This research aims to trace the influence of McCoy Tyner's style of "intervallic improvisation" on Chick Corea and Kenny Kirkland, as evident in both later pianists' use of triad shapes and patterns based on pentatonic and octatonic scales. While the languages of Chick Corea and Kenny Kirkland were influenced by Tyner, they each subsequently established different harmonic structures and rhythmic devices. Therefore, I describe the stylistic similarity of pentatonic cells based on an intervallic approach to improvisation from one generation to the next with Tyner's improvisational vocabulary found in Kenny Kirkland and Chick Corea. Then, I demonstrate its modernization with octatonic patterns and triad pairs in the jazz tradition via a comparison of the improvisational tendencies of Kirkland and Corea.