Hey, what's up, folks, Adam Manus here for today's You'll Hear at podcast, still flying solo, as Pete's schedule would not allow any you'll hear it recording this week.

But we're at the piano, which is always a popular request from our faithful you'll hear

listeners. And today we're talking about something that we get asked about a lot, and this is triad

pairs and how to use them and some common ones. So here are five triad pairs that I think sound

great. These are fairly common and pretty useful. But with triad pairs, I always say, you know,

they're kind of personal. Like you need to be fiddle around with these yourselves. Find what works

with your sound. Find ones that you like. The great thing about triads is because they're structured already for you,

they're triads. They have a structure that sounds familiar. You can get away with like a lot of

distance or a little dissonance or no dissonance, whatever you want to do, find the ones that you like.

But here's some pretty common triad pair, like cliches almost. The first one is the

the five and the sixth triad over a major chord. So if we're in C, like I C major seven, we can use the G

triad and the A minor triad, just diatonic.

Pretty basic sound, but get you really good, happy results, you know, on this major chord.

Now with triad pairs, one of the things to practice is doing them in all kinds of ways.

You can do them straight up and down down for sure, but mix it up.

Another cool thing about triad pairs is sometimes you can just borrow one note from the triad,

and to me that can be really eye-opening as far as melodic content. So if we have this G and this A minor,

you know, here I have the G triad and I'm just adding the A from the A minor above it.

Or surrounding the A minor triad here, you know, with a G minor in the,

or with a G major in the middle. You know what I mean?

Going between them just

adding one note from that other triad can really then it becomes almost like a hexatonic scale that you

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