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Open-voiced triads are ones in which the individual notes, or voices, are spread out. Eric Johnson uses almost all of these voicings regularly. The beauty of these chords is that when arpeggiated, they sound even better.
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Wild Stringdom With Eric Johnson_ Expand Your Chordal Vocabulary With Open-Voiced Triads _ Guitar World
Open-voiced triads are ones in which the individual notes, or voices, are spread out. Eric Johnson uses almost all of these voicings regularly. The beauty of these chords is that when arpeggiated, they sound even better.
Open-voiced triads are ones in which the individual notes, or voices, are spread out. Eric Johnson uses almost all of these voicings regularly. The beauty of these chords is that when arpeggiated, they sound even better.
Wild Stringdom with Eric Johnson: Expand Your Chordal Vocabulary with Open-Voiced Triads Posted05/02/2014 at3:05pm | byEric Johnson I often get asked about my chord work, particularly about the voicings I use. My chord style initially developed as a result of my dissatisfaction with the way traditional guitar voicings, particularly triads, sounded. As most of you probably know, I'ma stickler for tone. And when I was starting out, I quickly realized that the garden-variety triad voicings sounded pretty gnarly when played with distortion-they were muddy and lacked clarity. To remedy the problem, I would try to figure out ways to voice themwhere they would sound good even when played using a crunch tone. I quickly realized that open-voiced triads-ones in which the individual notes, or voices, are spread out-lent themselves best to distortion. The whole trick to creating open-voiced triads is to take the middle note of a close-voiced triad (named so because the intervals are stacked as close together as possible) and play it an octave higher or lower. Let's apply this concept to a root position (where the root is the lowest- sounding note) G chord. Take the third (B) and move it an octave higher, to the E string, and you get the rich-sounding voicing illustrated in FIGURE 1. You can apply this principle to inversions of both major and minor triads. As shown in FIGURE 2. I use almost all of these voicings regularly-I really love the way they sound. I often do to spice up my solos using arpeggiate open-voiced triads, that is, play the notes of each chord in succession. The beauty of these chords is that when arpeggiated, they sound even better! Play FIGURES 3 and 4, which depict the harmonized C and G major scales respectively, and you'll her what I mean. 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Wild Stringdomwith Eric Johnson: Expand Your Chordal Vocabulary wi... http://www.guitarworld.com/wild-stringdom-expand-your-chordal-voc... 1 de 3 26/05/2014 01:48 Topics: Eric Johnson, Wild Stri ngdom, Blogs, News, Lessons, Magazi ne Wild Stringdom with John Petrucci: Combining Triad Arpeggios to Form Polytonal Chordal Allusions Wild Stringdom with John Petrucci: Using Triad Arpeggios to Imply More Complex Chord Qualities Lick of the Day: Open-Voiced Arpeggio Etude by Steve Morse Guitar Strength: Slippery, Sliding, Open-Voiced, String- Skipping 7th Arpeggios 1 Comment +Add a Comment Once you're comfortable with them, check out FIGURE 5, which is similar to a passage I play in the intro solo to "Cliffs of Dover." It seems that a lot of guitarists like to focus their energy on their single-note chops, and as a result, they'll play voicings that are not nearly as sophisticated as their single-note lines. However, if you spend as much time working on chords, as you do on single-note ideas, you can come up with not only innovative rhythmparts, but great chordal-based soloing ideas as well. Related YOU MIGHT ALSO LIKE... Here's What Youll Get: Current issue info Updates on our apps, specials and DVD products Awesome contests, articles, videos and more! Submit johne1 J uly 07, 2012 at 3:32am Cool lesson! I think of this as a lesson in "Raise 2 Chords." At a glance, these chords look like Drop 2 chords in reverse. 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