shredtastical
SUX!
- Jul 23, 2007
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har I'm flattered
alright. Your basic triad is built in intervals of thirds. 1-3-5. For instance, dealing with the key of Gmaj/Emin, we have one accidental to worry about, thats really it. so G-A-B-C-D-E-F#-G. if I were to count from thirds (skip one in between) from G, I get G-B-D. G major. Next, we'll build a triad from the second degree. If I go in thirds from A, A-C-E. A minor. Building a triad from the third degree, B-D-F#, or B minor. So on, and so forth, are you starting to see the pattern? If you're having trouble picking out the interval, let me know. So to continue the major scale progression, Gmaj-Amin-Bmin-Cmaj-Dmaj-Emin-F#min7b5 (also known as half diminished) and finally back to the tonality. if you play those chords in that order, you'll hear the scale progression for Gmaj. The reason all those chords fit, is because if you build triads with the method I just outlined (third intervals), you'll find they comprise chords with notes all in Gmaj/Emin. For the sake of me typing, ill let you figure out all the individual notes, unless you need me to tell you.
So here's a couple of "patterns" to try. go 1 note on the 6th string, and two notes on the 5th string (e.g. 3rd fret E string, 2nd fret A string, 5th fret A string, for G major). Then go two notes 6th string, one note on the fifth string (remember your old 6th string "barre chord?" this is the beginning of a sweep in that form
). Then find the octave, 4th string/3rd string, then find the third octave. Once you have triads, you can move onto 7th's. anything over 4 notes might as well just be a scale fragment, so hey. Seventh chords just add one more third interval: 1-3-5-7. Emin7 = E-G-B-D. kind of a cooler jazzy sound. Prog guys use this a lot. A lot of guys also use the add9: 1-3-5-9 (we call it 9 to keep the triad intact, but its really just the second degree). Emin add 9 = E-F#-G-B. I think I ripped off a 3-octave Emin add 9 from one of Mitch's PG tabs. that's where knowing your triads comes into play; once you start to see the notes of the guitar, and recognize how to build the chord you want, you're not limited to any "forms." PG just took 3 octaves of the same chord. the MJR fully legato string skipped sevenths, perfect example. Taken from the "Of Sins And Shadows" solo: C-D#-G-A#-C-D#-G-A#-C (C-Eb-G-Bb-C-Eb-G-Bb-C. Cmin triad: C-D#-G (C-Eb-G). Cmin7: C-D#-G-A# (C-Eb-G-Bb). I wrote it in sharps originally, but think enharmonically, A#/Bb = same note, etc. Usually with minor scales, they're written with flats. However, most guitarists think in sharps so
Bottom line: learn your theory. Learn your notes, learn your scales, then learn your triads. Do your triads in the diatonic cycle of fifths, just find them everywhere. Where do you think PG got his canon arrangement from? Octaves of the 1note-2note per string method outlined above. You can build your own chords easily; just always know what note your playing and what note you need.
EDIT: On the 7th arps, probably the best ways to finger them imo is with string skipped tapping, a slide from 7-1, or a string skip in the middle of a sweep.
