This Week on the Guitar Blog...
Triad Chord Voicings in Solo Guitar
In this GuitarBlog episode I'll run through a number of common major and minor 3-note triad shapes. We'll put them to work in studies that use these chord patterns in different solo style rhythm guitar situations and in stand alone chord riffs.
Video - PART 1: In the first part of the lesson I introduce the most popular 3-note triad voicings built from off of the 4th and 3rd strings. Example one applies 4th-string root triads in both major and minor chord qualities and demonstrates them within the key of "G Major" (from 10th position to open position). Example two, switches to the key of "B Minor" and applies a number of popular 3-note triad patterns based from off of the third guitar string.
Video - PART 2: In the second half of the lesson, (available with the lesson handout in the members area), we add filler licks and surrounding tones to our triads. Example three uses the common "I - IV - V" chord progression within the key of "D Major." The harmony is made more interesting through the use of both 3-note triads and a filler lick that appears within measures two and three.
Example four uses the mode of "G Dorian" to bring together an altogether new and interesting harmony. The progression uses picked arpeggios to highlight the tonic chord of "G Minor," (done across two chord different chord voices). A series of 2-note (double stop) chords are applied in measure two demonstrating the powerful effect that surrounding tones can have when taken from a modal key center.
Be sure to watch Part 2 of this lesson and download the handout in the members area of CreativeGuitarStudio.com
RELATED VIDEOS: "Triad Chord Voicings in Solo Guitar"
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November 25, 2016:
PART ONE: In part one, example one, I've put together layouts of two scale sections of a major pentatonic example in the key of "G Major." The starting shape in example 1a is constructed off of the 6th-string root at the third position. The second half of the pattern operates from the 4th-string's fifth position. These can be combined afterward to form one large Major Pentatonic scale layout.
In example two, we move onto the color of the Minor Pentatonic with a three part run of the "A Minor" Pentatonic scale. The layout offers shapes built off of the 6th-string third position in example 2a. Then, we move up to the next octave in example 2b built from the 4th-string fifth position. The third segment of the run is built from the 2nd-string eighth position and completes the neck to three octaves. All three are shown using varied rhythmic meter. The three segments can be combined into one passage to form a lengthy 3-octave lateral Minor Pentatonic run.
In example four, the lateral Pentatonic Scale connections cover a great deal of the guitar fingerboard. Example 4a begins in the lower fret-board region at 6th-string and descends down the neck into the third position. From there the phrase expands into the example shown in 4b where the length of the neck is covered more rapidly moving through the scales tones along the neck laterally. Slides pull the scale along the 2nd-string shifting the melody forward to the eleventh fret. The phrase is notated as two parts, but the segments will operate smoothly as one connected melody if they are combined.