Video Series: Triads and Tetrads

This is a complete walk through in real time working on all triad types, inversions, 18 triadic melodies, all keys.

It also covers Triad add one note or Tetrads (in this case, creating 4 note cells by adding one note to the triad structure).

You will play along in real time with me on video to practice all the variations which will give you a complete and solid foundation with triads in a multitude of melodic contexts.

Here are more of the details contained in this Video Series (40 Videos as well as play alongs and pdfs).

Video Contents:

1. Major Triads: Root Position, Six Orders Of Notes, All Keys. Sing, play and visualize all these major triad melodies/shapes. This will be the basis upon which we begin to develop a system for creating vocabulary, training our ears and minds while warming up slowly each day. Stay relaxed and focused. Don't rush - play slow!

2. Minor Triads: Root Position, Six Orders Of Notes, All Keys. Sing, play and visualize all these six minor triadic shapes or melodies in all keys. "Think" of the numbers while playing and singing. Make sure this is easy and fluid so we can build on your strong understanding and mastery of the basic triadic structure.

3. Augmented Triads: Root Position, Six Orders of Notes, All Keys. Sing and Play all these augmented triadic melodies. Visualize and say the numbers while playing and singing. Focus on mastering this before moving on. If you think it easy just increase the speed with a metronome and vary the cycle motion (up or down by half steps, around the circle or any variation you come up with).

4. Diminished Triads: Root Position, Six Orders of Notes. Sing, Play and Visualize these triad melodies. Stay relaxed and clear mentally. Play SLOW - don't rush through this - practice playing and singing these melodies until they are easy and fluid. This will allow us to really build a strong foundation and move forward consistently.

5. The 3 Most Difficult Root Pos. Triad Melodies. Sing, Play and Visualize these triad melodies. Stay relaxed and clear mentally. Play SLOW - don't rush through this - practice playing and singing these melodies until they are easy and fluid. Think of the numbers mentally - use a metronome. This will allow us to really build a strong foundation and move forward consistently.

6. Major Triads: 1st Inversion, Six Orders Of Notes, All Keys. Sing, play and visualize all these six minor triadic shapes or melodies in all keys. "Think" of the numbers while playing and singing. Make sure this is easy and fluid so we can build on your strong understanding and mastery of the basic triadic structure.

7. Minor Triads: 1st Inversion, Six Orders Of Notes, All Keys. Sing, play and visualize all these six minor triadic shapes or melodies in all keys. "Think" of the numbers while playing and singing. Make sure this is easy and fluid so we can build on your strong understanding and mastery of the basic triadic structure.

8. Augmented Triads: 1st inversion, Six Orders of Notes, All Keys. Sing and Play all these augmented triadic melodies. Visualize and say the numbers while playing and singing. Focus on mastering this before moving on. If you think it easy just increase the speed with a metronome and vary the cycle motion (up or down by half steps, around the circle or any variation you come up with).

9. Diminished Triads: 1st Inversion, Six Orders of Notes. Sing, Play and Visualize these triad melodies. Stay relaxed and clear mentally. Play SLOW - don't rush through this - practice playing and singing these melodies until they are easy and fluid. This will allow us to really build a strong foundation and move forward consistently.

10. Major Triads: 2nd Inversion, Six Orders Of Notes, All Keys. Sing, play and visualize all these six minor triadic shapes or melodies in all keys. "Think" of the numbers while playing and singing. Make sure this is easy and fluid so we can build on your strong understanding and mastery of the basic triadic structure.

11. Minor Triads: 2nd Inversion, Six Orders Of Notes, All Keys. Sing, play and visualize all these six minor triadic shapes or melodies in all keys. "Think" of the numbers while playing and singing. I introduce the concept of audiation in this lesson. Audiation is the foundation of musicianship. It takes place when we hear and comprehend music for which the sound is no longer or may never have been present. One may audiate when listening to music, performing from notation, playing “by ear,” improvising, composing, or notating music. Make sure this is easy and fluid so we can build on your strong understanding and mastery of the basic triadic structure.

12. Augmented Triads: 2nd Inversion, Six Orders Of Notes, All Keys. Sing, play and visualize all these six minor triadic shapes or melodies in all keys. "Think" of the numbers while playing and singing. I introduce the concept of audiation in this lesson. Audiation is the foundation of musicianship. It takes place when we hear and comprehend music for which the sound is no longer or may never have been present. One may audiate when listening to music, performing from notation, playing “by ear,” improvising, composing, or notating music. Make sure this is easy and fluid so we can build on your strong understanding and mastery of the basic triadic structure.

13. Diminished Triads: 2nd Inversion, Six Orders Of Notes, All Keys. Sing, play and visualize all these six minor triadic shapes or melodies in all keys. "Think" of the numbers while playing and singing. I introduce the concept of audiation in this lesson. Audiation is the foundation of musicianship. It takes place when we hear and comprehend music for which the sound is no longer or may never have been present. One may audiate when listening to music, performing from notation, playing “by ear,” improvising, composing, or notating music. Make sure this is easy and fluid so we can build on your strong understanding and mastery of the basic triadic structure.

14. Complete Triad Routine Introduction.

In this introduction we're looking at a daily routine to keep our understanding of triads evolving. The way the triad routine is structured allows for every intervallic relationship found within each triad that is less than an octave in distance.
The formula is as follows:

Major, diminished, augmented and minor triads in following way with a 6/8 time feel.

Major:
1 up to 5, down to 3, up to 1, down to 5, up to 3.

1 up to 3, down to 5, up to 1, down to 3, up to 5.

Diminished:

1 up to 5, down to 3, up to 1, down to 5, up to 3.

1 up to 3, down to 5, up to 1, down to 3, up to 5.

Augmented:

1 up to 5, down to 3, up to 1, down to 5, up to 3.

1 up to 3, down to 5, up to 1, down to 3, up to 5.

Minor:

1 up to 5, down to 3, up to 1, down to 5, up to 3.

1 up to 3, down to 5, up to 1, down to 3, up to 5.

In this video I cover the triad routine in 6 keys - C, F, Bb, Eb, Ab, Db (C#).

Major, diminished, augmented and minor triads in following way with a 6/8 time feel.

Major:
1 up to 5, down to 3, up to 1, down to 5, up to 3.

1 up to 3, down to 5, up to 1, down to 3, up to 5.

Diminished:

1 up to 5, down to 3, up to 1, down to 5, up to 3.

1 up to 3, down to 5, up to 1, down to 3, up to 5.

Augmented:

1 up to 5, down to 3, up to 1, down to 5, up to 3.

1 up to 3, down to 5, up to 1, down to 3, up to 5.

Minor:

1 up to 5, down to 3, up to 1, down to 5, up to 3.

1 up to 3, down to 5, up to 1, down to 3, up to 5.

15. In this video I cover the rest of the triad routine in 6 keys - F# (Gb), B, E, A, D, G.

Major, diminished, augmented and minor triads in following way with a 6/8 time feel.

Major:
1 up to 5, down to 3, up to 1, down to 5, up to 3.

1 up to 3, down to 5, up to 1, down to 3, up to 5.

Diminished:

1 up to 5, down to 3, up to 1, down to 5, up to 3.

1 up to 3, down to 5, up to 1, down to 3, up to 5.

Augmented:

1 up to 5, down to 3, up to 1, down to 5, up to 3.

1 up to 3, down to 5, up to 1, down to 3, up to 5.

Minor:

1 up to 5, down to 3, up to 1, down to 5, up to 3.

1 up to 3, down to 5, up to 1, down to 3, up to 5.

16. 1st Inversion triads 3,5,1,5,3 all types and keys - this is a variation focusing on a specific and fairly easy note order. The chord quality order is Aug, Maj, Min, Dim for this warm up.
Remember to audiate and sing all these triadic melodies.

17. All 3 inversions, all six orders of notes through the modes of the Bb Major Scale.
Bb major triad, C minor triad, D minor triad, Eb major triad, F7 triad, G minor triad, A half diminished triad, Bb major triad. This is a complete triad workout in the key of concert Bb - this needs to be done and mastered in all keys!

18. Triads through the modes of 12 major scales. Root position triads - order of notes: 1, 3, 5.
Start in Concert C, ascend by half steps. Sing this before playing it. This should be easy but make sure you have no issues doing this - once we build on this you'll really need a firm foundation. If any keys give you trouble playing or "thinking" about, work on them in isolation. Remember to think of the triads as you play (i.e. "Major, minor, minor, Major, Major, minor, diminished). Stay relaxed.

19. Diminished Triads with Play Along. Using the complete routine method we play just diminished triads in every key with a drum and bass play along.
The note order is:
1st - 1 up to 5 down to 3 up to 1 down to 5 up to 3 down to 1.
2nd - 1 up to 3 down to 5 up to 1 down to 3 up to 5 down to 1.

20. Root Position Augmented Triad - Order of Notes 513 with chromatic below embellishment.
We play the basic augmented triad in root pos. ordering the notes 513 through all the keys. We add one note of embellishment - a half step below - and add that note before and after each of the notes in the triad.

21. Major Triads Ascending by half steps. We'll use the same melodic pattern found in our complete triad warm up. Instead of 6/8 we'll play this in quarter notes in 4/4 time at metronome 120 with a slight pause (1 beat) every 2 bars. Stay relaxed and think clearly about each triad before you play it ("chunking" the triad first).

2nd we look at a triad with an added natural 9 tetrad or 4 note cell.
We play up and down each triad add 9 (up 1,9,3,5,1,9,3 - down - 3,9,1,5,3,9,1) all keys ascending by half step.

22. Introduction to Major Triad add b9. Here we begin to look at the major triad add flat 9 tetrad or 4 note cell. See the PDF for more details. Practice the group of notes in any way and play it in that specific way through all the keys. This will help you slowly build freedom and creative ideas from the tetrad. By limiting your mind and ears to less choices you end up forcing more creativity into your practice and, over time, your performance.

23. Major Triad Add #9 Tetrad. Here we look at the Major 7 #5 7th chord (this structure works well over a dominant 7th chord with a #9 - also over a major 7th with a #9 i.e. b6 mode of harmonic minor). This tetrad or 4 note cell is great to work on in order to gain freedom and ease of self expression within this sound. We look at a few varied ways of accessing or playing the tetrad and put it through the keys. Singing and "audiation" comes into play as a way of deepening our understanding of the sound and structure of this tetrad.

24. Minor Triad add #11 Tetrad. We play the tetrad from root to root and than from each interval to every other interval in the tetrad (all intervals within one octave)

25. Major 7 #5 7th Chord Practice. Here we look at the Major 7 #5 7th chord (similar to the Major triad with an added b13 with the b13 in the bass i.e. C/Ab). This tetrad or 4 note cell is great to work on in order to gain freedom and ease of self expression within this sound. We look at a few varied ways of accessing or playing the tetrad and put it through the keys. Singing and "audiation" comes into play as a way of deepening our understanding of the sound and structure of this 7th chord.

26. Minor 7 b5 7th Chord Practice. Here we look at the half diminished 7th chord (similar to the Minor 6th 7th chord with the 6th in the bass). This tetrad or 4 note cell is great to work on in order to gain freedom and ease of self expression within this sound. We look at a few varied ways of accessing or playing the tetrad and put it through the keys. Singing and "audiation" comes into play as a way of deepening our understanding of the sound and structure of this 7th chord.

27. Diminished Triad with added 11. This tetrad or 4 note cell has a blues like sound. We'll look at the tetrad in two ways; first just playing up and down the structure and second, by playing a specific melody from the structure. As usual, we play all the material through the keys.

28. Dominant 7th b5 (or #11) - here we play through the Dominant 7th with a b5 (or #11) in every key.
We play the chord up and down (1,3,b5,b7,1 - 1,b7,b5,3,1) and than we play from the root to every other note in the structure (1,3,1,b5,1,b7,1). This is a good introduction to this very useful tetrad.
Stay relaxed, be sure to sing the melody and work this up until it's easy - increase the speed for a challenge or change the rhythm of the 7th chord shape.

29. Minor Major 7th - here we play through the Minor Major 7th in every key.
We play the chord up and down (1,b3,5,7,1 - 1,7,5,b3,1) and than we play from the root to every other note in the structure (1,b3,1,5,1,7,1). After that, we play from the 7th down to the root and back up (7,5,3,1,3,5,7) lastly, playing for the 7th to every other voice in the tetrad or 7th chord (7,5,7,3,7,1,7) . This is a good introduction to this very useful tetrad.
Stay relaxed, be sure to sing the melody and work this up until it's easy - increase the speed for a challenge or change the rhythm of the 7th chord shape.

30. 1,9,5,13 Tetrad. This 4 note cell or tetrad is very useful in that it can be used in a wide variety of harmonic settings. It has no 3rd or 7th so works equally well over Major, Minor and Dominant (natural 9, natural 13) sounds. This will introduce you to the tetrad in a variety of melodic ways.

31. Major 6th Diad (2 note cell).    In this video we look at the Major 6th diad and work on it through the keys.

32. BONUS: Whole-Tone Scale Practice - today we'll work the whole tone scale in several easy ways. First we'll play up and down the scale. Next in diatonic 3rds, ascending and descending. Lastly, we'll play the whole-tone scale in augmented triads.
This is a simple and effective way to work on any scale which will give you a lot of concrete melodic material to draw from.

33. BONUS: Augmented Scale introduction.    We look at the augmented scale (Major #9, b13) or two augmented triads a half step apart (one built off the root, one built off the Major 7).

34. BONUS: Neck and Mouthpiece Part I. We'll use the neck and mouthpiece (w reed) for this warm up. I do this frequently when driving to gigs. I'll be using a drone for pitch reference (TE Tuner app), you can use also use the drones found at mattotto.org. Also, I'm using a metronome at 70 bpm. We'll relax and subdivide triplets on our in breath and play triplet vibrato and match pitch to concert F on the out breath. Feel free to make the pitch lower for a greater challenge.

35. BONUS: Neck and Mouthpiece Part II. This is a variation of our first neck and mouthpiece warm up. We add drones under the long tone so that we cover all 11 intervals or diads over a drone. This becomes good ear training as well as vibrato, long tone, breathing and relaxation practice. Add this variation to your daily routine a few times per week.

36. BONUS: Introduction to transcribing. In this video we look at a small idea improvised by Hank Mobley.

37. BONUS: Ideas on Discipline and Inspiration.

38. BONUS: Ideas on getting work as a sideman.

39. BONUS: RSI and Carpal Tunnel routines for musicians part I.

40. BONUS: RSI and Carpal Tunnel routines for musicians part II.