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From: LIVENGOOD.MIKE@a1gw.gene.com (Mike Livengood)
Date: 29 Jun 1995 16:48:06 -0500
Subject: LESSON: TRIADS
More triads
For those who have been following the lessons that have been posted recently
(and for those who haven't) there have been lots of references to triads (See
Judy's excellent lesson on Chord Theory). So while we're on the subject I
thought I'd continue the discussion with more triad usage and examples.
First let's run through a few triad shapes
Shape I Shape II
A Major (A-C#-E) A Minor (A-C-E)
E----- E-----
B--5-- B--5--
G--6-- G--5--
D--7-- D--7--
A----- A-----
E----- E-----
Shape III Shape IV
F Major (A-C-F) D Major (A-D-F#)
E----- E-----
B--6-- B--7--
G--5-- G--7--
D--7-- D--7--
A----- A-----
E----- E-----
Shape V Shape VI
F# Minor (A-C#-F#) D major (D-F#-A)
E----- E--5--
B--7-- B--7--
G--6-- G--7--
D--7-- D-----
A----- A-----
E----- E-----
Shape VII Shape VIII
D Minor (D-F-A) G major (D-G-B)
E--5-- E--7--
B--6-- B--8--
G--7-- G--7--
D----- D-----
A----- A-----
E----- E-----
Shape IX Shape X
G Minor (D-G-A#) A Major (C#-E-A)
E--6-- E--5--
B--8-- B--5--
G--7-- G--6--
D----- D-----
A----- A-----
E----- E-----
Shape XI Shape XII
A Major (E-A-C#) A Minor (E-A-C)
E----- E-----
B----- B-----
G--6-- G--5--
D--7-- D--7--
A--7-- A--7--
E----- E-----
These shapes represent twelve very common and very useful triads. All are
completely movable. I just kept them in the same position for simplicity.
So what good are triads? I can see that they're just parts of chords that I
already know...what's the big deal?
Well, let's see...one advantage of playing just the triad and not the full 6
string chord is you can still play chords if you hurt one of your
fingers....duh...
Another plus is simplicity of sound. Like Judy mentioned in her article, if
two guitars are playing...full 12 string chords get pretty muddy. But if one
guitar plays the major triad (say Shape I above) and the other guitar plays
the complimentary major triad (Shape X or XI above) you get a cleaner more
harmonious tone.
Another advantage is ease of transition between chords, and maintaining the
same tones. Take a classic example of the use of triad Shapes I, III, and IV
above. This is the intro to Amazing Journey by The Who from Tommy. The chords
are C-G...A-E..D-A. Playing the triads makes a real nice progression.
C G A E D A shape
also youll find that if play an acoustic guitar a lot these triad fingerings are
easier on your hands than barre chords. heres another example youngsters wont
recognize but is worth
noodling with anyway. intro to squonk by genesis off
the trick of
tail cd. use triads again critical imitate keyboard line. g d 4x
e------------------]-----------------]
b--8---8-8---8-7---]--3---3-3---3-5--]
g--7---7-7---7-7---]--4---4-4---4-6--]
d--9---9-9---9-7---]--5---5-5---5-7--]
a------------------]-----------------] iii iv i as long were theme one uses
triads. tune everyday steve hackett from spectral mornings b e esus
e---------------------------------]
b--5--7--9---5-7---9-10---9--7----]
g--6--8--9---6-8---9-9----9--8----]
d--7--9--9---7-9---9-9----9--9----]
a---------------------------------] bass plays gsus
e--5--7--9---5-7---9--10--9---7---]
b--7--9--10--7-9---10-10--10--9---]
g--7--9--9---7-9---9--9---9---9---]
d---------------------------------] vi viii
using allows chord formations around main melody tonewhich in
this case e-f#-g# for first little
section
and a-b-c# secondwithout losing melody. few other fingerings.
shape (iv) dsus4 (a-d-g) dsus2 (a-d-e) e----- b--8-- b--5-- g--7-- d--7-- a----- c (viii)
gsus4 (d-g-c) gsus2 (d-g-a)
e--8-- e--5-- d----- (i)
f (vi)
asus4 (d-e-a)
take look at panama van halen. eddie above adds suspended 4th fingering. dsus
e-------------------------------------]
b--9--9-10--7--9---10--7---7--7-8--5--]
g--9--9-9---8--9---9---8---7--7-7--6--]
d--9--9-9---9--9---9---9---7--7-7--7--]
a-------------------------------------]
notice howsounds like iii?? this:
e----------------------]
b--7---8-----7---8-----]
g--7---7-----7---7-----]
d--7---7-----7---9-----]
a----------------------]
weird huh? maybe not...why would sound g?because
substituting third adding g! so
fourth up d. see muchve learned? yet shape. lawyersguns money warren zevon. asus
e----------------------------------]
b--5--5-5---5-5-5-5----5--5-5---9--]
g--7--7-6---7-7-7-6----7--7-6---9--]
d--7--7-7---7-7-7-7----7--7-7---9--]
a----------------------------------] way best cop progressions inversions similar
keyboardists them. example. solsbury hill peter gabriel. shapes
pictured above.
f# b-e
e--------------------------------]
b--------2---4h5-----4---5-4--2--]
g--3--4--3---4---4---4---4-4--3--]
d--4--4------4h6--4--4---6-4--4--]
a--------------------------------] iv-iii
b--------2----5---7----4--5--4--2--]
g--3--4--3-----4---4---4--4--4--3--]
d--4--4---------6---6--4--6--4--4--] can be number different chords
depending
note? example: major when
played over or minor seventh b. (a-c-f) (a-d-f#)
b--6--
b--7--
g--5-- v dominant (a-c#-f#)
g--6--
somerather obscure could have names note. utilize secondsfourths sixths familiar
thirds fifths.
g--9--
e--9-- e--7-- b--9-- yield really cool progressions. been
trying incorporate into solo.
e--x-x-9--x-x-7--x-x-7--x-x-5--x-x-5--
b--x-x-7--x-x-7--x-x-6--x-x-5--x-x-5--
g--x-x-9--x-x-8--x-x-5--x-x-6--x-x-7--
d-------------------------------------
a-------------------------------------
e-------------------------------------
x= percussive muted strums guess rambled enough. once start playing instead normal
whole new worldtransitions altered will open you.
comments?
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