Guitar Solo Secrets: Master Outside Triad Patterns for Epic Improvisation!

Improvising with Outside Triad Patterns

This lesson focuses on expanding your jazz guitar improvisation skills by incorporating outside triad patterns. We'll move beyond standard chord-scale relationships to create more interesting and expressive solos.

Understanding Outside Triad Patterns

Outside triad patterns refer to triads that are not directly derived from the underlying harmony. These triads, often built on scale degrees outside the diatonic scale, add color, tension, and a unique flavor to your improvisations. They can create a sense of surprise and unexpected harmonic movement.

Applying the Technique

The key is to strategically place these outside triads within your solo. Consider the following:

• Context: The surrounding harmony dictates which outside triads will sound most effective. Experiment with different voicings and inversions.
• Resolution: While outside triads create tension, they often need resolution back to the underlying harmony. Think about how you'll smoothly transition back to more consonant sounds.
• Approaching the Triads: Experiment with different approaches to the outside triads. Use passing tones, neighbor tones, or appoggiaturas to create a smoother connection.
• Rhythm and phrasing: The rhythmic placement of these triads is crucial. Use rhythmic variation to enhance the musicality of your solo.

Exercises

Practice applying these patterns over different chord progressions. Start with simple ii-V-I progressions in different keys and gradually increase the complexity.

Focus on developing your ear and recognizing how different outside triads function within the harmonic context. Listen to recordings of jazz guitarists who effectively use outside patterns for inspiration.

Further Exploration

Explore diminished scales and altered dominant chords as they often provide excellent starting points for creating outside triad patterns. The possibilities are vast, so experiment and develop your own unique voice.