а где с ней можно ознакомиться?)
В инете пара статей есть. Плюс к этому этот dvd и можно взять пару уроков у Chris Crocco
I took the four groups of triads—major,
minor, augmented and diminished—and figured
out a way how to improvise with them
using random inversions with a half-step coupling
in between each triad. By doing that, you
borrow from the 12-tone row. If you repeat
yourself by playing two first position, two root
position or two second inversions, you will
cause the triad to shut itself down, and you start
to cause repetition.
You should work through these triads slowly,
using random inversions with a half-step in
between. This coupling is the only hold I have
on you to make you play in this way.
There are two basic principles to the triadic
chromatic approach. First, the triads must be
connected with a half-step in between. Second,
the same inversion cannot be repeated back to
back.
One of the main ways we work on this stuff is by concentrating on a single triad type, major, minor, augmented, or diminished. We take that triad type, let say major, and then we play the triadic concept mixed with traditional jazz language over a tune or some changes. You start really slow so you can more easily hear and think about what is going on.
When we started though, I just worked on a single triad type running consecutive triads trying to randomize inversion, shape, and direction . . . REALLY SLOW. I still have to do it pretty slow to keep it going for a long time. After a while you start mixing the triads together, and then after that you add the chromatic approach (random intervals a major 3rd or smaller). It takes a long time to start getting comfortable. I'm really just starting to grasp it. Another big part is using your ear to make it sound beautiful and personalized, which is the most rewarding part for me.
The basic principle is this: the structure of a major triad (and half and whole step resolutions) is so inherently strong that it can supercede any underlying harmony and bring the ear of the listener along with it. (I’m paraphrasing, but that’s the jist)
He wasn’t recommending just playing any old bullshit, but rather, a way to slowly open up your ears through this triadic practice. In true George fashion, he had no pages of exercises written out in all keys, he just talked about how to do it.
Here’s the premise: Start slow (metronome at 60 bpm or so) and play a major triad — in any inversion you want. When you reach the 3rd note of the sequence, move up or down a half step and begin another major triad. When you choose the 4th note (1st note of the 2nd triad), you have three options for what triad you could play (depending on whether the note you selected will be the root, third, or fifth). ...is this making sense?
Then, just rinse and repeat.
For example: let’s say you begin with an F maj triad... you play F/A/C and then you have 2 choices: you could play a C#/Db or a B. Let’s say you choose C# and decide that it will be the 3rd of your next triad (A maj), so you play C#/E/A. When you get to A, you have (once again) two choices: Bb or Ab. Say you choose Ab and it will be the fifth (of Db maj) so you play Ab/Db/F ...getting the idea? Keep in mind you’re making a few decisions every three notes (and it’s hard to do for any length of time) so start very slow. So now you’ve just played this sequence: F A C C# E A Ab Db F. In nine notes you’ve moved through three keys. The possibilities are infinite.
What if you’d made these choices:
F A C B D G G# B E or,
F A C Db F Ab G Bb Eb or,
F A C B E G# G Bb Eb or,
A C F F# D A Ab Eb C....you get the idea.
After gaining familiarity with 1/2 step resolutions, then try the same approach moving in whole steps.
Don’t concern yourself with what changes to apply this over; it’s more about opening your ears and expanding your ideas beyond the borders of II V I’s and altered dominants, etc.
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