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> Devil Is In The Dyad, 2 Note Potential
Ben Higgins
post Feb 26 2015, 07:49 PM
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The Devil is in the Dyad

Some of you may remember one of my lessons from way back in history, when the Romans still had their empire. That lesson is The Devil is in the Diad. Turns out, I spelt the word dyad wrong ! Duh ! Anyway, a dyad is something you've probably already been using anyway but let's take a look at them.

A dyad is a grouping of 2 notes. Essentially a 2 note chord. http://en.wikipedia.org/wiki/Dyad_(music)

It could consist of root+5th, which we would usually refer to as a power chord. Many people would include the octave in a power chord to make it 3 notes but many people use the 2 note version.

Anyway, forget the root+5th a moment because things get a bit juicier when we start putting together a root+3rd combination. These are lovely little critters that are perfect for moving around the neck. I've composed many a riff around these shapes and a lot of songs in metal make use of these bad boys:

The main riff in The Zoo by Scorpions makes use of dyads in the key of Em. Check it out from 0:37 onwards. That's also a totally badass crunch as well. Marshall + Gibson. Enough said.



The main riff in this track by the Filth, starting at 1:36. Killer chord progression, I love it.



Declaration Day by Iced Earth demonstrates one of the coolest and most popular melodic sounds in metal, the change from root+5th to root+augmented 5th (or minor 6th). You can also see first hand how easy it is to move these shapes around the neck and it still sounds large.



My first question to you is, if you're not using these shapes already, why ? Get on it !

If you want some ideas on how to find these dyads then look no further than the scale you're using. If you want to compose something in the key of Em then get the GMC Scale Generator fired up if you need a reminder on what the intervals for the Em scale are.

Try this: Play through the Em scale using dyads. Start on root + minor3rd on the following position:

Attached Image

From there move to the next intervals in the scale. So, for the A string, you'd move a whole tone to F# on the 9th fret. For the finger on the D string you will just need to review what intervals are in the scale and move up to the next one.

Repeat this process through the scale and you will find yourself playing through a progression of minor and major dyad shapes.

My second question is what songs can you think of that use dyads ? Share some examples here.


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klasaine
post Feb 28 2015, 04:50 PM
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In jazz, especially for guitar players, two note comping (dyads) is an absolute must much of the time.

Here's a blues in F ...

Attached Image


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Saoirse O'Shea
post Feb 28 2015, 07:04 PM
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as Ken says it's used a huge amount in jazz. A coupleof good examples - Charlie Christian, early George Benson.


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Ben Higgins
post Feb 28 2015, 09:02 PM
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If it's used in jazz, then you know it's gotta be good smile.gif

Btw, either of you seen that 'Whiplash' film yet ? I haven't but it looks bloody good, even if I don't particularly warm to the teaching method wink.gif


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klasaine
post Mar 1 2015, 05:48 PM
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QUOTE (Ben Higgins @ Feb 28 2015, 12:02 PM) *
Btw, either of you seen that 'Whiplash' film yet ? I haven't but it looks bloody good, even if I don't particularly warm to the teaching method wink.gif


I have not.


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Saoirse O'Shea
post Mar 2 2015, 03:00 PM
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Sorry Ben I haven't seen it yet either.


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klasaine
post Mar 2 2015, 03:55 PM
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Here's a cool example of dyads in a tune.
Note that this guy is also playing a bass line below and soloing above while hes using dyads in the middle all at the same time.
He does occasionally hit a 3 note chord.

At 0:21 the dyads are very obvious (and similar to the page I attached in my previous post) ...




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Saoirse O'Shea
post Mar 2 2015, 06:30 PM
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Am I right in thinking that Lenny Breau pretty much pioneered the use of touch harmonics using dyads Ken?


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klasaine
post Mar 2 2015, 08:57 PM
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I don't know if he pioneered them. There's almost always an 'earlier' example of any technique that one can find if one looks hard enough. I'm sure Chet Atkins did it, George Van Eps, Ted Greene, etc. and I'm sure there's probably an Andalusian that did it over 100 years ago - but Lenny definitely made it prominent in his playing.

This post has been edited by klasaine: Mar 3 2015, 03:44 PM


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