Altered Triad Pair Lick in A7

The Concept Explained

When you superimpose an A major triad and an E♭ major triad over an A7 chord, you are essentially combining “inside” harmony (diatonic chord tones) with “outside” altered tensions in a very structured, guitar-friendly way.

Start with the A major triad (A–C♯–E). This is the foundation of the A7 sound. A7 is built from:

A (root)

C♯ (major 3rd)

E (5th)

G ♭7, (not in the triad but implied in the dominant 7th sound)

So when you play an A major triad, you are outlining the stable core of the chord. On guitar, this keeps your sound grounded and clearly “in the harmony.”

Now add the E♭ major triad (E♭–G–B♭) on top. This is where the color changes dramatically:

E♭ over A = ♭5 (or ♯11)

G over A = ♭7 (already part of A7)

B♭ over A = ♭9

So this second triad is not random—it neatly maps onto classic altered dominant tensions: ♭9, ♭5/♯11, and ♭7.

Why this works musically

The power of this approach is that you are not thinking in complex scale shapes. Instead, you are using two simple triads:

A major triad = “inside” sound (stable, familiar)

E♭ major triad = “outside” sound (tension, altered color)

When combined, they naturally imply an A7♭9♯11 sound, which is very common in jazz, fusion, and modern improvisation.

How to use it on guitar

On the fretboard, triads are small and movable, so you can:

Play the A major triad in one position

Overlay or alternate with the E♭ triad shape.

Or arpeggiate between them to create tension and release

The real effect comes from switching between:

Inside (A triad) → sounds resolved

Outside (E♭ triad) → sounds tense and colorful

Here below a very basic exercise :

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