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> Triad Replacements, Maj7, m7, 6 and m6 chords using the 3 strings triad patterns
Velvet Roger
post Jan 25 2009, 05:45 AM
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Triad replacements

Introduction

Hey guys, this is my 2nd S.I. video lesson. My name is Roger, am 33 years old and living in Amsterdam, The Netherlands. I've been playing the guitar seriously for about 1.5 years now (with also some less serious playing back when I was 16-17). Besides playing the guitar, I have always been involved in playing music (piano, keyboards, drums), which certainly is helpful for rhythmic feeling etc. About 5 months ago I started my own band together with two other persons, which gives a nice boost in my playing abilities as well.



I hope you will like my 2nd S.I. video lesson.

Structure

1. About the lesson
2. Theory background
3. The lesson
4. How to implement the exercises
5. Last words

1. About the lesson

This lesson is primarily aimed towards beginning/intermediate players who would like to practically use basic triads shapes to spice up their rhythm playing. Aspects covered it this lesson include:

- Basic chords, and how to use them in more advanced chords
- Fretboard interval knowledge (focussed on chords)
- Finding chords on several places on the fretboard
- Chord inversions
- Strumming patterns (not main goal of this lesson)

2. Theory background


In my previous S.I. lesson I have extensively covered the basic triad chord shapes, which are based on the C-shape, A-shape and E-shape of the so-called CAGED system.

For your reference:
My SI lesson on basic triads
Theory series by Andrew on triads
Theory explanation on CAGED by Andrew

In the current lesson, we are actually going to use exactly the same shapes, positions and inversions as in my previous SI lesson (so nothing new there smile.gif ). However, we are going to delve a bit more into possible chord replacements using these already learned shapes which would spice up your
rhythm playing abilities. In order to understand how we are going to replace the major and minor
triads, we are going to harmonize both the major and natural minor scales.

Major Scale

First of all, I would like to refer to this excellent lesson by Andrew on how to harmonize the major scale, but in short you find below the explanations you need to understand this SI lesson:

During this SI lesson I will use D major as example. If we harmonize the D major scale this will result in the following chords (I will only show the triad-basis here):



There are two common ways to replace basic triads with, which you should remember:
  • replacing the I degree chord (tonal root chord) with the III degree chord. The resulting replacement chord will actually be a major 7th chord.
  • replacing the I degree chord (tonal root chord) with the VI degree chord. The resulting replacement chord will actually be a 6th chord.
So, if we look now into the building blocks of the basic triads from the harmonized D major scale, they consist of the following:

D (I chord) = D, F#, A
F#m (III chord) = F#, A, C#
Bm (VI chord) = B, D, F#

Looking at the notes from the F#m and Bm chords, you can actually also see these triads also as more complex D chords, namely:

F#m triad = DMaj7 chord = (D), F#, A, C# (however, in this case the root note is not played – shown in brackets!).
Bm triad = D6 chord = D, F#, (A), B (however, in this case the perfect fifth note is not played – shown in brackets!).

Minor Scale

We can apply exactly the same principle for the natural minor scale, again using D minor in this case as an example. If we harmonize the D minor scale this will result in the following chords (I will only show the triad-basis here):



There are two common ways to replace basic triads with, which you should remember:
  • replacing the I degree chord (tonal root chord) with the III degree chord. The resulting replacement chord will actually be a minor 7th chord.
  • replacing the I degree chord (tonal root chord) with the VI degree chord. The resulting replacement chord will actually be a minor 6th chord.
So, if we look now into the building blocks of the basic triads from the harmonized D minor scale, they consist of the following:

Dm (I chord) = D, F, A
F (III chord) = F, A, C
Bb (VI chord) = Bb, D, F

Looking at the notes from the F and B chords, you can actually also see these triads also as more complex D chords, namely:

F triad = Dm7 chord = (D), F, A, C (however, in this case the root note is not played – shown in brackets!).
Bb triad = Dm6 chord = D, F, (A), Bb (however, in this case the perfect fifth note is not played – shown in brackets!).


3. The lesson

Video 1: complete progression
For this lesson, I have put together a very straightforward and easy chord progression which shows the practical use of the above mentioned chord replacements by playing a standard mII, V, I progression in the key of D (however you can use the concept on every possible progression as long as you understand the basic principles), using the C, A and E shape positions using the top 2 '3 strings sets' across the fretboard.

Please note the strumming pattern in these exercises (left-hand muting and staccato).



The 5th bar starts of with an D triad (A-shape) followed by a Dmaj7 (=F#m triad in C-shape position).
The 6th bar starts of the D triad (A-shape) again, again followed by a Dmaj7 (=F#m triad in C-shape position) and subsequently a D6 (=Bm triad in E-shape position).
The 7th bar goes back to the D triad (C-shape) and D triad (E-shape).

4. How to implement these exercises

The most important about the exercise above is actually to being able to make your own chord replacements in any key or progression, based on the theoretical basis described above.

A good way to actually being able to swiftly make chord replacements is to know by heart in all regularly used major / minor keys the III and VI chords. You will probably already know the IV and V chords of most major/minor keys as this is the old-time famous Blues Progression, so by also learning the III and VI chords, you almost have all the chord degrees memorized!

Again, as with the first SI lesson, expand the above exercise also to the other strings using the standard C, A and E-shapes and visualize continuously which notes you are actually fretting (in terms of actual notes, but also the interval relationship).

5. Last words

Although the information shown to you in this lesson is quite theoretical, it will certainly be an interesting addition to your rhythm playing abilities, especially during improvising and it actually shows that even with simple triads you can adequately produce quite some variations in a simple chord progression.
The next lesson on these triads will cover another aspect: adding another note in the bass, in order to create 6, 9, maj7, 7sus4, maj9 and m7 chords.

I hope you liked my lesson, and any comments, points for correction and/or suggestions for improvement are more than welcome! I would also be more than happy to explain in more detail any of the aspects covered above of course smile.gif .

Roger

This post has been edited by Velvet Roger: Nov 28 2009, 10:26 PM
Attached File(s)
Attached File  Triad_replacements.gp5 ( 4.64K ) Number of downloads: 164
 


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"Don't practice until you get it right. Practice until you can't get it wrong."

Guitars & Amps
Brian Moore DC-1 Custom Shop (Cherry Sunburst, mahogany/rosewood)
Eric Johnson Signature Strat (2-tone Sunburst, alder/maple)
Ibanez RG770 (Black, basswood/rosewood)
Peerless Journeyman (solid spruce/maple)
Sixt Bov-105C (Ovation-like acoustic) - Ibanez SGT-130 (Jumbo acoustic)
London City VS-1 (Precision bass) - Baton Rouge U3S (Ukelele)
Fender HotRod Deluxe 40W combo - Fender Princeton Reverb Reissue 5W combo - Marshall JCM 900 50W Hi-Gain combo

Effects & Other stuff
POD Studio UX2 audio interface - Edirol MA-15D monitors
EH Double Muff - Fulltone GT-500 - Fulltone Fulldrive 2 Mosfet - Guitarsystems TrebleTool Junior - Guitarsystems FuzzTool Junior
Korg Pitchblack Tuner - MXR Carbon Copy Analog Delay - TC Electronics Nova Modulator - Morley Bad Horsie 2 Wah
Shure SM58 - Roland PCR-500 midi controller/keyboard & Yamaha Clavinova CL-910 piano


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enforcer
post Jan 25 2009, 10:11 PM
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Great lesson Roger, covered a very useful area! laugh.gif


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incoming spoiler read it at your own risk!


Spoiler:


Vigier G.V Wood HH
American Stratocaster Maple Standart with X2N bridge pickups
Samwick Artist custom modified Baswood Lespaul with S.Duncan JB and N56 pickups
Self made Fretless Strat type made of Rosewood/Maple with self wound Neck and Ibanez V8 Bridge Pickups
Floor Pod 2.0 Amp Simulation System
Pod Xt Pro Rack Amp Simulation System
Digitech TSR 12 Rack Effect and Studio Reverb
Behringer Composer Rack Compressor Expander
Morley Bad Horsie Wah Pedal
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it, surely, spoiled me!!!


and may the force be with you :)
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Velvet Roger
post Jan 25 2009, 11:14 PM
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QUOTE (enforcer @ Jan 25 2009, 10:11 PM) *
Great lesson Roger, covered a very useful area! laugh.gif


Thanks Can smile.gif


--------------------
"Don't practice until you get it right. Practice until you can't get it wrong."

Guitars & Amps
Brian Moore DC-1 Custom Shop (Cherry Sunburst, mahogany/rosewood)
Eric Johnson Signature Strat (2-tone Sunburst, alder/maple)
Ibanez RG770 (Black, basswood/rosewood)
Peerless Journeyman (solid spruce/maple)
Sixt Bov-105C (Ovation-like acoustic) - Ibanez SGT-130 (Jumbo acoustic)
London City VS-1 (Precision bass) - Baton Rouge U3S (Ukelele)
Fender HotRod Deluxe 40W combo - Fender Princeton Reverb Reissue 5W combo - Marshall JCM 900 50W Hi-Gain combo

Effects & Other stuff
POD Studio UX2 audio interface - Edirol MA-15D monitors
EH Double Muff - Fulltone GT-500 - Fulltone Fulldrive 2 Mosfet - Guitarsystems TrebleTool Junior - Guitarsystems FuzzTool Junior
Korg Pitchblack Tuner - MXR Carbon Copy Analog Delay - TC Electronics Nova Modulator - Morley Bad Horsie 2 Wah
Shure SM58 - Roland PCR-500 midi controller/keyboard & Yamaha Clavinova CL-910 piano


My Website
My MySpace Page
My YouTube Channel
My Twitter Account
My Band 'Gonzo!'



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Trond Vold
post Jan 25 2009, 11:18 PM
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Excellent lesson!
The lesson is well layed-out and contains everything you need to know about the topic smile.gif


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Amp: Marshall JMP-1 -> Rocktron Velocity 100 -> Marshall JCM-900 Lead 4x12

FX and stomps: T.C Electronics G-Sharp, Korg SDD-1200, Emma Transmorgrifier, BYOC Tribooster, GGG Green Ringer, Dinosaur Overdrive, Voodoo Lab SuperFuzz, Sovtek Bassballs, Line6 Tap Tremolo, EHX Screaming Bird.


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David Wallimann
post Jan 25 2009, 11:53 PM
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Very interesting topic and great job!


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Velvet Roger
post Jan 26 2009, 12:13 AM
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QUOTE (Trond Vold @ Jan 25 2009, 11:18 PM) *
Excellent lesson!
The lesson is well layed-out and contains everything you need to know about the topic smile.gif


Cheers Trond, glad that it's perceived as complete (was worried about that tongue.gif).

QUOTE (David Wallimann @ Jan 25 2009, 11:53 PM) *
Very interesting topic and great job!


Thanks David, means a lot smile.gif


--------------------
"Don't practice until you get it right. Practice until you can't get it wrong."

Guitars & Amps
Brian Moore DC-1 Custom Shop (Cherry Sunburst, mahogany/rosewood)
Eric Johnson Signature Strat (2-tone Sunburst, alder/maple)
Ibanez RG770 (Black, basswood/rosewood)
Peerless Journeyman (solid spruce/maple)
Sixt Bov-105C (Ovation-like acoustic) - Ibanez SGT-130 (Jumbo acoustic)
London City VS-1 (Precision bass) - Baton Rouge U3S (Ukelele)
Fender HotRod Deluxe 40W combo - Fender Princeton Reverb Reissue 5W combo - Marshall JCM 900 50W Hi-Gain combo

Effects & Other stuff
POD Studio UX2 audio interface - Edirol MA-15D monitors
EH Double Muff - Fulltone GT-500 - Fulltone Fulldrive 2 Mosfet - Guitarsystems TrebleTool Junior - Guitarsystems FuzzTool Junior
Korg Pitchblack Tuner - MXR Carbon Copy Analog Delay - TC Electronics Nova Modulator - Morley Bad Horsie 2 Wah
Shure SM58 - Roland PCR-500 midi controller/keyboard & Yamaha Clavinova CL-910 piano


My Website
My MySpace Page
My YouTube Channel
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My Band 'Gonzo!'



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Emir Hot
post Jan 27 2009, 08:49 AM
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Awesome material for studying. Well done


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Velvet Roger
post Jan 27 2009, 09:00 AM
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QUOTE (Emir Hot @ Jan 27 2009, 08:49 AM) *
Awesome material for studying. Well done


Cheers Emir, means a lot! smile.gif


--------------------
"Don't practice until you get it right. Practice until you can't get it wrong."

Guitars & Amps
Brian Moore DC-1 Custom Shop (Cherry Sunburst, mahogany/rosewood)
Eric Johnson Signature Strat (2-tone Sunburst, alder/maple)
Ibanez RG770 (Black, basswood/rosewood)
Peerless Journeyman (solid spruce/maple)
Sixt Bov-105C (Ovation-like acoustic) - Ibanez SGT-130 (Jumbo acoustic)
London City VS-1 (Precision bass) - Baton Rouge U3S (Ukelele)
Fender HotRod Deluxe 40W combo - Fender Princeton Reverb Reissue 5W combo - Marshall JCM 900 50W Hi-Gain combo

Effects & Other stuff
POD Studio UX2 audio interface - Edirol MA-15D monitors
EH Double Muff - Fulltone GT-500 - Fulltone Fulldrive 2 Mosfet - Guitarsystems TrebleTool Junior - Guitarsystems FuzzTool Junior
Korg Pitchblack Tuner - MXR Carbon Copy Analog Delay - TC Electronics Nova Modulator - Morley Bad Horsie 2 Wah
Shure SM58 - Roland PCR-500 midi controller/keyboard & Yamaha Clavinova CL-910 piano


My Website
My MySpace Page
My YouTube Channel
My Twitter Account
My Band 'Gonzo!'



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Toni Suominen
post Jan 31 2009, 12:40 AM
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Very cool lesson Roger!


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Sensible Jones
post Jan 31 2009, 12:55 PM
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Excellent lesson Roger!!! Very useful and usable information!!!!
Thanks!
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Ivan Milenkovic
post Jan 31 2009, 05:05 PM
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wow, lots and lots of material! Great stuff man! smile.gif


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Velvet Roger
post Jan 31 2009, 10:19 PM
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QUOTE (Toni Suominen @ Jan 31 2009, 12:40 AM) *
Very cool lesson Roger!



QUOTE (Sensible Jones @ Jan 31 2009, 12:55 PM) *
Excellent lesson Roger!!! Very useful and usable information!!!!
Thanks!
biggrin.gif



QUOTE (Ivan Milenkovic @ Jan 31 2009, 05:05 PM) *
wow, lots and lots of material! Great stuff man! smile.gif



Thanks guys!!!! smile.gif


--------------------
"Don't practice until you get it right. Practice until you can't get it wrong."

Guitars & Amps
Brian Moore DC-1 Custom Shop (Cherry Sunburst, mahogany/rosewood)
Eric Johnson Signature Strat (2-tone Sunburst, alder/maple)
Ibanez RG770 (Black, basswood/rosewood)
Peerless Journeyman (solid spruce/maple)
Sixt Bov-105C (Ovation-like acoustic) - Ibanez SGT-130 (Jumbo acoustic)
London City VS-1 (Precision bass) - Baton Rouge U3S (Ukelele)
Fender HotRod Deluxe 40W combo - Fender Princeton Reverb Reissue 5W combo - Marshall JCM 900 50W Hi-Gain combo

Effects & Other stuff
POD Studio UX2 audio interface - Edirol MA-15D monitors
EH Double Muff - Fulltone GT-500 - Fulltone Fulldrive 2 Mosfet - Guitarsystems TrebleTool Junior - Guitarsystems FuzzTool Junior
Korg Pitchblack Tuner - MXR Carbon Copy Analog Delay - TC Electronics Nova Modulator - Morley Bad Horsie 2 Wah
Shure SM58 - Roland PCR-500 midi controller/keyboard & Yamaha Clavinova CL-910 piano


My Website
My MySpace Page
My YouTube Channel
My Twitter Account
My Band 'Gonzo!'



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