CAMPBELL- Triad Pairs for Jazz Nodrm

Why Practice Triad Pairs? ..............................................................3

Applying Triad Pairs .......................................................................4

Triad Pairs Within Conventional, Seven Tone, Diatonic Scales..4

Triad Pairs Within Symmetrical Scales ......................................6

Triad Pairs as Individual Entities Within Various Environments..9

Determining Applications .......................................................10

How to Practice Triad Pair Patterns ..............................................12

Basic Three-Note Patterns ......................................................13

Basic Four-Note Patterns ........................................................36

Linking Triads ..............................................................................54

Six-Note Patterns ...................................................................54

Continuous Chain Based on Six-Note Links ............................69

Eight-Note Patterns ................................................................71

Triad Pairs Linked With a Chromatic Passing Tone ..................85

Other Triad Linking Possibilities ..............................................89

Stacked Triad Pairs ......................................................................91

Variations ..................................................................................100

Variations on Basic Four-Note Patterns .................................101

Interchanging Patterns and Altering Chord Sequence ...........105

Approach Tone Variations ....................................................107

Rhythmic Variations .............................................................110

Triad Mutation .....................................................................113

Licks .........................................................................................117

Solos - Using triad pair applications on standard tune chord changes...............................................124

Solo Application Guide .............................................................125

Gary Campbell Biography .........................................................142

Working with triad pairs is a very effective strategy for constructing fresh soundingmelodic lines. Here are some reasons why:

1. By limiting note selection to six tones (each triad consisting of three), a moreconcise sonority is created. For example, the conventional chords used in the jazz idiomare oftentimes associated with parent chord-scales of seven or more tones (melodicminor, major, harmonic minor, and so on). Rendering these scales in the form of triadpairs yields more variety in tone color and suggests novel melodic possibilities. (I'llpresent a brief procedure for extracting triad pairs from these seven-tone scales lateron.)

2. Each of the triads expresses a tonality. By using two triads, bi-tonal effects arecreated. This effect is multiplied when the triad pair is used over a root tone that is notpresent in either triad.

3. The structure and "tensile strength" of triads give the melodic line anindependent internal logic. The "stand alone" sound is oftentimes enough to make astrong, effective melodic statement regardless of how it is (or isn't) relating to theharmony over which it is being used. It sounds "right."

4. The triads offer a skeleton structure to base lines on. This can be very helpful inmodal settings where there are no diatonic, cycle-of-fourth root movements orresolutions and where each chord change may last a long time (for instance, four, eight,or sixteen measures.)

An in-depth study of this subject is presented in my book Connecting Jazz Theory(Houston Pub. - Hal Leonard). I also highly recommend Walt Weiskopf's bookIntervalic Improvisation (Aebersold).

Perhaps the clearest way to conceptualize the ways in which triad pairs can beused is to consider them as an alternative to using a chord-scale (parent scale) over agiven chord or chord progression. How do we determine which triad pairs can be usedin place of of the given scale? Simple:

Use any two adjacent diatonic triads within a parent scale.

Triad Pairs Within Conventional Seven-Tone Diatonic Scales

1) Major Scale

C Major Scale

2) Harmonic Minor Scale

C Harmonic Minor Scale

3) Melodic Minor Scale

C Melodic Minor Scale

4) Byzantine or Double Harmonic Scale

C Byzantine or Double Harmonic Scale

5) Harmonic Major Scale

C Harmonic Major Scale

Triad Pairs Within Symmetrical Scales

The symmetrical scales present a radically different chordal environment from thatof the conventional seven-tone scales. Let's examine the auxiliary diminished andaugmented scales.

1) Auxiliary Diminished Scale

C Auxiliary Diminished Scale

Diminished chords include:

Major and minor chords include:

The auxiliary diminished scale yields two diminished seventh chords, four majortriads, and four minor triads. (Note their symmetry.) Any two of these chords that do notshare a common tone constitute a viable triad pair.

Starting with a C major triad, we can move each chord-tone up stepwise to get thisprogression of diatonic triads. Of course, any two adjacent triads constitute a viabletriad pair.

2) Augmented Scale

C Augmented Scale

The augmented scale yields two augmented triads, three major triads, and three

minor triads. Any two of these that share no common tones constitute a viable triad pair.

Triad Pairs as Individual Entities Within Various Environments

For ease of reference, let's consider triad pairs in generic terms. That is, thequality of each triad (major, minor, augmented, and so on) and the distance between thetwo (for example, half-step, wholestep).

As we go through the process of determining the triad pairs contained withinvarious scales, we begin to notice that most generic triad pair types can be found withinmore than one class of parent scales. For instance, Cmin/Dmin can be found among thediatonic triads of the C melodic minor scale as well as those of the Bb major scale.

Diatonic Triads Within the C Melodic Minor Scale

Diatonic Triads Wihin the B6 Major Scale

So, the Cmin/Dmin triad pair can function the same as the C melodic minor scale,as well as the B6 major scale. In generic terms: Two minor triads a whole-step apartmay be interpreted as the i and ii triads of melodic minor as well as the ii and iii triadsof major.

Determining Applications

The focus of this book is on mastering the manipulation of triad pairs whilepresenting a general guide to determining chord applications. All the fundamentalinformation you need has been presented in the preceding pages. For an in-depth studyof applications, I recommend my book Connecting Jazz Theory (Houston Pub. - HalLeonard). I will, however, illustrate the application process with two scenarios.

1) Starting With a Chord-Scale

First of all, for any given chord or chord progression, there is no single solution asto what to play. There is no single "correct chord scale" from which to draw. There maybe many choices. Issues of style, harmonic context, the music's tolerence for dissonance,and so on, are all criteria. So, as I present the following illustrations, I presuppose thatthese factors have all been considered and the choice of a particular chordscale hasbeen made.

Let's say you have chosen a melodic minor scale as the chord-scale for a situationand you want to see what triad pairs can be used. Upon examination, we see that withina C melodic minor scale are the following triads:

The possible triad pairs are:

Of these, my preferred selections are:

Conclusion:

The above triad pairs can be used wherever you would use the C melodic minorscale. Experiment and determine which sounds best.

2) Starting With a Triad Pair

Let's say I've mastered the triad pair F Maj/G Maj and I want to determine overwhich chords I can use it. I have examined the diatonic triads within several parentscales and have found this triad pair within the C melodic minor scale and the C majorscale.

Diatonic Triads Within the C Melodic Minor Scale

Diatonic Triads Within the C Major Scale

A C melodic minor scale can effectively be applied to these chords:

A C major scale can be applied to these chords:

Conclusion: The triad pair F Maj/G Maj may be applied to all of the above chords.Experiment. Remember the criteria mentioned under Starting With a Chord-Scale on the

previous page.

The exercises in this book illustrate the inexhaustible possibilities for playing triadpairs. By practicing these exercises daily, you can absorb the overall sound of the triadpairs and learn many ways to weave melodies from them. Then the process ofintegrating these sounds into your playing can begin.

The exercises also serve as great exercises for developing instrumental technique.Some will lay easily on the instrument while others may be quite awkward. Alwayspractice slowly with a metronome, maintaining precision and relaxation throughout therange of the instrument. This is not always easy to accomplish because your mind's eyeis concentrating on the triadic patterns. When the mind is stressed, physical tension cancreep in and debilitate technique and sound production. So take your time! This way ofpracticing is great discipline for the jazz improviser.

In this book I've put the practice patterns and the application strategies in separatechapters. My approach has always been to first practice the patterns as isolated entities,like technical etudes, concentrating on how they sound, developing a mind's-eye imageof them, and learning to manipulate them in various ways. Then, once they are mastered,I'm ready to determine which application possibilities I prefer and begin practicing thetriad pairs within a given musical context. Detailed suggestions and illustrations of thisprocess are included in my book Connecting Jazz Theory (Houston Pub. - Hal Leonard).

The first exercises are simple, conjunct patterns with basic variations. As we go,the patterns become more involved and perhaps more difficult to grasp. For this reason,I suggest mastering the beginning exercises before proceeding to the more complexones. Otherwise, you will easily get lost and disoriented. Remember: These exercisesare written out in only one key! You must transpose them into all 12 keys in your head.When needed, brief explanations or comments will accompany each group of patterns.

Basic Three-Note Patterns

Note:

Most of the patterns presented hereafter are in the followingorder:

1. Triads going up-ascending/descending pattern.

2. Triads going down-ascending/descending pattern.

3. Triads alternating (one up, one down)-ascending/descendingpattern. Many alternating patterns are not shown. Figure themout!

Important: Don't forget to do all of the transpositions for each pattern, and reverse theorder in alternating patterns. For maximum results, be thorough!

Notation: With regard to the use of accidentals-I have notated sharps and flats in such amanner as to facilitate reading and to help identify each triad as a separate entity.Accordingly, accidentals may be marked more than once within a given measure, andsharps and flats may coexist within a given measure.

1) Major Triads A Whole-Step Apart

Practice the 11 other transpositions before continuing.

With all alternating patterns, also start on the second triad to reverse the alternationorder.

Before going on to the next section, I'd like to suggest something. The precedingpatterns were major triads a whole-step apart based on the C major triad as the startingpoint. The second triad was D major, a whole-step up from C major. Now, when Ipractice these whole-step apart patterns I like to think of them two ways: 1) as startingon the "central triad" (in this case C) followed by the triad either a whole-step above(D), as in the preceeding patterns or 2) as the central triad (C) followed by the triad awhole-step below (B6).

Despite the fact that these two sets of patterns are both major triads whole-stepapart, I believe it is useful to think of them as separate patterns rather than as the samepattern either starting on C major going up to D major, or starting on B6 major going upto C major. This way of imagining triad pairs around a "central triad" is useful whenyou get to the application stage of this study.

For example, with a C7011 chord we might think of the triad pair C Maj/D Maj.Whereas, with a C7sus11 chord we would think of the triad pair C Maj/B6 Maj. In bothcases the C Maj. triad is the "central triad" accompanied by one of the two others.

Therefore, I will include both versions of these patterns.

2) Major Triads A Half-Step Apart

Don't forget to reverse the order, D6 -up, C down. Also, the transpositions.

Reverse the order - B up, C down. Transpositions!

3) Major Triads A Tritone Apart

Do all transpositions. Reverse alternation order.

4) Minor Triads A Whole-Step Apart

Do all transpositions. Reverse alternation order.

Do transpositions and reverse alternation.

5) Minor Triads A Half-Step Apart

Do transpositions and reverse alternation.

Don't forget transpositions and reversing alternation.

6) Minor Triads A Tritone Apart

Don't forget all transpositions and alternations.

7) Whole-Step Apart

Also do alternating.

Also do alternating patterns.

Do alternating patterns.

8) Half-Step Apart

Do an alternating version of the preceding pattern.

Do alternating patterns.

9) A Tritone Apart

Also do the "triads going down" version, as well as the alternating versions.

Also do the "triads going down" version, as well as the alternating versions.

This concludes the basic three-note patterns for major/major, minor/minor, andmajor/minor triad pairs. There are, of course, more possibilities for combining majortriads with minor triads. Some of these may be found in the chapter Triad Pairs WithinSymmetrical Scales.

Now we will continue, exploring basic four-note patterns over many of these sametriad pairs. These should be a bit easier to get a grip on if you have mastered the

preceding three-note patterns. Later, as we continue into more and more complexpatterns, the process should actually become easier. Turn on your metronome.

Basic Four-Note Patterns

The most basic four-note pattern is essentially the same as the basic three-notepattern, the difference being the addition of the fourth note, one octave above the firstnote.

Basic three-note pattern

Basic four-note pattern

Go back and practice the triad pairs you've already done, now in the above four-note pattern. Assuming you have put in considerable time practicing the three-notepatterns, this transition should be pretty easy. Please observe that I do not illustratethese very basic four-note versions. Instead, we'll start with another simple four-notepattern in which the fourth note of each unit is a repetition of the first note.


Try to figure out what the alternating version of the preceding pattern would be.

Try alternating.


8) Half-Step Apart

Alternate.

9) Tritone Apart

This concludes my selections for mixed triad pairs - major and minor. Other

possibilities can be found in the chapter Triad Pairs Within Symmetrical Scales.

Six-Note Patterns

In the patterns presented thus far, the basic unit of patternization was a single triad,either in three-note or four-note form. Now we will link the two triads of the pairtogether, forming a basic unit of six notes or eight notes. Let me illustrate some of thepossibilities.

Basic Three-Note Triad Unit

The above pattern is formed by alternating between C major and D major triads in rootposition, first inversion, second inversion, root position, and so on. Now, when we"link" the triads we first play C major in root position. Rather than proceeding with D inroot position, we go down from the third note of the C triad (G) to the closest note of theD triad (F#) and build the D triad from there. This forms a six - note unit. Then, webuild six - note units from each successive inversion of the C major triad.

Important: As with all of the preceding patterns, the patterns that follow are writtenout relative to C only. Be sure to practice the other 11 transpositions.


Alternating.

Alternating.

Continuous Chain Based on Six-Note Links

We can construct continuous links.

Likewise, construct six-note continuous chains with the other triad pairs:

Two minor triads a whole-step apart.

Two minor triads a half-step apart.

Two minor triads a tritone apart.

The mixed pairs, as before.

By now, you should be familiar with the sequence and procedure I've been using toassemble the various patterns - major triads at various intervals, minor triads at variousintervals, mixed triads at various intervals, and so forth. Therefore, from now on, I'llwrite out only the first few examples of each new pattern. If you have difficulty, refer tothe sequence I've used up to this point and write out the new patterns for yourself.

7) Selected Mixed Pairs

Triad Pairs Linked With A Chromatic Passing Tone

It is possible to link triads together with a chromatic passing tone (that's not part of

either triad.) Where there is the interval of a whole-step between the last note of onetriad and the first note of the other triad, a chromatic passing tone can be inserted,linking the triads together. tricky_Unlike our basic patterns, these patterns often workonly if the they start with the first triad in a particular inversion (root position, firstinversion, or second inversion.) Furthermore, the order of the triad alternation (in whichone goes first) may be reversed in the descending version of the pattern.

In the following few pages, I have illustrated some of these tricky patterns thatwork. In each new pattern, observe the features mentioned above very carefully. Thenproceed with the transpositions. I'm sure that if you play with these enough, you'll findother possibilities.


In the pattern above, notice that the ascending version starts with C major whereasthe descending version starts with B6 major. Also, the ascending pattern only workswhen the C major chords are in root position and the descending version starts with the3rd of the B6 major chord.

3) Augmented Triads A Whole-Step Apart

4) Major and Minor Triads A Whole-Step Apart


This is the only inversion that works.


Again, this is the only inversion that works.

Other Triad Linking Possibilities

The possibilities for linking triad pairs are many. The preceding section dealt withlinking triads with a chromatic passing tone, joining the last note of one triad with thefirst note of the other triad. This creates a smooth, connected sound.

Triad pairs can also be linked in a number of other ways. First, select two triads tobe linked. (As before, we define a triad pair as having no common tones.) If the distancebetween the last note of the first triad and the first note of the second triad is greater thana whole-step, we have a choice of two possible passing tones. If the notes to be linkedare a half-step apart, an approach tone from the other direction can be used.

For instance:

In the example above, I chose a chromatic approach tone to link D6 to C (bar 1to bar 2). I could have opted for a whole-step approach tone (In the ascendingversion).

The choice of B6 as the (whole-step) approach tone would imply the parent scale of Fharmonic minor, whereas the original choice of a B natural (chromatic) approach tonewould imply a C Byzantine or double harmonic parent scale. Accordingly, differentoverall sonorities can be created from the same two triads depending on the choice oflinking tones. This is an area for experimentation.

Another possibility:

We can stack triads, one on top of the other, to create one large broken chord.Owing to the extensive range of the piano, pianists are able to stack many chords. Thesame holds true for guitarists. Wind instruments, on the other hand, have a much morelimited range. So, limiting our discussion to triad pairs (two triads only) will beparticularly applicable to wind instruments. Assuming that the reader has spent ampletime practicing the basic patterns, these stacked patterns shouldn't present any majordifficulty. The challenge here concerns the visualization (in the mind's eye) of thegreater expanse of a stacked broken chord. The units within the basic patterns usually fitwithin one octave or possibly a ninth. The stacked triads usually extend to an eleventh-alittle harder to "see" on a horn. These exercises are not easy. They require intenseconcentration. Go slowly.


7) Augmented Triads A Whole-Step Apart

The above patterns yield the two Whole-Tone Scales.

8) Augmented Triads A Half-Step Apart

The pattern above yields an augmented scale. Don't forget that there are three othertranspositions:

As always, when dealing with augmented triads, they are symetrical and any of thethree chord tones could be considered as being the root, for example:

9) Diminished Chords A Half-Step Apart

The above stack forms a C auxiliary diminished scale. There are two othertranspositions: D6 dim/D dim and D dim/E6 dim.

10) Mixed Triad Pairs

Stack mixed triad pairs following the same procedure. I'll illustrate only oneexample.

Variations on Basic Four-Note Patterns

We'll start with simple variations on the Basic Four-Note Patterns (see page 36).I'll illustrate these using only the basic Two Major Triads triad pairs. Of course, youmust also practice these variations with all of the others-minor/minor and mixed pairs.

The following are similar to the preceding variations, except the direction of everysecond four - note group is reversed:

There are many other possible variations of this type. To use triad pairssuccessfully in your improvisation, fluidity is essential, so experiment!

Interchanging Patterns and Altering the Chord Sequence

Here I have selected a few basic patterns and illustrated some ways to make themmore interesting (I hope). In the first example, I alter the basic Two Major Triads aWhole-Step Apart, the central triad being C major. Rather than pair it with D majoronly, I interchange B6 major (for D) every other time.

This time I have C major as the central triad and pair it with B6 major and then F#major.

Using the same triads (C, B6, and F#, here is a variation on one of the Triad PairsLinked With A Chromatic Passing Tone patterns.

Approach Tone Variations

First the approach tone is placed before the lowest tone of each triad.

For the following patterns, I'll show only the ascending patterns. Figure out thedescending versions similar to the pattern above.

Here the approach tone is placed before the uppermost note of the triad.

Rhythmic Variations

In the jazz idiom in particular, rhythm has always played a dominant role. Thebasic pulse of the music underpins syncopations, rhythmic displacements, feeling of"swing," rendering the clave (particularly in Afro-Cuban music), sensations of pushingor pulling back, and all other rhythmic elements essential to the music.

The patterns presented in this book have all been rendered in straight three-or four-note groups. Here are some rhythmic variations to use when practicing the patterns. Therhythmic variations and displacements not only break up the monotony of constant eighthnotes, but they can also mask or disguise the nature of the patterns, making them soundless "patterny." They also rhythmically shift or displace the points at which each triadsounds.

Having practiced these variations myself as well as assigning them to manystudents, I can testify to the fact that they can be very difficult! You may think you reallyknow how a particular pattern sounds until you try the rhythmic variations! Be patientand use a metronome (slowly). Good luck.

Here is a basic three-note triad pattern in triplet form:

Here is the same pattern rendered as eighth notes rather than triplets:

Here are triads rendered as four-note chords:

Now as triplets:

Remember: Use a metronome and concentrate on where the downbeats are!

Here is an approach tone pattern, rendered as eighth notes, starting on the downbeat ofone:

The same pattern, starting on the up-beat of one:

The same pattern, as triplets:

Now, the triplets start on the upbeat of one:

These few simple rhythmic variations are enough to keep anyone busy for quite sometime. Remember: Practice these patterns with all triad pairs-maj/maj, min/min,maj/minor, and so on.

Triad Mutation

Another interesting way to vary the patterns is to actually change the structure ofthe triads. In this case, I use only two tones of the first triad, and then four tones(doubling the first tone) of the second. This 1) shifts the harmonic rhythm of the triads toform a longer, irregular design and 2) effects the relative presence of the triads, givingmore emphasis to the sound of the four-note chord.

Using the Rhythmic Variations procedure illustrated in the last section, these eight-notemutated triads can be rendered as triplets, creating a very interesting effect.

Reversing the preceding pattern, use four tones of the first triad and then two tones ofthe second.

Again, convert the eight-notes to triplets.

The possibilities for variations on all of these patterns is almost limitless. (Applythese patterns to all of the pairs (majJmaj., min/min, mixed) shown in the Basic Patternssections of this book.) This is fantastic ear training and great discipline to get yourfingers away from their old habits. Go slowly, using your friendly metronome.

Although the purpose of this book is to present a method for practicing andmastering triad pairs outside any specific musical context, I will show how these pairsmight be applied to a few standard chord progressions (functions). After a thoughtfuland thorough study of the opening chapters of this book (Applying Triad Pairs), youshould be able to determine which triads can be used in given situations. Therefore, I'llkeep explanations in this regard to a minimum. Although these licks are illustrated in apretty basic from, I encourage you to experiment with other pattern combinations,rhythms, displacements, and so on, to suit your playing style.

A downward progression of Major triads (two pairs) in whole-steps, starting onthe V chord performs a ii min?-V7 alt function.

ii min7-V7 alt

Using a chromatic passing tone link, here are three inversions of the same pattern:

More chromatic passing tone links:

A combination of patterns:

A variation on the approach tone patterns, starting on the upbeat of one:

Rendered as triplets:

Mutated triads (two-note/four-note) rendered as triplets:

Approach tone to the uppermost chord tone:

Approach tone to the lowest chord tone:

Here are some V7-I patterns, first using major triads a tritone apart.

Mutated triads:

Starting on the third beat of the bar:

Chromatic passing tone links:

Mutated diminished seventh chords:

Passing tone links using minor triads a whole-step apart (i and ii of the A6 melodicminor scale) in three different inversions:

The following solos illustrate some possibilities for triad pair application over thechord changes to a few well-worn tunes. The solos are intentionally over-saturated withtriad pairs, an indulgence I wouldn't recommend in an actual playing situation.Overused, any device can sound contrived and become boring, even annoying.

Today, the world of improvised music is very broad. Jazz is experiencing thegrowing influence of music (musicians) from the Caribbean, Brazil, Africa, Europe, andother countries. Established concepts of melodic structure and phrasing must expand andmutate to suit and serve stylistic evolution. The phrasing, rhythms, and melodies that areeffective in one context may fail in another. Even within the existing realm of "straight-ahead" American jazz, possibilities are vast. For these reasons, style is an issue I preferto shy away from in discussions of jazz theory. So, I have constructed the followingsolos in a pretty generic fashion, basing the melodic lines on eighth notes.

Analysis

It is your task to identify the triad pairs within these solos and determine in whichparent scales, chord alterations, or chord substitutions they are being used to express.To facilitate this analysis, I made a Solo Application Guide that shows some of theapplications I have used in the solos.

Note: I have written these solos with no key signatures, with all accidentals indicated.Both sharps and flats often appear within the same measure. I have chosen theseenharmonic spellings to facilitate the reading and identification of the individual triadsused in each particular situation. The chord symbols reflect only the basic chordchanges, occasionally indicating the upper-structures of dominant seventh chords.

Each solo is written for Concert, B-flat, and E-flat instruments.

Two Major Triads A Whole-Step Apart

Used in place of a Melodic Minor Scale, the triads built off the 4th and 5th degrees ofthe scale.

Or - used in place of a Major Scale, triads built off of the 4th and 5th degrees of thescale.

Two Minor Triads A Whole-Step Apart

Used in place of a Melodic Minor Scale, triads built from the 1st and 2nd degrees ofthe scale.

Two Major Triads A Half-Step Apart

Used as part of a Diminished Scale, to create the "Maj7 diminishedsound," uses the Major triads off the root and the 7th - CMajBMaj

Two Major Triads A Tritone Apart

Used as part of an Auxiliary Diminished or Tritone Scale

A Minor Triad and an Augmented Triad A Half-Step Apart

Used as part of a Melodic Minor Scale, triads from the 2nd and 3rd scale degrees.

86 SLUES

CoNef¢t

5 SLU(S

Eb INST4uMENT6

SOSSA

Comm

SOSSA

0 INfiftumiRfs

SOSSA

0 INst4uw(Nf6

STMT

cogattf

ST4EET

0 INSItuNENTs

840WN

coMeEet

840WN

0 INS?2UHEN16

840WN

Eb INS1QUWEN1S

S?AQ

Comm

S?A2

OIRsnumeRfs

Saxophonist/composer Gary Campbell's life as a jazz musician began in hishometown of Indianapolis, Indiana, the city that spawned jazz greats such as J. J.Johnson, Freddie Hubbard, Slide Hampton, Wes, Buddy and Monk Montgomery, andmany others. As a teenager he was introduced to the "Naptown" jazz community throughhis teacher and mentor David Baker. Learning the ropes by sitting in at local clubs andjam sessions, he played with the likes of organist Mel Rhyne and guitarist Ted Dunbar.After brief stints at Indiana University and the University of Miami, Gary migrated toNew York City. From the late '60s through the '70s he was active in the innovative,energetic, and notorious loft scene-the testing ground for dozens of creative young jazzmusicians. As a performing member of Free Life Communications, an organization ofyoung jazz artists founded by David Liebman and Richie Bierach, Gary presentedconcerts of original music with John Abercrombie, Jan Hammer, Michael Moore,Bobby Moses, and many others.

He appeared on records alongside Randy Brecker, John Abercrombie, Dan Wall,Adam Nussbaum, David Friesen, Ira Sullivan, and others. He has shared concert,festival, and nightclub stages with (in addition to the above) John Scofield, DaveLiebman, Tom Harrell, Jaco Pastorius, Andy Laverne, Red Rodney, James Moody,George Adams, Hank Crawford, Mose Allison, Arturo Sandoval, and many more.

Since moving to Miami in 1982, Gary has become one of the most influentialfigures on South Florida's re-emerging Latin-flavored jazz scene-gigging and recordingwith jazz greats Ira Sullivan, Chubby Jackson, Dr. Lonnie Smith, Bobby Thomas Jr.,Rene Luis Toledo, and the great Cuban drummer Ignacio Berroa.

Gary is becoming one of this country's most sought-after jazz educators. He taughtfor 12 years at the University of Miami (where he earned a master of music degree injazz performance), is now assistant professor of jazz studies/saxophone at FloridaInternational University, and for many years has been a performer/clinician at the JameyAebersold Summer Jazz Workshops. Gary has been awarded numerous NationalEndowment for the Arts performance grants and has previously published four highlyacclaimed books on jazz improvisation: Patterns For Jazz (co-authored with JerryCoker); Expansions, a method for developing new material for improvisation; HankMobley Transcribed Solos; and Connecting Jazz Theory.

Gary regularly performs and records original material. His compositions have alsobeen recorded by John Scofield, Ira Sullivan, Jeff Palmer, Duffy Jackson, Mike Orta,and the University of Miami Concert Jazz Band.

His exciting CD, Intersection (Milestone Records), provocatively blends thecurrents of Afro-Cuban and Brazilian music into the mainstream of modern jazz. Hisrecent CD release, Thick & Thin (Double-Time Records), features guitar great JohnAbercrombie.

CAMPBELL- Triad Pairs for Jazz Nodrm

Documents

Transcript of CAMPBELL- Triad Pairs for Jazz Nodrm