1: 4 - The Triad Approach

NOTE! This chart was created with Power Tab. A known issue with Power Tab is occasional incorrect labeling of accidentals in standard
notation. The notes are the correct pitch, but sharps and flats may be incorrectly labeled (ex. a D# may be labeled Eb).

F9sus4

F9

I 44 k

F9sus4

F9

V gV V V k V

c
V

F9sus4

(5)

F9

V gV V

F9sus4

F9

Up and down a C minor triad

T
A
B

F9sus4
5

F9

F9sus4

F9

c
k V V

F9sus4

eV V k V k V
gV V

F9

F9sus4

F9

E9

E9sus4

E9

F9

F9sus4

F9

Eb triad

T
A
B

E9sus4
9

E9

E9sus4

E9

c
k V gV V V V V
V

V
V V gV

E9sus4

V k V gVc W

B minor7 arpeggio over the entire chord change

T
A
B

F9sus4
13

V V Vc k

F9sus4

Cm7

17

I
T
A
B

eV V eV

F9sus4

V V V

up an F major triad

Down a C minor triad

c
V

F9

V gV Vc k

Eb major triad over C minor7

6
6
6
8
8

F9

Down an F major triad

T
A
B

F9

eV
6

Cm7

V
6

F9

c
V W

V V V

V V

F major triad over C minor7

8
10
10

8 10

sl.

1: 4 - The Triad Approach

Cm7

21

F9

Cm7

the C natural and G natural quickly resolve

to the C# and F# which is the 9th and 5th of the Bm7 chord.
Bm7
E9

I
T
A
B

gV

gV

Cm7

29

eV
V V
V k V gV k

eV k

Notice the alternating Eb and F major arpeggios into the next chord change.
6 6
5
3
8
6
6
4
8
5
3

T
A
B

25

c
V eV

c
V k V

eV V V V
gV V
k k

F9

gV

6
5

c
eV V V V
V
V
eV
V
k
k
k gV

gV

10

11 10

10

Cm7

F9

eV
k V V V V k V

c
V V gV V e V

8 10

Up a Cm7 arpeggio
7

10

10

F9

F9sus4

c
V
33
I V k k gV V e V k
T
A
B

F9sus4

37

I
T
A
B

E9sus4

41

F9sus4

c
V V
5

F9

F9sus4

eV
gV V V
6

F9sus4

F9

F9sus4

V gV e V V V
V
k
k
5

F9

F9sus4

3
c
V gV V V3 c
V V V eV V V V V k V

V V Vc
k
5

F9

F9

This is common ii-V lick used alot in Bebop which uses a C minor triad
3
4
6
5 4 5 4
3 5 3
2
5
5

E9

Alternating Eb and Fmaj triads

E9sus4

E9

E9sus4

V k V k gV V c k
gV

Here Larry outlines an Esus..

You can also think of it as an F# minor7 arpeggio

T
A
B

F9

Up an Eb major7 arpeggio
3
3
5
6

eV

F9

sl.

F9sus4

c
gV V
k

Up a Cm7 arpeggio and then notice the descending thirds

T
A
B

Outlines a B minor triad with an added 9th

9
7
7
7
7

F9

E9

c
gV V
k

Bm7

E9

E9sus4

c
V gV V gV k
V
V V

Then right back to an E maj and Bm triad

E9

1: 4 - The Triad Approach

F9sus4

45

F9

F9sus4

k c
eV

T
A
B

F9

F9sus4

F9

Notice the use of other triad in this phrase

Cm7
F9

V
49

I
T
A
B

k
10

eV V eV
Eb major triad
13

12

V
V V
k eV V k

C minor triad

11

Bb major triad
8

10

6 10 8

10

V k eV eV V k V V
Eb major triad
4

V V eV

10

10 12

11

F9

F major triad

13

Cm7

V
k V

F9

Gminor triad

An ascending C minor scale with a Bb pickup note

eV V V
V
V
V
g
V
V

eV V V
V
V
V
g
V
V

F9sus4

F major triad
1

V gV j
3

Anticipates the next chord change

Cm7

53

F9

V V V

V
eV V eV

Cm7

V V eV

T
A
B

Bm7

57

I
T
A
B

I
T
A
B

V eV V

3
6

gV
V gV V

c
V
k gV V

Bm7

A major triad
6

(6)

V V

c
V

F9

c
k
V V

E9

c
gV

V V
13 8

Cm7

Outlines a Bm7 arpeggio with an added 9th

5 9
7
7
7
7

E9

Cm7

61

V V V

An Eb and Bb major triad stacked on top of each other.

You can also think of it as ascending thirds beginning from Eb

F9

c
V
8

F9

c
k V

Root and fifth of F major effective in outlining the chord

8
8
10

10

(10)

10
8

10

(8)
sl.

1: 4 - The Triad Approach

F9sus4

65

F9

F9sus4

F9

F9sus4

F9

C minor triad

Ebmajor triad

V gV j

I V gV f V V gV k V k
C minor triad with an added 9th

T
A
B

10

10

F9sus4

c
e
V
V
V V
V gV V k
8

10

11

F9

10

12

13

F9sus4

F9

F9sus4

c
V
g
V
f
V
V k gV
V
V
69
I k

F9

c
V j

Similar phrase to the previous line

T
A
B

10

8
H

10

F9sus4

E9

F9sus4
77
I V

E9sus4

11

E9

12

T
A
B

F9sus4

(5)

c
V V gV V f V
k
k
k

V V
k

10
13

10

E9

gV
V
g
V
V
\\

F9

c
V

c
V k

F9sus4

gV
V
g
V
V
4

F9

c
V k V

V k eV V eV
4
6

F9sus4

c c
V V j

I V k

eV

F9

F9

10

(8)

Cm7

F9

V eV V

V V

Same C minor triad with an added 9th in a lower octave

T
A
B

10

8
P

10

12

10 8
sl.

Same phrase on an Eb major triad

leading into the next chord change
E9

E9sus4

sl.

C minor triad with an added 9th

Cm7

81

(4)

F9

Descending 3rds

E9sus4

j
c
V
k V V

F9

V gV V V

Down a B minor triad

4

F9sus4

D major triad with an added 7th on top

which is actually the 9th of B minor and 6th of E9

c j c
73
I V k
gV gV
T
A
B

F9

Eb major triad

E9sus4

c
eV

(8)
sl.

1: 4 - The Triad Approach

Cm7
85

F9

V eV V

Cm7

G minor triad

T
A
B

89

E9

V V W

gV k f V k V V V V
u u

Up a Gm7 arpeggio

Down an Eb major triad

Bm7

eV V eV k V V V V

F9

Bm7

c
V gV

gV

E9

V V W

Descending thirds

T
A
B

V
97

F9

V gV V e V
k c
V
e
V
V gV V

c
I eV k V V j
T
A
B

I
T
A
B

(5)

sl.

Cm7
93

10

A stacked Eb and Bb major triad

eV V
V
gV f V gV V u
6

3
8

V
u k
10

V V V

W
10

F9

eV V
V
gV f V gV V u

Outlines a Eb major7 arpeggio

6 10

sl.

13

sl.

V V eV

Cm7

(10)