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This lesson will look at how to take triads that we already know and superimpose them over various chords to
get extensions and different colors in our chords. A good starting point to this concept is the application of triads
with modes we already know. You can easily substitute any triad from a chord’s relative “chord-scale” for that
chord. If you know the chord-scale harmony as it exist in 7th chords, then any triads derived from any chord in
that chord-scale can work. Some triads work better then others. You should experiment and see what triads get
the ‘colors’ or extensions you desire. To better exemplify this concept, I chose the three main scales used in jazz:
the major modes, the melodic minor modes, and the harmonic minor modes. Below is how this concept works
when applied to various D minor sounds.
The following example illustrates a D Dorian sound when using the any of the following triads over a D pedal.
D Minor 7
D minor
E minor
F major
G major
A minor
B diminished
C major
To offer a different color you could choose different scales to get your triads from. Any of these triads could be
used over a D Minor/Major7.
D Melodic Minor
D minor
E minor
F augmented
G major
A major
B diminished
C # diminished
D Harmonic Minor The following examples below demonstrate superimposing triads over various
D minor chord progressions. Example 1 demonstrates using triad substitutions over a ii-
E diminished V-I progression in Major. Example 2 demonstrates triad substitutions over a
F augmented minor ii-V-i. Example 3 uses various triad substitutions over “All The Things
G minor You Are.” (At the bottom of the example is the ‘real’ harmony as it exist and at
A major the top are various triad substitutions I chose using the ideas mentioned earlier).
Bb major Feel free to contact me at jazzyb64@hotmail.com if you have any questions or
C# Diminished would like copies of my previous columns on triads.
Example 2: ii-V-I
Example 2: ii-V-i