In the previous two lessons, we looked at triads in the context of root 6 major chords, and root 6 minor chords. In this lesson, we’re going to take that idea a little bit further and see how this also applies to root 5 major and minor chords.
In this lesson we’re going to break down a root 6 minor chord to learn more about how it is constructed. Triads are the key to understanding chords. If you haven’t checked it out yet, the previous lesson on root 6 major chords is a good lesson to view alongside this one, and afterwards, you can proceed to the lesson looking at root 5 chords.
In this lesson we’re going to break down a root 6 major chord to learn more about how it is constructed. Gaining a deeper understanding of your chords is hugely beneficial for later on when you want to start using the notes from these chords in unique ways to build riffs.
When you’re finished this lesson, be sure to checkout the next one in this series, where we’ll break down a root 6 minor chord.
Triads are three-note chords. Inversions refer to the various ways you can arrange those three notes, and “first inversion” refers to the standard arrangement, which starts with the root note of the triad, goes to the third, and ends on the fifth. For instance, the notes in a C+ triad is C-E-G.
If you haven’t gone through the lessons prior to this one, you may find yourself a little stumped… if that is the case, please go back and review the others leading up to this – all of them! :).
This lesson builds on top of all the previous lessons that deal with intervals and the theory of the fretboard, so if you’re unsure of those things, it would be best to go back and review those first.
In this lesson, we’ll look at ways that you can play chords on the bass. Once you get the hang of this, it can add a lot of depth and color to your playing, and it’s fun to do as well. Specifically, we’re looking at ways to stack major and minor thirds on top of each other, in order to produce chords.
Triads are very useful in many different situations. You’ve learned about the theory already, (right??) so now we’ll take a look at how you can apply triads to your soloing in a practical sense.
Here is a handy lesson for working out bass guitar chords on a scale. You will need to know the layout of the notes, but the chord shapes won’t be too hard to figure out.
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Here is a lesson on incorporating triads into solos.
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In this lesson Colin takes his other lesson on triads a bit further, so that you can start applying it on the guitar.
Make sure you’re familiar with the previous lesson here before diving into this one! As Colin says, it is better to know a few things very well than to know many things poorly. So take the time and get to know this stuff really well!
Once you’ve got your triads down, take things a step further with Tetrachords.
Four note chords are simply triads (a three note chord) with a fourth note added. The fourth note is not a repeat of any of the notes in the main triad, it is extra, so you end up with things like seventh chords, suspended chords, and various other extended chords.
If you haven’t yet watched the lesson on chord construction and the 4 basic triads, please do so before diving into this one.
In this lesson you’ll learn about using triads and how they relate to the bass guitar.
You should take some time to make sure you understand the previous lesson on Chord Construction before diving into this one, as the Triads lesson follows logically after the Chord Construction one.