Forum Contributor 2015-17
I'm not twisting your words so much as trying to show you how restricting your thinking is. A triad is any collection of three notes arranged by 3rds. Many people understand chord extensions in harmony by viewing them as stacked triads, and there's nothing incorrect about that.I know you're half joking, but you're twisting my words. I said, there's no such thing as a 9,#11,13 triad. All triads are 1,3,5 by definition.
It's an interesting idea. It personally doesn't work for me. I've already learned all the upper extensions, so I just think of them directly rather than add what I consider another layer of obfuscation by breaking parts of chords into triads of other chords. I feel the same way about modes. They don't help me navigate chord progressions very much in the heat of the moment. I prefer to think of them on their own terms rather than some mode of the tonic. Anyway, that's just how my brain works (or doesn't).
I admit, I've never read any of the books listed here so far, so I could be way off base. But I think techniques like this turn improv into mindless finger flapping. Take some patterns that happen to fit the harmony and play them as fast as possible without regard to melody, voice leading, emotion, harmonic function, tension and release. Yes, they can sound sort of good. But what's the point if they don't mean anything. The difference between a really memorable, moving and meaningful phrase (lick) and a random collection of notes that fit the harmony is the difference between actual music and monkeys on a typewriter.
Sorry, I'll get off my soapbox now.