I also want to say how much I'm enjoying your book. It's taking me a
while to go through it, quite a while on fact, because I'm STUDYING the
thing, trying to dive into each example. I'm a bassist and although the
examples are essentially from sax or piano in almost all cases, I find
the information bolsters my understanding of chord structure and function
in a way that I hope will strengthen my construction of lines.
And back to the triads thread, if you could highlight anything you think
bassists might focus on, I would appreciate it.
Michael