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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
-Four triad types
types and
and for
formu
mulas
las
-Building
-Building major diatonic triads
-Diato
-Diatonic
nic triads natura
naturall mino
minor,
r, melod
melodic
ic mino
minor,
r, and harmo
harmonic
nic minor
minor scales
scales
I I - Triad inversions 9
-Triads
-Triads and inversions
inversions on string
string sets 1-2-3,2-3-4,3-4-5,
1-2-3,2-3-4,3-4-5, and 4-5-6
-Practicality
-Practicality of using triad inversion
inversionss to econo
economize
mize hand motion
motion
-Triad
-Triad and
and invers
inversion
ion exercis
exercises
es using two
two and three
three chords
chords
I - Introduction to Triads ~ 5
-What is a triad?
-Four
-Four triad types
types and
and for
formu
mulas
las
-Building
-Building major diatonic triads
-Diato
-Diatonic
nic triads natura
naturall mino
minor,
r, melod
melodic
ic mino
minor,
r, and harmo
harmonic
nic minor
minor scales
scales
I I - Triad inversions 9
-Triads
-Triads and inversions
inversions on string
string sets 1-2-3,2-3-4,3-4-5,
1-2-3,2-3-4,3-4-5, and 4-5-6
-Practicality
-Practicality of using triad inversion
inversionss to econo
economize
mize hand motion
motion
-Triad
-Triad and
and invers
inversion
ion exercis
exercises
es using two
two and three
three chords
chords
A triad
triad is a three
three-no
-note
te chord
chord constru
constructed
cted of alte
alterna
rnatin
tingg no
notes
tes from a seven-
seven-no
note
te scale.
scale. Specifi
Specifical
cally,
ly, a triad
triad
uses
uses every other no note:
te: the root (also
(also calle
called
d "I"), 3rd
3rd,, and 5th degrees
degrees fro
from
m the scale.
scale. Fou
Fourr triad
triad types
types can be
derived
derived from thethe various
various diatonic
diatonic scales and modes:
modes: major,
major, minor,
minor, diminish
diminished,
ed, and augmented.
augmented. Dependin
Depending g
on the
the scale,
scale, all or a few of the variou
variouss triad
triad types
types are used.
used.
Diagra
Diagramemed d below
below are the four differen
differentt triad
triad types
types using
using "C" as a referen
reference
ce roo
roott no
note
te for easy
easy compari
comparing
ng..
The
The first
first note
note (lowe
(lowest)
st) is con
consid
sidere
eredd the root
root "I" and acts
acts as the
the found
foundatio
ation
n for the
the chord.
chord. The
The midd
middle
le no
note
te is
the "3rd"
"3rd" (three
(three scale ton
tones
es up from the
the roo
root)
t) and
and define
definess wheth
whetherer the chord
chord is majo
majorr or minor,
minor, with mino
minorr
represe
represente
ntedd by a flat sign
sign "b" in front:
front: "b3".
"b3". The high
highest
est no
note
te is the
the "5th"
"5th" (five
(five scale
scale tones
tones up fro
from
m the root),
root),
which
which can also be be flatted
flatted for dimini
diminishe
shed
d ("b"
("b" in front:
front: "b5",
"b5", also
also sometim
sometimeses referred
referred to as "#4") or sharped
sharped
for augm
augmentented
ed ("#" in fron
front:
t: "#5",
"#5", also some
sometim
times
es referred
referred to as "b6").
"b6").
There
There are two
two ways to under
understa
stand
nd and view a triad.
triad. First,
First, arrange
arrange the three
three no
notes
tes ascend
ascending
ing on one string
string::
"l(root)
"l(root) - 3 - 5". This
This meth
method
od helps
helps to visual
visualize
ize the interv
interval
al structu
structure
re (the
(the distan
distance
ce betwe
betweenen each
each note).
note).
The
The secon
secondd is to
to arrang
arrange e the notes
notes on three
three adjacen
adjacentt string
stringss with
with on
one
e note per string
string to form
form a chord grip,
grip,
which
which allows
allows the ear to hear
hear the three
three no
notes
tes togeth
together.
er. Diagra
Diagrammmmed ed below
below are the four triad
triad qualiti
qualities
es
arrang
arranged
ed using
using these
these two
two method
methods. s. Play
Play the chord
chord that
that occurs
occurs on the fourth
fourth beat
beat of each
each bar to hear the
sound
sound differe
difference
nce betw
between
een the four
four varieti
varieties.
es. Major
Major soun
soundsds happy
happy and uplifting
uplifting,, mino
minorr is sad
sad and somber
somber,,
dimini
diminishe
shedd sound
soundss un
unres
resolv
olved
ed and scary, and augmen
augmentedted is un
unres
resolv
olved
ed and open. The four four example
exampless below
below
use "C"
"C" as the
the roo
roott note for easy
easy compari
comparing ng betwe
betweenen the triad types.
types.
C major
major triad (1-3-5)
(1-3-5):The
:The dista
distanc
nce
e betwe
between
en "I and 3" is two
two whole
whole steps,
steps, and on
one
e and a half
half steps between
between
"3 and
and 5."
5."
Exam
Exampl
plee 1
C major
major triad
Standard tuning
-
c c
~" I
E-Gt
..
mf
Root(1) 3rd 5th
...... 1
3
I 5 8 5
5
';...."
D
....
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
~ " I
em
- -
.. mf
3
1 4 8 4
5
.....
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
E-Gt
edim
I 1-._
-
..
mf
2
1 4 7 4
5
...
6
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
""" I
#.
•
E-Gt
..; I
mf
4
1 5 9 5
5
.....
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.
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
,
Standard tuning
2.
Dm Em F G Am Bdim e
E-Gt
"
I
. -.
• =1= f f
..
mf
3 5 7 8 10 12 13 15
5 6 8 10 12 13 15 17
5 7 9 10 12 14 16 17
...
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
,
Standard tuning
e m Ddim Fm Gm Bt. e m
"
1 _
--a-
• =1= 2:1 f t
~
E-Gt
.J
mf
3 4 6 8 10 11 13 15
...... 4 6 8 9 11 13 15 16
5 7 8 10 12 13 15 17
I'J.
~.
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
e m
2.
Dm Et.aug F G Adim Bdim e m
" I
. 0a - t+ & - S: o f I
E-Gt
.J
mf
3 5 7 8 10 11 13 15
4 6 8 10 12 13 15 16
5 7 8 10 12 14 16 17
....
8
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
2.
e m
•
e m Ddim Et.aug Fm G At. Bdim
,
/
I
. --a - t+ & - S: f J
E-Gt
..
mf
3 4 7 8 10 11 13 15
~ 4 6 8 9 12 13 15---16
5 7 8 10 12 13 16 17
I'J.
~
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 7 9 12 15 17 19 21
Minor - 1,b3,5
root position 1st inver. 2nd inver.
o o o o
o
Fret - 3 5 7 9 12 15 17 19 21
Diminished - 1,b3,b5
root position 1st inver. 2nd inver.
o o o o
o
Fret - 3 5 7 9 12 15 17 19 21
Augmented - 1,3,# 5
root position 1st inver. 2nd inver. root position
o o o o o
o
Fret - 3 5 7 9 12 15 17 19 21
10
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 o o
Fret - 3 5 7 9 12 15 17 19 21
Minor - 1,b3,5
2nd inver. root position 1st inver. 2nd inver.
o o o
Fret - 3 5 7 9 12 15 17 19 21
Diminished - 1,b3,b5
2nd inver. root position 1st inver. 2nd inver.
o o o
Fret - 3 5 7 9 12 15 17 19 21
Augmented -1,3,#5
2nd inver. root position 1st inver. 2nd inver.
0
0
0
0
Fret - 3 5 7 9 12 15 17 19 21
11
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 o
Fret - 3 5 7 9 12 15 17 19 21
Minor - 1,b3,5
1st inver. 2nd inver. root position 1st inver.
o o o
Fret - 3 7 9 12 15 17 19 21
Diminished - 1,b3,b5
1st inver. 2nd inver. root position 1st inver.
o o o
Fret - 3 5 7 9 12 15 17 19 21
Augmented - 1,3,#5
1st inver. 2nd inver. root position 1st inver.
o
o o
o
Fret - 3 5 7 9 12 15 17 19 21
12
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 o
Fret - 3 5 7 9 12 15 17 19 21
Diminished - 1,b3,b5
root position 1st inver. 2nd inver.
1 1 1 () 1 1 () 1 1 J1
( 10
Fret - 3 5 7 9 12 15 17 19 21
Augmented - 1,3,#5
root position 1st inver. 2nd inver.
0
0 1 1 _ 1 01 1 0 1 . - 1 0 1 10
Fret - 3 5 9 12 15
13
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
E-Gt
.. J
mf
3 8 10 3
5 10 12 5
5 10 12 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
E-Gt
.J
mf
3 5 3 3
5 6 3 5
5 5 4 5
....
14
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
E-Gt
.J
mf
3 5 3 3
5 6 3 5
5 5 4 5
--.:Y
8 8 7 8
8 10 8 8
9 10 7 9
~
12 13 10 12
13 13 12 13
12 14 12 12
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
E-Gt
.
" " 1_
Om
.-
-- -
,..
.
c
2 ._
..
•
- .rJ
Om
3-& -& • -& -- - -
c
.J I I I r
mf
...
3
-
3
-
3
-
-3
-
-3
-
-3
-
-3
-3
-3
-3
-
-3
-
-3
-
-3
-5
-5
n-
5
-
5
-
-
-
5
5
3
6
8
7
-
-
-
-
6
-
-
8
7
-
-
-
-
6
-
8
-
7
-
6
-
-
8
7
-
-
-
-
8
-
-
8
9
-
-
-
D
....
Om c D Om
• • ~
...-, ,~ :~ ~ 5 :f:f::& ::& .-
~.
"li'.: ~,..
:::;- ~
=: 7
-e-
H
~
8 l--8 10--10-
-1 0-10--12 112
l--
1 2 14 15
I
H I=-
---
8 --8 11--11--11-11--13 13
--13 1
5 15---
-+1
I
h ~
-- 9
1 -
-9 12-
-1 2
--1 2-
1 2-
-1 2 12
--12 1
4 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
- - c
Om Om
... " 1 2 3.- .- .-
E-Gt ···
.J
I I ~ I ~ I ~ I I I
,.. I
,
mf
3-
--3-
- -
3 -
- 3
---5 5 8
----8-
---8-
-8-
---8-
---
3-
--3-
- -
3 -
- 3
---5 5 -
-5 7
----7-
---7-
-7-
---9-
---
5
---5-
--5 -
-5---
5 t
l
5--
-5 8
---
- 8-
---8-
-8-
--10---
-
" - - - .. .-
,
. ,
r ) 5-&
Om
" - - ..
~
-
--- ---
~
D
J J ..
Om
7:n
.J
11--11--11-11-
-13 1
31 3 15 15
~
98
-~
--
98 12-
-1 2-
-,12-12--12 12--
1 2 14 15
()
-1 0 12-
-1 2-
-1 2-
-12--14 1
14l
--
-
1 4 16 17
...
16
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 A o A o A D
:8 :
t:
--
."-'A2-
" .ll.
1
- .· --".A7 2 -&:
.
I-,~
3 rr:;;; 4
E-Gt ·
.J I
mf
3--5 7-
-9 10-
-12 14
3--5 8-
-1 0 12-
-14 1
5
4-
-6 7--9 12-
-14 14
...
Example 19
Standard tuning
o A o A o A D
-'l.
,/ " .ll. 1
·· 2 '-.
.. *'- J8 3 .:
. ~~ 4
E-Gt
.J I
· V I I
mf
I
H f-
-----3--5 8-
-1 0 12-
-1 4 1
5--
---HI
I
h r----
-4--6 7--9 12--14 1
4----
-HI
If-
I'_----
5 -
-7 9--11 12--14 1
6----
+ 1
...
17
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 5-5-5-3-3-3-3-3 7-7-7-8-8-8-8-8
I Ih-:.-;.- ----4
T 3-
-4
3-3
-4
-5
-5
-5-
-5
5-5
-5
-5
-5-5
7
7
-
-
7
7
-
-
7
7
-
-
3
4
-
-
3
4
-
-
3
4
-
-
3
4
-
-
3
4
8
7
-
-
8
7
-
-
8
7
-
-
8
9
-
-
8
9
-
-
8
9
-
-
8
9
-
-
8
9
D G G e .
D G
10-10-10-7-7-7-7-7310-10-10-12-12-12-12-12 14-14-14-15 ~
II T
·-I-ir-
.----
1
-
0
1
-
1
1
-
1
0-
1
1
-
1
0-
1
8
-
7
-8
-
7
-8
-
7
-8
-
7
-8
-
7
12-12-12-
1
1
2
3
-
1
-1
2
3
-
1
-1
2
3
-
1
-1
2
3
-
1
-1
2
3
-
1 2-
1 2-
1 2
1
1
5
4
-
-
1
1
5
4
-
-
1
1
5
4
-
-
1
1
5
6
-
-
-
-
-
-
-
-
-
-
·
Example 21
Standard tuning
1
G
•
e D G
.
G
E-Gt
III
3-3-3-5-5-5-5-5 7-7-7-3-3-3-3-3 8-8-8-8-8-8-8-8
h-i
r --- ----4-4-4 -5-5 -5-5-5 7-7-7-4-4-4-4-4 7-7-7-9-9-9-9-9
1-#0 \-- -
- -
5 -5-5 -5-5 -5-5-5 7-7-7-5-5-5-5-5 9-9-9-10
-10-10
-10-10
D G G e .
D G
II I
10-10-10-8-8-8-8-8===i=12-12-12-13-13-13-1 3-13===i=15-15-15-15 ~
-1-(-----11-11-11-7-7-7-7-7 1 2-12-12-12-12-12 -12-12 14-14-14-16-----
_/4_-
- 12
-12-
1 2-9 -9-9 -9-9 12-12-12-
1 4-
1 4-
1 4-
1 4-14 16
-
1 6-16-
1 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 inopen position.
Example 22
Standard tuning
c F c G
E-Gt
mf
simile
ri riV Vri
8 -8 -8--8-8 8-8-8---
8 -
8 -
= =
t=8
-8-8---
8 -
8 =
l=7-
7 -
7 -
--7-7
II !
,-,-
-- -
- -9
8
-
-
8
9-
-
9
8-
-
-
8
-
-
9
8
-9
1
0
1
0
-
1
-
1
0
0
-
1
-
1
0
0
-
-
1
1
0
0
-
-
1
1
08
09
-
8
-9
-
8
-
9
-
-
-
-
8
-
-
9
8
-9
8
7
-
-
8
7
-
-
8
7
-
-
-
-
8
7
-
8
-
7
1 tE = 8
8
-
-
8
-
8
-8
-8
8
8
-8
-8
==
==:
8
E
10
- 8
-10
-8
-1
-
-
0
8
--
1
-
0-1
8
-
0
==
±10
1
-
2
1
-1
0
-
2
1
-
0
1
-
-
2
1
--
1
0-
2
-
1
1
0
2
===r= 8
8
----
~
9--
9 -9 9-9 10-10-10--
1 0-10 12-12-12--
1 2
-12 9
----
19
"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 G Am
E-Gt
mf
simile
I'iVI'iI'iVI'iI'iV
I I. - : r ~
1 2
-12-
~ 12 1
0-10-~10 8 8
--8~7
--7-
-7
T 13--13--
1 3 12-
-1 2-
-12 1
0--10--
~ 8
--8-
-8
• 12 --
1 2 12 -
-12 9
- -
9 -
- 9
--9-
---
i
•
F c
- -
F G
6 _
5# # #
- 7# 8-!'-. -!'-- -fII-_
..
# #
"
20
Reggae style and muting strings
Adefining characteristic of reggae is percussive string muting performed by the guitarist, usually in
conjunction with triads. Toreplicate 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 ~ ~:e F
## - -~
Bdim c
~-- ..
'
/ " 1 * 2
#. 3 ~~. -~·e~ 4 &i- ~:e
E-Gt ·· ==
..;
mf
--
simile
riVriVriVri
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-9-9-X-X-9-
-X-X-10-I- X-X- 6-6-X-X- 6-1- X-X- 8-8-X-X- 8---
f-X-X-1010-X-X-10- f-X-X-7-7-X-X-7--- I-X-X-9-9-X-X-9---
•
...
Am
IS -.
F G Gaug
r
'" 5 ~~##**# 6~ H- "" ~K - " 7 ~ ~-&-& lS - 8 .~ ~-&-& ~ ~-&
..
...... --- - --
.J
---
X-X-S-S-X-X-S
. . ..... ,
...... ........,
X-X-S-S-X-X-S
--- X-X-7-7-X-X-7
X-X-S-S-X-X-S X-X-6-6-X-X-6 X-X-7-7-X-X-7-
X-X-S-S-X-X-S X-X-8-8-X-X-8 X-X-8-8-X-X-8-
X-X-S-S-X-X-S X-X-7-7-X-X-7 X-X-8-8-X-X-8------.!
•
...
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
"
1
..
c
-~- 2 -P~ - 3
F
-# 4
F
-~ -
E-Gt
.J
-
mf
r1r1r1
simile
- l....J ..-I
-- ~ -...
V V V
8 6 5 4
8
--8 8
--8 6-
-6 6
--6
• 9 9 9 9 5 5 5 5-
• 10 8 7 6
....
"
5
e
- - ~
6
G
-~- 7
c
.- F - .
8
Gaug
. . ..
~
..; ...-
8
--
8
8
- 8
--8
7
-
-
8
--
8
8
-
8
7
8
9 9 7 7 9 9 8 8
~
10 9 10 9
•
....
c
:::-::.
..
":;L.
" 9
JI-
tl
tI
~
r1
8
:I:.- 8
!. 9
10-
~
Q
22
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
I.
Standard tuning
Am G
1=1= 1= ••• -& -&-& -& -& -&-&
..
2
..
3
" 4
E-Gt
.J
mf
-
similie
ri ri V ri V ri V
- 1
8
0
-
-
1
-
0
8
-
-
1
8
0
-
-
1
8
0
-
-
1
-
0
8
-
-
1
-8
0
-1
-
0
-8 7-
8
-
-
7
-
-
8
7
-
-
8
7
-
-
8
-
-
7
-
-
8
-
-
7
-
--
8-
7
-8
9-
-9-
9 -
9 -
-9-
-9-
-9 7--7-7-7--7--7--7
--
7\ -I -I
D
...
...-" S ...
F
. .. .. .. .. .. .. .. . 6
..
7 o ! I- _ _E
___
- - 8
G#dim
0 1 1 4- -& -& __
. ,'.". 9" . Am
• 1: ••
•• 10
.. 1 1 :f
G
:f:l:l :I :I :I 12
..
.J
8-8-8-8-8---8-8 10
-10
-1 0
-10
-1 0
-1 0-10
10
-10
-10
-10
-10
-10
-10 1
2-12-
1 2
-12-12--12-12
9
-9-
9 -
9 -
9 -
-9-
9 -I 12
-12
-1 2
-12
-1 2
-1 2-12 -I
..
F
14 IS
1 tE = 1
3
1
1
-
3
-
4
1
1
-
3
1
3
-
-
4
1
1
-
3
1
3
-
-
4
1
1
-
-
3
1
3
1
4
-
3
-
1
1
3
-
1
4
-
-
1
3
1
3
-
1
4
-
-
1
3
1
3
4
=!
n
E1
1
1
6
-
7
-
6
1
1
-
6
7
1
-
-
1
6
1
-
6
7
1
-
1
6
-
-
1
7
-
1
6
1
6
-
7
-
1
-
1
6
1
6
-
7
-
1
-
1
6
1
6
-
7
-
1
1
6
6
1
1
1
6
-
5
-
6
-
1
1
1
6
5
6
-
-
1
-
1
1
6
-
5
-
6
-
1
1
1
6
-
5
-
6
1
1
-
6
5
1
-
-
-
6
1
1
1
6
5
6
-
1
-
1
-1
6
5
6
Am
1 tE = ~ ~
23
I
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
E-Gt
"
1
Am
- - -- 2 -- -----
Dm
• 3
G
~ ~~ ~~ ~~ ~ 4
c
--------
.J
mf
----
8-8-8-8-8-8-8-8-~101 010 1010 101010-r-7-7-7-7-7-7-7-7-r-8-8-8-8-8-8-8-8-
10101010 1010 1010-1-101 0
1010101010 10-l--8-8-8-8-8-8-8-8-t--8-8-8-8-8-8-8-8-
9-9-9-9-9-9-9-9-1-101 010101010 1010-l--7-7-7-7-7-7-7-7-t--9-9-9-9-9-9-9-9-
....
F Bdim E G#dim
1~
5-5-5-5-5-5-5-5 7-7-7-7-7-7-7-7 4-4-4-4-4-4-4-4 7-7-7-7-7-7-7-7
6-6-6-6-6-6-6-6 6-6-6-6-6-6-6-6 5-5-5-5-5-5-5-5 9-9-9-9-9-9-9-9
5-5-5-5-5-5-5-5 7-7-7-7-7-7-7-7 4-4-4-4-4-4-4-4 7-7-7-7-7-7-7-7
Am
~" 9 ~
.J
8
10-
9
24
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
1
.. - 2
D9
-, 3
A9
- ..:. 4 h. _
..
... - " J J . . fr
E-Gt
..; ~L I I ? ~ ~~l.J I I I
l.J1 ?
'-- ~ '--
mf
~
...... 7",s
7 ",S 7",S 7",S--7- - 8 -7-S
• 6 ",4 .t'i 7",S 6",4--6- - 7 -6-4
...
I'J.
u
• 0- f. ~';!/ 0-
3
0
-
-
0
Ii 7",S--7- -9-7-S
0-
3 -
0
-3
....
7~S 7,,---S
7~S 7,,---S 7~S--7 8-7-S
7~S 7,,---S 6~4--6 7-6-4
0
-0 0
-0 7~S--7 9-7-S
0
-3 0
-0 S-
0
-3 7-
.....
11.
E9 D9 A9 E7
,..., . " J J ..jjo 9 -------- - 10 ~~#
-
,
II
- • 12 - - - - - - -'-...
.
.J ~~'-- ~ - - ~ ~;t;t ~ I I '--3--' '--3--' ~~
1
f
I
f
-
-
1
-
F
--
-
-
-
-
--
-
-
r-
--
9
7
" '7
'-9
~
",7
/7
7
,,-
,,-
-
-
-
-
S
S
--- 7,,---S--7
-f
- -
7
9
-
-
9
7-
-
9
7-
-
9
7-
-
9
7-
-
9
7-
-
7
9
"
"
"
'-
-
<
-
-
-
-
~
-
_
-
I
---,-.
Ihr- -----..,£- 9" '7 7,,---S 6"-
- -
4 -
- 6-
f -
- 7-
7 -
7 -
7 -7-7-
7 ·
If-I'_---- ---- ----- +--O- 0 7"---S--7--+------------~_I
If-J~ ----- --- --O - 3 0-0 •
1'-
= "-----0 -
0 0
-3 0
-3-
1 2.
E7 Bt.9A9
." " jJ. ~ 1 3 ~ ~ ~ ~ ~ ~ ~...:
- 14
.J ---
'-- 3--' '---3--' ......
~tl-
7-7-7-7-7-7-7
9-
9 -9-9-9-9-9~6-S -
7-7-7-7-7-7-7~S-4- !-41-
6 -
S - ! -SI
-
....
25
Rolling Stones style "Keith Richards" chords
Many of the Rolling Stones signature guitar riffs use triads. The intro to "Start Me Up" and "Brown Sugar"
are great representations of Keith Richards' triad chords in action. Check out the stylistic example below for
a workout using 1st and 2nd inversion major triads on the 2nd, 3rd, and 4th strings.
Example 29
Standard tuning
~" I .
C F
- 2
C F
3 .
C F
4
C F
- - - - .~
E-Gt
.J I LJ
I I I I I LJ
mf
5-6 5
-6-
6 5-
6 5
-6-
6
5-5 5
-5-
5 5-
5 5
-5-
5
5-
7 5
-7-
7 5-
7 5
-7-
7
5-
3
5
-
~" 5 .
C F
6
C F
7 .
C F
- 8
C F
··
.J-
---
I I 1 -c :::J
". - - - ~ --- 1
1 I L.J
". - - - ~
5--6 5
-6-
6 5-
6 5-
6 -6
• 5-
-5 5
-5-
5 5
-5 5
-5 -
5
5-
-7 5
-7-
7 5
-7 5
-7 -
7
• 3 5-
3 3 5-
3
.... 5 5
-
G C G C G C G C
..--
'/" 9 I I 10 I II I I I 'I
..
12
.J
~
~ • <-.r ___~
~
~ • - -----. --- ~
0
--1 0-
-1 -1 0-
-1 0
--1-
1
0
--0 0
-0 -
0 0-
0 0
-0-0 •
0
--2 0
-2 -
2 0-
2 0
-2-2
3
5
-3 5
-3 •
0..
5-
~ 3 5
-
"
13 -
C
..;
-
-e-
3-
....
26
Van Halen style triads
Edward Van Halen is a proponent and heavy user of triads, especially major triads. Many songs in the Van
Halen catalog are based on major triads and inversions including "Runnin' with the Devil," "Unchained,"
"Dancethe Night Away," and even the keyboard intro for "Jump." Check out the example below for a Van
Halen-style triad workout. Hybrid picking is employed here, which uses a combination of pick for low notes
and fingers (middle, ring, and pinkie) for the triads. The final few bars are played with the pick and run
through all three inversions of "A and B" triads before resolving on "E." See if you can spot the inversions.
Example 30
Standard tuning
E e D
E-Gt
mf
A E c
------
3x
3x
, .. . ,. " J J .- I t ~J ~- ~
--- -'*
8 9
.J
~
~-
i
........
l..-" ~ .....- -
9-
(~~J) 8
--
9
10
-
5 - -(
f 5)
6
7
7
8
9
10- (10)
9
11
12
11
13
0-0-0-0
.....
~ --../
(9)10 11-~12
12 12
97'11 13
....
27
IV - Arpeggio-style triads
Diatonic triad arpeggios on two strings in C major
Playing triad notes individually in lead guitar fashion is a great way to spice up a guitar solo, plus it gets
away from the typical pentatonic licks found in many solos. It's also a fantastic way to follow the chord
changes under the solo. The end of The Eagles' "Hotel California" is a great example of triads played
arpeggio style while following the chord changes. The term" diatonic" means notes and/ or chords derived
from a particular key. Refer back to the section "Building major scale diatonic triads" to review this concept.
Check out the two examples below showcasing diatonic triads in C major on the top two strings. Bonus
exercise: Play each triad four times.
Example 31
Standard tuning
"'" I
Ascending
.
e
~
Dm
-# " ~.
Em F
~-# 2~~
G
Am
~
.+=~-#t=~~~
Bd~ e
""""
-
E-Gt
.J L-.... 3--... '-- 3---... J
--.
.. --...
'-- 3---... L-.... 3--...
mf
~
3-0--5-1--7-3
~
--8-5
~ ~
~
10-7--12-8--13-10
~ ~ . . ., " ' " .
I"T" 1 3 5 6 8 10 12-13
I
I
...,.
u
.....
Example 32
Standard tuning
Descending
e ~Bdim ~_ A G F E D e
fI ~~t=~r=f=-#~~.-tL~
I 2 -;~ ~ ~
" " 'Q o '"
E-Gt
" L-
--- " L
--- 3----' L
--- 3--' L-
--- 3--'
mf
12
-15
.--
--1 0-13--
~
8-12
--7-10
~ .--
.--
5-8--3-7--1-5
~ .
- -
...,',. .
T"
13 12 10 8 6 5 3 1
I
I
....
u
.....
28
Triads from Bach's "Toccata and Fugue" in 0 minor
Composer Johann Sebastian Bach used triads in many of his works including the masterpiece "Toccata and
Fugue" in D minor. Below is an excerpt from the tune featuring descending triads on the top two strings.
Listen to my version of "Toccata and Fugue" included as a bonus track at the end of the companion audio
Example 33
Standard tuning
E-Gt
mf
~ ~ ~ ~ ~ ~ ~ .. ... .- ... ..
r
-----
- -
-17 1
5~1-
8
-15-18
--13~1
7--
1 3
-17 1
2 -
1 5
--12~15
--
1 0
~ 1
3-10~ 1
3
IT 17 17 15 15 13-
- -13 1
1 11
Am-.. G F Ed'
. . . . " 4~i=#~t=#~~. ~~ • 5 -# ~ -#~ - ~ ~ ~~
"
6
Dm
~ #
/# ~.
ddim
~ 7
Dm
.J
'-
--3-
= '---3
----.
.. ~
3__
__' ~3
___
_'
....-
u
29
Diatonic triads ascending and descending the C major scale
Here's a fun finger twister playing diatonic triads in C major in one position. Every other triad is played in
the opposite direction from the previous while ascending the scale. Not an easy feat to master! The latter half
turns around and descends in the same alternating manner. Start out slowly at first and be sure to alternate
pick and play evenly without stopping.
Example 34
Standard tuning
C Dm Em F G Am Bdim C Dm Em F G C
~
~" I , .- - - _ ~'
3
3'-' r-3-,
. .. . ,. .. , 1 1 " " " 1 2 _. 3 ~- - - .• 4
~
E-Gt
..; .,.- .- L J , . . J '-L..J 1 ,. . . . . o lo - " " , - -" " : : '3 - ' ' - 3- . . . . .- 3 -
- .j
-..
G F Em Dm C Bdim Am G F Em Dm C
c
, ,-=. ~-
_ ",· , = ~ -__ ,-- 8
& 11
o
[
L jn "~ ~3- '---3~ ~3 -
' '---3~ ~3
--
::--
-, '---3~
~ ~3-"
~ _
r= ---1
Il. 0 78-10~8 10-----t-89 --7-10 910-7-9 7 107 8-7-10~8 --7 10 8
~ 10 9- 7~10 10~9 10 10 8-
--
Q.
......
30
v - Soloing with triads
Easy solo with three-string triad shapes
Soloing with triads can become repetitive and boring if overused. One way to get better mileage is to give
them an interesting rhythm. Below is a simple solo using three-string triads that follow the chord change
"Am-D". Notice the second half of the solo uses higher inversions of the same chords to create movement
and interest.
Example 35
Standard tuning
Slowly
Am D Am D Am D
,/ " Jj, I
.
~.~. :--- 2 ~ e ~.. . , w . . . . . 3 - ---~" E"~;:----
E-Gt
.J
mf
~ '1)'''''''' ~
1f-------,.,----8--10 8-10 12--14
I
H != ------ -
- jIb-
0-1 10 10 13 1
5 -I
Ih~------ jW _·-9 11 9 11 14 14-
•
....
Am D Am
"."." ••·44t •••••
- - .: Y ,
••tt••••
•••••
•••••
•
~ 12-14
13 15 10-
1\
14 •
~ •
31
r
Medium difficulty solo using two-string triad shapes
The next solo is a bit busier than the previous and uses two-string triads and inversions over the same
"Am-D" chord pattern. Creating captivating melodies with triads relies on interesting note selection and
syncopated rhythm work. Try creating your own solo using triads over the chords" Am-D."
Example 36
Standard tuning
~ ---~ . .......
~ ---
Am
~ ---
D Am D
,
~ ,~ -6 : U
-
1)UU
I ~#
---
,/ " Jj. 2
E-Gt ··
..; --"
"
-' "
-' "
-'
mf
•••••• 1).
~ ~ ~ ~ ~ """'"
8
-5-
-8-
5 -
-8~0
--5 8-5--8-5,.L10-5
5 5 5 7 5 5
•
•
.....
_ _ _ + = + =
~ - --
- - ------
___ + = ~ + = ~ _ _ _~ ~ + = ~
- -
~
~ ~ ~ "'1)1)",
~ ~ '1)""4"'''1)''''44'''
1
2-8-
--12-
8 -
--12
~ 4
--10 12-8--12-8r-14-
1 0
1
0 1
0 10 1
0 1
0 10 1
0-
•
•
32
Rapid-fire two-string triads
No fancy rhythm work here, just fast and non-stop 16th notes! Mute the strings slightly by resting the
picking hand heel on the strings just past the bridge. The solo outlines Am, F, C, G, and G# diminished
chords and uses a repeating three-note sequence played as 16th notes, which creates an interesting feel.
Although the lick is repetitious, it has a captivating floating quality over the time signature 4/4. For
maximum effect use alternate picking and practice slowly with a metronome. Once mastered at a slow
speed, gradually increase the metronome's tempo.
Example 37
Standard tuning
E-Gt
mf
simile
riVriVriVriVriVriVriVriV
II Til.
12
- 8
10-
-
-
1
1
2
- 8
0--10
-
1
--
2
- 8
10--1
-
1
0
2
- 8-
1 2
- 8
-12
~
-
1
-
3 - 8
- 1
t 0-
-
-
1
1
3
- 8
0--1
-
0
1
--
3
- 8
10--
-
1
1
0
3
- 8
----j
-
1 3
- 8
-13
c G
5 -
Am
-e-
1 br==1
2 -8
8
-
-
1
-
2
-
-
8
8
-
-
-
1
-
2
8
-8-12-8-12-8-
8
1
-
2
-
=
-8
=r=1
0 --7-10--7-
8
10--7-10
8
--7-10--
8
7-10
9 9 .1 1
-
10-1-1
33
Tapping triads on one string
Tapping and triad arpeggios go together like bread and butter. Here the tapping sequence is quite longer
than the previous examples, taking sixteen notes to unfold, and outlines Am-F-C-G chords. Use the picking
hand's index finger to tap notes with a "T" written over them and the index and pinkie fingers on the
fretting hand for the remaining hammer-on and pull-off notes. Break out the metronome for this one and
start out slowly!
Example 38
Standard tuning
Am
i= # _ ~.~
~ .~- .
#
F
E-Gt
..;
mf
T T T T T T T T T T
17 12- 8-1217 12-17-12- 8-1217 -1217 12- 8-12 ~ -17 -13- 8-13 -17-13-1713 - 8-1317131713 - 8-13 ~
•
•
....
c G
--
c
If---15
liT
T T T T
-12 - 8-12 -15 -12 -15 -12 - 8-12 -15 -12 -15 -12 - 8-12
T T T T T
15-10-7-10-15-10-15-10-7-10-15-10-15-10-7-10
T
.1 1
,_ --
T
13
,_
34
VI - Advanced applications - cool and different ways
to use triads
EricJohnson style expanded triads and inversions
More often than not guitarists play triads with close voicings: "1-3-5," "3-5-1," and "5-1-3." Taking a tip from
violinists, Eric Johnson created expanded voicings on guitar by spreading the notes apart: "1-5-3," "3-1-5,"
and "5-3-1." Johnson can be heard using this concept in his magnum opus "Cliffs of Dover." The idea is
fairly easy to reproduce on guitar, but will require string skipping in order to keep each triad in one position.
See if you can spot the different inversions used in measures 5-8. Be sure to use strict alternate picking and a
metronome!
Example 39
Standard tuning
E-Gt
.... ~ 1
A
~ ~ 2
G
-fII- -fII- 3
F
.r"1# 1"'1# 4 -~-
E G#dim
-fII-
7
-
13--13 12 12 10---10 9
7
--7-
14 -14-14-14- 1----1
-2
12-12-12- 1----1
-0
10-10-10 9--9-6
12--12 10 1 0 8 8 7
....
~ 5
Am
~ ~ 6
G
-+==- -+==- 7
F
- - .-r-
8
E
-f II-+ = -f II-
.,-. 9
n
-
--
Am
-
p ..... ......
--
~ ~ l,...-" ~
8 8 10 10 13 13 16 16 17-
9-9-9-9 12-12-12-12 14-14-14-14 16-16-16-16
7 7 9 9 10 10 14 14
35
Five-string triads and inversions
This classically inspired triad workout ascends the top five strings in triplets, with each triplet playing
a different inversion of the chord. Root position begins on the fifth string and ascends three consecutive
strings, the 1st inversion starts on the fourth string and ascends three consecutive strings, the 2nd inversion
ascends three strings from the third string, and finally the root position is one octave higher on the top two
strings. Play through the first bar and see if you can recognize the A minor triad inversions. The second
bar plays a root position D minor triad on the top two strings. The remaining six bars use the same two
bar concept applied to "G and C", "F and Bdim," and "E and Am" chords. Follow the alternate picking
indications or come up with a consistent picking pattern that works for you.
Example 40
Standard luning
root position 1st inversion 2nd inversion root position root position
Am .")••••••••
D~ - ---1).
mf
i1 V i1 V i1 V i1 V i1
____ . .. .. .. .. . f J :f J ;" ) • • ••
i1 V i1 V
r'J- V V
8-
-- 8-
1 2
-,-
1 7-
1 3
--13 -
1 7
-13
10-
-10-
-10 1 5 15
9 -
--9-
--9
10-
-1 0
12
L
-- 3---' L
-- 1
L
-- 3---'
---
simile
"'1)"'"
7--7-10E1.-
5--2
1 --12-15-12----, 5--5-8
II !
-
;
-
-
-
-
~
-
-
-
9
--
-
-
-
-
7
9
--
7 -
-7
8-
-8-
-8 -~ 1 3 13
7
-
5
-
-
7
-
-
-
5
-
-
-
-
5
-
6-
-
-
-
-
6
-
--
6
_
_
If-R-----
01 I I 8,------ --
1
Bd~ E Am
6 + = : t : : :- f I l - ~ + = + " = _ P _
"'" 7 '~
-11-- _-fIl- 8~~#i:~~-e-
I''''
..J
I
--
l~
--
3
' -
L-
--- 3-
--'
L---
- 3
---
' --
---
L--
- -
13-
1
~
0
1
-
-
2
10-
1 3-
1
1
0
2
.1) .•...•..
6-
-
4
6
-
-4-
-4
5-
-5-
-5
4-- 4
-7--,
- -
.--
-1
-2
8 -
1
-8
0
-1-
28
1 0
---
'''O>''''C: ''''
36
Stacking triads to create jazzy chord extensions
Here's a cool way of creating dense jazz chords by stacking multiple triads. Check out the first measure
in this example beginning with an F major root position triad on the two bass strings, followed by an E
diminished root position triad on the two middle strings, and finally a C major root position triad on the top
two strings. The resulting chord is "F major 11," which contains the notes F (root), A (3rd), C (5th), E (7th),
G (9th), and Bb (11th). The remaining three bars use the same concept to outline "D minor 11," "Bb major 9
#11," and "C11" chords respectively. See if you can spot and name the three triads in each of the remaining
three chords.
Example 41
Standard tuning
E-Gt
'-.../
mf
Fmaj Edim Cmaj
_I
•
14
• -12-15
13~
i
,,6 5~8-5~
6-6~ ,,8 6~0-6~
8-8~~5 5
-j
- ,
- ---------- 5- 9 7-10 • - 5
---- -- -
7 8 _ 7
-R
I -=-----5-8 7-10 • -8
--- 6'- / 8
-"-'_....-'/--
---
---
-- _
37
Tapping triads on multiple strings
Check out this tapping idea using Eric Johnson's expanded triad concept (detailed a few examples earlier).
This example sounds best with a clean tone since you'll want to let the notes sustain as long as possible. Use
your pick hand's index and middle fingers to tap the higher portion of the lick (notated with a "T" above the
note) - strings "4 and 2" (index and middle respectively) or "3 and 1" (index and middle respectively). The
fret hand index and ring fingers hammer-on the remaining notes on the low strings (notated with an "H"
above). Listen to my song "Crystal Castle" included as a bonus track on the audio accompanying this book
(track #41), which features this tapping concept pushed to the limits.
Example 42
Standard tuning
Dm G/B
,-3"""
"
I
··
-r1~ -n~ 2 11- - - 11~ _ 3
:..n -- r1I---
E-Gt
..;
• l..L.
'-3.
...
....
l.L
'-3.
...
....
-
-L-
'-3-.
.
-L
'-3-.
.
.. -U ..
'-3-.
.
lJ
'-
j
3.
...
...
mf
H H T T H T H H T T H T simile
1
3 1
3 1
5 1
5 1
2 1
2-
•
14 --14--14--14 15 --15--15--15 12--12--12--12-
• 10--10--10--10 12--12--12--12 1
0--10--10--10-
8 8 1
0 10 7 7
~ --
e Am F
.J .. .. --
L-L-
'--3-.
..
L-L-
'--3-.
..
•
-= -
[
[4 I L J ..:~ L - -L :
I
1
--3 1
--3
~
'--3-.
..
'--3-.
.. '--3-.
..
1
- 1
3 1
3
1
3 1
3 1
0 1
0
1\ 14--14--14--14-
--
~--8
1
0
1
-
4
-
-
1
-
0
1
-
4
-
-
1
-
0
1
-
4
-
-
1
-
0
14
7
1
-
0
-
-
-
-
7
1
-
0
-
-
-
-
1
7
0
-
-
-
-
1
-
0
7
8
1
0--10--10--10-
8
8 5 5
G Gaug e
~ ~ ,-- 3
~ ~
.. --n~
..... " t= fll-I= t=
--
fII-!= fII-
--
fII-
--
7 8 tiL 9
-..r
LJ.- '--~
1
..
.-3-
-'
LJ-
1.
..-3-
-
'-
'
-
-
.
.
3
;
-.
..
-u-
L-
--
3
---'
'--3
--.
.J -
L . J . . . . . . =
L-
-- 3
---'
'--3
--.
.J - .. L-Le-
'--3-.
..
1
5 1
5 1
5 1
5
1
3
16--16--16--16 1
6 1
6 1
6 1
6 •
12
--12--12--12 1
3 1
3 1
3 1
3 1 4--14
1
0 10 1
0 1
0 • 10--10
... 8 8
38
Bonus Audio Tracks
The following two bonus tracks are from my Desert Storm CD, available on iTunes, Spotify, CDBaby.com,
iHeart radio, and Amazon.com. The first bonus track (track #43) is my version of Bach's "Toccata and Fugue"
in D minor and, while it's not using all triads, there are several sections that do. See if you can hear them!
The second bonus track "Crystal Castle" (track #44) has an obvious Joe Satriani influence and uses a tapping
technique very similar to example #42 from this book.
Conclusion
This book is not intended to be all encompassing by any means, but rather a tool to spark fresh ideas and
concepts that will broaden your musicianship and help you to become a better player. We are limited only
by our understanding of music and it's fundamentals, so continue to push forward, learn new concepts,
and strive to be the best musician you can be. I truly hope the ideas contained here open new doors and
possibilities with your guitar playing. Keep those fingers flying!!
For more info on Dave Celentano's educational books, DVDs, online tutorials, and music check out www.
davecelentano.com and visit him on YouTube and Facebook.
39
M o r e G r e a t G u i ta r B o o k s fr o m C e n t e r s tr e a m ...
K IL L E R P E N T A T O N ICS ~ THE C HO RD ~
FOR GUITAR SCALE GUIDE
by Dave Celentano by Greg Cooper
C ov er s i nn ov at iv e a nd d iv er se w a ys o f p la yi ng T h e C h o r d S c a le G u id e w il l o pe n u p n e w v oi c-
pentatonic scales in blues, rock and heavy metal. i ng s f o r c ho rd s a nd h ei gh te n y ou r a wa re ne ss o f
The licks and ideas in this book will give you a fresh lin ea r h ar mo niz at io n. T his w ill b en efit ja zz
approach to playing the pentatonic scale, hopefully e ns em ble p la ye rs , ro ck g uit aris ts a nd s on g-
inspiring you to reach for higher levels in your play- w rite rs loo kin g to c rea te new and uniq ue
ing. The 37-minute companion CD features recorded original music, and understand the harmony behin d
examples. chords.
00000285 Book/CD Pack $19.95 00000324 $15.95
40