I recently discovered your playing and your blog. You are a helluva player and I’ve enjoyed what I’ve read on here so far. Thanks for sharing your thoughts/experiences/musical ideas. So this triadic exercise is great. I spent about thirty minutes playing through this today. I like the 2-3 grouping and I like how you shaped the lines too. Fun to play through – the faster I can play it, the cooler it sounds actually (almost Woody Shaw-ish). I’m curious as to what you use this study for. Do play through it with different articulations, combinations of slurs and tonguing? That’s what I did today. And why did you choose the triads a whole step apart? How would you incorporate this exercise into an improvisation? Or are you looking at this as something that is purely a study for building flexibility and hearing intervals in different groupings? If you have the chance I’d love to hear your thoughts.
First of all, thank you for taking the time to check out my blog. I’ll check yours out as well! I dig the name of yours, btw. As for this exercise, I like to use this idea and variations on it in modal tunes, like Impressions, etc. And yes switching up the articulations for these lines is paramount. I aspire to make these lines as “smooth” as possible. By that I mean having the feeling of going from one particular note to the next not be any more difficult in any other interval. That being said I allow my tongue to assist in the execution of this. A light tongue stroke, that is. I learned this from a conversation that I had with Freddie Hubbard some time ago. You can also feel free to choose a grouping of triads that have a relationship that differs from whole steps. I’m in the process of putting together some varying sets as a part of my theory book that I’m putting together. I’ll keep you all posted!