Putting notes together in patterns (like triads) adds coherence,
intelligibility, predictability to a line. The first time I used triads
melodically was in a Dorian situation (say Dm7 in Cmaj). D Dorian contains
3 different Maj triads (C, F & G). Since there are no "avoid" notes in this
chord-scale relationship any of these triads will blend in as tensions and
can also be used for single note lines. Try alternating F and G major
arpeggios to start. Try the same stuff on F lyd. Try root position, 1st &
2nd inversions, joining the chords by step, spread triads etc.
My favorite is running a major triad arpeggio off the root of a Dom7
alternating with a maj triad arpeggio built a tritone away. (Eg. Over A7:
arppeggiate A maj & Eb maj.) Both these triads are resident in the 1/2 -
whole scale starting on the root of the Dom7. It has an "altered" feel to
it but isn't really from the altered scale because of the E natural (unless
you phrase the E nat like an approach note to the Eb).
Another interesting one along the same lines (arpeggiating maj triads) is 1
and b2 on a Dom7 b9 chord. (Eg. a & Bb over A7b9.) Be carefull not to
accent any avoid notes on this one.
Try 1 & 7 over any chord with a maj 3rd and a P5.
etc etc etc
With regards to piano players and guitar players comping at the same time,
it can be done, just listen to any Oscar Peterson Quartet record. Both
players need to know each other's style really well and they need to each
fullfill specific roles at specific times but it can be done. For myself,
I'd rather not comp when a piano is comping unless it's a Pop tune or an
older idiom where Freddie Green style is *NEEDED*. I'm sick of everybody
maligning Freddie Green style. It is extremely difficult to do well and is
often the right thing to do.
Regards
Joey Goldstein
Guitarist/Composer/Bandleader/Teacher
joegold@idirect.com
Check out:
http://www.icom.ca/~freeflt/