That's mostly samples from smooth jazz records, not original works (well, there are some original jazzy dnb tracks, but they are rare).

 

What do we notice about that last example where we take the ii chord octave displacement permutate then at the tail end of it add a large enclosure?

Well , by adding the enclosure around the 5th 9f the dmin triad we actually start introducing notes from the altered V chord that goes with the ii chord.

Let's take a look again.

DFADFA(A#GG#AA#A)

See at the end with our enclosure?

Okay, let's make an enclosure around the F
F#D#EF ( more simple enclosure)
Or
GEF#F
Or
BA#ED#BCF#F
We can see that there is lot of creative options with enclosures. Their chromaticism implying the V chord plain or altered which belongs to the ii chord.
This makes it a powerful tool in your toolbox.

 

The next tool we are going to look at is called " Triad Pairs"

To demonstrate this I want you to see a video first.

 

So we can see the "Triad Pairs" tool is an extension of octave displacement with permutation which we looked at earlier. The only difference is instead of using one triad as a foundation, with triad pairs we connect two together .
So say we are in the key of C major and on a I chord

CEGBDF#A
135791113

If our root triad is CEG
What triad pair can we express in the melody that will fully express the nature of our Lydian flavor?

How about CEG, and df#A

So think of it like this

On low register with simply hold out CEG and let ring
Next in upper register we use ceg and df#a
Triads over top of our lower ringing ceg in bass

Here are permutations for the melody.

1.Ceg df#a
2.egc f#ad
3.gce adf#
4.ceg df#a
5.egc f#ad
6 gce adf#
And I think you can see how to make more permutations from those as well let's take a look at the second video now

 

Now let's take a look at an example of applying this tool on a jazz standard.

 

Before I move on, I am going to stop here and address any questions or concerns about the information covered so far. Any clarrification needed etc. Thank you kindly for going through this thread I appreciate you fine folks.

 

2 triadic pairs don't define 7-note scales, so it's incorrect to say "lydian" or whatever flavour unless we talk about hexa-, penta- etc tonic scales created by intersection of 2 simpler triadic chords. You also can suggest more concrete exercises for working out for your students. Just dry theory doesn't cut it.
Btw, hexatonic scales (and triads contained in them) are a big topic in modern musical set theory (because of the symmetry of 12 ET).

 

Thanks so much, for your suggestions to us knuckleheads over hear my friend. ;D

 

So halarious lol
2 triadic pairs don't define Lydian or whatever blah blah whine cry .....
Who said 2 triadic pairs define 7 note scales?
The triad pair technique is not about defining things home skillet, here is how it works.
C E G B D F# A
1 3 5 7 9 11 13

Now I'm going to create 2 triads CEG, DF#A
Now watch what I do with them ....

From low to high GCEG slide down to F# and continue down DAF# up to G continue up CEG slide down to F# and continue down DAF# up to G continue up CEG slide down to F# ( let me know when you get it.
Next inversion
Low to high EGCE slide down to D continue downward AF#D slide up to E continue upward GCE slide down to D continue downward AF#D slide up to EGCE slide down to DAF#D slide up EGCE.
Next inversion
Low to high
CEGC Slide down to A continue downward F#DA slide up CEGC slide down A continue downward F#DA.

I have demonstrated to you and everyone now what triad pairs is about.
Next , I can suggest mote concrete exercises for my students just dry theory dosent cut it?
I guess you haven't read the thread then made comments without knowing what was demonstrated within the thread, if your not guilty of such things please by all means give me a demonstration so I know what you mean by more concrete examples and how NY theory is dry and how it does not cut it please demonstrate an example that's blows me out if the park .
Next
You just go on to list things off topic and unrelated , and halariously claim that set theory is modern?
Hmmmmm
Anyways always a joy to have you lol

 

Further clarrification of triads pairs ( just in case..)
We start off in the category of playing techniques not definitions.
Next we talked about octave displacement with permutation as applied to a triad.
Next we expanding the playing techniques further by taking octave displacement and permutation applied to not one triad as before , but this time two triads this is called " triad pairs "

Let's look at it even more

C E G B D F# A
1 3 5 7 9 11 13

This time we will take ACE,GBD

Watch what we do with it.

Low to high
EACE slide down D continue downward BGD slide up EACE slide down D continue down BGD slide up EACE
Next inversion.
Low to high ACEA slide down G continue down DBG
Slide up ACEA down GDBG up ACEA down GDBG
Next inversion.
Low to high
CEAC slide down B down GDB slide up CEAC down BGDB up CEAC

In conclusion triad pairs is a specific playing technique ( or composing writing)
Which you use octave displacement with permutation and select 2 triads contained in the scale of the chord you are on, as demonstrated you can pick multiple sets of different triad pairs for each chord scale you are on .

 

Next we are going to look at
C E G B D F#A
1 3 5 7 9 11 13

We going to take 2 triad pairs
First one
CEG,DF#A
Second
ACE,GBD

Now we create one melody with the two triad pairs.

Low to high
EACE slide down DBGD slide up EACE slide down DBGD up to GCEG slide down to F#DAF# slide up GCEG slide down F#DAF# slide down E climb up ACE slide down DBGD slide up EACE slide down DBGD up to GCEG slide down F#DAF# slide up GCEG

 

Lets take a listen to this for a few

 

..........................
..A#..C#..E...G...
..B....D....F...G#..
..C...D#...F#..A..
..........................

Let's take a look at the diminished chord again .
Picture a slot machine with 4 digits, and you can spin each one up or down to get to the note above or below it

 

What is the first thing to notice about our dim7 slot machine?
It contains all 12 notes.
Next 4 equal spaced notes.
Take g#dim7
G#bdf
Lower root any dim7 get a dom7 which root is new note .
G# becomes
Gbdf
What about bdim7?
Bdfg#
Lower root half step
A#dfg# a#7
Ddim7
Dfg#b lower root
C#fgb. C#7
Fdim7
Fg#bd
Lower root

Eg#bd .E7

What all these have in common?
These 4 Dom 7 are c major V chord, relative minor Aminor V chord , and their tritone substitutes.
Not only that GUY is backdoor Dom for Aminor and A#7 is backdoor Dom for c major.

This means the Bdim7 and all 4 Dom chords are subs for each other
Any of these acting as a V chord , you can use any of the 4 doms

This really means build a dim7 chord half step below your major or minor I chord and all for of it's done chords are built into this dim7 chord by simply adding the notes a half step below each note of the dim7