Beginners Lead Questions Donate

Fretboard Rhythm Advice Contact

Chords Progressions Resources About
Like 2.9K
search fretjam
Scales Theory Blanks

Home > Theory > Triads

Economical Guitar Triads - An Easy Way to Dominate the Neck

Triads are the most basic chords you can play on guitar, consisting of just three notes. Therefore, we only need three
strings to play them.

Now, I like to make your time learning guitar as productive as possible. So in this lesson I'll not only show you the most
economical way to play these triads, but I'll also show you how to dominate the neck, in any key, using a simple method
known as scale harmonization.

First, take a look at the video below for a clear introduction to this powerful method...

284

Harmonizing Scales Using Triads

Guitar Triads in Theory

There are four triad types that form the basis of harmony in music:

Major triads, which consist of a root (1), major 3rd (3) interval, and perfect 5th (5) interval. 1 3 5.
 Minor triads - root (1), minor 3rd (b3) and perfect 5th (5). 1 b3 5.

Diminished triads - root (1), minor 3rd (b3) and diminished 5th (b5). 1 b3 b5.

Augmented triads - root (1), major 3rd (3) and augmented 5th (#5). 1 3 #5.

Note: In the video, we didn't use augmented triads, because they don't exist in the particular scale we were harmonizing.
That doesn't mean you can't try using them in places. Your ears are always the judge!

Extra info...

One way to see triads is a sequence of major 3rd and/or minor 3rd intervals. For
example:

Major triad = 1 - major 3rd - 3 - minor 3rd - 5

Minor triad = 1 - minor 3rd - b3 - major 3rd - 5

Diminished triad = 1 - minor 3rd - b3 - minor 3rd - b5

Augmented triad = 1 - major 3rd - 3 - major 3rd - #5

Triads exist on the fretboard in many different shapes and positions. For example, if you've learned barre chords, you'll
most likely be familiar with these six string major (1 3 5) and minor (1 b3 5) triad forms...

Even though there are six strings being used in these chord shapes, there are still only three tones (the triad) in the
chords. We just repeat some tones to fill out the voicing of the chord.

Barre chords are useful, especially when it's just you playing, but this lesson is all about economising our triad playing
for more of a voice leading effect. As there are three notes in a triad, we only need three strings to voice the chord.

3 String Guitar Triad Chart

In each of the shapes below, look at where the root (1) note is positioned, because this will tell you where to position
the shape to get the chord you want (e.g. for G major, position the major shape on the root of G)...

Major Triads
Minor Triads

Diminished Triads

Augmented Triads

I'm sure you're wondering... why are the augmented shapes the same? I won't get into that now, but it's to do with the
symmetry of their intervals.

In later lessons, we'll look at additional triad shapes that cover other strings, but the above is a great starting point (and
easy on your fingers!).

Major Scale Triad Harmonization

The major scale is the harmonic and melodic basis for a lot of songs you'll hear (and write). It contains both the natural
(diatonic) major and minor key centers.

Using the above triad shapes, we can cover the entire width of the neck on the top three strings in any given key.

The example key I used in the video was A major:

This A major key corresponds to the A major scale, which we can visualize on the same three strings "underneath" our
chord shapes (if you don't already know the major scale by heart, don't worry because we're bringing together a lot of
elements here).

Recommended...

To fully understand how scales, keys and chords are related, take a look at my Chord
Connections course. It's offered many a completely new way of seeing the neck!

When you've established a key, simply find the scale's root (1) on one of the top three strings and build its related major
triad shape. So for A major, there are three positions as shown below. This is our I (or tonic) chord...

For the next triad in the scale (ii) we move each shape up by one note. The root becomes the 2 of the scale...
On to the iii chord, again we move each note in the ii chord up by one degree. The root becomes the 3 of the scale...

Follow the degrees of the scale up to the IV chord...

V chord...

vi chord (our relative minor key tonic, F#m in this case - more on this in another lesson)...
and the vii chord - the "odd one out" because it's the only diminished triad in the scale...

So we now have three positions for each of the seven triads that exist in A major. Amazing how it all fits together isn't
it?

Together, these triads make up the seven notes of the A major scale. Hopefully, by following this process, you can see
the intrinsic connection between the "parent scale" and its chords.

So what if we wanted to harmonize a different key? Simply move the 1 of the scale (the root of the tonic major chord) to
the appropriate note. For example, for C major harmony, we'd move the 1 to the note... C and build the sequence from
there.

Your task is to explore this triad sequence in different keys so you can internalize it and commit it to memory. Take your
time.

To make this process more fun, and to test your knowledge, come up with exercises that move between the triad
degrees in interesting ways, like the following (we're back in A major again)...

Click to hear

Listen closely to the melody you create as you move between chords. This is the musical statement formed through the
movement of each note to the next. For example, you could focus your ear on the highest note in the triad as the
melody, the middle or the low note. More on chord melody another time.

Remember you can also arpeggiate these chords (play them one note at a time). Go nuts!

As demonstrated in the video, we can also harmonize the scale/key by using two string, root-3rd forms...
 Click to hear

The more ways you can come up with to explore the fretboard in this way, the better.

The whole purpose of this method is to bring together harmony and melody into a unified musical expression. Use the
scale as the "scaffolding" for your triad playing, even embellish your triads with short melodic phrases.

The great thing about this method is, once the roadmap is memorized, you can improvise ideas fluidly and musically,
without getting lost.

To expand on your triad knowledge, learn how chords and scales are related and the many different ways of
approaching them, take a look at my Chord Connections course.

Was this helpful? Stay updated and learn more

Share this with your fellow guitar enthusiasts... Enter your email below for more like this and grab your free
Uncommon Chords book...
284

Enter Your Email & Click Subscribe

Please support this site. I really appreciate it!

Subscribe

Share your thoughts...

Have any questions, thoughts or ideas about this lesson? Let us know using the comments form below.

16 Comments fretjam 🔒 Disqus' Privacy Policy 

1 Login

 Recommend 1 t Tweet f Share Sort by Best

Join the discussion…

LOG IN WITH OR SIGN UP WITH DISQUS ?

Name

Raymund Bollinger
5 years ago edited
− ⚑

Brilliant lesson again :-) I just wonder why the first shape of the dimished triad looks exactly the same like the D7-shape (I mean the
simple D7-shape we all learned at the beginning of our "career". So know I am thinking about the deeper connection between the
diminished triad and the (D)7 chord (of course can be any other 7 chord). Strange but true this diminished shape to me doesn't sound
dimished (even I know it is). For me it sounds like D7 without the root, if I play it on the 2nd fret. Maybe my brain is telling me "it looks
like D7, so it must be D7." And somehow I am still hearing the D, even I don't play it. And if I add a D on the D-string the dimished triad
definitely becomes D7. I see every dimished triad becomes a 7 chord if I add a quint below the third of the triad. Maybe this is
meaningless but I will if I can use this relationship of the diminished triad with a 7 chord to create some "distrackting" progression ;-)
21 △ ▽ Reply
Mike Beatham > Raymund Bollinger
5 years ago edited
− ⚑

Raymund, the reason one of the diminished shapes is the same as a dominant 7th shape is because the two chords are inversely
related. In other words, if you take the three notes of G#dim in its 1st inversion (that means we put the minor 3rd in the bass) - B D
G# - you essentially get the top part of E7 - (E) B D G#. That's why you can see a familiar dominant 7th shape occur in a harmonized
diminished sequence.

In fact, all the diminished triad shapes can be seen as inversions of the related dom7 chord in that key (E7 in this case).

However, it's the context in which you play the shape that will make it sound dim or dom7.

Hope that makes sense!

△ ▽ Reply
David Williams
− ⚑
7 years ago
THIS WILL WORK!
20 △ ▽ Reply
John Bryan
4 months ago
− ⚑

Is there a way to identify the lesson that your on and the consequent following lesson? You often mention that "in the next lesson" but I
don't really know how to find it.
I'm sending you more money dude. I get more out of your stuff than lessons I've paid a lot more for, even on the internet. Thanks and
keep up the great work.
△ ▽ Reply
Mike Beatham > John Bryan
4 months ago
− ⚑

Thank you John for the kind gesture. Usually you can find the link to the next lesson at the foot of the page. However, for this
particular series, I decided to develop my Chord Connections course, which expands on triads (and other concepts). I'd be happy to
send you the link to access the course if you email me (mike at fretjam.com). Cheers!
△ ▽ Reply
Rishik Mukherjee
2 years ago
− ⚑

but i have a question.. The harmonisation of the 7th note of the scale is as you mentioned 1 , flat 3rd and flat 5th but the harmony we
are getting in the first shape of diminished chord is (B,D &G#) which are the 2nd, 4th & 7th note of the scale respectively.. can you
please clear my doubt about the 7th note harmonisation here. Thanks for the wonderful lesson !!
△ ▽ Reply
Mike Beatham > Rishik Mukherjee
2 years ago edited
− ⚑

This is one inversion (an ordering of tones from low to high) of the diminished triad. Like the other triads, we have three triad shapes
based on three inversions of the chord. So each tone can appear as the high tone, middle tone or low tone in the triad shape,
depending on which inversion/position we use.
△ ▽ Reply
alexL
6 years ago
− ⚑

Hi fret>jam all your lessons are phenomenally well worked out and extremely well presented ! Many things that I had some ideas about
( modes, harmonization,...) but never fully understood become fully clear in your lessons. You are an extremely clear-thinking individual
with amazing musical feel. Phenomenal...

△ ▽ Reply
Mike Beatham > alexL
6 years ago
− ⚑
 Thanks man, just glad I could help.
△ ▽ Reply
god
6 years ago
− ⚑

fucking great.
△ ▽ Reply
Wonder 1950
7 years ago
− ⚑

I liked this it's a good way of breaking it up so you can build it back up yourself .... Cheers fret>jams

△ ▽ Reply
gjh
7 years ago
− ⚑

Excellent lesson! Can hardly wait for the follow-up!

△ ▽ Reply
Tom Farr @ My First Axe
7 years ago
− ⚑

This is a great way to gain better control over the fretboard. Thanks.

△ ▽ Reply
Dick Spindler
7 years ago
− ⚑

Great presentation. This lesson was a big help. Thanks, Mike

△ ▽ Reply
Loic
7 years ago
− ⚑

Another great lesson !

△ ▽ Reply
Marty
7 years ago
− ⚑

Very Helpful again!! Thanks, Mike

△ ▽ Reply

✉ Subscribe d Add Disqus to your siteAdd DisqusAdd ⚠ Do Not Sell My Data

^ Back to Top

         

Like 2.9K                                 Subscribe  -  Donate  -  About  -  Contact  -  Site Policies

                                                                      Copyright © 2020 fretjam.com