EXAMPLE3 TRIADS (PARTS A, B AND C NOT ON AUDIO)
[Part 3a] Here we’re going to look at some ways to utilise the Major triad (r-3-5). Our first example’s origins can be traced all the way back to Bach and his contemporaries, and can be heard today expertly handled by the likes 3 of Mike Stern, Frank Gambale and eric Johnson. The principle at work is octave displacement, taking any note from within a familiar construction and 3placing this either up or down by an octave while leaving everything else in the same place. When octave displacing single notes we can either choose to leave the order unchanged, producing huge and often unexpected intervallic leaps, or reshuffle to suit our new order of intervals. More of this in b). For now we’re dealing with chords, in this case the basic triad of C (C-e-G), repositioned using an octave displacement that takes the middle note an octave higher and shifts through all the possible inversions.