The concept and technique of Triad Pairs has been a tasty topic, the seeds of which have borne fruit for many an inquisitive improviser since they were first sown into the music's fertile vernacular in the late 1950's and early '60s, with more widespread usage coming somewhat later.

The term "Hexatonic Triad Pairs" is actually a redundant phrase, or something known as a "pleonasm". It is, however, accurately self-descriptive and rolls off the tongue quite easily.

A true triad pair - which is formed from 2 adjacent triads and therefore comprised of 6 non repeating notes - always results in a hexatonic (6 note) scale.

On the other hand, a hexatonic scale, being any scale of 6 notes, doesn't always yield a triad pair.

"Hexatonic Triad Pairs: Vol. 1 - Major Scale Pairs" is organized into 5 segments - focusing on the 4 primary triad pair formations derived from the Major Scale - plus a section of ii-V examples combining material from the first four.

Triad pairs are yet another tool to be used by the improviser to sow ideas to be harvested and utilized in the creation of musical lines and statements.

The main objective, once comfortable, is to turn these lines into real music.

Exercises and sequences should be practiced in all directions, using rhythmic diversity (rests, triplets, etc.). Concepts, inversions and permutations from “Triadicisms, Vols. I & II” could be incorporated here with great effectiveness.

With a little passion, patience and practice, you will no doubt, sooner than later, reap the sweet fruits of your labor.

So.... take a bite out of these "pairs"!

Bobby Stern