The Basics: Learn Your Triads PART 2: Second Set of Three Adjacent Strings

For PART 2,  we are going to bounce over to the next set of three adjacent strings (strings 2,3, & 4) and learn our basic triad voicings just as we did in PART 1. To keep things simple, we will build all of these triads using the same "root note" ( C ), as we did in PART 1 for comparison. Later on, all of these triad voicings will be transposed to other keys.

Things to study within each example below:

1. Within each triad inversion, make sure you memorize which note is the "root". What finger and on what string, is playing the root? Sing the root while you play the chord. (note: this will also be required for transposing to different keys)

2. Within each inversion, memorize where the "3rd" and "5th" are within the voicing. Sing them while you play the chord.

3. Notice the pattern of rotation of tones moving from one inversion to the next. What note (Root, 3rd, or 5th) is on the bottom? What note is on top?


Ex 1. shows a major triad in closed root position, and it's two inversions. For range purposes, the 1st Inversion and 2nd Inversion are voiced lower than the Root Position on this set of strings.  
Ex. 1.5 shows the 1st Inversion transposed up an octave. Later on, we will use this shape and fingering for moving the 1st Inversion major up and down the fretboard 

Ex.2 shows a minor triad in closed root position, and it's two inversions. Ex. 2.5 shows the 1st Inversion transposed up an octave on the same three adjacent strings. Later on, we will use the fingering in 2.5 for moving the 1st Inversion minor up and down the fretboard.

Ex.3 shows a diminished triad in closed root position, and it's two inversions. You know what to do.

Ex. 4 shows an augmented triad in closed root position, and it's two inversions. Ex 4.5 shows the 1st Inversion transposed up an octave. Notice how all of the chord voicings are the same shape and fingering. Also notice how the root, 3rd, and 5th shift through each voicing.

Extend That Lick!

This segment is going to focus on transposing short melodic motifs through different registers in order to combine them into forming longer phrases.
Before you get into this one, I would recommend you get well acquainted with knowing your octaves in Octave Fingerings and Fretboard Awareness  if you haven't already. For now, I am going to keep things simple by starting the melodic motifs from the tonal center ( G ). Later on, we will practice this concept in different keys or tonal centers, string sets, and with the motifs starting on notes other than the tonal center (or "root" if you prefer to call it that).



Ex.1 is the note G (tonal center) located on the 6th string/3rd fret and it's octave (G8) on the 4th string/5th fret. Ex.2 is a simple blues-based lick in the key of G starting on G. Play this lick and get it under your fingers and in your ears. Ex. 3 is the exact same lick only it is transposed an octave higher, starting on G8. Play Ex.2 and Ex.3 back and forth and get a good feel for them in both registers.

Okay, so now that you have these down, check out Ex.4. Here, I took Ex.2 and Ex.3 and created an extended phrase by putting the two together. Notice how the two intersect to form a longer melody. Notice
where the tonal centers( G ) are.

Here's the same concept only now it is 3 octaves in range. Ex.5 shows our tonal center and octave range. Ex.6 is another blues-based lick in the key of G starting from the highest G. Ex.7 is the same lick and octave lower and Ex.8 is a longer melody as a result of combining Ex.6 and Ex.7. Notice where they intersect.

Ex.9 shows our (tonal center) and range. Ex.10 is a short melodic motif and Ex.11 is the same motif transposed up an octave. Ex.12 shows an example of an ascending line by combining Ex.10 and Ex.11.

This concept of extending melodic motifs through octaves can work for other tonalities too. Practice this concept by coming up with a short melodic idea and transposing it into higher or lower registers. Once you have a feel for it, try combining the motifs from different registers to form longer lines. Try forming both ascending and descending lines with the same melodic motif and creating different variations.

There will be more on this subject in the future so stay tuned!

The Basics: Learn Your Triads PART 1: The First Set of 3 Adjacent Strings

A triad is a 3 note chord. In this part, we are going to focus on learning four basic triad types, which are major, minor, diminished, and augmented.  We are going to focus on learning these triads on the first set of three adjacent strings in a couple of different inversions. To keep things simple, we will build all of the triads from the same "root note" ( C ) for comparison, contrast, and analysis. Later on, all of these triads will be transposed to other "keys".
Triads are the most commonly used chords and I would recommend getting a solid grasp on this material as it will be very useful, both harmonically and melodically, in a number of ways.

Things to study within each example below:

1. Within each triad inversion, make sure you memorize which note is the "root". What finger and on what string, is playing the root? Sing the root while you play the chord. (note: this will also be required for transposing to different keys)

2. Within each inversion, memorize where the "3rd" and "5th" are within the voicing. Sing them while you play the chord.

3. Notice the pattern of rotation of tones moving from one inversion to the next. What note is on the bottom? What note is on top?





Ex 1. shows a major triad in closed root position, and it's two inversions. Practice and commit all of the material below to memory. Practice moving in between each inversion until it is seamless.

Ex.2 shows a minor triad in closed root position, and it's two inversions. Practice and commit all of the material below to memory. Practice moving in between each inversion until it is seamless. Notice the difference compared to the major triad in both structure and sound.

Ex.3 shows a diminished triad in closed root position, and it's two inversions. Practice and commit all of the material below to memory. Practice moving in between each inversion until it is seamless. Compare the diminished triad to the minor triad in Ex.2.

Ex. 4 hows an augmented triad in closed root position, and it's two inversions. Practice and commit all of the material below to memory. Practice moving in between each inversion until it is seamless. Compare the augmented triad to the major triad in Ex.1. Do you notice anything about the fingerings for all the inversions in Ex.4 below?

There will be more to come on this subject, including learning these on other sets of adjacent strings. Once you get these under your fingers and in your ears, check out Harmonizing Melody with Chords PART 1: Diatonic Triads