Triads for Guitar on Strings 1, 2, and 3 | Guitar Lessons By GuitArmy | Skillshare

Triads for Guitar on Strings 1, 2, and 3

Guitar Lessons By GuitArmy, Your personal guitar teacher

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14 Lessons (55m)
    • 1. Triads introduction

      1:10
    • 2. What is a triad?

      1:38
    • 3. Triad inversions

      2:34
    • 4. Triads and rhythm

      5:26
    • 5. Triads and lead guitar

      11:24
    • 6. Major triads

      5:50
    • 7. Minor triads

      3:54
    • 8. Diminished triads

      3:01
    • 9. Augmented triads

      3:01
    • 10. Creating triads from major

      4:26
    • 11. Chord progression root position

      2:33
    • 12. Chord progression 1st inversion

      1:46
    • 13. Chord progression 2nd inversion

      2:53
    • 14. Chord progression close set

      5:26

About This Class

Do you wish you had a better understanding of the guitar neck?

Are you tired of just playing open chords or barre chords?

Are you ready to spice up your rhythm and lead playing?

If you've answered yes to any or all of these questions they you're ready for this class. In this class Triads for Guitar on Strings 1, 2, and 3 I'm going to change the way you look at the guitar neck forever. Once I learned how to play triads I've never looked at guitar the same way again. They have greatly improved my ability to play the guitar and understand chords whether I'm playing rhythm or lead guitar. Now I would like to teach you how to play triads on strings 1,2, and 3. 

What will you learn in this lesson?

  • How to play and construct triads
  • You will learn the 3 different inversions of a triad
  • You will learn how knowing triads can help you rhythm playing
  • You will learn how triads can really help your lead playing
  • Major triads
  • Minor triads
  • Diminished triads
  • Augmented triads
  • How to create all 4 triads starting from the major triad
  • How to play a chord progression in root position
  • How to play a chord progression in 1st inversion
  • How to play a chord progression in 2nd inversion
  • How to play a chord progression in a close set of triads 

Why should you sign up for my course?

  • My name is Chris Rupp and I'm the founder of the GuitArmy.

  • I've been teaching guitar full time for over 19 years.

  • I have taught more then 35,000 individual private guitar lessons.

  • I teach guitar students online all over the world.

  • I have a bachelors of music degree from the world renowned Berklee College of Music where I studied with some of the best guitar players on earth. 

  • I created a successful line of guitar instruction DVDs that sold very well and garnered the attention of the "As Seen on TV" folks.

  • I love teaching guitar and helping students become better musicians through the guitar.

  • I will answer your personal questions and help you with learning the material in this lesson.

Why should I take your class and not just learn from YouTube?

You can try to learn guitar from YouTube but eventually you'll figure out there's so many videos out there is very hard to put the information together in a coherent way. I have students come to me all the time that are tired of watching random guitar videos on YouTube and don't know how to put the information together. With this class you can get a very experienced teacher that can assist you with the learning process. 

Student Testimonial (Beginner Guitar Lessons - 10 Lessons) 

Hi Chris, thanks so much for reaching out! I'm about half way through lesson 10 of your Beginner lessons via Skillshare, so I was researching more of your teaching, and what's next... and found your GTC Online! I've gotta tell ya, something about your explanations, your method of teaching, and the detailed resources provided, you've connected so many dots for me -- it's appreciated beyond words! I'm mostly self-taught, regret that I started so late in life, and have tried other online resources, but yours has been the most comprehensive! As a corporate facilitator to adult learners myself, I just wanted to express my gratitude!

Mel

Transcripts

1. Triads introduction: do you want to learn how to play triads, a skill that's going to help you play chords quickly all over the neck, and it really greatly increases your ability to solo on the guitar. This is an essential skill for any guitar player in this course is going to help you do that. In this course, you're going to learn how to play major, minor, diminished and augmented triads in different inversions on Strings 12 and three. You're going to learn how to play a chord progression using only route position, first inversion and second version Try. It's then I'll show you how to play that chord progression using all inversions, so you have to move as little as possible. To get to the next chord, I will demonstrate how you can use triads. The solo over chord changes easily without even knowing what you're in for me learning. Triads opened up a whole new way of looking at the guitar. It is fundamentally changed the way I look at the guitar, and I would like to give that gift to you and roll now and learn this awesome skill for guitar. I can't wait to see you in class 2. What is a triad?: So what is a triad? A try. It is a three note chord that is stacked in thirds each. Try a consists of a root third and fifth. So what does that mean? I like to keep things simple and think of a scale like C major. The notes in a C major scale, R C, D E, F, G, A and B. If I started from the root note, which is seeing when every other note for the next two notes I would add an E and G with the three notes C, E and G. You have a C major triumph. The reason it's a C major tried is the interval distance from C T. E is a major third interval, and the distance from CDG is a perfect fifth. There are four types of triads that you're gonna learn in this class. You're gonna learn how to play major triads, minor triads, diminish triads and augmented triads. A major try consists of a route, a major third and a perfect fit. A minor try. It is created with the root minor third and a perfect fifth, a diminished try. It is built with the route a minor third and a diminished fifth. A diminished fifth is basically a flat five. The augmented Triad has a route a major third and an augmented fifth, which is a sharp five for most guitar players. The two tribes that you're going to use a lot are the major and the minor Triads. In the next lesson, I'm gonna talk about the inversions of triads. 3. Triad inversions: There are three different virgins. When talking about try, it's there is root position, first inversion and second version. Let me explain the differences to explain the three different inversions. What I'm gonna do here is I'm going to use a C major chord. It's the notes C e third string open G C here in the first string open. All right, so if we start and play the 1st 3 notes of the C chord we have Sihine and then the open G the third string open that is a root position. Triads. It is the root third and fifth of the court. So this is route position 135 If I start from this e here and play me open g then see on the second string playing this knee, she's saying that would be first inversion where I'm going three or the third, the fifth, and then the room. So it's 351 and that is that would be first version. So we had root position 135 way have first version, which is 351 And if I start from open G and G o g. Seaney, that would be a second version Triad, because I'm starting on the fifth going to the room and then the third. So to me, by explaining it by taking a look at a court, I think it's much easier than having someone say, Well, here's root position first And here's second version. I think it's a little easier to understand that you're just kind of taking pieces of the court. It's starting on different notes in the court. So to recap, we have C E G or 135 That is rude position that we're gonna go 351 or E g. C. That is rude position. Then when we get G. C or 513 that is the second inversion. Those are the three different in virgins of triads. In the next lesson, I'm going to explain how try it's can be extremely helpful for guitar players 4. Triads and rhythm: So in this lesson, we're gonna talk about how understanding try, it's can really help your ability to play chords and to hear cords eso we're gonna use Just just as an example, I'm gonna use a court progression G to D. So if I saw on a chart are like a diverse something was just G today. You know, I'm thinking, why couldn't you know? I would obviously use these GDD. These open court would work just fine where I could use the bar a bit heavy, their little money or the courts ring out a little prettier. But I could also go up here, and I would think that I could play this G court here, Ugo different combinations of g d here. But that's basically what I used to think about when I was a younger guitar. Blair. I think they're kind of my basic chords. I used to know this, you know, I would know this this G major court here as well, which is basically the same as his d chord state court form. Ah, a little more uncomfortable to play. But what happens if you're playing with another guitar player and there's one guy already doing on. You don't need to be doing that as well. You could, but it would probably sound a lot better if you would play. Ah g somewhere else. Um, for instance. Like I could play this gear thing is a g major triad. Right to play it up here on. You will learn these the strides later in the course here for D instead of playing. This is one of the triads, right? I believe this. Thankfully, this deal Play this when I d right there. So if I want to play GTO, I could play like this thing, or I could play it up here on this is just try it on strings 12 and three. You can also do them on strings 23 and four. I'm probably going to be doing that Course are later on that as well. For this course, I just really wanted to focus on just try it. So 12 and three eso I find that distance is a great way toe brighten up your sound and it really compliments If someone's playing this court down here, he played this one up here. A pyre even appear on it. just It gives a bigger sound toe what you're playing, Um, and it gives you something else to do other than just playing the same chords that the maybe the other guitar player is where maybe you don't have another guitar player, and you just want a brighter sound. Ah, Then this is a good way to do that using these triads. So now I'm gonna demonstrate that corporation from G to D and show you how if you just arpeggio hated a little a little delay on there. It sounds consent. Pretty cool way. Wake up. Even higher for Nieto. We could get there eyes. You can hear how you don't have to be strumming them if you are. Peggy ate them. If even if you did a muted you can do all kinds of things. But the triads really open up. Basically, um, your your sound you don't have to stay down here and play him in these big, big, giant open court. Get these light, thin, airy cords. Ah, that can really add really add to your sound and make your make your corporation sound a lot more interesting. Another thing that is good is also it's for your training. So if you're if you're listening to a song and you know that they're playing some kind of G chord and you're here and you know it's a G chord with, the first thing you want to do is you want to try these triads strings 12 and three. You want to try each G triad, and chances are they're probably playing off of one of those, um, and that's another. It's another really big aspect of learning these triads. It really does help with your ear training, so when you hear someone else using using them, you're able to figure them out pretty quickly. 5. Triads and lead guitar: in this lesson, I'm going to demonstrate to you how understanding your Triads on strings 12 and three can greatly improve your ability to play lead guitar. So I've chosen to use just a plain owed D minor root position triads right here. So I'm pretending as if I had to play over a D chord or some type of d chord. Sometimes a d major scored. So if I had to play courts coming up, it's a d major. I think of you know I could you know, I could think of any of the the three different inversions of D Major. But what I do is I take thinking of this one just in particular, and it's going to root 3rd 5th So over the over top of that cord, I know 113 and five are gonna work just fine. And then the next thing that I think about is the pentatonic. And I think where is the pentatonic d major pentatonic around? These knows. And it's gonna be 12356 when I see 12356 I'm referring Teoh. This is the first note of ah ah d Major scale are. This is the route. This would be a second. A whole step above the route is a second video. This is the second. This is the third part of the trialling. And then we have the fifth right here. So we're going. 1235 And then I can add the sixth right here on if I want to go back down. Here's the route. I could get down to this six right here with both the bees. Air both the sex. So I have 123566 down here. Eso I have these triads on. Then I have my penitani right there that I have to improvise around. And then I Then I take and then I start thinking about what? If it says D major seventh, that supposed to be playing over and then is there 1/7 I could put in there? I could put this this seventh right here. So now what? They d made your seventh. I have those three notes. I have my pentatonic on. Now I have that seventh I can put in there. And if it let's say it was a d suss to cord this is my route here. I might want to emphasize that, too, since that's the two of the corner of the second. But the DCs for then I might want to go out of my way to make sure I play the 4th 1234 Or let's say, if it's a d six d major. Six. Thats where the sixes. Eso just with just having this one Little triad. I have a lot of options, so it's important to know where your quarter tones are the 13 and five. And then it's very important to know where your intervals are around that around that triad , so that you can adjust it depending on what kind of court it is. Another relatively safe way to play is like, let's say, you know that this song is in the key of J. Well, you could play you could. You could target thes thes notes in the D major D major chord. And then, if you wanted to do play some notes around, you could then play the G major scale around those notes just to ensure that you're playing the correct notes that go over top of the song. If you know that the songs in the key of G that is gonna be pretty safe to target these court on and then just play the notes on a major scale. All right, Now, let's take a look at how we would handle a minor. Try it. So it's a d minor triad here. I'm gonna have one flat, three and five or D f A. All right. So if I would have to play over d minor Gordon, I know that I can target DF in the A because they're in the courts. They're gonna sound great all day thin. The next thing I'm going to do is think about all right, So let's say it says D minor seven by my d minor triumph, then I can also play a d minor pentatonic, so I'm gonna add in this flat 71 flat 345 flat seven. Your minor seventh. So I have a sudden that, you know, that added a bunch of notes. Now I have ah, safe little area that I can play, and then you can start adding in some of the tensions if you want. Like if it's, um like a d minor nine chord might be nice toe might be nice to target the the nine there the to some type of suss four thing And you put that in, I would probably avoid the the flat six or the six. You really have to know which key you're in. To be able to make that work, you have to know which you know which of those is goingto be correct. That's in D minor than the flat six is gonna work. But in, um, if you're in the key of C major than this, bees going toe work over that d minor chord, so it depends on what year in. So I would say that is, that's more of a risk. Unless it says, like D minor six thing you could put in the 1356 You could put that six in there, But if I had a quick glance, you're not sure, Then you're probably best off just sticking with the chord tones. 13 flat 35 and head itand. The other thing you want Oh, put in there is what type of it probably be a minor seventh flat. Seventh, if it's a minor chord, so you would be able to put in this flat seven and you have it right here is well, go flat. Seven upto one. For some reason, it's a D minor. Major seventh. You could put in that Major, You're not gonna run to that court a whole lot. But you would be You would be able to put in whatever kind of seven it has in the title of the cord. So that's some different ways that I would handle playing over top of a minor chord with a minor triad root position. If I had to play over a dominant seventh chord, then I would think, you know, with the dominant seventh chord, we have a 135 and flat seven. That's the court tones of a dominant seventh chord. Eso If I had a clever D seven, I would immediately think I can use a major triad 135 on. Then I have to think about you know what pentatonic could I use since you could probably play mix a Lydian over this mixer? Lydian is 123456 flat 71 So that that means that I could probably just play a d major pentatonic. 1235665 three men one. I'm sorry to 161 All right, so that would be the de major pentatonic thin. The next step I think about is over the d seven. The May know that I would want a target is probably the flat seven. So it sounds like I'm really targeting that court. So then I just have to know where where that note is. So I get 135 right here. This see here is a flat seven on. You can also play that note here. So I'm able to play one. The court tones Mabel to play the theme major pentatonic over the D seven Corn. And I also want to go out of my way to go out of my way to put those flat sevens. And so I'm targeting the, uh, the flat seven of the Domine Seven Thorn. It sounds really nice when you do that. And then other notes think it said D nine chord and play over, which is a type of a d dominant seventh chord. Then I know my private. If I put 1/9 in there, it would sound nice. So instead of just 135 I think of where my nine is or my to and what else? For some reason, it said Decent, flat nine that I would probably I would probably just play. The court owns 135 flat, seven thin. I'd probably try to put in the flat nine in there just to make it sound like I really know what I don't know. That's probably what I would do for them trying. Think of anything else, um, so basically anything else that is mentioned in the cord? Um, like, if there's an 11 that would be a busy, afore root third for so basically the 9 11 and 13. If anything else is mentioned, I will try to target that as well. All right, so how would I handle playing over a diminished triad? Since I'm not a jazz player, I don't write deal a whole lot with diminished diminished chords or like the old men in the old man in records. So if I came up, but I had to play, um, over a diminished chord, I would probably just target the court tones. One flat, three flat five like this is These are this is the triad right here. You play like this. Well, I think you can do something else. So it's one flat three slat five, and then the double flat seven. If you want to go up here and get it is right here on. But it's also down here. So you have a route. This is where seventh would be the flat seventh. But in a diminished chord, you have a double flat seven, which is also the same as 1/6. But you call it senses a court 10. You're gonna call it up an odd numbers. You're gonna call the double flat seven. So over diminish. I'm just playing one flat 35 double, flat seven. And if you know the diminished chords, they talk about their amid the diminished scales about it being 1/2 step whole step half, step on. Then the other one would be coming from this flat fiber whole step. Have that post up half step. But generally, if I have to play over one of those, I'm just usually just playing just the chord tones just to get by. All right? So and then with the augmented you have won three and sharp five. I hardly ever have to play over top of those. So if I did, I would probably stick to the chord tones. Target those and then Theun um, I might put in a flat seven. This'll be a flat 70 heresy of 13 sharp line, maybe a flat seven. If if that works, e think that would sound pretty cool. And that's how I would handle the diminishing the old many chords. So, as you can see by understanding your triads on strings 12 and three, it can really greatly increase your ability to solo over top of court changes. 6. Major triads: in this lesson, we're gonna be taking a look at how to play three different major triads on strings. 12 and three. We're gonna be looking at root position. We're gonna look at first inversion and then second inversion. Let's go ahead and take a look at how to play these. All right, So we're gonna take a look at the major triads on strings 12 and three. Uh, if you take a look at the chart there on the left, you will see going to see a first inversion triad where it goes 351 I just wanted to make note that, um I chose these colors just kind of randomly. So when you see a one or the red dot that's gonna be the root. And if you see a blue dye, that's gonna be the fifth of the chord. And if you see a green dot that is the third and it says it right there. 351 But the colors don't mean anything. I just wanted Teoh. I thought it looked cooler to use different colors. So that's what I did. Okay, let's go ahead and take a look at our first major triad. I'm going to start with root position. Eso I'm gonna do these all out of the key of D just because I like where they're placed on the neck. Of course you want to practice season all 12 keys, but I'm just going to do all my triads out of the key of D are basically just with D. All right, so the 1st 1 is gonna be a root position. Triads. So it's going to start with the route on the third string. So we're gonna find D on the third string seventh friend, and it's gonna go root third and happens to be the notes D f sharp A. But more importantly, it's 135 It is a a root position, triads, because it starts on one. The numbers go in order. 135 on this is a D major triad because the route is on a D. If I wanted to place a and e, I would just slide up to friends half g, whatever. Whatever. Note that your third fingers on. That's what kind of try and it is. So this is a D major route position. Tribe. 135 It comes from this bar chord right here. If you're familiar with playing a d chord like this thing, this is basically just the top three strings of that court along right now, Let's go ahead and take a look at the first inversion. Try it. All right. For the first inversion try and what we have here is we have the route on the first string . So that's generally how I how I find it. I know I'm doing a d major first inversion triad. I think of where d is on the first string. And then, really, uh, the secret is is I kind of I think of what a d major bar chord looks like. And I visualize that court, and then it quickly allows me to think of where that try it is. All right, So on the third string, third string 11 threat, that's gonna be the f sharp. That's the third. Then we have the A here on the second string. 10th fret that that's the fifth. And then we have one right here. All right, so a d major triad first inversion is gonna go 351 That's what that looks like. The reason this is probably the easiest trying to think of is if you really familiar with your notes on your six string of your first drink. It's really easy to find this court, because if you know where G A and B are, here's G A B. It was very quick to find those triads. If you know where you notes are on the first string eso once again that goes 351 That is a D major triad first inversion loves. Now let's take a look at second inversion Okay, For the D major second inversion with second inversion, the number of the order of the court turns is going to go 513 You're probably gonna this probably look familiar because you're gonna say, Wait a minute, that's just a D cordoned. That is correct. That's what this is here. Um, on the third string second friend we have in a which is the fifth. Then we're gonna have the the route here on the second string. Third fret so it gets 51 Then this F sharp on the first string. Second fret that is the third. So for the second version, try at the order of the numbers gives 513 things is a cool core, cause you can move it around So the root is on the second string. So I could play d e f d a. It was kind of fund. Um, just to move it around E I thought that was kind of fun. Just moving around and listen Teoh to see which one sounded together. G o Not all of them work, but it's still fun Toe to mess around and try different Sounds out. Okay. To recap, we started with the major D major try of root position. Where does 135? That's going to be right here. We're gonna do is the first inversion work is 351 on down here a second version, workers 513 kind of your typical d chord way Have room position, first inversion and second version. And that's how you played the major triads on strings 12 and three. In your next lesson, we're gonna take a look at how to play the minor trying 7. Minor triads: in this lesson, we're gonna be taking a look at how to play the three different inversions of the minor Triad on strings 12 and three. Let's go ahead and take a look at him. All right, So the three different minor triads we started off with D major route position right here. Where would 135 So to change this from a D major root position triads, we have to take the third and lower it down to a flat third. So this is this gonna be the major, and then we move this down here and then we have way. Have one flat 35 or D f. A. So this is a d major try of root position right now. Of course it's moveable. If I want d, this would be C B A s. So it is movable eso you get, You learn this one d minor try, but you really you get you know you have 12 different ones that you can dio g minor because it is movable. All right, so that was the D minor triad in route position. Now let's take a look at first inversion. All right? For first inversion. It's gonna be up here way. Ah, for the major one. We went 351 right here. We're gonna We're gonna take this third here and lower down there this f sharp down to N f s. So it's gonna be it's gonna go flat 351 or F A D. Thing this tried here comes from this kind of basic D minor bar court. I'm just using the notes from the corridor in the 1st 3 strings. That's how I visualize it so I can find it really quickly. If someone said, Play me a B flat, minor triad. I visualize where this is because this is B flat here. Visualize this court and then I can find that triad really fast. But back up here that we have d minor first inversion triad work. It's flat 351 It's kind of a fun try. Act as you can. Um, it just it allows you to use other fingers. A little funky little triad that's easy to play. All right, so that was ah d minor Triad first inversion. Now let's take a look at the second inversion Minor triad. Okay for the D minor tried second inversion, originally of the major one looked like this. Where 1513 So now we just need to take this three here or f sharp. Lower down to a flat third. So we end up with so we end up with 51 flat three or a D. F. This was Major. Now, this is minor work is 513 So that is a D minor. Second version. Okay, to recap our three minor triads or we have root position one flat 35 and then we have the first inversion flat. 351 Right here. Way have the D minor second inversion work is 51 flat three. That's how you play your minor triads on strings 12 and three. In the next video, we're gonna be taking a look at how to play your diminished riots 8. Diminished triads: in this lesson, you're gonna be learning how to play the three different diminish triads in the three. Different in virgins on strings 12 and three. Okay, now we're gonna do some diminish triads. So we initially started here with D Major than we lowered the third down toe This so I made a d minor chord. Now to make it diminished. Try and we're gonna lower the fifth now. So instead of one flat 35 we're gonna lower this down flat five. So the diminished tries gonna get one flat. 35 You can use whatever fingering you like. I tend to use this one just cause I'm thinking of these triads. But you, of course, can use what you like, so ah, diminished root position. Triads gives one flat. 35 Now, let's go up here and do a diminished triad first inversion. Um, little It looked like this way were doing Ah, flat 351 for the minor way have to lower this fifth here. This a here down to in a flat. So you're gonna end up doing a flat three flat five and one. So we have major minor and then diminished That was the diminished first inversion tribe, All right? And the last one is the diminished Triad second inversion, and it's gonna look like this. So where we started with Major, and then we flattered this f sharp down to enough to make it a flat third. Now we're gonna take this a here and flat that down to a flat fifth. So we end up with flat 51 and flat three. I didn't see her. I'm barring the note on barring the flat five and the flat three with my first finger. That's just how I like to do. It's not like you couldn't do it like this you wanted. You can use whatever fingers you want, but for me that the barring here is comfortable. So that is how you play Diminish Triad. Second inversion. Okay, Now let's recap the three different diminish triads. We had root position. Work is one flat. Three flat five. Then we're gonna go up here to the diminished try at first inversion, whereas the third flat three in the bottom flat 351 thing down here we have second inversion. We're just flat 51 flat three. So once again we have, Uh, and that's how you play your three different diminish triads. In the next lesson, we're going to be taking a look at augmented triads. 9. Augmented triads: augmented triads. What are they out of playing? That's what you're gonna learn in this last thing. You're gonna learn the three different triads, the different inversions on strings 12 and three. All right, so now we're taking a look at the augmented triads. So to me, in my brain, I just I just know that it's 13 and sharp five a major try. It is 135 And I know to create to turn that into an augmented triad, I have to sharp the fifth augmented Tried root positions going 13 sharp. Five. He could play it like this if you wanted. You know, it depends on what fingers you want to use. Says the root position. 13 sharp five. Okay, now, when we go up to do the first version, the major triad went 351 So we need to sharp sharper raise the fifth. Here, we're gonna play this a sharp. So because not the prettiest sending thing. But, you know, you might run across an augmented chord a d augmented chord and you wanted to use a triad. So that was three sharp 51 Then is an augmented triad first inversion. All right, now we're gonna get down. Take a look at the old man and triad in second inversion eso the major goes 513 way now. No, we have to take this a of this fifth and sharp. It, um that sounds pretty cool together. Right. So So you would be going sharp. 51 three sharp 51 and three on. That is how you would turn that turn the d major into an augmented Try it in second inversion. Okay. To recap those three different triads, we started in rue position with 13 sharp five way went up here, and we did the first inversion three sharp 51 way went down here and did the second version work a sharp 513 way had this. What's weird is ah, I would imagine by now you notice that it's exactly fingering for each one, which is kind of unusual, but it does make it easy to remember. And that is how you play the three different augmented triads on strings 12 and three. 10. Creating triads from major: in this lesson, I'm gonna show you how to take a major triad and use the information and that try it to very quickly create any of the four try ends. Let's go and take a look at how to do that. So I'm going to start with a D major route position. Where close 135 or D. F sharp? A. I prefer to use the numbers. That's how I always think of it. I just take 135 that way. It doesn't matter whether it's 135135 doesn't matter what court is. The numbers will always stay the same. Whereas these letters, the letters are constantly changing. All right, so we have 135 and then in my brain. I want to change that to a minor. So I have to take this third lower to a flat third because one flat 35 So that's minor. So we have the major D minor and then I want to change this minor one flat 35 Want to change that to a diminished? So I just have to lower the fifth makes a d diminish. Try it. So I have major minor diminished on and then I I don't know why, but I always put the old man that last the 13 sharp five. So in my brain, I always think where Major is minor turned it into diminished and then kind of last night. I think what the old man it would look like. It might actually make more sense to play the major and then the augmented and then switch to minor and diminished. You could do it in whatever order you like, but I prefer to go major, minor, diminished and then all demanded at the end the reason I had to put the augmented at the end because, um, you know, I don't use that very much, so I just kind of ah, have it at the end. Okay, Now let's go up here to D major first inversion where we have 351 or f sharp a d 351 So I need to quickly change that. So I think of where d Major is then. If I need to do a minor, I just lower this third down here, the flat third on. Then if I need to get to a diminished I lower this fifth year down toe flat five. So we have major lower, the third, the minor just to get diminished. I lower the fifth, so end up with flat 351 on. Then If I want to find the augmented, I usually think of the major and then I just whoever the five is, I just raised the fifth. So it's 351 That changed to three sharp five. So once again, that is major minor diminished, an augmented Let's get down and take a look at second inversion. All right, Now, let's go ahead and go down and do the D major second version where we have 513 So that's major lower this third down toe flats, They're turning it into a d minor that if I need to turn it into a diminish it, Take this a here this fifth and play down here, turn into a d diminish. I have major minor diminished. And then, for the augmented, I usually go back, think of where the major is again, and then just just raise the fifth here. So I probably fingered like this. So So, once again, we have major minor diminished and augment, and I believe you want to practice that through the different versions you want. Teoh practice these because the more you do that, the quicker you confined. There's different types of inversions. Eso As you're playing through a court progression, you don't wanna have to think too hard to think of. Where is that d diminished? What does it look like? Eso By running through the different types, I think it really helps get ingrained in your hands and in your muscle memory. So that is how you can start with just the major triad and understanding the court tones and be able to quickly change those core tones that you can play any of the four triumphs. 11. Chord progression root position: in this lesson, we're gonna take a very common core progression. D A b minor G for 1564 And we're gonna play the whole core progression using only root position triads. All right, so for this exercise, we're taking that core progression D A, B, minor and G. We're gonna play them on streets 12 and three, all in rue position. So I'm going to start here with this d to do all of these in route position. You really need to know where your notes are on your third string, so to find, to be able to find them quickly. So I know this is a d here on how I find that d quickly is I know my a string really, really well. So I never have to know where d is on my fifth string. So then what I do is I think, where the note is on my fifth string. Then I go up two frets and over to two friends to find the doctor. And if I need to find a B, I know it's right here because I know this is where B is S o. I just think it was that octopus? And then I'm able to find the root for that room. Position D major Triad, which is right here way. Have, Dean. The next one is a So I think of where is a ad on the third string? It's right here. So gonna play this? Just try it. 135 1st string is open. It wouldn't if you were thinking about with a finger down. It would look like point putting that finger down here because it's not holding anything down. So we have Deen a way have b minor would be is right here with the minor. And then the last one is G. We have to go all the way up here to play G on the third string 12th fret thing. So once again, we have d B minor. So that's how you play that chord progression using root position triads. Now, in the next lesson, we're gonna take a look at how can we play that same court progression using first inversion? Try it 12. Chord progression 1st inversion: in this lesson, We're gonna take the same court progression D A B minor g and now we're gonna play it using first inversion tribes. All right, so now we're gonna take that core progression and play it in first inversion. So with first inversion triads, the route is on the first string. So I think this is one of the easiest inversions to think of where the cords are. Because if you know your six string really well or your first drink with, then you should be golden. All right, so the 1st 1 is a d. So I'm thinking, Where's D? And then what is my first inversion Triad looked like. That means I have 1/3 in the bottom 351 So it's gonna be looking like this thing. This is D and then we go to a So I think it where a is on the first string and I play that same try at this major d major a major, Then the next one is B minor. So I think where B is, then we're not doing major here. We're doing minor sounds sad way have be a B minor. And then the last one is G major. So I think of RGs. Then I just play my first inversion major tribal. It's once again it sounds like hey thingy. So that's how you play that chord progression using first inversion triads. In the next lesson, I'm going to show you how to play it using second inversion trying. 13. Chord progression 2nd inversion: in this lesson, we're gonna take that same court progression D A, B, minor and G. And now we're going to play using only second inversion tribe. Let's take a look at how to do that. Right now, we're gonna take that core progression and play it using all second version triads. So, a second virgin Triad? It looks like an open D court. If it's major, this minor was like a d minor chord. So we're gonna start with D major. That's where so the root is on the second string. So to do the second Virgin Triads, it really helps if you know the notes on your second string. If you don't, you want to make sure you go over those you want to B c d E f g a a and B once again bc dean f g a and B let me show you learned there's natural notes really well, because that will help you find the second inversion triads. So we're gonna start with a D right here. D me in the room right here Way D Major, they were gonna go to a major things where in a is on that string way they were gonna get to a B minor. So you need to know where B is on your B string, your second string and then the minor try. It looks like this. We've seen a B minor, then we need to go to a G. G is right here, so we're gonna play way minor g E o. So that's how you play that chord progression Using second version triads. Sometimes I think it's fun. Teoh. If it's going since it's in the key of D, why not drone that d While you're playing these courts way, it's pretty cool when it's a fun way. Teoh The practice, Your second inversion Try. It's in the key of D major, So that's how you play through that core progression using the second inversion. My advice is whatever court progression you're working with, go ahead and play through it, using root position, first inversion and second inversion. It's just good practice, and it really helps you know where your triads are. On the neck 14. Chord progression close set: in this lesson, we're gonna take a look at how do we play that same corporation, that d a, B, minor and G Instead of moving around the neck of a lot, how could we play them as close as possible? Let's take a look at how to do that. This is a very important skill that you're gonna need as a guitar player. All right, so the court progression is D A B minor g um, in the key of D, The D is the warm cord. The A is the five chord. The B minor is the six chord, and the G is the four corn. So we're gonna do here is I'm gonna start with D major route position. I'm gonna think what is the What's the least amount of distance I need to go to find an accord on a triad. Don't play down here. Probably go up here. I want to stay. I want to stay really close. So if I'm playing live and I don't wanna have to look around a lot, I don't have to look at my neck. I mean, I want to be able to actually look around so I could play this dean. And then I looked to see Is there any any common notes? Eyes. They're in a anywhere in this area that I could play where it would at least use a common note or basically move as little as possible. And the answer is yes, there's a right here. This'll is a first inversion so I could go from D to this A for being minor. I play this be mine right here. There's no notes in common between the A and the B, but still pretty close e I don't have to go very far to play that be minor and then to go from B minor to G two of the notes in the B minor are the same notes as in the G major. So all I have to do is switch to this she right here, which is G second version. So once again, we're going Dean, which is root position. A first version of the minor first inversion. I played it like this. You can use whatever finger you want there were you going to G, which is second version a minor gene. Wait, what's again? The whole point of doing this to say You don't have to move around a whole lot because when you're playing, especially if you're doing some improvisation, you want to be able to see where is the next chord the closest one So that I might use some of the notes in that Try it. The target mind my phrasing. That is why I think this is endlessly fun and fascinating to try toe to be able to play a chord progression and move as little as possible to the next chord. It's a lot of fun. All right, Now we're gonna take that same core progression and go up here and do DIY first inversion. We'll see. How can we play that chord progression? It's not moving very much. So we're gonna start here with his D first inversion trying on the closest A is going to be right here because there's an a right here. I feel like a d cor down here Ggo de a second version that we have to find a B minor. I'm going to go to this one right here. Thats one kind of feels like a d minor, except we gotta find this. Be right. Here s so that is a B minor. That is a second version. And then we're gonna dio for the G. We're gonna get right here, which is a G major route position. So we have d a B minor G more time d a, b minor and NGO. Let's get out and take a look at how we're gonna do this in second inversion. All right, so we're gonna get down here and play a D major second version trying here or basically a common open D court. Alright, so that is a d enough, I think of where's the closest A. It's gonna be a major route position a c sharp. Me using the first ring open way have d A for B minor This where you play the minor for normally so I can use this trying right here, which is root position one flat 35 So I a b minor Fergie Right here is where you play a g chord. So we have a dis G right here. So it would make a lot of sense to play G major first version. So to recap with Dean and B minor gene A B minor and then G, that's how you would play that chord progression in second version. So that's how you play that core progression in a nice little tight group. I would suggest doing that for any court progression that you play. Figure out how to play them, using a root position, first inversion, second inversion, and then you know what's the closest you can move to the next triumph.