• Author / Uploaded
• Kailash Kumar

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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 triad types and formulas -Building major diatonic triads -Diatonic triads natural minor, melodic minor, and harmonic minor scales

II - Triad inversions

9

-Triads and inversions on string sets 1-2-3,2-3-4,3-4-5, and 4-5-6 -Practicality of using triad inversions to economize hand motion -Triad and inversion exercises using two and three chords

III - Rhythm work with triads in various styles

19

-Strumming triads -Pachelbel's Canon with triads -Reggae style and muting strings -Triads on four strings -Spanish style using descending and ascending motion -Staccato style plucking triads with fingers -Rolling Stones style "Keith Richards" chords -Blues style with triads functioning as chord extensions -Van Halen style triads

IV - Arpeggio style triads

28

-Diatonic triad arpeggios on two strings in C major -Triads from Bach's "Toccata and Fugue" in D minor -Diatonic triads ascending and descending the C major scale

V - Soloing with triads

31

-Easy solo with three-string triad shapes -More challenging solo using two-string triad shapes -Rapid-fire two-string triads -Tapping triads

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

35

-Eric Johnson style expanded triads and inversions -Five-string triads and inversions -Stacking triads to create "jazzy" chord extensions -Tapping triads on multiple strings

Audio bonus tracks Conclusion

39 39

I-Introduction To Triads What is a triad? A triad is a three-note chord constructed of alternating notes from a seven-note scale. Specifically, a triad uses every other note: the root (also called "I"), 3rd, and 5th degrees from the scale. Four triad types can be derived from the various diatonic scales and modes: major, minor, diminished, and augmented. Depending on the scale, all or a few of the various triad types are used.

Four triad types and formulas Diagramed below are the four different triad types using "C" as a reference root note for easy comparing. The first note (lowest) is considered the root "I" and acts as the foundation for the chord. The middle note is the "3rd" (three scale tones up from the root) and defines whether the chord is major or minor, with minor represented by a flat sign "b" in front: "b3". The highest note is the "5th" (five scale tones up from the root), which can also be flatted for diminished ("b" in front: "b5", also sometimes referred to as "#4") or sharped for augmented ("#" in front: "#5", also sometimes referred to as "b6"). There are two ways to understand and view a triad. First, arrange the three notes ascending on one string: "l(root) - 3 - 5". This method helps to visualize the interval structure (the distance between each note). The second is to arrange the notes on three adjacent strings with one note per string to form a chord grip, which allows the ear to hear the three notes together. Diagrammed below are the four triad qualities arranged using these two methods. Play the chord that occurs on the fourth beat of each bar to hear the sound difference between the four varieties. Major sounds happy and uplifting, minor is sad and somber, diminished sounds unresolved and scary, and augmented is unresolved and open. The four examples below use "C" as the root note for easy comparing between the triad types. C major triad (1-3-5):The distance between "I and 3" is two whole steps, and one and a half steps between "3 and 5."

Example 1 C major triad Standard tuning

~" E-Gt

-

c I

.. ...... I

mf Root(1)

3rd

5th

1

5

8

';...."

D

....

5

c

3 5 5

C minor triad (1-b3-5):The distance between "I and b3" is one and a half steps, and two whole steps between "b3 and 5."

Example 2 C minor triad Standard tuning

~ E-Gt

"

em I

..

-

-

8

3 4 5

mf

1

4

.....

C diminished triad (1-b3-b5):The distance between "I and b3" is one and a half steps, and one and a half steps between "b3 and b5."

Example 3 C diminished triad Standard tuning edim

1-._

I

E-Gt

..

-

mf 1

4

7

...

6

2 4 5

C augmented triad (1-3-#S): The distance between "I and 3" is two whole steps and two whole steps between "3 and #S."

Example 4 C augmented triad Standard tuning eaug

E-Gt

"""

#.

I

..;

•

I

mf

1

5

4 5 5

9

.....

Building major scale diatonic triads All seven-note diatonic scales contain a series of seven triads - one built from each note. To begin, let's take a look at the C major scale and its component notes, "C-D-E-F-G-A-B." Build the first triad in C major starting with "C" and take every other note (three total). The resulting notes are C, E, and G (1-3-S), which spell a C major chord. For the second triad in C major begin with "D" and repeat alternating notes. The resulting notes are D, F, and A (1-b3-S) which spells a D minor chord. Repeat this for all notes to discover the seven diatonic triads in C major. Helpful hint: Extend the C major scale one additional octave to see the notes for F, G, A, and B triads. C major scale in two octaves: C-D-E-F-G-A-B-C-D-E-F-G-A-B-C Get familiar with the diatonic triads in C major by playing them in ascending and descending order. Here are the diatonic triads in C major on the top three strings.

Example 5 C major diatonic triads

2.

Am

f

,

10 12 12

12 13 14

13 15 16

Standard tuning

e

"

E-Gt

I.

Dm

Em

F

-.

•

=1=

..

G

Bdim

e

f 15 17 17

mf

3 5 5

5 6 7

7

8 9

8

10 10

...

7

Diatonic triads in natural minor, melodic minor, and harmonic minor scales Use the same process to discover the triads in natural minor, melodic minor, and harmonic minor scales. Below are examples on the top three strings for the diatonic triads in these three minor scales. C natural minor contains the notes C-D-Eb-F-G-Ab-Bb-C. Below are the diatonic triads in C natural minor.

Example 6 C natural minor diatonic triads

em

f

,

11 13 13

13 15 15

15 16 17

Standard tuning

em 1

Ddim

_

--a-

" E-Gt

•

Fm

Gm

=1=

2:1

8 9

10 11 12

Bt.

t ~

.J mf

3 4 5

...... I'J.

4 6 7

6

8 8

10

~.

D

....

C melodic minor contains the notes C-D-Eb-F-G-A-B-C. Below are the diatonic triads in C melodic minor.

Example 7 C melodic minor diatonic triads Standard tuning

em "

I.

Dm

Et.aug

F

0a-

t+&-

S:

5 6 7

8 8

2.

Adim

10 12 12

11 13 14

G

E-Gt

of

,

em

13 15 16

15 16

Bdim

I

.J mf

3 4 5

7

8

10 10

....

8

17

C harmonic minor contains the notes C-D-Eb-F-G-Ab-B-C Below are the diatonic triads in C harmonic minor.

Example 8 C harmonic minor diatonic triads Standard tuning

em ,/

E-Gt

I.

Ddim

Et.aug

Fm

--a-

t+&-

S:

4 6 7

7 8 8

8 9 10

2.

At.

f

•

em

10 12 12

11 13 13

13 15---16 16

15

G

..

Bdim

J

mf

~ I'J.

3 4 5

17

~

D

.....

II - Triad Inversions Triad inversions

on string sets 1-2-3, 2-3-4, 3-4-5, and 4-5-6

If the triad's 1st note is in the bass, it is referred to as the root position. With the 3rd or 5th in the bass, the

term "inversion" is used. There are two possible inversions: the 1st inversion features the 3rd in the bass and the root moves to the top position, and the 2nd inversion has the 5th in the bass and the 3rd on top. Below are several neck diagrams showing major, minor, diminished, and augmented triads and subsequent inversions on every set of three adjacent strings. Get familiar with these triad shapes by playing them in order up and down the neck. Although it's important to know and recognize triads on the entire fretboard,' this book focuses on triads on the top four strings. Your job is to apply the exercises below to the lower sets of strings. VERYIMPORTANT:The root note location must be memorized for every triad and inversion shape!

9

Major, minor, diminished, and augmented triads and inversions on strings 1/1-2-3."

Major - 1,3,5 root position

1st inver.

2nd inver.

root position

oI

10

dO Fret - 3

5

Minor - 1,b3,5 root position

7

9

1st inver.

12

15

17

19

21

o

o

19

21

o

o

19

21

2nd inver.

o

o o

Fret - 3

5

7

9

Diminished - 1,b3,b5 root position 1st inver.

12

15

17

2nd inver.

o

o o

Fret - 3

5

7

Augmented - 1,3,# 5 root position

o

9

1st inver.

12 2nd inver.

15

17

root position

o

o

o

o

19

21

o Fret - 3

5

7

9

12

10

15

17

Major, minor, diminished, and augmented triads and inversions on strings 1/2-3-4."

Major - 1,3,5 2nd inver.

root position

1st inver.

2nd inver.

o

Fret - 3

5

7

Minor - 1,b3,5 2nd inver.

9

12

root position

15

1st inver.

17

5

7

9

Diminished - 1,b3,b5 2nd inver. root position

12

15

1st inver.

17

5

7

Augmented -1,3,#5 2nd inver.

9

12

root position

19

21

o

o

19

21

o

o

19

21

2nd inver.

o

Fret - 3

o

2nd inver.

o

Fret - 3

o

15 1st inver.

17

2nd inver.

0 0

0 0

Fret - 3

5

7

9

12

11

15

17

19

21

Major, minor, diminished, and augmented triads and inversions on strings 1/3-4-5."

Major - 1,3,5 1st inver.

2nd inver.

root position

1st inver.

o

Fret - 3

o

5

7

9

12

15

17

19

21

o

o

19

21

o

o

19

21

Minor - 1,b3,5 1st inver.

2nd inver.

root position

1st inver.

o

Fret - 3

7

Diminished - 1,b3,b5 1st inver.

9

2nd inver.

12

15

root position

17

1st inver.

o

Fret - 3

5

7

9

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

12

2nd inver.

15

root position

17

1st inver.

o o

o o

Fret - 3

5

7

9

12

15

17

19

21

12

I

Major,minor, diminished, and augmented triads and inversions on strings 1/4-5-6."

Major - 1,3,5 root position

1st inver.

2nd inver.

root position

o o

o

Fret - 3

21

Minor - 1,b3,5 root position

1st inver.

2nd inver.

root position

o o

Fret - 3

o

5

9

7

12

15

17

19

21

Diminished - 1,b3,b5 root position

1st inver.

2nd inver. 0 1

Fret - 3

5

7

9

1

12

1 () 1

1 () 1

15

17

1

(J

19

1

10

21

Augmented - 1,3,#5 root position

1st inver.

2nd inver.

0 0

Fret - 3

1

5

9

12

13

1 _ 1 01

15

101.-101

10

Practicality of using triad inversions to economize hand motion In the example below the root position triad shape remains the same for all chords, but the fretting hand has to move up and down the fret-board to access each chord.

Example 13 Standard tuning

root inversion

e

...

2

I"

root inversion

root inversion

F

G

e

3-H

~

root inversion

4 0

E-Gt .. J mf

3 5 5

8

10 12 12

10 10

3 5 5

....

Now check out an efficient way to play the same chords as in Example 13, but using root position, 1st, and 2nd inversions. Notice the close proximity of the triads and the minimal fret-hand movement. Plus it sounds more interesting than the previous example.

Example 14 Standard tuning

root inversion

~"

e I"

2nd inversion

1st inversion

root inversion

F

G

e

2-e-

3"

4 0

E-Gt .J mf

3 5 5

5 6 5

3 3 4

....

14

3 5 5

Here's a great exercise working the same chords as above through all of the inversions. Notice each 4-bar cycle of the chord progression resides in a different territory on the fret-board. Triads and inversions can be used to create second guitar parts in songs. Try this cool harmony idea with two guitarists: Have one guitarist play the first four measures while the second simultaneously plays the next four and then the final four measures. It's a simple harmony and it sounds pretty cool!

Example 15 Standard tuning

root inversion

e "

2nd inversion

1st inversion

F

G

2-e-

I"

root inversion

e

3{"\

4

"

E-Gt .J mf

5

3 5 5

"

5

3 3 4

6

5

3 5 5

1st inversion

root inversion

2nd inversion

1st inversion

C

F

G

C

-n-

7-R

6~

8 ~

--.:Y 8 8 9

...-"

8

10 10

7 8 7

2nd inversion

1st inversion

root inversion

C

F

G

9 ~

n

1l+t

IO~

8

8 9

2nd inversion

C

~ 12

~ 12 13 12

13 13 14

10 12 12

12 13 12

Triad and inversion exercises using two and three chords Now let's expand on connecting triads and inversions using the shapes on strings 1-2-3 and 2-3-4. The first two examples follow G minor and C chords moving up the fretboard, then D and G minor to resolve. Try a cool keyboard effect with these two examples by plucking the strings staccato style with your index, middle, and ring fingers. Memorizing the location of the root note is a must!

15

In the example below the first and second measure is 1st inversion G minor and root position C, the third and fourth is 2nd inversion G minor and 1st inversion C, the fifth and sixth is root position G minor, 2nd inversion C and D, and the seventh is root position G minor on strings 1-2-3.

Example 16 Standard tuning

-- c

Om .""

.-

1_

I

,..

I

3-- 3-3-- 3-3-- 3--

...

Om 3-&

•

-

.rJ

---c

-&

•

-&

r

I

mf

~

..

._

.

E-Gt .J

2

n-

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

5--5 5--5

3

6--6--6-6--88--8--8-8--87--7--7-7--9-

D

....

c

Om

...-,,~:~~

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

•

•

Om -e-

D

~

~.

"li'.:

~,..

~

:::;-

=:

7H

~ 8l--8 IHI=----8--8 Ih~-9--9 1

10--10--10-10--12 11--11--11-11--13 12--12--12-12--12

112l--12 13 --13 12 --12

14 15 14

15 15----+1 15----+1

... On strings 2-3-4 the first and second measure is root position G minor and 2nd inversion C, the third and fourth is 1st inversion G minor and root position C, the fifth and sixth is 2nd inversion G minor and 1st inversion C and D, and the seventh is root position G minor.

Example 17 Standard tuning

c

Om

... "

Om

1

2

···

E-Gt .J

I

I

~

I

I

~

3.-

~

I

I

.-

.-

I

,..

- c

,

I

mf

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

" .J

--- ..

c

Om .-.

,

~8~-8 9--9 ( )-10

,r)

5-&

8----8----8--8----8---7----7----7--7----9---8----8----8--8---10----

5 5--5 tl5--5

-&

-&

-&

--..

~

--

"

11--11--11-11--13 12--12--,12-12--12 12--12--12--12--14

---- ---

13 13 12--12 1 l14--14

... 16

~

D

JJ.. 15 14 16

Om

7:n

15 15 17

In the same manner as above discover and name triad positions and inversions in the next four examples. The next two examples follow G and A chords moving up the fret-board before resolving on D. Use the root note in each triad shape to quickly locate the proper position for each.

Example 18 Standard tuning

o "

.ll.

1

E-Gt .J

o

A

-.··

--".A7

2

o

A

I-,~

.

-&:

3

t:

D

A

--

."-'A2rr:;;;

4

:8:

I mf

10--12 12--14 12--14

7--9 8--10 7--9

3--5 3--5 4--6

14 15 14

...

Example 19 Standard tuning

o ,/ "

.ll.

1

E-Gt .J

I

o

A

·· ·

2

V

I

'-.

o

A

..

*'-

J8

3

.:

D

A

.

-'l. ~~

4

I

mf

IHf------3--5 Ihr-----4--6 If-I'_----5--7

8--10 7--9 9--11

12--14 12--14 12--14

...

17

15-----HI 14-----HI 16----+1

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

Example 20 Standard tuning

G

c

D

G

G

.

c

E-Gt mf

3-3-3-3-3-3-3-3 3-3-3-5-5-5-5-5 h-:.-;.-----4- 4- 4- 5- 5- 5- 5- 5

II T D

G

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

.

e

G

D

10-10-10-7-7-7-7-7310-10-10-12-12-12-12-12 10-10-10-8-8-8-8-8 12-12-12-13-13-13-13-13

II T

·-I-ir-.-----11-11-11-7-7-7-7-7

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

12-12-12-12-12-12-12-12

G

14-14-14-15 15-15-15-15-----· 14-14-14-16-----

~

Example 21 Standard tuning

G 1

e

D

G

•

.

G

E-Gt

3-3-3-5-5-5-5-5 h-ir-------4- 4- 4- 5- 5- 5- 5- 5 1-#0\-----5- 5- 5- 5- 5- 5- 5- 5

III D

G

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

8-8-8-8-8-8-8-8 7-7-7-9-9-9-9-9 9-9-9-10-10 -10 -10 -10

.

e

D

II I

G

10-10-10-8-8-8-8-8===i=12-12-12-13-13-13-13-13===i=15-15-15-15 12-12-12-12-12-12-12-12 14-14-14-16----_/4_--12-12-12- 9- 9- 9- 9- 9 12 -12-12-14-14-14-14-14 16 -16-16-17 -1-(-----11-11-11-7-7-7-7-7

18

~ _

III- Rhythm work with triads in various styles Strumming triads Here's a common strum pattern using major triads. Focus on strumming only the top three strings and avoid hitting the three in the bass. This example sounds great played over a second guitar strumming the same chords in open position.

Example 22 Standard tuning

c

c

F

G

E-Gt mf

simile

ri riV Vri 8-8-8--8-8 8-8-8-8-8 ,-,------9-9-9---9-9

II !

1tE=

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 10-10-10-10-10 8-8-8--8-8 8-8-8--8-8 10-10-10-10-10 9-9-9---9-9 7-7-7--7-7

===r=

8- 8====:E 8- 8- 8--88-==±10-10-10--10 -10 8-8 10-10-10--10-10 12-12-12--12-12 9-9 10-10-10--10-10 12-12-12--12-12

19

8 8---9----

~

"Pachelbel's Canon" with triads Traditionally "Pachelbel's Canon" is in D major, but this variation is in C major. The chord progression (or parts of it) has been "borrowed" in modern times by songwriters and bands including The Cars in "Just What I Needed" (first four chords of the verse in E major) and a more obvious paraphrasing in Green Day's "Basket Case" (the verse section in E major). This example picks the major and minor triad notes individually rather than strumming. Follow the picking directions given in the tablature or experiment to come up with a different pattern of your own. Practice this slowly at first, focusing on switching chords. quickly without breaking the beat. Additionally, look for a common finger that can stay on a particular string when transitioning from chord to chord. For instance, the first two chords, "C" and "G," include the third finger (ring finger) on the B string: shift the 13th fret (C triad) to the 12th fret (G triad).

Example 23 Standard tuning

c

Am

G

E-Gt mf simile

I'iVI'iI'iVI'iI'iV 12-12-~12 13--13--13 • 12--12

II.-:r

~•

T

F

"

5#

#

~ 6

.....

5 5

c

_

........

\00""

5

6

#-

6

10-10-~10 12--12--12 12--12

5 5

6

3

5

F 7#

5

5

5

5

8--8--8

9--9----i

G

..... 3

8--8~7--7--7

10--10--~ 9--9 --

#

....... 3

5

8

6

....

c

20

6

-fII-_

-!'-...

...... 5

5

8-!'-.

#

5 5

7 6

7 8

7 8

7

..

87

• •

Reggae style and muting strings A defining characteristic of reggae is percussive string muting performed by the guitarist, usually in conjunction with triads. To replicate the percussive string muting, begin by gripping the triad. Next, while still holding the triad, release finger pressure from the fretboard while maintaining finger contact with the strings. Strumming the strings at this point should make a percussive scratch. Practice this technique with the reggae-influenced exercise below, which happens to use all four triad types: major, minor, diminished, and augmented.

Example 24 Standard tuning

c '/"

1

··

E-Gt ..;

~

*

~:e

F

2

## - - ~ #.

Bdim 3

4

- -

mf

~-- .. ~:e == c

-~·e~

~~.

&i-

simile

riVriVriVri

• •

... Am r'"

.J

5

~~##**#

---

......

........,

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

X-X-8-8-X-X-8---~X-X-8-8-X-X-8---~X-X-7-7-X-X-7 ___ ~X_X_8_8_X-X-8--X-X- 8-8-X-X- 8---f-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-X-1010-X-X-10 - f-X-X-7-7-X-X-7--- I-X-X-9-9-X-X-9---

F

6~H-""~K-" ......

........,

---

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

IS-. - - -

Gaug

G

7

~ ~-&-&

lS-

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

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 example explores triads on the top four strings. The highest note on the first string is duplicated one octave lower on the fourth string for all triads in this example. Check out this concept with the first chord in the example, C major, which is a familiar F chord grip at the eighth fret. This example is reminiscent of '50s doo-wop and uses the time signature 6/8, which compliments the chord progression wonderfully. Play the chords evenly with no pause at the transitions. Be sure to play this slowly enough to not allow pauses at the chord transitions. Speed is a by-product of accuracy!

Example 25 Standard tuning

c 1

" E-Gt

..

.J

-

-~-

F 2

-P~

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Spanish style using descending and ascending motion Here's a recognizable Spanish style chord progression that appears in many other genres including surf, rock, and metal, and uses a Spanish strum pattern in 3/4 time. The first half plays second inversion triads descending the fretboard, while the latter half follows the same chords and uses a variety of inversions to ascend the guitar neck. Changing direction to create opposite motion is one of many cool things that can be done with triads. Pretty cool!

Example 26 Standard tuning

I. Am

" E-Gt

G

1=1= 1= •••

2

..

3

-& -&-&-&

-& -&-&

-

.J mf

7\

-... F ...-"

S

...

..........

Am

•

-I

E 7 o!I- _____ 6

..........

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.,..". '"9.

7--7-7-7--7--7--7 8--8-8-8--8--8--8 7--7-7-7--7--7--7

-I

D

................

--.:Y

similie

ri ri V ri ri V V 8--8-8-8--8--8--8 10 -10 -10-10-10 -10-10 9--9-9-9--9--9--9

-

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4

1: ••

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~

~

-

0114- -& -& __

-- -- -- -

~

4--4-4-4--4--4--4 5--5-5-5--5--5--5 4--4-4-4--4--4--4

."

••

-

G#dim 8

7-7- 7- 7-7-7--79-9-9-9-9-9-97-7- 7- 7-7-7--7-

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10

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-I

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12

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.. F 14

1tE=

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IS

n

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Am

1tE=~~ 23

I

16 -16-16-16 -16-16-16 15 -15-15-15 -15-15-15 16-16 -16-16-16 -16-16

Staccato style plucking triads with fingers Plucking strings with the fingers produces a staccato effect similar to a keyboard. In the example below, pluck all three strings simultaneously with your index, middle, and ring fingers (no pick here). The tone is reminiscent of The Who's keyboard work on "Won't Get Fooled Again" and Van Halen's on "Little Guitars." The chord progression in this example is similar to the classical work of Johann Sebastian Bach where the chords are moving in ascending diatonic fourth intervals and cycle through all seven chords in A minor. The only exception is the tension building G# diminished chord which is borrowed from the A harmonic minor scale. Listen to how well G# diminished resolves to the A minor chord.

Example 27 Standard tuning

Am

"

1

-- -----

Dm

- - --

2

E-Gt

•

c

G 3

~~~~~~~~

4

--------

- - --

.J mf

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.... F

5-5-5-5-5-5-5-5 6-6-6-6-6-6-6-6 5-5-5-5-5-5-5-5

1~

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

Am ~"

9

~

.J 8

10-

9

24

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

Blues style with triads functioning as chord extensions In jazz and blues genres triads are occasionally used to create harmony extensions of a chord. For instance an A7 chord is spelled A-C#-E-G, which is an A major triad: A (root), C# (3rd), and E (5th) with a G note (b7) added. Check out the last three notes of A7: C#, E, and G, spelling a C# diminished triad. A second guitar could playa C# diminished triad over the A7 chord and sound completely natural. Let's take this concept further by playing the upper extension triad of an A9 chord, which is spelled A (root), C# (3rd), E (5th), G (b7th), and B (9th). The upper three notes are E, G, and B, and spell an E minor triad. The example below applies this concept to a 12-bar blues in A and uses a typical move where the triads slide back and forth. See if you can recognize the different triads used as extensions for the A9, D9, and E9 chords.

Example 28 Standard tuning

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E-Gt ..;

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1

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