind of break in the triads.

I mean, you can go even simpler than that.

But that's a very easy way to get into this idea of triatic patterns of using the shape and these shapes in your lines.

And that stuff sounds good.

I mean, I think there's any of these things when you talk about using them in your lines, like when you practice them will probably be a little bit more, you know, specific and almost pattern based as we go through them.

But once you start to find things that you can put over chords that you like the way that they sound and then break them up, there's more of a chance that you're going to use like a little fragment of them as opposed to just running through them. Because I was thinking, you know, diatonically, that's like a way to really hear all the possibilities that are really right inside of a certain sound. But the simplest way, of course, over a C major would set you up for all the different modes. So like if you're going through diatonically and you're just skipping a note each time, you know, C major, and then D minor, E minor, F major, you know, up like that, that just gives you the exact sound of that particular chord. And and then once you go to the other modes they're going to be exactly the same but you could also

think about like the diminished scale it could really be over any scale that's right and when you get

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