If you are a theory monster who eats scales and chords for breakfast, then you might want to spend your lifetime mastering this concept, it's all the rage. Click HERE to be redirected to a little pamphlet explaining tenor player George Garzone's Triadic Chromatic Approach to jazz improvisation.
This is the core concept as it is explained in the pamphlet...
Core Concept: For the soloist to outline the changes at the same time as the
rhythm section is redundant! Lines generated by the "chromatic approach"
provide a harmonic "carpet" that enhance the rhythm section, rather than
repeating it.
The combination of the triadic and chromatic approaches enables the
improvisor to move away from thinking solely about specific notes and
towards about contour and overall sound. For instance, lines derived from
the major triad exercise will generate a sound very distinct to lines derived
from minor triads, even if at first it might sound like random notes!
Here is George in action...
You aren't going to find a more spontaneous improviser than George.
This is the core concept as it is explained in the pamphlet...
Core Concept: For the soloist to outline the changes at the same time as the
rhythm section is redundant! Lines generated by the "chromatic approach"
provide a harmonic "carpet" that enhance the rhythm section, rather than
repeating it.
The combination of the triadic and chromatic approaches enables the
improvisor to move away from thinking solely about specific notes and
towards about contour and overall sound. For instance, lines derived from
the major triad exercise will generate a sound very distinct to lines derived
from minor triads, even if at first it might sound like random notes!
Here is George in action...
You aren't going to find a more spontaneous improviser than George.
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Keep it clean, Buster Brown!