https://youtu.be/Bcx2MyaNQU8

Naturally, when I saw this, I knew I had to experiment. Much of the theory is beyond me, but the concept is rather simple. It's application that might be difficult. Also, making this a "thing" in BIAB is a fun challenge with surprising results. Got any ideas?


Keyboard players have the edge as it is easier to play two distinct triads at the same time--one for left hand, one for right, and to change voicings between them. Some more piano based theory videos have hinted at this, but it was never explained as precisely as this.

How can it be the wrong chord if its right?

Years ago we used to drive guitarists nuts because we used the C Am trick where the rhythm player played the Am and I, lead, played a C and played lead in C or Em. But I hadn't thought about other substitution until now so thanx for sharing.

This is definitely some interesting food for thought and something I am sure many would be curious to experiment with if they have not already. Thanks for taking the time to share it with us!

I loaded up a simple style with a strumming guitar, a finger=picked guitar, bass and drums and had them play 8 bars of a C major chord. Froze all but the finger=picked guitar and changed the chord sheet to play a bar of the diatonic triads in the key of C (C, Dm, Em, F, G, Am, Bdim) and listened to the results. Some sounded very smooth and natural. Others more spicy (but not completely unmusical).

It would take more theory knowledge and confidence than I have to make a full piece. Besides, some of the "combinations" are not difficult for a single instrument to play, and are almost certainly in most Real Tracks "library" of recorded chords. For example. if Am over Cmajor produces Am7.

But I can see it being useful with BIAB for altered voicings, just the aural effect, and (with maybe simple extended chords stacked with other chords), a way to get the sound of some complex chords that one cannot get from a single RT, or maybe even from a single instrument at all without sounding thin (if not impossible).

Anyway, the "philosophical" takeaway is that it isn't what's played, it is what is HEARD that's important.

Still open for ideas on how to use this in our favorite musical program.