People have been asking me to teach them how to shred for 40 years, and I’ve always told them to memorize the natural notes on their instrument and burn in their triads. Not that I’ve ever been a shredder, but guitar players aren’t the sharpest pencils in the jar so….
We NEED to talk about triads!
- Thread starter Sascha Franck
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maguchi
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When this thread came out in early Febuary it piqued my interest. I had already learned the 3 inversions of major and minor triads on the two highest stringsets quite awhile back. I decided to learn the two lower stringsets in major and minor also, as well as the diminished and augmented triads on all 4 stringsets.
The way I burned them into my memory and fingers is to practice the 3 inversions of the 4 qualities of triads in one key a day on each of the 4 stringsets. That is for example on a Monday all 3 inversions of F major triads, 3 inversions of F minor triads, 3 inversions of F diminished and the 3 inversions (1 shape per stringset) of augmented triads on all 4 stringsets.
This is a little less daunting than it sounds at 1st blush due to the augmented triads are 1 shape per stringset. And for the 2 lower stringsets the shapes are the same. On Tuesday I'll do them all in Bb, Wednesday in Eb etc. through the circle of 5ths. After about a month of this I should have my triads under my fingers and in my brain pretty well.
Oh and almost forgot, I play triads up and down the scale diatonically in major, minor, harmonic minor and melodic minor in the key of the day.
Sascha Franck
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I actually don't do it this way. I just play. I do however try to cover as many keys as possible. And I do especially try to cover less guitar friendly keys - because even if transposing is easy and sometimes things are just a centimeter away, there's still a noticeable difference between, say, C and Db, even if you leave the open strings out.
Sascha Franck
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Well, I'm afraid I can't help you then. Because I explained anything there is to explain (at least so far) already.
If you know all your triads already, if you can play and modify them fluently all over the neck already, this thread isn't for you. And that's not even remotely meant snarky or whatever. Be happy about it. Seriously.
jay mitchell
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Playing closed-voiced triads is relatively easy once you memorize all the intervals between adjacent tones. For example: in ascending order, a major triad, root position has a major third, then a minor third. In first inversion, the same triad has a minor third, then a perfect fourth. In second inversion, there's a perfect fourth, then a major third.
Open voicings are a only bit more challenging but potentially very rewarding. Using the same example as above, an open-voiced major triad in root position has a perfect fifth, then a major sixth. In first inversion, there is a minor sixth, then a perfect fifth. In second inversion, there's a major sixth, then a minor sixth. Because some voices are not on adjacent strings, playing open voiced triads requires selective string muting for chords and string skipping for arpeggios, so it will take a little more effort to learn.
While the above is not terribly specific to guitar, it's not especially difficult to translate general musical information about intervals to fretboard fingerings/shapes. Knowing the intervals in triads, combined with knowledge of the intervals between string pairs, enables the player to learn and execute triads with minimal effort, both as chords and as arpeggios. IMO it's better to learn the shapes/fingerings on your own directly from knowledge of the various intervals than to rely on fretboard diagrams created by someone else.
Open voicings are a only bit more challenging but potentially very rewarding. Using the same example as above, an open-voiced major triad in root position has a perfect fifth, then a major sixth. In first inversion, there is a minor sixth, then a perfect fifth. In second inversion, there's a major sixth, then a minor sixth. Because some voices are not on adjacent strings, playing open voiced triads requires selective string muting for chords and string skipping for arpeggios, so it will take a little more effort to learn.
While the above is not terribly specific to guitar, it's not especially difficult to translate general musical information about intervals to fretboard fingerings/shapes. Knowing the intervals in triads, combined with knowledge of the intervals between string pairs, enables the player to learn and execute triads with minimal effort, both as chords and as arpeggios. IMO it's better to learn the shapes/fingerings on your own directly from knowledge of the various intervals than to rely on fretboard diagrams created by someone else.
Sascha Franck
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I absolutely agree. And this is why I only did show diagrams all over the fretboard for the first round covering major triads.
AFKAEjay(retired)
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Let’s ask the admins here to put these on the same list as politics and Ts
Ed DeGenaro
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Yeah my old teacher Don Mock used to say the guitar is a slide ruler.
Sadly what that doesn't take into account is us being used to fretmarkers that make that Db a pain
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Ed DeGenaro
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Sascha Franck
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Yeah, it's actually quite weird. Playing in Db is kinda like the moment when you can play better without looking at the fretboard because doing so will only confuse you.
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You didn't ask me and Ed already answered, but still (even if I have partially covered it already): Yes, and a "typical" triad is considered the smallest group of notes to form a "real" chord. We could have a discussion whether that is really so, but that's pretty much the general consensus.
Sort of because of that, triads can also be considered being the smallest building blocks to pretty much sufficiently "describe" any harmonically functional context.
And fwiw, a "typical" triad consists of root, third and fifth of the chord. To build them up yourself within a key/scale, you grab any key/scale note as your root and then slap two diatonic (within the key/scale) thirds on top of it. You can then analyse the results (I've done just that in one of the first posts in this thread, in case you're interested).
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Sascha Franck
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To get back on track, as a sort of "interlude" and as promised - kinda triggered by @bucephalus - here's some true horrorshow cowboy chord stuff, which I will try to make a little more acceptable (and if only from a player's POV) using the very triads discussed so far.
I'll stick to the key of good old C major and use one of the most common chord progressions in existance, namely the 1645 progression, in roman numbers: I-VI-IV-V.
Hence, the chords used will be C-Am-F-G.
I'd almost take a bet that pretty much everyone has already strummed these (or something very similar) on their acoustics in the beginning of their career, possibly struggling a bit with the F, kinda faking their way through it, likely using a "not so complete" barre version, as in leaving out the A5 and E6 strings or whatsoever.
Anyhow, when you hear it, it'll be instantly familar.
And instantly cheesy! Don't say you haven't been warned!
So, I tried my best to use lame drums, bass, piano and guitar patterns for a start. Uninspiring all throughout, to put it mildly.
Next I added two guitars just using the very kind of major and minor triads I was trying to explore so far to improve the situation. I'm not saying it's acceptable music all of a sudden (we all know about the non-polish-able turds), but at least these kinda parts are more fun to play and IMO it's at least a little more acceptable for the audience.
8 bars of pure horror, 8 more bars of slightly less horror:
No idea whether this demonstrates anything properly for you folks, but personally, I defenitely think it's a noticeable improvement. Anyhow, it basically was just to show a sort of real life example (unfortunately, I sometimes have to deal with less than enjoyable music, things like this help me to get along with those situations).
Here's what I did. The left (almost faux slide) guitar is playing the chords very strictly as written:
So, a really easy part.
For the right, more "rhythmi-sized" guitar I was using a little bit of additional movement by approaching (or "embellishing") the target chords by other triads from C major. Without going into any details about the hows and whys, this is something you can do with pretty much any chords out of the key. Just release them to the target chord in time and you'll be fine.
Otherwise it's exactly the same triads as already covered:
And that should be it for now.
I hope you've enjoyed that marvellous (or should I better say "mindnumbing revolutionary"?), emotionally pleasing piece of art!
I'll stick to the key of good old C major and use one of the most common chord progressions in existance, namely the 1645 progression, in roman numbers: I-VI-IV-V.
Hence, the chords used will be C-Am-F-G.
I'd almost take a bet that pretty much everyone has already strummed these (or something very similar) on their acoustics in the beginning of their career, possibly struggling a bit with the F, kinda faking their way through it, likely using a "not so complete" barre version, as in leaving out the A5 and E6 strings or whatsoever.
Anyhow, when you hear it, it'll be instantly familar.
And instantly cheesy! Don't say you haven't been warned!
So, I tried my best to use lame drums, bass, piano and guitar patterns for a start. Uninspiring all throughout, to put it mildly.
Next I added two guitars just using the very kind of major and minor triads I was trying to explore so far to improve the situation. I'm not saying it's acceptable music all of a sudden (we all know about the non-polish-able turds), but at least these kinda parts are more fun to play and IMO it's at least a little more acceptable for the audience.
8 bars of pure horror, 8 more bars of slightly less horror:
No idea whether this demonstrates anything properly for you folks, but personally, I defenitely think it's a noticeable improvement. Anyhow, it basically was just to show a sort of real life example (unfortunately, I sometimes have to deal with less than enjoyable music, things like this help me to get along with those situations).
Here's what I did. The left (almost faux slide) guitar is playing the chords very strictly as written:
So, a really easy part.
For the right, more "rhythmi-sized" guitar I was using a little bit of additional movement by approaching (or "embellishing") the target chords by other triads from C major. Without going into any details about the hows and whys, this is something you can do with pretty much any chords out of the key. Just release them to the target chord in time and you'll be fine.
Otherwise it's exactly the same triads as already covered:
And that should be it for now.
I hope you've enjoyed that marvellous (or should I better say "mindnumbing revolutionary"?), emotionally pleasing piece of art!
Last edited:
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