Dave Celentano Triads For The Rock Guitarist PDF

 

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Table of Contents Introduction

4

About the Author

4

Acknowledgements

4

Tuning Notes

4

I - Introduction to Triads

~

5

-What is a triad? -Four -Fo ur triad types types an and d formu formulas las -Building -Buil ding major diatonic triads -Diato -Di atonic 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 and inversions -Triads 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 -Practic ality of using triad inversion inversionss to econo economize mize hand motion motion -Triad -Triad an and d invers inversion ion exercis exercises es using two two and three three chords chords

III -   Rhythm work with triads in various styles

19

-Strumming -Strummin g triads -Pachelbel's -Pach elbel's Canon Canon with triads -Reggae -Reg gae style and muting strings strings -Triads on four strings -Spanish -Span ish style using using descendin descending g and ascending ascending motion motion -Staccato -Stacc ato style pluck plucking ing triads with fingers fingers -Rolling -Rol ling Stones Stones style "Keith Richards" Richards" chords chords -Blues -Blu es style style with with triads functionin functioning g as chord chord extensions extensions -Van -Va n Halen Halen style style triads triads

IV - Arpeggio style triads

28

-Diatonic -Diato 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 -Di atonic nic triads triads ascend ascending ing and descend descending ing the C major major scale

V - Soloing with triads

31

VI - Advanced applications - cool and different ways to use triads

35

-Easy solo with three-string triad shapes shapes -More -Mo re challen challenging ging solo using using two-string two-string triad shapes shapes -Rapid-fire -Rap id-fire two-string two-string triads -Tapping triads

-Eric Johns -Eric Johnson on style style expand expanded ed triads triads and inversio inversions ns -Five-string -Fiv e-string triads and inversions inversions -Stacking -Stack ing triads to create "jazzy" chord extensions extensions -Tapping -Tap ping triads on multiple multiple strings strings

Audio bonus tracks Conclus ion

39 39

 

I Introd Int roduct uction ion To Tri Triads ads What is a triad? A triad triad is a three three-no -note te cho chord rd constru constructed cted of alte alterna rnatin ting g notes notes from a sevenseven-no note te sca scale. le. Specifi Specifical cally, ly, a tria triad d usess every other note: use note: the root (also (also calle called d "I"), 3rd, 3rd, and 5th degrees degrees from from the scale. scale. Fou Fourr triad triad type typess can be derived deriv ed 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 formu formulas las Diagrame Diagra med d below below are the four differen differentt triad triad types types using using "C" as a referen reference ce root root note note for eas easy y compari comparing ng.. The Th e 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 root) root) an and d define definess wheth whether er the chord chord is majo majorr or minor, minor, with mino minorr represe repr esente nted d by a flat sign sign "b" in front: front: "b3 "b3". ". The high highest est note note is the the "5th "5th" " (five (five scale scale tones tones up from from the root), root), which wh ich 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 au augm gment ented ed ("#" in fron front: t: "#5", "#5", also some sometim times es referred referred to as "b6"). "b6"). There are two There two ways to under understa stand nd and view a triad. triad. Firs First, t, arrange arrange the thre three e notes notes asc ascend ending ing on one string string:: "l(root) "l(ro ot) - 3 - 5". This This meth method od he helps lps to visual visualize ize the interv interval al structu structure re (the (the distan distance ce bet betwe ween en each each not note). e). The Th e secon second d is to to arrang arrange e the notes notes on three three adjacen adjacentt string stringss wi with th on one e note per string string to fo form rm a chord grip, grip, which wh ich allows allows the ear to hear hear the three three notes notes togeth together. er. Diagra Diagramm mmed ed bel below ow are the four triad triad qua qualiti lities es arrang arra nged ed using using these these two two method methods. s. Pla Play y the chord chord that that occurs occurs on the fourth fourth beat beat of eac each h bar to hear the sound sou nd 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 dim inishe shed d sound soundss unres unresolv olved ed and scary, and augmen augmented ted is un unres resolv olved ed and open. The fo four ur example exampless below below use "C" "C" as the the root root 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 tw two o whole whole steps, steps, and one one and a half half steps betw between een "3 and and 5. 5." "

Exam Ex ampl plee 1 C major major triad Standard tuning

~"

E-Gt

c  

I

 

-

 

5th

 

8

c

.. mf  Root(1)

...... I

 

1

 

 

3rd

5

 

';...."

D

....

5

 

3

5 5

 

C mi mino norr triad triad (1-b3-5 (1-b3-5):The ):The dista distance nce betwe between en "I and b3" is one one and a h half alf steps, steps, and and two two whole whole step stepss be betw tween een "b3 and and 5."

Exam Ex ampl plee 2 C minor minor triad triad Standard Standa rd tuning

~ " E-Gt

 

I

em

..

-

 

-

8

 

3 4 5

mf 

1

 

4

 

.....

C dim dimini inishe shed d tria triad d (1-b3-b (1-b3-b5):The 5):The dista distance nce between between "I an and d b3" is one one and a h half alf step steps, s, and one and a half  half  steps ste ps between between "b3 and and b5." b5."

Exam Ex ampl plee 3 C dimini diminished shed triad Standard Standa rd tuning

edim

 

I

E-Gt

-

1-._

.. mf 

1

 

4

 

7

...

6

 

2 4 5

 

C au augm gmen ente ted d tr tria iad d (1 (1-3 -3-# -#S) S):: The The dista distanc ncee be betw twee een n "I an and d 3" is is two two who whole le step stepss an and d two two wh whol olee step stepss betwee bet ween n "3 and #S."

Exam Ex ampl plee 4 C augment augmented ed triad triad Standard Standa rd tuning eaug

E-Gt

" ""

 

..;

I

 # .

 

•

I

mf  1

 

5

 

9

4 5 5

 

.....

Buildi Bui lding ng maj major or scale scale dia diaton tonic ic tri triads ads All sevenseven-not notee diaton diatonic ic scales scales contai contain n a series series of sev seven en triads triads - one buil builtt from each not note. e. To begin, begin, let's let's tak takee a look loo k at the the C majo majorr scale scale and it itss compone component nt notes, notes, "C-D-E "C-D-E-F-F-G-A G-A-B. -B."" Build Build the first tri triad ad in C m majo ajorr starti starting ng wi with th "C" "C" an and d ta take ke ev ever ery y ot othe herr no note te (thr (three ee tota total) l).. The The result resultin ing g note notess are are C, E, and and G (1 (1-3 -3-S -S), ), whic which h spel spelll a C major major chord. chord. For the the second second triad triad in C major major begin with with "D" and rep repeat eat altern alternati ating ng notes. notes. The rresu esulti lting ng notes not es are D, F, and A (1-b3(1-b3-S) S) which which spells spells a D minor minor chord. chord. Rep Repeat eat this this for al alll n note otess to di disco scover ver the seven seven diaton dia tonic ic triads triads in C major major.. Help He lpfu full hint hint:: Exte Extend nd the the C maj major or scal scalee one ad addi diti tion onal al oc octa tave ve to see see the notes notes fo forr F, G, A, and and B tria triads ds.. C major major scale in two octaves: octaves: C-D-E-F-GC-D-E-F-G-A-B-C A-B-C-D-E-F -D-E-F-G-A-B -G-A-B-C -C Get fa Get fami mili liar ar wi with th the the di diat aton onic ic tria triads ds in C majo majorr by pl play ayin ing g them them in as asce cend ndin ing g an and d desc descen endi ding ng orde order. r. He Here re are the diatoni diatonicc triads triads in C major major on the the top three string strings. s.

Exam Ex ampl plee 5 C major major diatonic diatonic triads triads Standard Standa rd tuning

e

"

E-Gt

 

I .

 

Dm

 

  -.

..

Em

 

F

•

 

=1=

  2.  

G

 

Am

  f 

 ,  

 

Bdim

e

f

mf  3 5 5

     

5 6 7

 

7

 

8

 

9

 

   

8

10 10

     

10 12 12

...

7

     

12 13 14

     

13 15 16

     

15 17 17

 

Di Diato atonic nic triads triads in natura naturall minor, minor, melodic melodic mi minor nor,, and harmoni harmonicc minor minor scales scales Use the sam Use samee pr proc oces esss to disc discov over er the the tria triads ds in na natu tura rall mi mino nor, r, me melo lodi dicc mi mino nor, r, and and harm harmon onic ic mi mino norr scal scales es.. Below Bel ow are exam example pless on the the top three string stringss for the the diatoni diatonicc triads triads in the these se thr three ee min minor or sca scales les.. C natura naturall mi minor nor contai contains ns the notes notes C-D-Eb C-D-Eb-F-G -F-G-Ab -Ab-Bb -Bb-C. -C. Below Below are the diat diatoni onicc triads triads in C natura naturall min minor. or.

Exam Ex ampl plee 6 C natura naturall mi minor nor diaton diatonic ic triads triads Standard Standa rd tuning

e m  1

 

Ddim

 

Fm

--a-

•

=1=

_

" E-Gt

 

Gm

 

2:1

 ,  

Bt.

 

  f

e m 

t ~

.J mf   

......

3 4 5

 

I'J.

     

4 6 7

 

6

   

8 8

   

 

8 9

10

     

10 11 12

     

11 13 1 3 13

   

13 15 15

   

15 16 17

~.

D

....

C melodi melodicc mi minor nor contai contains ns the notes notes C-D-Eb C-D-Eb-F-F-G-A G-A-B-B-C. C. Below Below are the dia diaton tonic ic triads triads in C melodi melodicc min minor. or.

Exam Ex ampl plee 7 C melodi melodicc mi minor nor diaton diatonic ic triads triads Standard Standa rd tuning

e m 

"

 

I .

 

 

Dm

 

Et.aug

0a -

 

t+ & -

5 6 7

   

F

 

S:

E-Gt .J

 

G

Adim

  2.

  o f 

mf  3 4 5

   

 

7

8 8

 

   

8

10 10

     

10 12 12

....

8

     

11 13 14

 

 

Bdim

 ,    

13 15 16

e m 

I

   

15 16

 

17

 

C ha harmo rmonic nic mino minorr contain containss the notes notes C-D-Eb C-D-Eb-F-F-G-A G-Ab-B b-B-C -C Below Below are are the diaton diatonic ic tria triads ds in C harmo harmonic nic minor.

Exam Ex ampl plee 8 C harmo harmonic nic mi minor nor diaton diatonic ic triads triads Standard Standa rd tuning

e m  , / 

E-Gt

 

Ddim

 

I .

--a -

Et.aug

 

 

Fm

G

 

At.

  2.

 

f

   

11 13 1 3 13

t+ & -

 

S:

7 8 8

     

8 9 10

 

Bdim

•

..

 

e m 

  J

mf 

~ I'J.

 

3 4 5

     

4 6 7

     

   

10 12 12

   

  13 15---16   16

15 17

~

D

.....

II - Triad Triad Invers Inversion ionss Tria Tr iad d inve invers rsio ions ns

on str strin ing g sets sets 1-21-2-3, 3, 2-3 2-3-4 -4,, 3-43-4-5, 5, and 4-54-5-6 6

If the triad's triad's 1st note note is in the the bass, bass, it is referr referred ed to as the root root positio position. n. Wi With th the 3rd or 5th in the the bass, the term "invers "inversion ion" " is used used.. There There are two two possible possible invers inversion ions: s: the 1st invers inversion ion featur features es the 3rd in the bass bass and the root root moves moves to the top position position,, and the 2nd inversio inversion n has the 5th in the bass and the 3rd on top. top.

Below are seve Below several ral neck neck diagram diagramss show showing ing major, major, mino minor, r, diminis diminished hed,, and augm augmen ented ted triads triads and subseq subsequen uentt invers inv ersion ionss on every every set of three three adjace adjacent nt string strings. s. Get Get familia familiarr with with the these se triad triad shape shapess by playing playing the them m in order ord er up and down the neck neck.. Althou Although gh it's importan importantt to know know and recogniz recognize e triads triads on the entire entire fretbo fretboard ard,' ,' thiss book thi book focuses focuses on triads on the top four four string strings. s. Your Your job is to apply apply the exercise exercisess below below to the lower lower sets sets of string strings. s. VERY VER YIMPORTA IMPORTANT NT:: The root root note location must be memorize memorized d for every every triad and inversion inversion shape! shape!

9

 

Major, Majo r, minor, minor, diminis diminished hed,, and augmented augmented triads triads and inversion inversionss on strings strings   1/1-2-3."

Majorr - 1,3,5 Majo root position

1st inver.

2nd 2n d inve inver. r.

ro root ot po posi siti tion on

oI

10

dO

Fret - 3

 

5

7

Minor - 1,b3,5 root posi position tion

9

 

1st inver.

12

15

17

19

 

21

2nd inver.

o

o   o

o o 5

Fret - 3

7

9

 

Diminis Dim inished hed - 1,b 1,b3,b 3,b5 5 root position 1st inver.

12

15

 

17

19

 

21

2nd inver.

o

o

o   o

o Fret Fret - 3

 

5

7

Augment Aug mented ed - 1,3 1,3,# ,# 5 root posi position tion

o

9

 

12

1st inver.

2nd inver.

 

o

15

 

17

19

 

21

root posi position tion

o

o

o

o Fret Fret - 3

 

5

 

7

 

9

12

10

15

 

17

19

 

21

 

Major, Ma jor,mi mino nor, r, diminis diminished hed,, an and d aug augme mente nted d triads triads and inversio inversions ns on string stringss   1/2-3-4."

Major Maj or - 1,3, 1,3,5 5

2nd inv nveer.

roo ro ot po posi sittion

1s 1stt inv nveer.

2nd inver.

o

o   o

Fret - 3

 

5

 

7

Minor - 1,b3,5 2nd inver.

 

9

12

ro root ot po posi siti tion on

 

1s 1stt in inve ver. r.

15

 

 

17

 

21

2nd inve inver. r.

o

Fret - 3

19

o

 

5

 

7

 

9

 

12

 

15

 

17

 

o

19

21

o

o

Diminished Dimini shed - 1,b3 1,b3,b5 ,b5

2nd 2n d inv nveer.

root ro ot po posi sittion

1st inv nveer.

2nd inver.

o

Fr Fret et -   3

 

5

 

7

 

9

 

Augmented Augme nted -1,3, -1,3,#5 #5 2nd inver.   root position

12

 

 

15

1st inver.

 

17

 

 

19

 

21

2nd inve inver. r.

0 0

0 0

Fret - 3

 

5

 

7

 

9

12

11

 

15

 

17

 

19

21

 

Major, Majo r, minor, minor, diminis diminished hed,, and augmente augmented d triads triads and inversio inversions ns on string stringss   1/3-4-5."

Major - 1,3,5

1st inver.

 

2nd 2nd inve inver. r.

ro root ot po posi siti tion on

 

1st inve inver. r.

o

o

Fret - 3

 

5

 

7

 

9

 

12

 

15

 

17

 

19

21

Minor - 1,b3,5

1st inver.

2nd inver.

 

root position

 

1st inver.

o

o   o

Fret - 3

 

7

Diminis Dim inished hed - 1,b 1,b3,b 3,b5 5 1st inver.

 

 

9

12

 

15

2nd inver.   root position

 

19

17

1st inver.

o

o   o

 

Fret - 3

21

5

 

7

 

Augmented Augme nted - 1,3, 1,3,#5 #5 1st inver.

9

 

 

12

 

15

 

17

2nd inve inver. r.   roo oott pos osiitio ion n

 

19

21

1s 1stt inv nveer.

o o

o o

Fret - 3

 

5

 

7

 

9

 

12

12

 

15

 

17

 

19

21

 

Major,minor, Majo r,minor, diminis diminished, hed, and augmente augmented d triads triads and inversions inversions on strings strings   1/4-5-6."

Major - 1,3,5 root position position

 

1st inver. inver.

 

2n 2nd d inver nver..

root root posi posittion ion

o  

o

o

Fret - 3

21

Minor - 1,b3,5 root position position

 

1st inver. inver.

2nd inver. inver.

 

root position position

o  

o

Fret -   3

 

 

5

 

7

 

9

 

o

12

 

15

 

17

 

19

 

21

Dimini Dim inishe shed d -1 1,b3 ,b3,b5 ,b5 root position position

 

1st inver. inver.

 

2nd inver. inver.

0 1

Fret -   3

 

5

 

7

 

9

 

 

1

12

 

1 ()

1

15

1 ()

 

17

1

1

 

10

( J1

19

 

21

Augmen Aug mented ted - 1,3 1,3,#5 ,#5 root position position

 

1st inver inver..

 

2nd inver. inver.

0 0

Fret - 3

01   1 0 1 . - 1 0 1 1   1 _ 1 01

 

 

5

 

9

 

12

 

15

 

10

13

 

Practi Pra ctical calit ity y of using using triad triad invers inversion ionss to econom economize ize hand hand mot motion ion In tthe he examp example le be belo low w the the root posi positi tion on tria triad d shap shapee rema remain inss the the same same for for all chor chords ds,, but but th thee fr fret etti ting ng hand hand has has to mov movee up an and d do down wn the the fret fret-b -boa oard rd to aacc cces esss ea each ch chord. chord.

Exam Ex amp ple 13 Standard Standa rd tuning

root inversion inversion

e

...

 

I "

2

root inversion inversion

root inversion inversion

F

G

 

~

3-H

root inversion inversion

e  

40

E-Gt .. J

mf 

3 5 5

   

 

     

8

10 10

10 12 12

     

3 5 5

....

Now ch Now chec eck k ou outt an effi effici cien entt way way to pla play y the the same same ch chor ords ds as in in Exam Exampl plee 13, 13, but but usin using g ro root ot pos posit itio ion, n, 1s 1st, t, an and d 2nd inver inversio sions. ns. Notice Notice the clos closee proxi proximi mity ty of the triad triadss and the minim minimal al fre fret-h t-hand and mov moveme ement. nt. Plus Plus it sou sounds nds moree int mor intere eresti sting ng than than the prev previou iouss exampl example. e.

Exam Ex amp ple 14 Standard Standa rd tuning

root inversion inversion

e

~"  

 

2nd inversion inversion

1st inversion inversion

F

G

2-e-

 

3 "

root inversion inversion

e  

40

I "

E-Gt .J mf 

3

5 5

....

     

5 6 5

     

3 3 4

 

   

3

5 5

14

 

Here's a great Here's great exerci exercise se wo worki rking ng the same chords chords as above above thro throug ugh h all of th the e inv inversi ersion ons. s. Notic Notice e each each 4-bar cycle cyc le of the chord chord progre progressi ssion on reside residess in a differe different nt territo territory ry on the fret-boar fret-board. d. Triads Triads and and invers inversion ionss can be used used to create create second second guitar guitar parts parts in songs. songs. Try this this coo cooll harm harmon ony y idea idea with with tw two o guitar guitarist ists: s: Have Have one one guitar gu itarist ist play play the first four four measure measuress wh while ile the secon second d sim simult ultane aneou ously sly plays plays the next next fou fourr and then the final final fourr measu fou measures res.. It's a simple simple harmon harmony y and it sou sound ndss pretty pretty cool! cool!

Examp Ex ample le 15 Standard Standa rd tuning

root inversion

e "

 

 

I "

2nd inversion

1st inversion

F

G

2-e-

 

root inversion

e

3{"\ 

4

"

E-Gt .J mf  3

5 5

"

5

 

5

 

5

 

     

6

3 3 4

 

3

   

5 5

1st inversion

root inversion

2nd inversion

1st inversion

C

F

G

C

  -n-n -

 

 

6~

7-R

 

8

~

--.:Y 8 8 9

...-"

9

     

8

     

10 10

7 8 7

 

8

   

8 9

2nd inversion

1st inversion

root inversion

2nd inve inversion rsion

C

F

G

C

~

n  

 

IO~

1l+t

 

12

~

~ 12 13 12

     

Tria Tr iad d an and d inver inversi sion on

13 13 14

     

10 12 12

     

12 13 12

ex exer erci cise sess us usin ing g two two an and d thre threee ch chor ords ds

Now let's expand Now expand on conn connect ecting ing triads triads and inve inversio rsions ns using using the shap shapes es on string stringss 1-2-3 1-2-3 and 2-3-4. 2-3-4. The The first first two tw o exam exampl ples es follo follow w G minor inor and and C ch chor ords ds mo movi ving ng up th the e fretboa fretboard rd,, then then D a and nd G minor inor to reso resolv lve. e. Tr Try ya cooll keybo coo keyboard ard effect effect with with these these two two examp examples les by plucki plucking ng the string stringss stacca staccato to sty style le with with your your index, index, midd middle, le, and ring fingers fingers.. Memo Memorizi rizing ng the location location of the the root root note note is a must! must!

15

 

In the the example example below the first and second second measu measure re is 1st invers inversion ion G minor minor and root root position position C, the third third and and four fourth th is 2 2nd nd inver inversio sion n G min inor or and and 1s 1stt in inve vers rsio ion n C, the the fifth fifth a and nd sixth sixth is root root positi position on G mi mino nor, r, 2nd 2nd inve invers rsio ion n C and and D, and and the the seve sevent nth h is rroo oott positio position n G min inor or on strin strings gs 11-2-3 2-3..

Exam Ex ampl plee 16 Standard Standa rd tuning

Om 

E-Gt .J

 

~

 

--  

.-

1 _

. " "

I

 

 

I

 

c

,..

I

 

2

 

Om 

-

.rJ  

-- - -

 

3-&

•

.

 

-&

c

•

-&

r

mf 

3 -3 -3 -3 -3 3 -3 -3 -3 -5 3 -3 -3 -3 -5

...

..

._

n-

 3 5 5 5 5

   

6 6 6 6 8 8 8 8 8 8 7 7 7 7 9 -

   

D

....

 

Om 

. . . -, , ~ : ~ ~

c

•

5 :f :f ::& ::& .-

•

 

~

 

~.

" li'.:

 

D

~,..

~

:::;-   = :

Om 

-e-

 

7 H

~ 8 l 8 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 string stringss 2-3-4 2-3-4 the first first and secon second d measu measure re is roo roott position position G mino minorr and 2nd inversio inversion n C, the third third and four fourth th is 1st 1st inve inversi rsion on G mino minorr and and root root pos positi ition on C, th the e fif fifth th a and nd si sixt xth h is 2nd 2nd inve invers rsio ion n G mino minorr and and 1s 1stt invers inv ersion ion C and and D, and and the sevent seventh h is root root positio position n G mino minor. r.

Exam Ex ampl plee 17 Standard Standa rd tuning

 

Om 

...   "

 

1

c

 

 

2

E-Gt .J

I

 

I

 

~   I

 

~

···  

Om   

~

 

I

 

I

   

5 5 5 t l 5 5

3. 3.-

 

.-

I

 

I

 

c

- -

.-

 

,..

 

I

  ,

mf 

3 3 3 3 5 3 3 3 3 5 5 5 5 5 5

" .J

- -  -   ..

 

..

5-&

, r )

,

~ 8 ~ 8 9 9 () 1 0

...

 

Om 

 

   

 

-&

  

-&

c

-&

--

 

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

 

- - ..  

~

  "

   

8 8 8 8 8 7 7 7 7 9 8 8 8 8 1 0 -

   

 

-

 

D

  J J ..

 ~

---   ---

1 31 3 1 2 1 2 1 l 1 4 1 4

   

 

1 5 1 4 1 6

Om 

 

7:n

     

1 5 1 5 1 7

16

 

In the same same mann manner er as above above discov discover er an and d name name triad triad positio positions ns and inversio inversions ns in the next next four examp examples. les. The Th e next next two two examp examples les follow follow G and A chords chords mo movin ving g up the fret-bo fret-board ard before before resolvin resolving g on D. D. Use Use the root root note no te in each each triad triad shape shape to quickl quickly y locate locate the proper proper positio position n for each each..

Exam Ex amp ple 18 Standard Standa rd tuning

o

"

.ll.

 

1

- .· ·

E-Gt .J

 

 

A  

--".A7 

 

 

 

o  

2

.

  -&:

 

A

 

o

I-,~

3

 

 t :

A  

 

."-'A2-

--

 

rr:;;;

D

: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

 

...

Exam Ex ampl plee 19 Standard Standa rd tuning

o ,/ "

.ll.

 

1

E-Gt .J

 

I

 

·· · 

 

A

o

   V   I

2

 

'- .

 

..  

A

*'-  J8

 

o  

3

.:

 

.

A

 

D -'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

1 5 H I 1 4 H I 1 6 + 1

17

 

The final final two examples examples follow follow G-C-D-G G-C-D-G chords chords and strum all down down strokes strokes using a pick. pick. Another Another option option is to use staccato technique   by  plu  plucking cking the strings strings with the fingers. fingers.

Exam Ex ampl plee 20 Standard Stand ard tuning tuning

G

 

c

 

D

 

G

 

G

.

 

c

E-Gt mf 

 

3 3 3 3 3 3 3 3

5 5 5 3 3 3 3 3 7 7 7 3 3 3 3 3 7 7 7 4 4 4 4 4

3 3 3 5 5 5 5 5 I Ih-:.-;.-  ----4 -4 -4 -5 -5 -5 -5 -5 T

D

T

 

 

 

G

 

G

 

e

.

 

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 -

II

Exam Ex ampl plee 21 Standard Stand ard tuning tuning

e

G 1

 

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

 

  I II_ / 4 _ 1 2 1 2 1 2 -9 -9 -9 -9 -9

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

 

e

 

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

.

D

 

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 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- Rh Rhyt ythm hm work wi with th tr tria iads ds in va vari riou ouss st styl yles es Strumming Strum ming triads triads Here's a commo Here's common n strum strum pattern pattern using using major major triads. triads. Focus Focus on strum strummin ming g only only the top three strings strings and avoid avo id hitting hitting the three three in the bass. bass. This example example sounds sounds great great played over over a second second guitar guitar strumm strumming ing the same sam e chords chords   inopen position.

Example 22 Standard Standa rd tuning

c

 

F

 

c

 

G

E-Gt mf 

simile

ri 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

 8 8 9 -

~

19

 

"Pachelbe "Pac helbel's l's Cano Canon" n"   with triads triads Traditionally   "Pachelbel's "Pachelbel's Canon"   is in D major, major, but but this this variatio variation n is in C major. major. The The chord chord progre progressi ssion on (or parts par ts of it) has been been "borrow "borrowed" ed" in mod modern ern times times by songw songwrite riters rs and band bandss includ including ing The The Cars Cars in  "Just  What I Needed"   (first (first four four cho chords rds of the verse verse in E major) major) and a more more obviou obviouss paraphr paraphrasin asing g in Green Green Da Day's y's "Basket Case"   (the (the verse verse sectio section n in E major) major).. This exam This example ple picks picks the major major and minor minor triad triad notes notes indivi individu dually ally rath rather er than than stru strumm mming ing.. Fo Follo llow w the pick picking ing direct dir ection ionss given given in the tablatur tablature e or experim experiment ent to come come up with a differ different ent pattern pattern of your your own. own. Practic Practice e thiss slowl thi slowly y at first, focusi focusing ng on switch switching ing chords chords.. qui quickl ckly y witho without ut bre breaki aking ng the beat. beat. Ad Addit dition ionally ally,, look look for a comm common on finger finger that can stay stay on a partic particula ularr string string wh when en transit transition ioning ing from from chord to chord chord.. For For inst instanc ance, e, the first first two chords chords,, "C" and "G," "G," include include the third third finger finger (ring finge finger) r) on the the B string string:: shift shift the 13t 13th h fret (C tri triad ad)) to the the 12th 12th fret fret (G tri triad ad). ).

Example 23 Standard Standa rd tuning

c

 

 

G

Am

E-Gt mf 

simile

I'iVI'iI'iVI'iI'iV

I I. - : r

~•

1 2 1 2 ~ 1 2 1 3 1 3 1 3   1 2 1 2

T

1 0 1 0 ~ 1 0 1 2 1 2 1 2 1 2 1 2

 

8

8 8 ~ 7 7 7

  1 0 1 0 ~ 9 9 -

 

8 8 8

9 9 i

•

 

F

"

~

 5 #

 

#

 

 

\00""

5 6

....

c

 

# -

5

   

6

c

6

-    

_ 

 

........

5  

 

5 5

 

6

.....

 

 

 

3

5

 

5

   

 

5

   

 

.......

3

F 7 #

 

 

5

 

3

5

#

.....    

 

5

6

  5

   

G

 

  8-!'-.

#

 

......

5  

6

  5

 

5

 

-!'--

 

-fII-_

..

...

 

6

   

7   7   7 8   8 8 7   7

 

• •

20

 

Reggae Reg gae style style and mutin muting g string stringss A de defini fining ng charact characteris eristic tic of regga reggae e is perc percuss ussive ive string string mu mutin ting g perfor performe med d by the guitarist guitarist,, usually usually in conjun con junctio ction n with triads. triads. Torepl To replica icate te the percuss percussive ive string string muting muting,, beg begin in by gripp gripping ing the triad. Next, Next, while while stilll holdi stil holding ng the triad, triad, release release finger finger pressure pressure from from the fretboard fretboard while while mainta maintaini ining ng finger finger contact contact wi with th the strings stri ngs.. Strummi Strumming ng the string stringss at this point point should should make make a percu percussi ssive ve scratc scratch. h. Pra Practic ctice e thi thiss techn techniqu ique e with with the reggae reggae-in -influ fluenc enced ed exercis exercise e below, below, which which happen happenss to use all four four triad triad type types: s: major, major, mino minor, r, dimini diminishe shed, d, and augmented.

Example 24 Standard Standa rd tuning

' / "

 1

··

E-Gt ..;

c *

 

~

 

~:e

F

  2

 

  ## - -~   # .

 

Bdim 3

c

  -~·e~

~~.

4

--

mf 

 

==

~--   . . ~:e &i-

simile

riVriVriVri

• •

X-X-8-8X-X8-8-X-XX-X-8--8---~X-X ~X-X-8-8 -8-8-X-X -X-X-8--8---~X-~X-X-7X-7-7-X7-X-X-7 X-7 ___~X_X_8_ ___~X_X_8_8_X8_X-X-8X-8---  X-X X-X- 8-88-8-X-XX-X- 8---f8---f-X-X-10 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-9-   f-X f-X-X-X-101 1010-X 0-X-X-X-10 10 -   f-X-X-7-7-X-X-7---   I-X-X-9-9-X-X-9---

... Am r '"   5

.J

 

F

- - -   ......

......

  . . ..... ,

X-X-S-S-X-X-S X-X-S-S-X-X-S X-X-S-S-X-X-S

 

6~ H- "" ~K - "

  ~~##**#

     

  ........,

---

X-X-S-S-X-X-S X-X-6-6-X-X-6 X-X-S-S-X-X-S

 I S - .   ~-&-&   ~   ~-& ---   - -G

 

7

       

 

  ~   ~-&-&   l S -

X-X-7-7-X-X-7 X-X-8-8-X-X-8 X-X-7-7-X-X-7

Gaug

 

     

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 next exampl examplee explor explores es triads triads on the the top four four string strings. s. The high highest est note note on tthe he first str string ing is dup duplic licate ated d on onee octave octave lo lowe werr on the the fo four urth th stri string ng for for all tri triad adss in thi thiss ex exam ampl ple. e. Ch Chec eck k out out th this is concep conceptt wi with th the the firs firstt chord cho rd in th thee exampl example, e, C majo major, r, which is a famil familiar iar F chord chord grip grip at the the eig eighth hth fre fret. t. This exam example ple is rem remini inisce scent nt of '50 '50ss doo-wo doo-wop p and uses the tim timee signatur signaturee 6/8, 6/8, which which compli complimen ments ts the chord chord progre progressi ssion on wonder wonderful fully. ly. Pl Play ay the chords chords ev even enly ly wi with th no pa paus usee at the the trans transit itio ions ns.. Be sure sure to pla play y th this is slow slowly ly en enou ough gh to not not allo allow w pauses pau ses at the the chord chord transi transiti tions ons.. Speed Speed is a by-pro by-produc ductt of accura accuracy! cy!

Exam Ex ampl plee 25 Standard Standa rd tuning

"

 

..

1

E-Gt .J

-~ -   c

   

-P ~

 

•

9

 

V

V

 

 

 

 

3

 

 

4

--

l....J ..-I

simile

-~   -

F

-#

 

 

~

-...

V

8 8 8

• 10

 

-

-

mf 

r1r1r1

F

2

 

   

9

6 8 8 9

 

8

 

  9

 

5

6 6

 

5

 

5

 

7

4

6 6  

5

5-

6

....

-  -

e " ..;

 

  5

 

 ~

8 8 8

10

9

 

c

:::-::.

"

9

  .. ":;L.

~ r1 8 :I:.-

!.

~ Q

 

 

8 9

10-

tl

tI

 

  9

....

JI-

6

...-

-~  

G  

-

 

c  

-

7

8 8

 

7

9

 

7

7

  .-F -.

 

       

10

9

Gaug  

 

-

8 8 8  

 

  .  . .. ~

8

9

   

 

9

8

8

7

8

8 ~

•

22

 

Span Sp anis ish h st styl ylee us usin ing g desc descen endi ding ng and and as asce cend ndin ing g mo moti tion on Here's a recog Here's recogniz nizabl able e Spanis Spanish h style style chord chord progre progressio ssion n that that appears appears in many many other other genres genres includ including ing surf, surf, rock, roc k, and metal, metal, an and d uses uses a Span Spanish ish strum strum pattern pattern in 3/4 time. time. The first first h half alf plays plays secon second d inv invers ersion ion triads triads descen des cendin ding g the fretbo fretboard ard,, while while the latter latter half half follow followss the same same chords chords and uses uses a variet variety y of inver inversio sions ns to ascend asc end the guitar guitar neck. neck. Chang Changing ing directi direction on to cre create ate opposi opposite te motio motion n is one one of many many cool cool thing thingss that that can be done do ne with triads. triads. Pretty Pretty cool! cool!

Example 26 Standard Stand ard tuning tuning

 I. Am

"

 

  1 = 1 =   1= •••

G

 

2

..  

E-Gt

3

  - & - & - & -& -&

-& - & -&

  

.J

-

mf 

7\ 

-... F ...- "

S

...

 

 

8 8 8 8 8 -8 8

 

8 8 8 8 8 88

 

-I 

7 7 7 7 7 7 7

-I 

D

 

7   o ! I- _ E ____  

..

6

..........   ..........

Am

  •

..

7 7 7 7 7 7 7  

9 9 9 9 9 9 9

 

5 5 5 5 5 5 5 6 6 6 6 6 6 6 5 5 5 5 5 5 5

. ,' .". 9" .

 

1 0 1 0 1 0 1 0 1 0 1 0 1 0

  . .. .. .. .. .. .. .. .

--.:Y

4

similie

r i   r i V   r i   V   r i   V

-

 

1: ••

   

• •

~

."

- -

 

~

 

  -& -& __ __

 

~

4 4 4 4 4 4 4 5 5 5 5 5 5 5 4 4 4 4 4 4 4

 

G#dim

8 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

1 1 :f

  -I 

9 9 9 9 9 9 9

 

:f: :f:l:l:ll

 

:I :I :I   1 2

  

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

.. -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

Am

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

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

1 tE = ~ ~ 23

I

 

Stacca Sta ccato to styl stylee plucki plucking ng tri triads ads with with finger fingerss Plucking Plucki ng string stringss with with the fingers fingers produ produces ces a staccato staccato effect effect simi similar lar to a keyboar keyboard. d. In the examp example le bel below ow,, pluck plu ck all three three stri string ngss simult simultane aneou ously sly with with your your index, index, midd middle, le, and ring ring finger fingerss (no pick pick he here). re). The tone tone is "Won't Get Foo Fooled led Aga Again" in"   an Guitars." remini rem inisce scent nt of The The Who Who's 's keybo keyboard ard work work on   "Won't and d Van Van Halen Halen's 's on   "Little Guitars." The Th e chord chord progre progressi ssion on in this this examp example le is similar similar to the the classi classical cal work work of Johan Johann n Sebast Sebastian ian Ba Bach ch where where the ch chord ordss are mov moving ing in ascen ascendin ding g diaton diatonic ic fourth fourth interv intervals als and cycle thro throug ugh h all seven seven chords chords in A mino minor. r. The The only on ly exceptio exception n is the the tension tension building building G# dimini diminishe shed d ch chord ord which which is borro borrowe wed d from from the A harmo harmonic nic mino minorr scale. sca le. Liste Listen n to how well well G# dimini diminishe shed d resolv resolves es to the A mino minorr chord chord..

Example 27 Standard Stand ard tuning tuning

Am

"

 

1

- - --

   

2

E-Gt

- - - - - - -

Dm

 

•

 

.J mf 

 

G  

3

 

~ ~~ ~~ ~~ ~~ ~~ ~~ ~

c

 

4

--------

---

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-tt--8-8-8-8-8-8-8-89-9-9-9-9-9-9-9-1-101 01 01 01 01 0 10 10 -ll--7 -7-7-7-7-7-7-7-7-t--9 -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

Am ~"

 

9

~

.J

8

1 0-

9

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

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

24

 

Blues Blu es sty style le with with tri triads ads func functio tionin ning g as chord chord exte extensi nsions ons In jaz jazzz and blues blues genres genres triads triads are occas occasion ionall ally y used used to crea create te harmony harmony ext extens ension ionss of a cho chord. rd. For inst instanc ancee an A7 chord chord is spell spelled ed A-C#-E A-C#-E-G, -G, which which is an A major major triad: triad: A (root) (root),, C# (3r (3rd), d), and E (5t (5th) h) with with a G n note ote (b7 (b7)) added. add ed. Check Check out the last last three three notes notes of A7: C#, E, and G, spell spelling ing a C C# # dimin diminish ished ed triad. triad. A second second guitar guitar co coul uld d playa playa C# di dimi mini nish shed ed tr tria iad d ov over er the A7 A7 cho chord rd an and d so soun und d co comp mple lete tely ly natu natura ral. l. Let' Let'ss take take this this con conce cept pt further furt her by playin playing g the upper upper extens extension ion triad triad of an A9 A9 chor chord, d, which which is spell spelled ed A ((roo root), t), C# (3rd), (3rd), E (5th), (5th), G (b7th) (b7 th),, and and B (9th). (9th). The The upper upper three three notes notes are E, G, and and B, and spell spell an E minor minor triad. triad. The exa exampl mplee below below ap appl plie iess this this concep conceptt to a 12-ba 12-barr blue bluess in A an and d us uses es a ttyp ypic ical al move move wher wheree the the tria triads ds slid slidee back back an and d fort forth. h. See See if you can recogn recognize ize the differen differentt triads triads used used as exten extensio sions ns for the the A9, D9 D9,, an and d E9 cho chords. rds.

Example 28 Standard Stand ard tuning tuning

... - "

 

J J . . frfr

-

..

1

E-Gt ..; ..;

2

I I

~L

  -  ,

D9  

'-

 ?

  ..

• • 

...

I'J.

....

,...,,.. '"

J J ..jjo

 

5

u

D9  

0- f.

~~~#

- -

. ;

 

'-

 h . _

 

I   I

~~l.J

 

     

4

 

I

l.J1   ?

7 " ,S 7 - 8 7 S 6 " , 4 6 - 7 6 4 9 7 S 7 " ,S 7 -   -

.

A --9  

7

~

~

  : :: :: :: '

0 0

0 3

Ii

0 - 

0 3

~~~#

- -

 

" ,S .t'i   7 0  

0  3

6

;tt1*

7 ~ S 7 ~ S 7 ~ S

s 7 " ,S

  ~';!/ 

 

~

0 0

 " 7 ,S 6 " ,4  

 

  - :: :: :: '

..:.

~  

~

 

~

 

- 

3

~

mf 

......

A9  

 

~~

.---

7 ,,S 7 ,,S 7 ,,S  

 

 

0 0

0 3

.....

8 h .

I

 

7 ~ S 7 6 ~ 4 6 7 ~ S 7

 

~    I

;t;t

 

 

0 3 -

  -.;-""'-   I

I

 

 

8 7 S 7 6 4 9 7 S

S 7 -

11.  

E9 ,...,,.. "

J J ..jjo   9

.J

- -- --- --

D9

-

 

10

~~'--

~

  ~~#

 

-

 

,

-

 

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