Now with

Audio
Online!
 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 39

Conclusion 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
~"

..
I
c
- c

mf
Root(1) 3rd 5th

...... 1 5
3
I 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
..
I
edim
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

.....

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

,
Standard tuning

e Dm Em F G Am e

E-Gt
"
I. -. • =1= 2. f
Bdim

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

em Ddim Fm Gm Bt. em

"
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
I'J.
5 7 8 10 12 13 15 17
~.

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 Dm Et.aug F em

E-Gt
" I. 0a- t+&- S: 2.G Adim

of
Bdim

I
.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

em

•
em Ddim Et.aug At. Bdim

E-Gt
,/
I. --a- t+&-
Fm

S: 2.
G

f J
.. 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

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 o

Fret - 3 5 7 9 12 15 17 19 21
Diminished - 1,b3,b5
root position 1st inver. 2nd inver.

0
1 1 1 () 1 1 () 1 1 (J 1 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 01 101.-101 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

root inversion root inversion root inversion root inversion

e F G e
... I" 2 ~ 3-H 4 0

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

root inversion 2nd inversion 1st inversion root inversion

e F G e
~" I" 2-e- 3" 4 0

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

root inversion 2nd inversion 1st inversion root inversion

e F G e
" I" 2-e- 3{"\
4 "
E-Gt
.J
mf

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

1st inversion root inversion 2nd inversion 1st inversion

C F G C
" 5 -n- 6~ 7-R 8 ~

--.:Y
8 8 7 8
8 10 8 8
9 10 7 9

2nd inversion 1st inversion root inversion 2nd inversion

C F G C
n
...-" 9 ~ IO~ 1l+t 12
~

~
12 13 10 12
13 13 12 13
12 14 12 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

E-Gt
."" 1_
Om
.-
-- -
,..
.
c

r
2 ._
..
•
- .rJ
Om
3-& -& • -& ----
c

.J I I I

mf

~
...
D
3-- 3--
3-- 3--
3-- 3--
3- 3-- 3
3- 3-- 5
3- 3-- 5 n-
5--5
5--5
3 6--6--6-6--8-
8--8--8-8--8-
7--7--7-7--9-

....

Om c D Om
• • ~ ~. ~,.. ~ -e-
...-,,~:~~ 5:f:f::&::&.- "li'.: :::;- =: 7H
~
8l--8 10--10--10-10--12 112l--12 14 15
IHI=----8--8 11--11--11-11--13 13--13 15 15----+1
Ih~-- 19--9 12--12--12-12--12 12--12 14 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
tl- 7----7----7--7----9----
5---5---5--5---5 5--5 8----8----8--8---10----

" --- .. .-.

,
,r) 5-&
Om
-& -& -&
--
c
" --..
~
---- ---~
D
JJ..
Om
7:n
.J

11--11--11-11--13 13 13 15 15
~8~-8
9--9 12--12--,12-12--12 12--12 14 15
( )-10 12--12--12--12--14 1 l-
14--14 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:
" .ll. 1
-.·· --".A7 2 -&:
.
I-,~ 3 t: --
."-'A2-
rr:;;; 4

E-Gt
.J I

mf
3--5 7--9 10--12 14
3--5 8--10 12--14 15
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

IHf------3--5 8--10 12--14 15-----HI

Ihr-----4--6 7--9 12--14 14-----HI
If-I'_----5--7 9--11 12--14 16----+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

c
G 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
II T 3-3-3-5-5-5-5-5
h-:.-;.-----4- 4- 4- 5- 5- 5- 5- 5
7-7-7-3-3-3-3-3
7-7-7-4-4-4-4-4
8-8-8-8-8-8-8-8
7-7-7-9-9-9-9-9

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 10-10-10-8-8-8-8-8
·-I-ir-.-----11-11-11-7-7-7-7-7
12-12-12-13-13-13-13-13
12-12-12-12-12-12-12-12
15-15-15-15-----·
14-14-14-16-----

Example 21
Standard tuning

1
G
•
e D G
.
G

E-Gt

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

D G G e .
D G

II I
10-10-10-8-8-8-8-8===i=12-12-12-13-13-13-13-13===i=15-15-15-15 ~
-1-(-----11-11-11-7-7-7-7-7 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 _

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 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 ! 8-8-8-8-8
,-,------9-9-9---9-9
10-10-10-10-10 8-8-8--8-8
10-10-10-10-10 9-9-9---9-9
8-8-8--8-8
7-7-7--7-7

1tE= 8-8-8
8--8-8
9--9-9
8- 8====:E
8-8
9-9
8- 8- 8--8- 8-==±10-10-10--10 -10
10-10-10--10-10
10-10-10--10-10
12-12-12--12-12
12-12-12--12-12
===r= 8
8----
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

II.-:r
T
~• 12-12-~12
•
13--13--13
12--12
10-10-~10
12--12--12
12--12
8
10--10--~
9--9 --
8--8~7--7--7
8--8--8
9--9----i

F c F
- -
G
6 _
" 5# # #- 7# # # 8-!'-. -!'-- -fII-_
..
~ \00"" ........ ..... ....... ..... ...... ...
5 5 5 3 3 3 5 5 5 7 7 7
6 6 6 5 5 5 6 6 6 8 8 8-
5 5 5 5 5 5 7 7 •
•
....

20
 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
~:e ~-- .. ~:e
F Bdim c
~
'/" 1 * 2 ## - - ~ #. 3 ~~. -~·e~ 4 &i-
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-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---
•
...
Am F Gaug
r'" 5 ~~##**# 6~H-""~K-" 7
G
IS-.
~ ~-&-& lS- 8 .~ ~-&-& ~ ~-&
..
.J
--- ......
X-X-S-S-X-X-S
........, ...... ........,
X-X-S-S-X-X-S
--- - - - - --
X-X-S-S-X-X-S X-X-7-7-X-X-7 X-X-7-7-X-X-7-
X-X-6-6-X-X-6 X-X-8-8-X-X-8 X-X-8-8-X-X-8-
X-X-S-S-X-X-S X-X-S-S-X-X-S X-X-7-7-X-X-7 X-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

" 1

..
c
-~- 2 -P~ - 3
F
-# 4
F
-~ -
E-Gt
.J
-
mf

r1r1r1 V V V
-
simile
l....J..-I -- ~ -...

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
:::-::.
"
JI-
9 ":;L.
.. 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 -& -&-&-& -& -&-&

E-Gt .. 4
..
.J
mf
-
similie
ri ri V ri V ri V
- 8--8-8-8--8--8--8
10 -10 -10-10-10 -10-10
7--7-7-7--7--7--7
8--8-8-8--8--8--8
7\ 9--9-9-9--9--9--9 7--7-7-7--7--7--7
--
D
-I -I

...

...-" S ...
F
................ 6
..
E
7 o!I- _____

- - 8
G#dim
0114- -& -& __

--.:Y .......... .......... ~ ~ ~ - -- -

-- --
5--5-5-5--5--5--5 4--4-4-4--4--4--4 7-7- 7- 7-7-7--7-
6--6-6-6--6--6--6 5--5-5-5--5--5--5 9-9-9-9-9-9-9-
5--5-5-5--5--5--5
." 4--4-4-4--4--4--4 7-7- 7- 7-7-7--7-

.,..".
'"9. Am
• 1: ••
•• 10
..
G
11:f :f:l:l :I :I :I 12
..
.J
8-8-8-8-8---8-8 10-10-10-10-10-10-10
10-10-10-10-10-10-10 12-12-12-12-12--12-12
9-9-9-9-9--9-9 -I 12-12-12-12-12-12-12 -I

..
F

14 IS

1tE= 13-13-13-13-13-13-13=!
13
-13-13-13
-13 -13-13
14-14-14-14-14-14-14 n
E16-16-16-16-16-16-16
17-17-17
-17
-17-17-17
16-16-16-16-16-16-16
16
-16-16-16
15
-16-16-16
-15-15-15
16-16
-15-15-15
-16-16-16
-16-16

Am

1tE=~~
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-~101010 1010101010-r-7-7-7-7-7-7-7-7-r-8-8-8-8-8-8-8-8-
1010101010101010-1-1010101010101010-l--8-8-8-8-8-8-8-8-t--8-8-8-8-8-8-8-8-
9-9-9-9-9-9-9-9-1-101010101010 1010-l--7-7-7-7-7-7-7-7-t--9-9-9-9-9-9-9-9-

....

F Bdim E G#dim

5-5-5-5-5-5-5-5
1~
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

....- " JJ..fr 1

.. - 2
D9
-, 3
A9
- ..:. 4 h. _
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-
0-3
0-
Ii 7",S--7- -9-7-S
0-3-
....

,...,. '" JJ..jjo 5

D9
~~~# 6 ~~~# 7
A9
---
~
. 8h.
~

-- --
~
.; ;tt1* I I I
I -.;--
-::::::' :::::::' ~~ ;t;t ~ ""'-
~ .---
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
~~#
,...,. " JJ..jjo 9 -------- - 10
-
,
II
- • 12 - - - - - - -'-...
.
.J ~~'-- ~ - - ~ ~;t;t ~ I I '--3--' '--3--' ~~

1f-------r-9"'7 ~
If-1F-------7'- 9",7
---
/ 7,,---S
7,,---S 7,,---S--7
-f--
7-7-7-7-7-7-7"'-<-------,-.
9-9-9-9-9-9-9""---~_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-

12.
E7 Bt.9A9
." " jJ. ~ 13 ~ ~ ~ ~ ~ ~ ~...:
- 14

.J ---
'-- 3--' '---3--' ......
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-
~tl-
....

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
mf
I I LJ I I I LJ ----.~
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 12 I 'I
..
.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,"
"Dance the 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

II~ / 7_5_0 !=-IIJl=o-o_0_0--'-~1~~00_0_0~=O=!3

A E c

------3x

3x

Iii I!I 0-0-0-0~~1~0-0-0~7-5_0 1~I.o-o-o-o~~%3

~ ~
7J ---
n a

,....,." JJ.-It ~J ~- ~
8
--- 9 -'*

.J
~
~-
i
........ l..-" ~ .....- -
9-

(~~J) 8---5-
9
10
f- (5)
6
7
7
8
9
10- (10)
9
11
12
11
13
0-0-0-0
.....

" JJ.-It 1O~-# - -IIf-+- II-R0

~ --../

(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

E-Gt
"'"
.J
I
Ascending
e
.~

-
'-- 3---...
Dm

-# "
L-.... 3--...
~.
Em

L-....
F

~-#
3--... '-- 3---...
2~~
G Am
~
.+=~-#t=~~~
J--... --...
Bd~ e
""""

I"T"
mf
~ ~
3-0--5-1--7-3--8-5
~ ~ ~
10-7--12-8--13-10
~ ~ ...,"'".
1 3 5 6 8 10 12-13
II
...,.
u
.....

Example 32
Standard tuning

Descending
e ~Bdim ~_ A G F E D e
fI I ~~t=~r=f=-#~~.-tL~ 2 -;~ ~ ~
""'Qo'"
E-Gt
3----'
" L---- " L---
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
II
....
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 15
~18
--15 -18--13 ~17--13-17 12-15--12~15
--10~13-10 ~13
IT 17 17 15 15 13---13 11 11

Am-.. G F Ed'
.... " 4~i=#~t=#~~. ~~ • 5 -# ~ -#~ - ~ ~ ~~

.J ~ ~ "---... - "---... '----3--..J '----3--..J '--- 3--..J '--- 3--..J

~ ~ ~ ~ .-- ~ .-- ~
8-12--- 8-12--- 6-10--- 6-10 5-8---5-8---3-6---3--6
10----10 8 8 6 6 5 5-

" 6
Dm
~ # /# ~.
ddim

~ 7
Dm

.J
'---3-= '--- 3----... ~3____' ~3____'

~ ~ ~ ~ "1)""'''''''1:0"
..... 1-5 1-5 0-3 0-3
3 3 2 2 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
~
3'-' 3-,
~" I ,.--- _ ~'
3 r-
.....,..., 11"""1 2 _. 3 ~- - - .• 4
~
E-Gt
..; .,.- .- LJ,..J '-L..J 1,.....olo-"" ,--"" ::'3-' '-3-.. ...-3- - .j-..

..... 3-' '-3 -.. ...-3-' 3-..

mf
simile
i"1Vi"1Vi"1Vi"1Vi"1Vi"1V ~
7 8-10·7--8-
8 10-8--10---8
7-9 710-9- 1--710---910
7 9107 9--10-7-9 10
710-8-710---8- f--10
8 10
.....

G F Em Dm C Bdim Am G F Em Dm C

c, ,-=. ~-_ " ,· , = ~ - __ ,-- 8

& 11
oj
[Ln "~ ~3- '---3~ ~3 -' '---3~ ~3
--::---, '---3~
~ ~3-"
~ _

r=---10
Il. 7 8-10~8 10-----t-89 --7-10 9 10-7-9 7 10 7 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
IH!=--------jIb--10 10 10 13 15 -I
Ih~------jW_·-9 11 9 11 14 14-
•
....

Am D Am

---- +;::e
"."." •• ·44t •••••

1l. 4 -e-
..
..... I<
5

TI

--.: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

,/ " Jj. I
Am

~--- ~# ~---~. --- -.......,

D

2
Am

~--- ~,~
D
-6: U
1)UU

E-Gt ··
..; --"
"-' "-' "-'
mf
•••••• 1).
~ ~ ~ ~ ~ """'"
8-5--8-5--8~0--5 8-5--8-5,.L10-5
5 5 5 7 5 5
•
•
.....

Am D Am D Am
.""Jj.

~
3 ___ f=_~ ___ += ~ ___ += +=
~--- 4 ___ +=~ ___~~+= ~ - -

..
- - ------

5 -e-

~ ~ ~ "'1)1)",
~ ~ '1)""4"'''1)''''44'''
12-8---12-8---12~4--10 12-8--12-8r-14-10
10 10 10 10 10 10 10-
•
•

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

palm mute throughout

Am F

E-Gt

mf
simile
riVriVriVriVriVriVriVriV
II Til. 12- 8-12- 8-12- 8-12
10--10--10--10--10
- 8-12
- 8-12
~13
--t-
- 8-13- 8-13- 8-13
-
10--10--10--10--10----j
8-13
- 8-13

c G

5 -
Am

-e-

1br==12-8-12-8-12-8-12-8-12-8-12==r=10--7-10--7-10--7-10--7-10--7-10
8---8---8 8---8 8 8 8 9 9 .11
-
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

i=~_-~_.- .~.~.
e
E-Gt
" 1
.. 2

..;
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

I f---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 T

15-10-7-10-15-10-15-10-7-10-15-10-15-10-7-10
.11
,_ --
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-

.J ~ ~ l.) l,.) ...... 'l,.)

mf
"""" ""'..J

7-
13--13 12 12 10---10 9
7--7-
14-14-14-14- 1----12
-12 -12 -12- 1----10
-10 -10 -10 9--9-6
12--12 10 10 8 8 7
....

~ 5
Am

~ ~ 6
G

-+==- -+==- 7
F

- - . -r-
8
E

-fII-+=-fII-
.,-. 9
Am

n
-
--
.....

--
~ ~ l,...-" ~ -p ......

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 .")•••••••• 1).
D~ - ---

"'" I , #~#~f:: 2~~~EEE~

E-Gt
..;
L...
L----

mf
-"
3----' -
L---- 3----' L---- 3----'
~

i1 V i1 V i1
i1 V V i1 i1
____ .......... fJ:fJ;") ••••
V i1 V
r'J- V V
8--- 8-12-,-17 -13--13 -17-13
10--10--10 15 15
9---9---9
10--10
12

L-- 3---' L-- 1

L-- 3---'

II!
simile

-;-~-----7--7--7
-----9--9
.--
7--7-10E15-12--12-15-12----,
8--8--8 -~ 13 13
--- "'1)"'"
5--5-8
6--6--6
5--5--5----
7--7-----
_
_
If-R-----1
0 I I 8,------ --1

Bd~ E Am

"'" 6+=:t:::-fIl-~+=+"=_P_ 7 '~ -11-- _-fIl- 8~~#i:~~-e-

I''''
..J
I
----'
3
l~
-
L---- 3---'
L---- 3---' --
---
L----

~
13-10--10-13-10
12 12
.1).•...•..

7
4--4--4
6--6
5--5--5
4--
.--
4- 7--,---12
- 8-- 8-12
10
-8
10
---
'''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

Fmajll --.- Dml1

E-Gt

'-.../
mf
Fmaj Edim Cmaj

_I
•
14
• -12-15
13~

Bt. maj9add# II --.- ell - Fmaj7

4 ~ 5 -e-

i
,,6 5~8-5~-6~
6 ,,8 6~0-6~-8~~5
8 5
-j-,----------- 5- 9 7-10 • - 5
-------7 8 _7
I-R-----5-8
-=--- 6 '-/
7-10
8-"-'_....-'/---------- _
• -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-..
lJj
'-3 .......
mf
H H T T H T H H T T H T simile

13 13 15 15 12 12-
•
14--14--14--14 15--15--15--15 12--12--12--12-
• 10--10--10--10 12--12--12--12 10--10--10--10-
8 8 10 10 7 7

~--
e Am F

--n~ .- t:
f1I-
ri1~ ~.- --1=
--
" 4 5 6

.J .. .. --
L-L-
'--3-...
L-L-
'--3-...
•
-= -
[[ 4
II LJ..:~L--L: ~
'--3-...
1--3 1--3
'--3-... '--3-...

1- 13 13
13 13 10 10
1\ 14--14--14--14-

~--8
-- 14--14--14--14
10--10--10--10
8
10--10--10--10
7---7---7---7 8
10--10--10--10-
8
5 5

G Gaug e
~ ~ ~ ~ ,-- 3

.. --n~
..... " fII-!= fII- t= fll-I= t=
7

-- -- 8 fII-
-- tiL 9

-..r LJ.- '--~

1...-3--'
LJ- '--3-...
1...-3--'
-..;
-u-
L--- 3---'
-
'-- 3--..J L.J......=
L--- 3---'
-
'-- 3--..J
.. L-Le-
'--3-...

15 15 15 15
13
16--16--16--16 16 16 16 16 •
12--12--12--12 13 13 13 13 14--14
10 10 10 10 • 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
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P.O. Box 17878 - Anaheim Hills, CA 92817

(714) 779-9390 www.centerstream-usa.com

40
 Includes online access to audio music. '
Music examples are marked with this icon.

To access the audio, go to

www.halleonard.com/mylibrary
and enter the code found on the first page
Audio Access Included of this book.