Types of Triads

Triads (3 note combinations):

Earlier I did a video on how triads, of type 135 (Major, Minor, Augmented, Diminished) could resolve soundly to any other triad via common tones or halfsteps.

Now I wanted to clue you into another interesting triad investigation.

There are basically only 5 types of triads, meaning 3 note chords.

Here is what I mean:

When you use something like a Major chord, it is R 3 5, but if you invert it, now you have R 3 6 (first inversion of the other chord, but could, in some instance be considered it’s own triad without a 5th), if we invert it again we get R46, some of you might remember these from music, school, now technically, in music school we would have said R35, 35R, 53R, for the inversions, but we are looking at another attribute of triads….all possible 3 note combinations.

When you do all the extrapolation of discovering all possible triads, you find there are only 5 unique triads (including their inversions). Here’s what they are

  1. R35

  2. R25

  3. R24

  4. R23

  5. R34

That’s it. If you grab those and their inversion, plus flats and sharps, you cover all the possible triad types. So for instance: R24 is also R 37 and R 56. So if you wanted you could make a “chord” C D F…. or inverting it get D F C and F C D.  This chord voicing is actually used a lot In jazz since it sort of implies a Dmin7 chord, but we could create a whole new language out of this information if we want. We could have R24 (sort of the “major” variety, though it doesn’t sound major), flat the 2nd for “minor” similarity, though it sounds different (C Db F, R b2 4) and similar to diminished flat the 2 and 4, (R b2 b4, C Db Fb) and the augmented variety is R 2 #4 (C D F#).

These are a whole other variety of sound possibilities. This can be done to all the above… notice R23…. This would be like playing CDE at the same time, or like CDbEb or whatever, not so easy on guitar in root inversion, but the other inversions would be simpler.

Also, you might be familiar with Quartal harmony, like C F Bb…. this gets covered by R25…., imagine Bb is the root for a second…now you have Bb C F….or R25. (Which is often known as the sus2 chord, but in another inversion, F Bb C….it’s a sus4 chord).

These are a whole other variety of sound possibilities.

Think of how much music we’ve created with our standard R35 harmony…maybe it’s time we explore another one of these triad groupings a reorganize our thought process on the musical possibilities and language of these other triad types.

Try re-harmonizing a standard using these other foundational triads, you might come up with something pretty sweet!

Good luck!


***Bonus points….how many different types of 4 note chords are there?

*****Second Bonus…here they are with their inversions:

  • R35 (R36) (R46)

  • R25 (R47) (R45)

  • R24 (R37) (R56)

  • R23 (R27) (R67)

  • R34 (R26) (R57)

New Album coming out August 26th- Pre-Order Now!

Hello All.

Just wanted to let you know about a new album I played on, mixed and mastered. My band name is Chromadrive. We even have a new website (under construction) at www.chromadriveband.com and we are on Facebook as well.

You can pre-order the album right now, and get the track “Candy”. This song is full of energy and groove. I know you’ll dig it.


The band consists of:

Jared Lees: Bass

Justin Tibbs: Sax

Drew PenCook: Drums

And yours truly: Tim Mirth: guitar.


Here’s the link for the pre-order or streaming of this new tune. Let me know if you want a disc, they’ll be coming next week. And check out the sweet artwork by Matt Brady.

Please consider pre-ordering the album. I put a lot of work in this one. We had a really good recording session, but I’ve spent many hours mixing it and mastering it and listening to it and tweaking it and editing it….etc… Help encourage us to make more and do something with this band.


Come to our CD release party at Jilly’s in Akron August 26th if you can swing it!


Brubeck on Polytonality

Found this great write up by Mark McFarland about Dave Brubeck’s approach to Polytonality. It’s quite the subject that I’m spending more time on discovering lately, particularly because of people like Aydin Esen (absolutely unbelievable musician).

One part he talks about in particular, near the beginning, is about how key signatures a minor 3rd apart are particularly easy to hear for him now and feel natural. So for instance playing a blues in G with the left hand and playing the in Bb in the right hand. (talking piano).

This minor 3rd relationship is actually relatively easy to sort of mimic on the guitar, luckily because for instance: G exists on the e string on the 3rd fret, and Bb exists on the G string on the 3rd fret. Meaning you could play the lower 3 strings (E A D) in G…and use the same fingerings on the higher 3 strings (G B E, or for me G C F).  So it’s almost like playing with 2 hands in a sense.

Anyways…here is the article:



Thanks Mark and Dave!


People don’t like “jazz” and I don’t get it….

Risk….explosions…thrills…chance of disaster…the unexpected….

We pay premiums for these feelings. We crave it in movies and television. When a film or sporting event doesn’t have these things, we call them boring and shut them off. If the movie is a rehash of another movie…endless ridicule. We have no tolerance for the same old song and dance in most of our entertainment. Yes, there are the CSI fans, that can literally watch the same show a million times over from NY to LA to Miami or whatever, but oddly enough what they’re seeking is still the thrill of discovery of something new.

We have a music form that contains all of these attributes. I think you’ve forgotten though. I think you’ve let preconceptions misguide you. You’ve been conned. I don’t think you even considered what I am about to tell you. You’ve probably heard that this style is “lame” from media and friends and whatever all your life. Some jackass at your school who was the “popular” kid said that it is so dumb or cheesy or whatever. You bought their dumb bullshit too. You were duped.

Where is the rebel in you? Why, oh why, do you feel obliged to feel so independent when you don’t even realize you’ve been brainwashed to just repeat whatever the corporate world wants you to. You will ridicule a movie when the plot is predictable, when it’s a redundant piece of crap, but you don’t expect the same from music. You happily listen to the same song a million times over, and 100 other songs that are exactly the same, always played the same, always done the same.

You have no marbles.

I’m ashamed of Americans. You talk a big game of being free, but most people just repeat the thoughts given to them without ever questioning it. Your group think filter is garbage. In the land of the free, all I hear is people being corporatized. What did Spin magazine say about this new song? How about Columbia records? Etc… Don’t you see you trust all the wrong people? You trust Rolling Stone and big record labels?

Oddly enough, you’ll go all nuts over dismantling record labels, and how they’re terrible, yet you can’t peel yourself away from their suggestions. You listen to businessmen. You don’t think for yourself and you let them decide for you.

I get it, music isn’t important to you. It’s background noise. What you don’t know…I’m telling you,  it could be so much more. Life is so short, there are some very fine pleasures. Music has the ability to be something really enjoyed and cherished. A great song or experience changes peoples’ lives. It represents life, it represents the human spirit. Don’t let it slip away with all the other noise.

So, what is this music I was talking about? I suspect you already know.


I don’t get it. Why do you dislike it so? Certainly, not all of it is great, but saying you don’t like jazz is like saying you don’t like Rock music, or saying you don’t like sports. Yeah, there are some pricks in jazz too, but when has that ever stopped you from liking your favorite rock musician? It doesn’t make sense. The world of jazz is vast, but it relies on one major principle. The unexpected.

That’s right, jazz is a music about risk through improvisation. It means the people making this music haven’t planned anything out, sure they’re prepared, but they don’t know what’s going to happen. Which means the listener doesn’t know what’s going to happen? It’s a mystery and it’s adventure.  Don’t you like adventure?

Jazz is the MacGyver of the Music World.

Jazz is the MacGyver of the music world

Imagine this for a moment: Here waits the musician….not knowing how things are going to go, then bam, it’s go time,  he’s got a couple of minutes to make something happen. Will he do it? Will he triumph? Will completely flounder and fail? Tune in next week to find out!

The deeper you go, the mystery increases. You search the intricacies and you’ll find some jazzers are extremely prepared, maybe even almost to a cheating level, they are organized, they pre-plan their licks, every time they play you hear the same thing. How will they fair with the other musicians who don’t plan at all, but occasionally reach the ultimate heights and others the lowest of lows.

Jazz musicians have good and bad nights just like everyone else. It’s the music of life. It lives and breathes in the moment.  And like life, it has so many flavors.

There is jazz that is just the chillest thing you ever heard. So, laid back, you could almost float on air with it. There might not even be drums, the instrumentation could be anything, but some of it just has a bass and a clarinet, or a solo piano. It can be beyond pleasant and bring only happy thoughts to your mind, and even happier when you realize they are making music, for you, in that moment, captured in time by the listener.

Then there is jazz that is like a bomb going off….every sound you could imagine, the energy could rip the paint off the walls, maybe it’s just one sax player or guitarist going for the heavens, or it could be some big electric band playing their amps to 11.  And it relies on the group communicating with each other. It relies on the ultimate risk.

Some people harp on the complexities of jazz, don’t be that person. Yes, there can be some complexities, but at the end of the day music is about sound. How can a sound of jazz be more complex than a pop song? It just isn’t. They’re not any more complex of a sound than a hammer hitting a nail, or whatever. It’s just a sound.

Something worth considering though, is that jazzers are huge music fans. So much so that they almost can’t stop thinking about it. They have investigated so much music. They’ve done the legwork for you. They could talk to you for eternity about what they’ve discovered. In any other field, they would be considered experts with this kind of enthusiasm and discovery. In music, they should be considered experts too.

Imagine if instead of watching all the sports you have in your life, instead all you did was listen to music. Instead of playing video games, you played your guitar. All these years, all this time. And here they are, playing jazz music. Why are they playing jazz music? Certainly they know it’s not any good. What do they know about music anyways? Oh wait….they’ve spent their lives and souls dedicated to music discovery and what do they want to share with you? The joy they want to spread to you comes in the form of jazz music.

If a person traveled the world to try all the food they could, studying with Chefs all around the world, or even the best chefs they could find in their local neighborhood. Would you want to try their food? What would you expect from them? Should they just make you some kraft mac and cheese? If they spent 20 years refining some recipes about what they discovered tasted good, something they wanted to share with you, would you question the fact that they didn’t put ketchup on it? Who are you to make this suggestion? Maybe, you should trust the expert.

It occurs to me that there are plenty of pop musicians who have been at it for 20 plus years as well, and there is some great music in this genre, but we all know that much of it is intentionally formulaic. Is that what you like about movies? Formulas? Don’t you get bored seeing the same thing forever? What’s exciting about a football game? When the team plays the game as expected? Or when they do the unexpected?

Consider these things, consider exploring jazz, it is not just one thing. It is many things. It is adventure. You will find some of it you will love.

Hating on jazz makes no sense to me.

The basics of promoting and how it doesn’t really work pretty much ever.


Hmm, how does this even work? Is it just luck or perseverance? Maybe it’s smarts or good SEO (whatever that is)? Or maybe it’s all about brand or appearance? Maybe it’s flavor of the month or a predefined secret? I’m not sure any of this is true. I’d almost bet none of it’s true, except luck.

“A stream of consciousness”

I think to myself, there are a million marketing “majors” out there. I can’t even imagine what dumb crap they talk about in those classes? How could they possibly keep up with social and technological changes and trends? I imagine someone gets lucky and then “boom” they’re an expert. Or maybe like so many music schools, having the degree in your name is worth more than how good of musician you actually have become. I am betting this is true.

We are suckers for blogs on how to market.

I guess I’d like to see one principle of marketing actually be applied in real-time and see it work. Not post analysis, but forward in real time analysis. Now, maybe that principle is to spend a million dollars on ads for popular TV shows or whatever, but do they ever really get their money back on that investment? How about all these SEO whatever marketing secrets everyone is selling? I actually think this is one area of marketing you can do very well in, that is, if you’re selling “Secrets” of SEO, because there is a whole ton of us trying to figure how to market better, especially cheaper too. We are suckers for blogs on how to market.

There’s the old adage, you have to spend money to make money. Maybe that’s the key? However, even in my cursory reviews of the Facebook and ReverbNation ads, I’ve had dismal responses, to the point that I actually don’t believe they do anything, really.

As far as Facebook ads, I see other colleagues create their ads, but what is peculiar to me, is even if I “like” their promotion and comment on it, or buy their thing, I will see that ad every time I log into Facebook for its entire run. Which makes me think that despite the fact that it had 1500 impressions, 200 of those impressions were probably mine from just starting up old Facebook. The rest of the 1500 was the same 20 other people that regularly or semi regularly look at your stuff normally. Meaning, I don’t think that should count towards your total.

On top of that, we are all bothered by unsolicited ads on the internet. We have kind of grown accustomed to the commercials on TV, but people like me don’t even have cable and rely on non-commercial entities like Netflix and Hulu. I hate commercials. I hate ads. I don’t think ads online work. At least, not really. I would even say, that if somebody or product I liked was bombarding me with ads, I’d probably no longer like them.

So then what? God, there are so so so so so so so so so so so so so so so so so so so many blogs and websites to help teach you how to promote better, or how to use Facebook Ads, Google AdSense, whatever other BS you can find. It’s absurd. The funny thing is they’re all literal repeats of the other stuff. I decided to spend a decent amount of time learning about marketing, businesses, sales etc.. the last couple years and there is just so much BS in all of it. It’s gross.

so so so so so so so so so so so so so so so so so so many blogs and websites to help teach you how to promote better


Most of the sales guys fall into 3 categories:


  1. They got super damn lucky with some account, right place and right time, nothing to do with them, aside from the fact that they actually were in the right place.  Their clever charming buddy went to 10 times as many places, but nothing stuck. That luck sometimes leads to other luck too, and also basically makes a celebrity out of them, either on a grand stage or on a small company stage…now they’re an expert.
  2. The skaters….they skate by. They get a sale here or there, but nothing too consistent, but enough to keep their job. After enough stagnation they learn a lot about sales through books, trying hard etc… probably the most educated of the bunch on “sales” theory, but ultimately they struggle. It still comes down to luck on how well they do. They make marginal livings.
  3. Third type fails miserably. They can try all kinds of stuff, but they just don’t have any “luck” getting anyone to bite. They might even be really talented and have good qualities that make them instantly likeable, but they just don’t make sells. Wrong place and wrong time.

Are there some super star sales people that have a secret? I doubt it. What I do know as well is there is one other particular category that is guaranteed.

  1. Expert sales person or marketer who’s literally never sold anything or successfully marketed.

These people are everywhere online. I always find it amusing to see an expert level marketer have like 500 youtube views….I’m thinking…how could you possibly trust someone’s experience in marketing when they can’t even market themselves.

it’s like SUPER NARCISSISM or something

Maybe that’s the problem though….maybe we can’t market ourselves? How authentic do you take someone who is trying to sell themselves to you? It gives you a gross feeling, right!? I mean, it’s like SUPER NARCISSISM or something. Where do they have the right to enter your personal brain space to market themselves? “Ooh looky, I’m such an awesome musician”.

Musicians have a tough time. There are a couple reasons we really struggle.

  • People don’t like music as much as musicians’ think.
    • Unfortunately after so many discussions with people, I finally realize that the layman does not put music in any special importance. They can take it or leave it. This is not the way they feel about sports or TV. Those they can’t live without, it’s probably relatively easy to market to people for TV and sports…”We’ll give you 5 more sports channels than the other guy” —SOLD—.
    • I think sales people, record labels, marketers and promoters know this interesting fact. They know that musicians live in a world where music is the most valuable commodity. Marketers know that music is not even a top 1000 commodity, so they use this to pull musicians in, cause we keep coming back for more and they sell to us endlessly. We are suckers too, because we just want to trust someone to help us.
  • Most people don’t want to hear unknown music.
    • So you get past the point that people actually like music (like 10% of the population) then you find out that people only listen to the stuff they did in grade school, or what is on the radio. They literally, completely, disgustingly think that is the “ONLY” good music.  You can’t change these people’s mind.
  • There seems to be no easy way to get people to trust you if you’re new or different.
    • Let’s do the math…there are according to Google 7.3 Billion people on Earth. To get just 100k people to like your music, you’re really only talking about : .00001369% of the population. Meaning 1 out of every 73k people on the planet would need to be a fan.
    • But really if you only even had 10k fans (aka 1 in ever 730k people on the planet) as “real fans that bought all your stuff, you could probably make 100k a year, just in stuff, no shows or anything. Playing shows is tough though since you could expect in a place with 8 million people, there only to be like 10 people at your gig, haha.
    • It should be easy, but because of the points above….they just don’t trust you have their best intentions in mind. And they’re right. What’s in your mind is hoping someone will listen to your music…anyone.


Harping on the last point, did you ever consider how lame it is when someone only goes “platinum” meaning 1 million sales of your album. Even in the US alone, where there is 300 million people…that’s only a 1/3 of a percentage of the US population. Basically 1 in a 300 people bought your album. In the world, selling a million albums is a much lower percentage.  (1 in 7800 people).


When you think about it…could you get 1 in every 3000 people in the US to like your music? (100k fans). If you have 100 fans, you are really close to that mark in a city of 300k people.  Now you just need to duplicate that in every city in America.

But let’s face, it should be a lot easier to get fans than 1 in every 3000 people. I’m betting that at least 1% of the people you meet like your music. Probably more…but at 1% of the population…you’d sell 3 million albums in the US. And that should really be easy to do, in a lot of ways. Because at least that percentage would love what you’re doing…you’d think.

but at 1% of the population…you’d sell 3 million albums in the US

But how would you do it? Maybe that should be a goal, see if you can get 1% of your city or state’s population to listen to you. It seems likely that 1% of people might actually like what you do. 1 in ever 100 people like probably just about anything.

But I digress, we were talking about self promotion, or any kind of promotion in general, and we’ve come to some conclusions.


  • Ads….on the internet don’t seem to work at all, in fact they have just as much of a chance to turn a person on to you, as to turn them off of you.
  • Self promotion is weird…and narcissistic? It’s a double edge though, because if you don’t promote your shit, who will?
  • People want something out of the deal to listen to your stuff. For some people, the listening is the reward. For most, music just isn’t important, you have to give them social status. If you’re not either “trendy” or against trendy and somewhere in between…no one wants the in between. They shoot for the top or bottom.
  • Based on pure numbers…it should be extremely easy to get a lot of fans, even if you suck. At least from a numbers standpoint.  Then again, if only 1% of the population actually like the music…now instead of needs 1/3 of a percent…you’d need 3 percent of the music appreciating portion of the population to like and buy your stuff.

People want something out of the deal to listen to your stuff.

Hmm…since this blog post is already a whirlwind of ideas…let’s digress some more.


So maybe that’s it, you need to target actual music fans. It’s tough because it is a very small portion of the population. But, if you could actually find people who buy music, you should become their friend. Because, frankly, I think it might be a waste of time dealing with everyone else. You’ll never compete with the NFL, and even if they buy your stuff (as a courtesy) they’re not likely to listen to it, or to promote it. Which means it ends there, they did their good deed, bought the random acquaintance album, and now they can be a dick the rest of the year and they don’t “owe” you anything anymore, because you now owe them. They didn’t even want to buy it, but they wanted to “feel good” about themselves for helping their estranged colleague.

let’s digress some more.

How do you track down music fans? Is it obvious? Do they make themselves known? Possibly some kind of secret forum, or only secret because it’s so unpopular to like music, where they reside. They probably don’t even realize there are other music fans around either. They’re disenchanted to with the whole thing too since all their friends “don’t get it”. Some of them probably play too, you probably already know them. You probably already have music friends and they have music friends, and so on and so on.

An idea: Stop promoting to anyone who isn’t a music fan. Only promote and discover people connected to your current musician network. Ask your music loving friends these questions:

  1. What forums do they frequent for music?
  2. What locations do they go to where music is good?
  3. Where do they find new music?
  4. Would they be interested in jamming? Or just playing in general. Give them something, they give something.
  5. What kind of music do you like? (if it’s your kind then great) but then ask them if they know anyone else who likes your kind of music.

secret because it’s so unpopular to like music

I’m sure there are probably more good questions, you could even ask them.


So I guess I’ve got to the point of this thread…took me awhile, and I’m going to leave this mess for you to see my disjointed thought process.




Good Luck!


Saying that…please subscribe to all my stuff. I have so much music you’ll want to check out. I might even do a cover for you if you ask. Everyone who’s asked for a cover at this point has got one. Let me know! I like to take very beautiful songs and make them scary and very scary songs and make them lovely. Cause…why not?


Oh and Share with your marketing friends, happy to receive any kind of comments. Share with others too, cause then you’ll know what it’s like to self promote…unless you’re too scared?

Watch “Coldplay – Don’t Panic (Acoustic cover song)” on YouTube

I was requested to make a cover of the Coldplay song “Don’t Panic” but with “country” guitars. I decided to make a bluegrass kind of thing out of it. Since I’ve recently got a banjo, I was anxious to record with it.
All instruments and vocals by Tim Mirth.
Nylon string guitar, violin, banjo,  bass, vocals.
Everything was recorded into Reaper through an Elevenrack using a Warbler 3U Mic Mark I.
I used Windows Movie Maker to make this. I need a better video editor. I did think the “Lifetime” channel panning was amusing .
Please subscribe! Let me know what other covers you’d like to hear!

Is image important in music? It seems so

The image experiment.

I’m considering taking on a particular thing with my “music”. I’m considering working on my image. I’ve thought about this a lot the last couple years and I’ve come to the conclusion that image is important in music. Art is a lot of things, performance is a lot of things. When presenting your music, the music itself is only part of the experience for the audience.

I remember spending many hours sitting on my bed listening to music while perusing and staring at the album artwork. Just reading every little line, staring at the cover, staring at the band members’ pictures. Just putting this imagery in my head. It was just part of listening and it aided in my love of the music.

At some point, through arrogance likely, I took on an attitude that is prevalent in educated musicians and that is the attitude of “only the music matters, man”. The holier than thou BS we tell ourselves as artists. We think, the art is all that matters, the music will speak for itself, but we’ve really just done a disservice for our audience who craves the whole experience.

Something that has become more clear to me lately is how important it is to entertain the audience. I don’t care how amazing you are, if you make no emotion or even dress a certain way, you will not be able express your art nearly as effectively as if you put together the entire package. Fair or not.

That’s really what we are talking about I guess, the delivered package. It seems to me so many musicians I know will endlessly craft their songs, endlessly craft their album artwork, but will wear a crappy tshirt and jeans playing gigs, that they wore all day, or to work or whatever. Then they have this awesome artwork that looks nothing like what the audience is witnessing.

I also think that when people go to see a show, they’re looking to essentially relinquish control to a more “confident” group of people full of conviction. They want entertained and they want to see something larger than life. There almost has to be this separation between the performer and the audience. They need, or want, the musician to just seem extraordinary, something beyond their own personal grasp. It’s the whole package, the sound, the talent, the look, the movements, the words. Even if it’s just a certain outfit or whatever, if it’s something that the audience member could never see themselves pulling off, it just makes it that much more impressive and desirable. Almost like desiring something they can’t manifest for themselves. (Have you ever seen Prince’s wardrobe? It changes the experience for the audience and somehow makes the music even better)

There are a lot of ways to present yourself, and a lot of ways to dress, but I think we have some idea of what expectations exist. If you’re all serious and you are part of a distinct style of music, it probably makes sense to dress in that way, or at least an amped up version of that style. You don’t generally see death metal bands wearing sweater vests, but if you did, you’d expect a bit of humor in their music, or at least in their performance. And I imagine you would be disappointed if they just were a “normal” sounding death metal band. So coordinating your image with what you want to be portrayed is probably helpful for the audience. As dumb as this sounds, prior to the internet, I used to buy albums based on what they looked like only. What the band looked like, what the cover looked like, what the name of the album was, etc… I don’t think I was alone.

I saw a tip somewhere that said what you wear as a musician should really represent you, but just more of you, a more extravagant version. I think this makes a lot of sense. It’s not that you need to alienate your fans (maybe Prince would disagree), but you should dress better than the audience, whatever that means. You should stick out.

That’s an important point I think. You should stick out in the crowd, and this has multiple reasons, 1) people will remember you because of your outfit (remembering is good) and 2) you will be noticed after you play so you can talk with people. More people will come up to you and discuss your music, because they’ll know you’re “special” which can only help you. They’ll remember you were the one giving it your all just moments ago. They’ll want to grab some of that confidence.

I know it’s the cool thing to say image doesn’t matter, but I think it’s worth a reconsideration. Don’t do it for “stardom” or to sell out or whatever, but consider doing it to present your art more succinctly. How can you dress to best share your vision? That should be your goal.

I am working towards doing this for myself. Too long have a basically relied on generic garbs for my gig wardrobe, and complacency for my whole stage persona, like it would magically happen on its own. So I’m starting to gear up for doing my first solo album. I want to streamline my musical message (my current output ranges from jazz to death metal to funk and everything else in between). I will still play all of those things, but I want to start branding them in their own categories. The Tim Mirth category is what I’m after for my next adventure.

So I guess I’m writing this article for everyone, but it’s also for me to get my butt in gear for this next chapter in my musical path. I plan to put more effort in the whole product and by make this line in the sand so that I have a place to back track to and compare my results after making these changes. I’ve begun by scheduling a photo shoot (professional) I’m also researching clothing etc… and considering different ways to present myself based on the direction of the music I’m writing. I also renewed my website and plan on completely revamping it as part of this effort. I want it to be an experience to see my band. I want people to witness the whole spectacle. It should be memorable and a sensory overload. The music, the art, the vision, the performance need to be an event to support my creative endeavor.

I’ll be curious if your experience is enhanced by my changes. I’d love to hear what you think either in the comments sections or on my Facebook page.

Scale, Pentatonic and Triad Reference for Improv

Different options for dominant chords:

R23456b7 – Mixo
R23#456b7 – Lyd Dom
Rb2b33#4#5b7 – Alt
Rb23456b7 – Mixo b2
R23#4#5b7 – Whole Tone
Rb2b33#456b7 – h/w dim
Rb345b7 – min pent
Rb34#45b7 – blues
R2356 – maj pent
R2b3356 – maj blues pent

Minor pent from each scale degree of mixo scale(diatonic):

Major, Dominant, Minor (Blue note)

Root: CEbFGBb – R,b3, 11, 5, b7 (#11)
9: DFGAC – 9, 11, 5, 13, R (b13)
3: EGABD – 3, 5, 13, 7, 9 (b7)
11: FAbBbCEb – 11, b13,b7, R, b3 (7)
5: GBbCDF – 5, b7, R, 9, 11 (b9)
13: ACDEG – 13, R,2,3,5 (b3)
b7: BbDbEbFAb – b7,b9,b3,11, b13 (3)

b9: DbEF#G#B –b9, 3, #11, b13, 7 (11)
#9: EbF#AbBbDb – #9, #11, b13, b7, b9 (13)
#11: F#ABC#E – #11, 13, 7, b9, 3 (R)
b13: AbBDbEbGb – b13, 7, b9, #9, #11 (9)

7: BDEF#A : 7, 9, 3, #11, 13 (4)

Major Triads against scale degrees (mixo)

R: R,3,5
2: 2,#11,13
3: 3, #5, 7
4: 11, 13, R
5: 5, 7, 9
6: 13, b9, 3
b7: b7, 9, 11

b9: b9, 11, b13
#9: #9, 5, b7
#11: #11, b7, b9
b13: b13, R, #9

7: 7, #9, #11

Minor Triads

R: R,b3,5
2: 2,11,13
3: 3, 5, 7
4: 11, b13, R
5: 5, b7, 9
6: 13, R, 3
b7: b7, b9, 11

b9: b9, 3, b13
#9: #9, b5, b7
#11: #11, 13, b9
b13: b13, 7, #9

7: 7, 9, #11

R: R,b3,b5
2: 2,11,b13
3: 3, 5, b7
4: 11, b13, 7
5: 5, b7, b9
6: 13, R, b3
b7: b7, b9, 3

b9: b9, 3, 5
#9: #9, b5, 13
#11: #11, 13, R
b13: b13, 7, 9

7: 7, 9, 11

R: R,3,#5
2: 2,#11,b7
3: 3, #5, R
4: 11, 13, b9
5: 5, 7, #9
6: 13, b9, 11
b7: b7, 9, #11

b9: b9, 11, 13
#9: #9, 5, 7
#11: #11, b7, 9
b13: b13, R, 3

7: 7, #9, 5

R: R,2,5
2: 2,3,13
3: 3, #11, 7
4: 11, 5, R
5: 5, 13, 9
6: 13, 7, 3
b7: b7, R, 11

b9: b9, #9, b13
#9: #9, 4, b7
#11: #11, b13, b9
b13: b13, b7, #9

7: 7, b9, #11

R: R,11,5
2: 2,5,13
3: 3, 13, 7
4: 11, b7, R
5: 5, R, 9
6: 13, 9, 3
b7: b7, #9, 11

b9: b9, #11, b13
#9: #9, #5, b7
#11: #11, 7, b9
b13: b13, b9, #9

7: 7, 3, #11

(We’ve done: R35, Rb35, Rb3b5, R3#5, R25, R45)


1) all variations of R35 are also variations of: R36, R46
2) all variations of R25 are also variations of: R11b7, R115