Now w ith ith
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Online!
Table of Contents Introduction
4
About the Author
4
Acknowledgements
4
Tuning Notes
4
I - Introduction to Triads
~
5
-What is a triad? -Four -Four triad types types and and for formu mulas las -Building -Building major diatonic triads -Diato -Diatonic nic triads natura naturall mino minor, r, melod melodic ic mino minor, r, and harmo harmonic nic minor minor scales scales
I I - Triad inversions
9
-Triads -Triads and inversions inversions on string string sets 1-2-3,2-3-4,3-4-5, 1-2-3,2-3-4,3-4-5, and 4-5-6 -Practicality -Practicality of using triad inversion inversionss to econo economize mize hand motion motion -Triad -Triad and and invers inversion ion exercis exercises es using two two and three three chords chords
III - Rhythm work with triads in various styles
19
-Strummin -Strumming g triads -Pachelbel's -Pachelbel's Canon Canon with triads -Reggae -Reggae style and muting strings strings -Triads on four strings -Spanish -Spanish style using using descendin descending g and ascending ascending motion motion -Staccato -Staccato style pluck plucking ing triads with fingers fingers -Rolling -Rolling Stones Stones style "Keith Richards" Richards" chords chords -Blues -Blues style style with with triads functionin functioning g as chord chord extensions extensions -Van -Van Halen Halen style style triads triads
IV - Arpeggio style triads
28
-Diato -Diatonic nic triad arpegg arpeggios ios on two two string stringss in C major major -Triad -Triadss from Bach's Bach's "Tocca "Toccata ta and Fugu Fugue" e" in D mino minorr -Diato -Diatonic nic triads triads ascend ascending ing and descend descending ing the C major major scale
V - Soloing with triads
31
-Easy solo with three-string triad shapes shapes -More -More challen challenging ging solo using using two-string two-string triad shapes shapes -Rapid-fire -Rapid-fire two-string two-string triads -Tapping triads
VI - Advanced applications - cool and different ways to use triads
35
-Eric Johns -Eric Johnson on style style expand expanded ed triads triads and inversio inversions ns -Five-string -Five-string triads and inversions inversions -Stacking -Stacking triads to create "jazzy" chord extensions extensions -Tapping -Tapping triads on multiple multiple strings strings
Audio bonus tracks Conclus ion
39 39
Table of Contents Introduction
4
About the Author
4
Acknowledgements
4
Tuning Notes
4
I - Introduction to Triads
~
5
-What is a triad? -Four -Four triad types types and and for formu mulas las -Building -Building major diatonic triads -Diato -Diatonic nic triads natura naturall mino minor, r, melod melodic ic mino minor, r, and harmo harmonic nic minor minor scales scales
I I - Triad inversions
9
-Triads -Triads and inversions inversions on string string sets 1-2-3,2-3-4,3-4-5, 1-2-3,2-3-4,3-4-5, and 4-5-6 -Practicality -Practicality of using triad inversion inversionss to econo economize mize hand motion motion -Triad -Triad and and invers inversion ion exercis exercises es using two two and three three chords chords
III - Rhythm work with triads in various styles
19
-Strummin -Strumming g triads -Pachelbel's -Pachelbel's Canon Canon with triads -Reggae -Reggae style and muting strings strings -Triads on four strings -Spanish -Spanish style using using descendin descending g and ascending ascending motion motion -Staccato -Staccato style pluck plucking ing triads with fingers fingers -Rolling -Rolling Stones Stones style "Keith Richards" Richards" chords chords -Blues -Blues style style with with triads functionin functioning g as chord chord extensions extensions -Van -Van Halen Halen style style triads triads
IV - Arpeggio style triads
28
-Diato -Diatonic nic triad arpegg arpeggios ios on two two string stringss in C major major -Triad -Triadss from Bach's Bach's "Tocca "Toccata ta and Fugu Fugue" e" in D mino minorr -Diato -Diatonic nic triads triads ascend ascending ing and descend descending ing the C major major scale
V - Soloing with triads
31
-Easy solo with three-string triad shapes shapes -More -More challen challenging ging solo using using two-string two-string triad shapes shapes -Rapid-fire -Rapid-fire two-string two-string triads -Tapping triads
VI - Advanced applications - cool and different ways to use triads
35
-Eric Johns -Eric Johnson on style style expand expanded ed triads triads and inversio inversions ns -Five-string -Five-string triads and inversions inversions -Stacking -Stacking triads to create "jazzy" chord extensions extensions -Tapping -Tapping triads on multiple multiple strings strings
Audio bonus tracks Conclus ion
39 39
I Introd Introduct uction ion To Triads Triads What is a triad? A triad triad is a three three-no -note te chord chord constru constructed cted of alte alterna rnatin ting g no notes tes from a sevenseven-no note te scale. scale. Specifi Specifical cally, ly, a triad triad uses uses every other no note: te: the root (also (also calle called d "I"), 3rd 3rd,, and 5th degrees degrees fro from m the scale. scale. Fou Fourr triad triad types types can be derived derived from the the various various diatonic diatonic scales and modes: modes: major, major, minor, minor, diminish diminished, ed, and augmented. augmented. Dependin Depending g on the the scale, scale, all or a few of the variou variouss triad triad types types are used. used.
Four triad types types and formulas formulas Diagra Diagrame med d below below are the four differen differentt triad triad types types using using "C" as a referen reference ce roo roott no note te for easy easy compari comparing ng.. The The first first note note (lowe (lowest) st) is con consid sidere ered d the root root "I" and acts acts as the the found foundatio ation n for the the chord. chord. The The midd middle le no note te is the "3rd" "3rd" (three (three scale ton tones es up from the the roo root) t) and and define definess wheth whether er the chord chord is majo majorr or minor, minor, with mino minorr represe represente nted d by a flat sign sign "b" in front: front: "b3". "b3". The high highest est no note te is the the "5th" "5th" (five (five scale scale tones tones up fro from m the root), root), which which can also be be flatted flatted for dimini diminishe shed d ("b" ("b" in front: front: "b5", "b5", also also sometim sometimes es referred referred to as "#4") or sharped sharped for augm augment ented ed ("#" in fron front: t: "#5", "#5", also some sometim times es referred referred to as "b6"). "b6"). There There are two two ways to under understa stand nd and view a triad. triad. First, First, arrange arrange the three three no notes tes ascend ascending ing on one string string:: "l(root) "l(root) - 3 - 5". This This meth method od helps helps to visual visualize ize the interv interval al structu structure re (the (the distan distance ce betwe between en each each note). note). The The secon second d is to to arrang arrange e the notes notes on three three adjacen adjacentt string stringss with with on one e note per string string to form form a chord grip, grip, which which allows allows the ear to hear hear the three three no notes tes togeth together. er. Diagra Diagramm mmed ed below below are the four triad triad qualiti qualities es arrang arranged ed using using these these two two method methods. s. Play Play the chord chord that that occurs occurs on the fourth fourth beat beat of each each bar to hear the sound sound differe difference nce betw between een the four four varieti varieties. es. Major Major soun sounds ds happy happy and uplifting uplifting,, mino minorr is sad sad and somber somber,, dimini diminishe shed d sound soundss un unres resolv olved ed and scary, and augmen augmented ted is un unres resolv olved ed and open. The four four example exampless below below use "C" "C" as the the roo roott note for easy easy compari comparing ng betwe between en the triad types. types. C major major triad (1-3-5) (1-3-5):The :The dista distanc nce e betwe between en "I and 3" is two two whole whole steps, steps, and on one e and a half half steps between between "3 and and 5." 5."
Exam Exampl plee 1 C major major triad Standard tuning
~"
E-Gt
-
c I
.. ...... I
mf Root(1)
3rd
5th
1
5
8
';...."
D
....
5
c
3
5 5
C minor triad (1-b3-5):The distance between "I and b3" is one and a half steps, and two whole steps between "b3 and 5."
Example 2 C minor triad Standard tuning
~ " E-Gt
em I
-
-
8
3 4 5
.. mf
1
4
.....
C diminished triad (1-b3-b5):The distance between "I and b3" is one and a half steps, and one and a half steps between "b3 and b5."
Example 3 C diminished triad Standard tuning
edim I
E-Gt
1-._
-
7
2 4 5
.. mf
1
4
...
6
C augmented triad (1-3-#S): The distance between "I and 3" is two whole steps and two whole steps between "3 and #S."
Example 4 C augmented triad Standard tuning eaug
E-Gt
"""
# .
I
..;
•
I
mf 1
5
4 5 5
9
.....
Building major scale diatonic triads All seven-note diatonic scales contain a series of seven triads - one built from each note. To begin, let's take a look at the C major scale and its component notes, "C-D-E-F-G-A-B." Build the first triad in C major starting with "C" and take every other note (three total). The resulting notes are C, E, and G (1-3-S), which spell a C major chord. For the second triad in C major begin with "D" and repeat alternating notes. The resulting notes are D, F, and A (1-b3-S) which spells a D minor chord. Repeat this for all notes to discover the seven diatonic triads in C major. Helpful hint: Extend the C major scale one additional octave to see the notes for F, G, A, and B triads. C major scale in two octaves: C-D-E-F-G-A-B-C-D-E-F-G-A-B-C Get familiar with the diatonic triads in C major by playing them in ascending and descending order. Here are the diatonic triads in C major on the top three strings.
Example 5 C major diatonic triads
f
,
f
12 13 14
13 15 16
15 17 17
Standard tuning
e
"
E-Gt
I .
Dm
Em
F
-.
•
=1=
..
2.
G
Am
Bdim
e
mf 3 5 5
5 6 7
7
8
9
8
10 12 12
10 10
...
7
Diatonic triads in natural minor, melodic minor, and harmonic minor scales Use the same process to discover the triads in natural minor, melodic minor, and harmonic minor scales. Below are examples on the top three strings for the diatonic triads in these three minor scales. C natural minor contains the notes C-D-Eb-F-G-Ab-Bb-C. Below are the diatonic triads in C natural minor.
Example 6 C natural minor diatonic triads
f
,
e m
11 13 13
13 15 15
15 16 17
Standard tuning
e m 1
Ddim
Fm
•
_
--a-
" E-Gt
Gm
Bt.
2:1
=1=
t
~
.J mf 3 4 5
...... I'J.
4 6 7
6
8 8
8 9
10 11 12
10
~.
D
....
C melodic minor contains the notes C-D-Eb-F-G-A-B-C. Below are the diatonic triads in C melodic minor.
Example 7 C melodic minor diatonic triads Standard tuning
e m
"
Dm
0a -
I .
Et.aug
F
t+ & -
S:
2. G
Adim
o f
,
Bdim
e m
I
E-Gt .J mf 3 4 5
5 6 7
7
8 8
8
10 12 12
10 10
....
8
11 13 14
13 15 16
15 16
17
C harmonic minor contains the notes C-D-Eb-F-G-Ab-B-C Below are the diatonic triads in C harmonic minor.
Example 8 C harmonic minor diatonic triads Standard tuning
e m , /
E-Gt
I .
Ddim
Et.aug
Fm
--a -
t+ & -
S:
2.
4 6 7
7 8 8
8 9 10
10 12 12
f
•
e m
11 13 13
13 15---16 16
15
At.
G
..
Bdim
J
mf
~ I'J.
3 4 5
17
~
D
.....
II - Triad Inversions Triad inversions
on string sets 1-2-3, 2-3-4, 3-4-5, and 4-5-6
If the triad's 1st note is in the bass, it is referred to as the root position. With the 3rd or 5th in the bass, the term "inversion" is used. There are two possible inversions: the 1st inversion features the 3rd in the bass and the root moves to the top position, and the 2nd inversion has the 5th in the bass and the 3rd on top.
Below are several neck diagrams showing major, minor, diminished, and augmented triads and subsequent inversions on every set of three adjacent strings. Get familiar with these triad shapes by playing them in order up and down the neck. Although it's important to know and recognize triads on the entire fretboard,' this book focuses on triads on the top four strings. Your job is to apply the exercises below to the lower sets of strings. VERYIMPORTANT:The root note location must be memorized for every triad and inversion shape!
9
Major, minor, diminished, and augmented triads and inversions on strings
Major - 1,3,5 root position
1st inver.
2nd inver.
1/1-2-3."
root position
oI
10
dO
Fret - 3
5
Minor - 1,b3,5 root position
7
9
1st inver.
12
15
17
19
21
2nd inver.
o
o
o
o
o Fret - 3
5
7
9
Diminished - 1,b3,b5 root position 1st inver.
12
15
17
19
21
2nd inver.
o
o
o
o
o Fret - 3
5
7
Augmented - 1,3,# 5 root position
o
9
1st inver.
12
2nd inver.
15
17
21
root position
o
o
19
o
o
o Fret - 3
5
7
9
12
10
15
17
19
21
Major,minor, diminished, and augmented triads and inversions on strings
1/2-3-4."
Major - 1,3,5
2nd inver.
root position
1st inver.
2nd inver.
o
Fret - 3
o
5
7
Minor - 1,b3,5 2nd inver.
9
12
root position
15
1st inver.
17
o
5
7
9
12
21
2nd inver.
o
Fret - 3
19
o
15
17
o
19
21
o
o
Diminished - 1,b3,b5
2nd inver.
root position
1st inver.
2nd inver.
o
Fret - 3
5
7
Augmented -1,3,#5 2nd inver.
9
12
root position
15
1st inver.
17
19
21
2nd inver.
0 0
0 0
Fret - 3
5
7
9
12
11
15
17
19
21
Major, minor, diminished, and augmented triads and inversions on strings
1/3-4-5."
Major - 1,3,5
1st inver.
2nd inver.
root position
1st inver.
o
Fret - 3
o
5
7
9
12
17
15
19
21
o
o
Minor - 1,b3,5
1st inver.
2nd inver.
root position
1st inver.
o
Fret - 3
7
Diminished - 1,b3,b5 1st inver.
9
2nd inver.
12
17
15
root position
5
7
9
Augmented - 1,3,#5 1st inver.
12
2nd inver.
21
o
o
1st inver.
o
Fret - 3
19
15
root position
17
19
21
1st inver.
o o
o o
Fret - 3
5
7
9
12
12
15
17
19
21
Major,minor, diminished, and augmented triads and inversions on strings 1/4-5-6."
Major - 1,3,5 root position
1st inver.
2nd inver.
root position
o o
o
Fret - 3
21
Minor - 1,b3,5 root position
1st inver.
2nd inver.
root position
o o
Fret - 3
o
5
7
9
12
15
17
19
21
Diminished - 1,b3,b5 root position
1st inver.
2nd inver.
0 1
Fret - 3
5
7
9
1
12
1 ()
1
15
1 ()
17
1
1
( J1
19
10
21
Augmented - 1,3,#5 root position
1st inver.
2nd inver.
0 0
Fret - 3
1
5
9
12
13
1 _ 1 01 1 0 1 . - 1 0 1
15
10
Practicality of using triad inversions to economize hand motion In the example below the root position triad shape remains the same for all chords, but the fretting hand has to move up and down the fret-board to access each chord.
Example 13 Standard tuning
root inversion
e
...
2
I "
root inversion
root inversion
F
G
3-H
~
root inversion
e
40
E-Gt .. J
mf
3 5 5
10 12 12
8
10 10
3 5 5
....
Now check out an efficient way to play the same chords as in Example 13, but using root position, 1st, and 2nd inversions. Notice the close proximity of the triads and the minimal fret-hand movement. Plus it sounds more interesting than the previous example.
Example 14 Standard tuning
root inversion
~"
e I "
2nd inversion
1st inversion
F
G
2-e-
3 "
root inversion
e
40
E-Gt .J mf
3
5 5
5 6 5
3 3 4
....
14
3
5 5
Here's a great exercise working the same chords as above through all of the inversions. Notice each 4-bar cycle of the chord progression resides in a different territory on the fret-board. Triads and inversions can be used to create second guitar parts in songs. Try this cool harmony idea with two guitarists: Have one guitarist play the first four measures while the second simultaneously plays the next four and then the final four measures. It's a simple harmony and it sounds pretty cool!
Example 15 Standard tuning
root inversion
e "
2nd inversion
1st inversion
F
G
2-e-
I "
root inversion
e
3{"\
4
"
E-Gt .J mf
5
3
5 5
"
5
3 3 4
6
5
3
5 5
1st inversion
root inversion
2nd inversion
1st inversion
C
F
G
C
-n-
7-R
6~
8
~
--.:Y 8 8 9
...-"
9
8
7 8 7
10 10
8
8 9
2nd inversion
1st inversion
root inversion
2nd inversion
C
F
G
C
~
n
IO~
1l+t
12
~
~ 12 13 12
Triad and inversion
13 13 14
10 12 12
12 13 12
exercises using two and three chords
Now let's expand on connecting triads and inversions using the shapes on strings 1-2-3 and 2-3-4. The first two examples follow G minor and C chords moving up the fretboard, then D and G minor to resolve. Try a cool keyboard effect with these two examples by plucking the strings staccato style with your index, middle, and ring fingers. Memorizing the location of the root note is a must!
15
In the example below the first and second measure is 1st inversion G minor and root position C, the third and fourth is 2nd inversion G minor and 1st inversion C, the fifth and sixth is root position G minor, 2nd inversion C and D, and the seventh is root position G minor on strings 1-2-3.
Example 16 Standard tuning
1 _
.-
E-Gt .J
I
-- c
Om . " "
3 -3 -3 -3 -3 3 -3 -3 -3 -5 3 -3 -3 -3 -5
...
3-&
•
-
.rJ
-&
•
-&
r
I
mf
~
..
._
.
,..
I
-- - c
Om 2
n-
3 5 5 5 5
6 6 6 6 8 8 8 8 8 8 7 7 7 7 9 -
D
....
c
Om
...-, ,~ :~ ~
5 :f:f::& ::& .-
•
•
~
~.
"li'.:
~,..
~
:::;-
D
Om
=:
-e-
7
H
~ 8 8 l I H I = 8 8 I h ~ 9 9 1
1 0 1 0 1 0 1 0 1 2 1 1 1 1 1 1 1 1 1 3 1 2 1 2 1 2 1 2 1 2
1 1 2 l 1 2 1 3 1 3 1 2 1 2
1 4 1 5 1 4
1 5 1 5 + 1 1 5 + 1
... On strings 2-3-4 the first and second measure is root position G minor and 2nd inversion C, the third and fourth is 1st inversion G minor and root position C, the fifth and sixth is 2nd inversion G minor and 1st inversion C and D, and the seventh is root position G minor.
Example 17 Standard tuning
c
Om
...
"
1
Om 2
E-Gt .J
I
I
~
I
~
I
···
3.-
~
I
I
.-
.-
I
,..
- c
,
I
mf
3 3 3 3 5 3 3 3 3 5 5 5 5 5 5
" .J
- - - ..
c
Om ..
5-&
, r )
,
~ 8 ~ 8 9 9 () 1 0
-&
-&
-&
8 8 8 8 8 7 7 7 7 9 8 8 8 8 1 0 -
5 5 5 t l 5 5
- - ..
~
--
"
1 1 1 1 1 1 1 1 1 3 1 2 1 2 , 1 2 1 2 1 2 1 2 1 2 1 2 1 2 1 4
... 16
-
D
~
--- ---
1 31 3 1 2 1 2 1 l 1 4 1 4
J J ..
1 5 1 4 1 6
Om
7:n
1 5 1 5 1 7
In the same manner as above discover and name triad positions and inversions in the next four examples. The next two examples follow G and A chords moving up the fret-board before resolving on D. Use the root note in each triad shape to quickly locate the proper position for each.
Example 18 Standard tuning
o "
.ll.
1
- .· ·
E-Gt .J
o
A
2
--".A7
o
A
.
-&:
I-,~
t:
3
D
A
--
."-'A2
rr:;;;
:8 : 4
I
mf
3 5 3 5 4 6
7 9 8 1 0 7 9
1 0 1 2 1 2 1 4 1 2 1 4
1 4 1 5 1 4
...
Example 19 Standard tuning
o ,/ "
.ll.
1
E-Gt .J
I
o
A
·· ·
2
V
I
'-.
o
A
..
*'- J8
3
.:
D
A
.
-'l. ~~
4
I
mf
I H f 3 5 I h r 4 6 I f I '_ 5 7
8 1 0 7 9 9 1 1
1 2 1 4 1 2 1 4 1 2 1 4
...
17
1 5 H I 1 4 H I 1 6 + 1
The final two examples follow G-C-D-G chords and strum all down strokes using a pick. Another option is to use staccato technique by plucking the strings with the fingers.
Example 20 Standard tuning
G
c
D
G
G
.
c
E-Gt mf
3 3 3 3 3 3 3 3
3 3 3 5 5 5 5 5 I Ih-:.-;.- ----4 -4 -4 -5 -5 -5 -5 -5 T
D
II
T
G
5 5 5 3 3 3 3 3 7 7 7 3 3 3 3 3 7 7 7 4 4 4 4 4
.
e
G
D
1 0 1 0 1 0 7 7 7 7 7 3 1 0 1 0 1 0 1 2 1 2 1 2 1 2 1 2 1 0 1 0 1 0 8 8 8 8 8 1 2 1 2 1 2 1 3 1 3 1 3 1 3 1 3
· I i r .1 1 1 1 1 1 7 7 7 7 7
7 7 7 8 8 8 8 8 8 8 8 8 8 8 8 8 7 7 7 9 9 9 9 9
1 2 1 2 1 2 1 2 1 2 1 2 1 2 1 2
G
1 4 1 4 1 4 1 5 1 5 1 5 1 5 1 5 · 1 4 1 4 1 4 1 6 -
~
Example 21 Standard tuning
G 1
e
D
G
•
.
G
E-Gt
III
3 3 3 5 5 5 5 5 h i r 4 -4 -4 -5 -5 -5 -5 -5 -5 -5 -5 -5 -5 -5 1 # 0 \ 5 -5
D
G
G
7 7 7 3 3 3 3 3 7 7 7 4 4 4 4 4 7 7 7 5 5 5 5 5
8 8 8 8 8 8 8 8 7 7 7 9 9 9 9 9 9 9 9 1 0 1 0 1 0 1 0 1 0
.
e
D
II I
G
1 0 1 0 1 0 8 8 8 8 8 = = = i = 1 2 1 2 1 2 1 3 1 3 1 3 1 3 1 3 = = = i = 1 5 1 5 1 5 1 5 ~ 1 2 1 2 1 2 1 2 1 2 1 2 1 2 1 2 1 4 1 4 1 4 1 6 _ / 4 _ 1 2 1 2 1 2 -9 -9 -9 -9 -9 1 2 1 2 1 2 1 4 1 4 1 4 1 4 1 4 1 6 1 6 1 6 1 7 _ 1 ( 1 1 1 1 1 1 7 7 7 7 7
18
III- Rhythm work with triads in various styles Strumming triads Here's a common strum pattern using major triads. Focus on strumming only the top three strings and avoid hitting the three in the bass. This example sounds great played over a second guitar strumming the same chords inopen position.
Example 22 Standard tuning
c
c
F
G
E-Gt mf
simile
ri riV Vri 8 8 8 8 8 8 8 8 8 8 , ,9 9 9 9 9
II !
1 tE =
8 8 8 8 8 8 9 9 9
8 8 8 8 8 = = t = 8 8 8 8 8 = l = 7 7 7 7 7 1 0 1 0 1 0 1 0 1 08 8 8 8 8 8 8 8 8 8 1 0 1 0 1 0 1 0 1 09 9 9 9 9 7 7 7 7 7
===r=
8 -8 = = = = : 8 E - 8 -8 8 8 = = ± 1 0 1 0 1 0 1 01 0 8 8 1 0 1 0 1 0 1 0 1 0 1 2 1 2 1 2 1 2 1 2 9 9 1 0 1 0 1 0 1 0 1 0 1 2 1 2 1 2 1 2 1 2
19
8 8 9 -
~
"Pachelbel's Canon" with triads Traditionally "Pachelbel's Canon" is in D major, but this variation is in C major. The chord progression (or parts of it) has been "borrowed" in modern times by songwriters and bands including The Cars in "Just What I Needed" (first four chords of the verse in E major) and a more obvious paraphrasing in Green Day's "Basket Case" (the verse section in E major). This example picks the major and minor triad notes individually rather than strumming. Follow the picking directions given in the tablature or experiment to come up with a different pattern of your own. Practice this slowly at first, focusing on switching chords. quickly without breaking the beat. Additionally, look for a common finger that can stay on a particular string when transitioning from chord to chord. For instance, the first two chords, "C" and "G," include the third finger (ring finger) on the B string: shift the 13th fret (C triad) to the 12th fret (G triad).
Example 23 Standard tuning
c
Am
G
E-Gt mf
simile
I'iVI'iI'iVI'iI'iV
I I. - : r
~
T
1 2 1 2 ~ 1 2 1 3 1 3 1 3 1 2 1 2 •
"
~
#
5
6
5 5
# -
6
c
-
_
6
-
.....
........
\00""
8
8 8 ~ 7 7 7
1 0 1 0 ~ 9 9 -
8 8 8
9 9 i
•
F 5 #
1 0 1 0 ~ 1 0 1 2 1 2 1 2 1 2 1 2
5 5
6
3
5
G #
.....
....... 3
5
F 7 #
5
3
5
5
5
6
....
c
20
6
-!'--
-fII-_
..
...
...... 5
5
8-!'-.
#
5 5
6
7 7 7 8 8 8 7 7
• •
Reggae style and muting strings Adefining characteristic of reggae is percussive string muting performed by the guitarist, usually in conjunction with triads. Toreplicate the percussive string muting, begin by gripping the triad. Next, while still holding the triad, release finger pressure from the fretboard while maintaining finger contact with the strings. Strumming the strings at this point should make a percussive scratch. Practice this technique with the reggae-influenced exercise below, which happens to use all four triad types: major, minor, diminished, and augmented.
Example 24 Standard tuning
' / "
c *
1
··
E-Gt ..;
~
~:e
F
2
## - -~ # .
Bdim 3
c
-~·e~
~~.
4
--
mf
==
~--
&i-
..
~:e
simile
riVriVriVri
• •
...
X-X-8-8-X-X-8---~X-X-8-8-X-X-8---~X-X-7-7-X-X-7 ___~X_X_8_8_X-X-8--X-X- 8-8-X-X- 8---f-X-X-10-10 -X-X-10-I- X-X- 6-6-X-X- 6-1- X-X- 8-8-X-X- 8--X-X-9-9-X-X-9f-X-X-1010-X-X-10 - f-X-X-7-7-X-X-7--- I-X-X-9-9-X-X-9---
Am r '"
.J
5
F
---
......
......
. . ..... ,
X-X-S-S-X-X-S X-X-S-S-X-X-S X-X-S-S-X-X-S
........,
---
X-X-S-S-X-X-S X-X-6-6-X-X-6 X-X-S-S-X-X-S
IS -. --G
6~ H- "" ~K - "
~~##**#
7
~ ~-&-&
Gaug
lS -
X-X-7-7-X-X-7 X-X-8-8-X-X-8 X-X-7-7-X-X-7
8
.~
~-&-&
~ ~-&
- -
..
X-X-7-7-X-X-7X-X-8-8-X-X-8X-X-8-8-X-X-8------.!
•
... c
21
Triads on four strings The next example explores triads on the top four strings. The highest note on the first string is duplicated one octave lower on the fourth string for all triads in this example. Check out this concept with the first chord in the example, C major, which is a familiar F chord grip at the eighth fret. This example is reminiscent of '50s doo-wop and uses the time signature 6/8, which compliments the chord progression wonderfully. Play the chords evenly with no pause at the transitions. Be sure to play this slowly enough to not allow pauses at the chord transitions. Speed is a by-product of accuracy!
Example 25 Standard tuning
1
" E-Gt
..
.J
c
-
-~-
F 2
-P ~
-
mf
•
9
V
V
4
--
l....J ..-I
simile
r1r1r1
F
-#
3
-
-~
-
-...
~
V
8 8 8
9
6 8 8
9
9
8
• 10
4
5
6 6 5
6 6 5
7
5
6
5-
....
- -
e " ..;
5
G 6
~
-
...8 8 8
10
9
9
7
9
-~-
-
-
7
8 8
.- F - .
c 7
7
10
9
....
c
:::-::. "
JI-
9
..
":;L.
~
tl tI
r1 :I:.-
!.
~
8 8 9
10-
Q
22
. . ..
Gaug
~
8
-
8 8 8 9
9
8
8
7
8
8 ~
•
Spanish style using descending and ascending motion Here's a recognizable Spanish style chord progression that appears in many other genres including surf, rock, and metal, and uses a Spanish strum pattern in 3/4 time. The first half plays second inversion triads descending the fretboard, while the latter half follows the same chords and uses a variety of inversions to ascend the guitar neck. Changing direction to create opposite motion is one of many cool things that can be done with triads. Pretty cool!
Example 26 Standard tuning
I. Am
" E-Gt
1=1=
G
1= •••
2
..
.J
3
-& -&-& -&
-& -&-&
-
mf
r i
-
F S
...
7 7 7 7 7 7 7 8 8 8 8 8 88
-I
___ 7 o ! I- _ _E
..
6
..........
5 5 5 5 5 5 5 6 6 6 6 6 6 6 5 5 5 5 5 5 5
Am
•
similie
7 7 7 7 7 7 7
-I
D
..........
. ,'.". 9" .
..
V
9 9 9 9 9 9 9
. .. .. .. .. .. .. .. .
--.:Y
r i
V
8 8 8 8 8 -8 8
--
...-"
r i
1 0 1 0 1 0 1 0 1 0 1 0 1 0
7\
...
r i V
4
1: ••
••
."
~
~
-
-
G#dim 8
-& -& __
~
4 4 4 4 4 4 4 5 5 5 5 5 5 5 4 4 4 4 4 4 4
0 1 1 4-
---
7 7 - 7 -7 7 7 7 -
9 9 9 9 9 9 9 -
7 7 - 7 -7 7 7 7 -
G
10
..
.J 8 8 8 8 8 8 8
1 0 1 0 1 0 1 0 1 0 1 0 1 0
9 9 9 9 9 9 9
-I
1 1 :f
:f:l:l
:I :I :I
1 0 1 0 1 0 1 0 1 0 1 0 1 0 1 2 1 2 1 2 1 2 1 2 1 2 1 2 1 2 1 2 1 2 1 2 1 2 1 2 1 2
12
.. -I
.. F 14
1 tE =
1 3 1 3 1 3 1 3 1 3 1 3 1 3 = ! 1 3 1 3 1 3 1 3 1 3 1 3 1 3 1 4 1 4 1 4 1 4 1 4 1 4 1 4
IS
n
E 1 6 1 6 1 6 1 6 1 6 1 6 1 6 1 7 1 7 1 7 1 7 1 7 1 7 1 7 1 6 1 6 1 6 1 6 1 6 1 6 1 6
Am
1 tE = ~ ~ 23
I
1 6 1 6 1 6 1 6 1 6 1 6 1 6 1 5 1 5 1 5 1 5 1 5 1 5 1 5 1 6 1 6 1 6 1 6 1 6 1 6 1 6
Staccato style plucking triads with fingers Plucking strings with the fingers produces a staccato effect similar to a keyboard. In the example below, pluck all three strings simultaneously with your index, middle, and ring fingers (no pick here). The tone is reminiscent of The Who's keyboard work on "Won't Get Fooled Again" and Van Halen's on "Little Guitars." The chord progression in this example is similar to the classical work of Johann Sebastian Bach where the chords are moving in ascending diatonic fourth intervals and cycle through all seven chords in A minor. The only exception is the tension building G# diminished chord which is borrowed from the A harmonic minor scale. Listen to how well G# diminished resolves to the A minor chord.
Example 27 Standard tuning
Am
"
1
-- -----
Dm
- - --
2
E-Gt
•
G 3
c
~ ~~ ~~ ~~ ~
4
--------
---
.J mf
8-8-8-8-8-8-8-8-~1 01 01 0 10 10 10 10 10 -r-7-7-7-7-7-7-7-7-r-8-8-8-8-8-8-8-810 10 10 10 10 10 10 10 -1-101 0 10 10 10 10 10 10 -l--8-8-8-8-8-8-8-8-t--8-8-8-8-8-8-8-89-9-9-9-9-9-9-9-1-101 01 01 01 01 0 10 10 -l--7-7-7-7-7-7-7-7-t--9-9-9-9-9-9-9-9-
.... F
1~
5-5-5-5-5-5-5-5 6-6-6-6-6-6-6-6 5-5-5-5-5-5-5-5
Bdim
7-7-7-7-7-7-7-7 6-6-6-6-6-6-6-6
7-7-7-7-7-7-7-7
E
4-4-4-4-4-4-4-4 5-5-5-5-5-5-5-5 4-4-4-4-4-4-4-4
Am ~"
9
~
.J
8
1 0-
9
24
G#dim
7-7-7-7-7-7-7-7 9-9-9-9-9-9-9-9 7-7-7-7-7-7-7-7
Blues style with triads functioning as chord extensions In jazz and blues genres triads are occasionally used to create harmony extensions of a chord. For instance an A7 chord is spelled A-C#-E-G, which is an A major triad: A (root), C# (3rd), and E (5th) with a G note (b7) added. Check out the last three notes of A7: C#, E, and G, spelling a C# diminished triad. A second guitar could playa C# diminished triad over the A7 chord and sound completely natural. Let's take this concept further by playing the upper extension triad of an A9 chord, which is spelled A (root), C# (3rd), E (5th), G (b7th), and B (9th). The upper three notes are E, G, and B, and spell an E minor triad. The example below applies this concept to a 12-bar blues in A and uses a typical move where the triads slide back and forth. See if you can recognize the different triads used as extensions for the A9, D9, and E9 chords.
Example 28 Standard tuning
... - "
E-Gt
D9
-
..
1
J J . . fr
..;
2
I I
~L
?
'-
-,
.. ~
mf
......
• •
...
I'J.
....
,..., . '"
J J ..jjo
5
u
D9
~~~#
- -
. ;
0- f.
~
- : : :: :: '
7 ~ S 7 ~ S 7 ~ S
0 3
- -
0 0
0 3
4
h. _
I
I
'-
7 " ,s 7 " ,S " ,S .t'i 7 0 -
I
l.J1
7 " ,S 7 - 8 7 S 6 " , 4 6 - 7 6 4 9 7 S 7 " ,S 7 - -
Ii
0 -
0 3
.
A9 -7
~
~
..:.
~~l.J
~
~~~#
6
;tt1*
~
0 0
~';!/
-
?
~
7 " ,S 6 " ,4
A9 3
: :: :: :: '
;t;t
~~
.---
7 ,,S 7 ,,S 7 ,,S
0 0
0 3
.....
I
~
0 3 -
8 h .
I
I
7 ~ S 7 6 ~ 4 6 7 ~ S 7
I -.;--
""'-
8 7 S 7 6 4 9 7 S
S 7 -
11. D9
E9 ,..., . "
J J ..jjo
9
.J
--------
-
A9 ~~#
10
~~'--
~
II
-
,
-
~ 1 f r 9 " '7 f 1 F 7 '-9 I " ,7 I h r ..,£ 9 " '7 I f I '_ + O I f J ~ O 3 1 '= " 0 0
-
~
---
0 3
~
E7 "
.J
jJ. ~ 1 3
~
~
~
---
'-- 3--'
~
~
'---3--'
~...:
-
I
-
-
'3 '
-
-
-
.
-'-...
'3 '
~ ~
7 7 7 7 7 7 7 " '< ,. 9 9 9 9 9 9 9 " " ~ _ I
6 " 4 6 f 7 7 7 7 7 7 7 ·
7 " S 7 + ~ _ I 0 0
Bt.9A9 ~
I
12 -
7 ,,S 7 f -
1 2. ."
•
-
~;t;t
/7 ,,S 7 ,,S 7 ,, S 0
E7
14
......
~tl-
7 7 7 7 7 7 7 9 9 9 9 9 9 9 ~6 -S 4 1 7 7 7 7 7 7 7 ~ S 4 - ! S I 6 S - !
....
25
0 3 -
•
Rolling Stones style "Keith Richards" chords Many of the Rolling Stones signature guitar riffs use triads. The intro to "Start Me Up" and "Brown Sugar" are great representations of Keith Richards' triad chords in action. Check out the stylistic example below for a workout using 1st and 2nd inversion major triads on the 2nd, 3rd, and 4th strings.
Example 29 Standard tuning
.
C
~"
I
F
C
-
.
F
C
2
3
C
F
F
4
E-Gt
.J
I
I
I
LJ
I
I
LJ
I
- - - - .~
mf
5 6 5 5 5 7
.
C ~"
5
.J-
··
C
G
C
I
I
9
1
-c :::J
5 6 6 5 5 5 5 7 7
.J
~
G 10
C
". - - - ~ 5 3
0 1 0 0 0 2 3 0..
--- 1
..--
0 1 1 0 0 0 0 2 2
<-.r ___~
~ 5 3
C
" ..;
13
-e-
3 ....
26
C
-
C
I
I
5 3
5 -
F
8
1
L.J
I
12
~
5 3
5 -
C
'I
I
•
". - - -
5 6 6 5 5 5 5 7 7
G
~ 0 1 0 0 0 2
5 ~ 3
5 6 6 5 5 5 5 7 7
F
G I I
5 6 5 5 5 7
3
5
C
I
•
~
.
F
....
'/"
5 6 5 5 5 7
7
I 5 6 5 5 5 7
3
5 6 6 5 5 5 5 7 7
6
I
--• •
F
-
0 1 1 0 0 0 0 2 2
-----.
---
5 3
.. ~
5 -
• •
Van Halen style triads Edward Van Halen is a proponent and heavy user of triads, especially major triads. Many songs in the Van Halen catalog are based on major triads and inversions including "Runnin' with the Devil," "Unchained," "Dancethe Night Away," and even the keyboard intro for "Jump." Check out the example below for a Van Halen-style triad workout. Hybrid picking is employed here, which uses a combination of pick for low notes and fingers (middle, ring, and pinkie) for the triads. The final few bars are played with the pick and run through all three inversions of "A and B" triads before resolving on "E." See if you can spot the inversions.
Example 30 Standard tuning
e
E
D
E-Gt
mf
II~
/ 5 _ 0 != -IIJl= o -o _ 0_ 0--'-~ 1 ~ ~ 00_ 0_ 0~ = O = !3 7 _
A
c
E
------
3x
3x
I ii , .. . ,. "
I ! I 0-0- 0-0 ~ ~ 1 ~ 0-0 -0~ 7 -5 _ 0 7J ---
J J .- I t
~
n
~J ~-
~
---
(~~J)
8 5 -
9 10
5 ) f -( 6
8
7
B
"
~
J J .-It
-
1O~-#
- I I f- + -
II-R 0
--../
(9)10 97'11
12
11-~12
12 13
....
27
~-
'*
~
-
.....10-
7
0-0-0-0
.....
9
~
l..-"
i
~
a
8
........
.J
1 ~ I.o -o -o -o ~ ~ % 3
9
(10)
9 11
12
9 -
11
13
IV - Arpeggio-style triads Diatonic triad arpeggios on two strings in C major Playing triad notes individually in lead guitar fashion is a great way to spice up a guitar solo, plus it gets away from the typical pentatonic licks found in many solos. It's also a fantastic way to follow the chord changes under the solo. The end of The Eagles' "Hotel California" is a great example of triads played arpeggio style while following the chord changes. The term" diatonic" means notes and/ or chords derived from a particular key. Refer back to the section "Building major scale diatonic triads" to review this concept. Check out the two examples below showcasing diatonic triads in C major on the top two strings. Bonus exercise: Play each triad four times.
Example 31 Standard
tuning
~.
Ascending
e
E-Gt
"'"
I
Dm
Em
-
.J
G
~-#
-# "
. ~
F
--... '-- 3 ---... L-.... 3
2~~
L-....
---... 3 --... '-- 3
~
~
Am
e
Bd~
~
""""
.+=~-#t=~~~
J . . .
--...
. . ., " ' " .
mf
~
~
3 -0--5-1--7-3 --8-5 1 3
I"T"
~
5
~
10-7--12 -8--13 -10 8 10
6
~
12 -13
I I
...,.
u
.....
Example 32 Standard
tuning
Descending
e fI
~Bdim
~_
A
F
G
~~t=~r=f=-#~~.-tL~
2
I
E
; ~
e
D
~
~
" " 'Q o '"
E-Gt
"
L -- "
L -
3 ----'
L -
3--'
L -
3--'
mf
.-
T"
~
~
.-
12 -15 --1 0 -13 -8-12 --7-10 13 12 10 8
.-
6
I I
....
u
.....
28
~
5-8--3 -7--1-5 5
. 3
...,',. . 1
Triads from Bach's "Toccata and Fugue" in 0 minor Composer Johann Sebastian Bach used triads in many of his works including the masterpiece "Toccata and Fugue" in D minor. Below is an excerpt from the tune featuring descending triads on the top two strings. Listen to my version of "Toccata and Fugue" included as a bonus track at the end of the companion audio
Example 33 Standard tuning
E-Gt
mf
~
r 1 7 I T
Am-..
. . . . "
~
~
~
8 1 2 8 1 2 1 0 1 0
Dm
.J
6
'3 =
~
3
5
.. ... .- ... .. ~ ~ ~ 1 2 1 5 1 2 ~ 1 5 1 0 ~ 1 3 1 0~ 1 3 1 3 1 3 1 1 1 1
-# ~
~
~.
-#~
~
~
1 5 3
~
. -
Dm
7
~ 3 _ _ _ _ '
~
0 3 2
0 3
~
~~
~
.-
5 8 5 8 3 6 3 6 6 6
dd im
'-3 . .. ~ 3 _ _ _ _ '
-
Ed'
'3 . .J '3 .. J '-3 . .J '-3 .. J
6 1 0 6 1 0 8 8
~
1 5
•
-"---...
"---...
/#
#
~
.....
~
F
~ ~
~
~
~
G
4 ~ i= #~ t= #~ ~ .
.J
"
~
1 5 ~ 1 8 1 51 8 1 3 ~ 1 7 1 3 1 7 1 7 1 7 1 5 1 5
"1)""'' '''''1:0 " 2
....-
u
29
3
~ 5
5 -
Diatonic triads ascending and descending the C major scale Here's a fun finger twister playing diatonic triads in C major in one position. Every other triad is played in the opposite direction from the previous while ascending the scale. Not an easy feat to master! The latter half turns around and descends in the same alternating manner. Start out slowly at first and be sure to alternate pick and play evenly without stopping.
Example 34 Standard tuning
C
~"
Dm
, .- - - _
I
~'
Em
E-Gt ..;
3
F
3'-'
G
Bdim
Dm
C
_.
r -3-,
. .. . ,. .. , 1 1 " " " 1
2
.-
.,.-
Am
L J , . . J '-L..J .....
3-'
'-3
-..
1 ,. . . . . o lo - " "
3
, - -" "
...-3-'
Em F
~: : '3 - '
' - 3- . .
G
. . .- 3 -
C
- .•
~ ~
4
- .j ..
3-..
mf
simile
i"1Vi"1Vi"1Vi "1Vi"1Vi"1V
7 9107 710-8-710---8 8 1 0
.....
G
c ,
,-=.
[ L o jn
r= ---1 0 Il. ~
Em
F
"~
C
7 -9 9 --10 -7-9 f--1 0
Bdim
Am
8 7 1 0-9 1 0
G
F
_ ",· ~-
~3-
78 -1 0~ 8
10
Dm
~
'---3~
~3
'
'---3~
Em
Dm
C
, = ~ -__ ,--
: : , ~3
1 0-----t-8 9 --7 -1 0
9- 7~10
8-10·7--8 7 10 -8--1 0---8 1 --7 1 0---9 1 0
10~9
'---3~
~
~3-" ~
91 0-7 -9
10
Q .
......
30
8
&
_
7
1 07 8 -7 -1 0~8
--7
1 0
10 8
8
11
v - Soloing with triads Easy solo with three-string triad shapes Soloing with triads can become repetitive and boring if overused. One way to get better mileage is to give them an interesting rhythm. Below is a simple solo using three-string triads that follow the chord change "Am-D". Notice the second half of the solo uses higher inversions of the same chords to create movement and interest.
Example 35 Standard tuning
Slowly
Am ,/
"
Jj,
I
E-Gt
Am
D
.
~.~.
:---
2
Am
D
~
e ~.. . , w . . . . .
3
-
---~"
D
E"~;:----
.J mf
~ 1 f ,.,8 1 0 I H ! = j I b 0 1 I h ~ j W _ ·9
1 0 1 1
'1)'''''''' 8 1 0 1 0 9 1 1
• ....
Am
.....
I<
1l.
----
4
Am
D "."."
+ ;::e
- - .: Y ,
••·44t •••••
..
5
-eTI
• • t t• • • • • • • • • • • • • • •
~ 1\
~
1 2 1 4 1 3 1 5 1 4
• •
1 0 -
31
r
~ 1 2 1 4 1 3 1 5 -I 1 4 1 4 -
Medium difficulty solo using two-string triad shapes The next solo is a bit busier than the previous and uses two-string triads and inversions over the same "Am-D" chord pattern. Creating captivating melodies with triads relies on interesting note selection and syncopated rhythm work. Try creating your own solo using triads over the chords" Am-D."
Example 36 Standard tuning
Am ,/ "
Jj.
E-Gt ..;
I
·· mf
~ ---
~ ---~ . D
~#
" '
" '
~
~
-
~ ---
Am ,
"
8 5 8 5 8 ~ 0 5 5 5 5
• •
---
.......
2
~ ,~
D
-6 :
U 1 )U U
" ' ••••••
~
1).
~
~
"""'"
8 5 8 5 , . L 1 0 5 5 5
7
..... Am
.""Jj.
3
___
D
f=_~
___ + =
~
_ _ _ + = + =
Am
~ - --
4
___
D
+ = ~ _ _ _~ ~ + =
~
~ ~
~
~
1 2 8 1 2 8 1 2 ~ 4 1 0 1 0 1 0 1 0
"'1)1)",
~
~
32
- - ------
..
5
-e-
'1)""4"'''1)''''44'''
1 2 8 1 2 8 4 1 0 r-1 1 0 1 0
1 0
Am - -
• •
1 0 -
Rapid-fire two-string triads No fancy rhythm work here, just fast and non-stop 16th notes! Mute the strings slightly by resting the picking hand heel on the strings just past the bridge. The solo outlines Am, F, C, G, and G# diminished chords and uses a repeating three-note sequence played as 16th notes, which creates an interesting feel. Although the lick is repetitious, it has a captivating floating quality over the time signature 4/4. For maximum effect use alternate picking and practice slowly with a metronome. Once mastered at a slow speed, gradually increase the metronome's tempo.
Example 37 Standard tuning
palm mute throughout
Am
F
E-Gt mf
simile
riVriVriVriVriVriVriVriV
II Til.
1 2 - 8 1 2 - 8 1 2 - 8 1 2 - 8 1 2 - 8 1 2 ~ 1 3 - 8 1 3 - 8 1 3 - 8 1 3 - 8 1 3 - 8 1 3 1 0 1 0 1 0 1 0 1 0 t - 1 0 1 0 1 0 1 0 1 0 j
•
c
G
-
Am 5
= 1 2 8 1 2 8 1 2 8 1 2 8 1 2 8 1 2 = = r = 1 0 7 1 0 7 1 0 7 1 0 7 1 0 7 1 0 1 br= 8 8 8 8 8 8 8 8
9
9
.1 1
•
33
-e-
1 0 1 1
Tapping triads on one string Tapping and triad arpeggios go together like bread and butter. Here the tapping sequence is quite longer than the previous examples, taking sixteen notes to unfold, and outlines Am-F-C-G chords. Use the picking hand's index finger to tap notes with a "T" written over them and the index and pinkie fingers on the fretting hand for the remaining hammer-on and pull-off notes. Break out the metronome for this one and start out slowly!
Example 38 Standard tuning
Am
i= # _
1
" E-Gt
F
~
~.~
.~-
i=~ _-~_.-
. #
..
2
.~.~ e.
..; mf T
T
17 12- 8-1217
T
T
T
T
12-17-12- 8-1217 -1217 12- 8-12 ~
-17
T
T
T
T
-13- 8-13 -17-13-1713 - 8-1317131713
- 8-13 ~
• • ....
c
T
If---15
liT
-c
G
T
T
T
T
-12 - 8-12 -15 -12 -15 -12 - 8-12 -15 -12 -15 -12 - 8-12
T
T
T
T
T
15-10-7-10-15-10-15-10-7-10-15-10-15-10-7-10
,_
.1 1 •
34
-T
,_
13
VI - Advanced applications - cool and different ways to use triads EricJohnson style expanded triads and inversions More often than not guitarists play triads with close voicings: "1-3-5," "3-5-1," and "5-1-3." Taking a tip from violinists, Eric Johnson created expanded voicings on guitar by spreading the notes apart: "1-5-3," "3-1-5," and "5-3-1." Johnson can be heard using this concept in his magnum opus "Cliffs of Dover." The idea is fairly easy to reproduce on guitar, but will require string skipping in order to keep each triad in one position. See if you can spot the different inversions used in measures 5-8. Be sure to use strict alternate picking and a metronome!
Example 39 Standard tuning
A
.... ~
~
~
1
G 2
-fII-
F
-fII-
3
.r"1#
-~-
4
E-Gt .J
~
l.)
~
l,.)
13 --13
......
""""
mf
1 2
12
E
1"'1#
""'..J
1 0---10
G#dim
-fII-
'l,.) 7 -
9
14 -14 -14 -14 - 1----1 2 12-12-12 - 1----1 -0 10-10-10 12 --12 1 0 1 0 8 8
9 --9-6
7 7 -
7
....
Am
~
~
G
~
5
~
8 7
10
-+==-
12 -12 -12 -12 9 9
-
.....
10
.-r-
8
Am
-f II-+ = -f II-
.,-.
...... 13
--
E
-
7
p
~ 8
9-9-9-9 7
-+==-
6
l,...-"
~
F
13
14 -14 -14 -14 10 1 0
35
16
1 6
16 -16 -16 -16 14 14
n 9
--
1 7-
Five-string triads and inversions This classically inspired triad workout ascends the top five strings in triplets, with each triplet playing a different inversion of the chord. Root position begins on the fifth string and ascends three consecutive strings, the 1st inversion starts on the fourth string and ascends three consecutive strings, the 2nd inversion ascends three strings from the third string, and finally the root position is one octave higher on the top two strings. Play through the first bar and see if you can recognize the A minor triad inversions. The second bar plays a root position D minor triad on the top two strings. The remaining six bars use the same two bar concept applied to "G and C", "F and Bdim," and "E and Am" chords. Follow the alternate picking indications or come up with a consistent picking pattern that works for you.
Example 40 Standard luning
root position
1st inversion
2nd inversion
root position
root position
Am
"'"
E-Gt
,
I
..;
L ...
-"
L -
3 '
-
L -
3 '
.")••••••••
D~
#~#~f::
L -
3 '
-
---1).
2~~~EEE~
~
mf
i1 V
i1 V
i1 V
i1 V
i1 V
i1 V
r'J-
i1 _ __ _
V
. .. .. .. .. .
f J :f J ;" ) • • ••
V
8 - 8 1 2 ,1 71 3 1 3 1 7 1 3 1 0 1 0 1 0 1 5 1 5 9 9 9 1 0 1 0 1 2
L -
---
simile
I
IfR 0 1
Bd~
"'"
7
I
'~
-11-l~ ' 3
I
~
---
L -
.1) .•...•..
1 3 1 0 1 0 1 3 1 0 1 2 1 2
L -
1
8 ,-
1
Am
I'''' ..J
3---'
5 5 8 6 6 6 5 5 5 _ 7 7 _
E
6 + = : t : : :- f I l - ~ + = + " = _ P _
L -
"'1)"'"
.-2 7 7 1 0 E 1 5 1 1 2 1 5 1 2 , 8 8 8 ~ 1 3 1 3 ; ~ 7 7 7 9 9
II !
3---'
-
L --
3 '
L -
4 5 5 5 4 4 4 6 6 7
36
_-fIl-
3 '
8~~#i:~~-e-
--
---
'''O>''''C: '''' .-4 -7 , 1 2 8 -8 1 2 8 1 0 1 0
Stacking triads to create jazzy chord extensions Here's a cool way of creating dense jazz chords by stacking multiple triads. Check out the first measure in this example beginning with an F major root position triad on the two bass strings, followed by an E diminished root position triad on the two middle strings, and finally a C major root position triad on the top two strings. The resulting chord is "F major 11," which contains the notes F (root), A (3rd), C (5th), E (7th), G (9th), and Bb (11th). The remaining three bars use the same concept to outline "D minor 11," "Bb major 9 #11," and "C11" chords respectively. See if you can spot and name the three triads in each of the remaining three chords.
Example 41 Standard tuning
Fmajll
--.-
Dml1 2
E-Gt '-.../
mf
Fmaj
Edim
• • -12-15
14
Cmaj
_I
13~
--.-
Bt.maj9add# II
ell 4
i
j , -
7 R 5 8 I -= / --- 6'-
,,6 5- 9
~
5
5~8-5~ -6~ 6 8
,,8 7 -10
6~0-6~ -8~~5 8
7-10 8 " '_ . . . . '/ -
37
Fmaj7
_
-e-
5 • - 5 _ 7 • -8
Tapping triads on multiple strings Check out this tapping idea using Eric Johnson's expanded triad concept (detailed a few examples earlier). This example sounds best with a clean tone since you'll want to let the notes sustain as long as possible. Use your pick hand's index and middle fingers to tap the higher portion of the lick (notated with a "T" above the note) - strings "4 and 2" (index and middle respectively) or "3 and 1" (index and middle respectively). The fret hand index and ring fingers hammer-on the remaining notes on the low strings (notated with an "H" above). Listen to my song "Crystal Castle" included as a bonus track on the audio accompanying this book (track #41), which features this tapping concept pushed to the limits.
Example 42 Standard tuning
Dm
I
" E-Gt ..;
-n~
-r1~
··
• l..L. '3 . . . . . . ..
11~
11- -
-
2
-
l.L
G/B
,-3"""
'3 . . . . . . ..
-L
_
:..n --
3
..
-L
'3 . .
'3 . .
r1I---
-U .. '3 . .
lJ j
'3 . . .. . ..
mf
H H T T H T H H T T H T 1 3
• 8
..
.J
--n~
..
L-L-
'3 . ..
1 -
1\
-..r
'3 . ..
1 4 1 4 1 4 1 4 1 0 1 0 1 0 1 0
8
7
fII-!=
LJ.- '--~
1 .. .3 '
1 5
fII-
t=
--
. . ; '3 . .. 1 . . . 3 '
1 5
1 6 1 6 1 6 1 6 1 2 1 2 1 2 1 2 1 0 1 0
8
7
'3 . ..
1 3
.- t:
8
5
'3 . ..
1 3
1 4 1 4 1 4 1 4 1 0 1 0 1 0 1 0 -
8
e ~
fll-I=
-u
L -
3 '
--
fII-
-
L . J . . . . . . =
'-3 . .J
L -
1 5 1 6 1 3 1 0
3 '
,-- 3
~
t=
.. --n~
tiL
9
-
'-3 . . J
..
1 6 1 6 1 3 1 3 1 0
...
38
L-Le'3 . ..
1 5
• •
1 6 1 3
1 3
8
1 4 1 4 1 0 1 0
--
~
1 3
1 3
Gaug
-LJ-
7
-I I L J ..:~ L - -L :
7 7 7 7
~
1 2 1 2 1 2 1 2 1 0 1 0 1 0 1 0 -
--1=
1 0
5
~
1 2 -
f1 I-
1 0 1 0 1 0 1 0
6
1 0
~.-
'3 . ..
1 2
F
[ [4
-= •
1 3
G
..... "
1 5
1 5 1 5 1 5 1 5 1 2 1 2 1 2 1 2 1 0 1 0
~ --
5
L-L-
1 3
-~--8
Am
ri1~
4
1 5
8
e "
simile
1 3
1 4 1 4 1 4 1 4 1 0 1 0 1 0 1 0
•
8
Bonus Audio Tracks The following two bonus tracks are from my Desert Storm CD, available on iTunes, Spotify, CDBaby.com, iHeart radio, and Amazon.com. The first bonus track (track #43) is my version of Bach's "Toccata and Fugue" in D minor and, while it's not using all triads, there are several sections that do. See if you can hear them!
The second bonus track "Crystal Castle" (track #44) has an obvious Joe Satriani influence and uses a tapping technique very similar to example #42 from this book.
Conclusion This book is not intended to be all encompassing by any means, but rather a tool to spark fresh ideas and concepts that will broaden your musicianship and help you to become a better player. We are limited only by our understanding of music and it's fundamentals, so continue to push forward, learn new concepts, and strive to be the best musician you can be. I truly hope the ideas contained here open new doors and possibilities with your guitar playing. Keep those fingers flying!! For more info on Dave Celentano's educational books, DVDs, online tutorials, and music check out www. davecelentano.com and visit him on YouTube and Facebook.
39
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