Basic strategy used to memorize major triads

[edspyhill01]

This may seem like a dumb question, but what basic methods did you use to memorize the three inversions/forms of the major triads? Is there a method book that sets out a logical sequence of learning? Here is my proposed tentative method.

1) Learn the first inversion with the root as the "top" pitch/note. I created paper guitar neck triad diagrams of the first inversion of the major traids. I'll name the triads on each string set using the cycle of fifths.

2) Learn the second inversion with the third as the "top", pitch/note. Use the same type of diagrams and learn all the string sets.

3) Learn the root version. Same - diagrams & cycle of fifths.

4) Learn & practice the three version forms of each triad.

Follow above for minor, diminished & augmented triads.

[brwnhornet59]

Just make sure that you get the shapes under your fingers where it is natural to play them. Also do this in string sets. ie, Learn them on the G B E strings.
Then the D G B. Then A D G and E A D. You will notice that these shapes fall naturally into each other. Lots of triad shapes are played with the root and the octave of the root in the chord. Triads are very cool. Usually overlooked by many. Good luck!

[Shadow of the Sun]

I tend to use Pat Martino's symmetrical forms to memorize triad forms, to be honest. Pretty easy for me.

[FatJeff]

Sheer repetition for me. Playin the notes both simultaneously and as arpeggios.

[mr. beaumont]

Being able to rattle off and spell the major scales was a big thing for me. Once I had that down triad speling became pretty easy... Do it by rote, 10 minutes a day...write 'em out, go through the key cycle. This is one of those things you just kinda gotta do (and do over) to get...

[bako]

In the beginning......

I practiced inversions across the neck
I practiced inversions up and down GBE//DGB//ADG//EAD
I practiced them in chord scales multiple fingering strategies
I practiced 2 triad progressions through the inversions

The better I knew the keys, the names of the chord tones, the fingerboard, the related sounds, the easier it got.
Shapes and finger memory are cool but combined with these other details build a better foundation.

[brwnhornet59]

The better I knew the keys, the names of the chord tones, the fingerboard, the related sounds, the easier it got.
Shapes and finger memory are cool but combined with these other details build a better foundation.

Absolutely!

[matt.guitarteacher]

In terms of just playing them, Jody Fisher's beginning method has etudes that will have you methodically work through all inversions of the basic triad types across all string sets. These are actually kind of musical. May help with the tedium of drilling triads.

I'm not a big fan of a lot of the rest of his book as a method for beginners though. It's a great resource to have though. Lots of good material.

[edspyhill01]

First off, thank very much for the generous help and advice you all provided. I'll post a few updates as I progress.

Just make sure that you get the shapes under your fingers where it is natural to play them. Also do this in string sets. ie, Learn them on the G B E strings.
Then the D G B. Then A D G and E A D. You will notice that these shapes fall naturally into each other. Lots of triad shapes are played with the root and the octave of the root in the chord. Triads are very cool. Usually overlooked by many. Good luck!

I'm currently working on the Van Epps first 6 forms in all keys, in the first inversion. I'm seeing the logic of even his fingerings. I have access to all 22 frets on my travel guitar.

I tend to use Pat Martino's symmetrical forms to memorize triad forms, to be honest. Pretty easy for me.

Way back in time I took a Pat Martino Masterclass. I may still have the notes from that class. If I do I'll see about incorporating them into my learning project.

Sheer repetition for me. Playin the notes both simultaneously and as arpeggios.

I think that is the unvarnished reality - rote memorization and daily reenforcement.

Being able to rattle off and spell the major scales was a big thing for me. Once I had that down triad speling became pretty easy... Do it by rote, 10 minutes a day...write 'em out, go through the key cycle. This is one of those things you just kinda gotta do (and do over) to get...

My first hurdle is truly memorizing the fengerboard and internalizing all the notes and interval relations, so I'm playing triads on all 4 string sets in all keys using the cycle of 5ths. It's that strange goal-less approach which really works and that comes from Zen and Alexander Technique.

In the beginning......

I practiced inversions across the neck
I practiced inversions up and down GBE//DGB//ADG//EAD
I practiced them in chord scales multiple fingering strategies
I practiced 2 triad progressions through the inversions

The better I knew the keys, the names of the chord tones, the fingerboard, the related sounds, the easier it got.
Shapes and finger memory are cool but combined with these other details build a better foundation.

I started to brainstorm on the number of exercises practicing horizontallyand vertically and I see the options increase quickly. I'm going to postpone adding any "complexity" of 4-note chords just yet.

In terms of just playing them, Jody Fisher's beginning method has etudes that will have you methodically work through all inversions of the basic triad types across all string sets. These are actually kind of musical. May help with the tedium of drilling triads.

I'm not a big fan of a lot of the rest of his book as a method for beginners though. It's a great resource to have though. Lots of good material.

That sounds like something that can be done daily as memory reenforcement. I'll order a copy of the book. I'm checking with Jody Fisher for the title of the book.

Ed S.

[brwnhornet59]

My first hurdle is truly memorizing the fengerboard and internalizing all the notes and interval relations, so I'm playing triads on all 4 string sets in all keys using the cycle of 5ths. It's that strange goal-less approach which really works and that comes from Zen and Alexander Technique

Yeah, I gravitate towards that methodology myself. I am a glutton for punishment and want it all at my command a.s.a.p.

[edspyhill01]

I hate to revive this thread but I have a few questions hoping the answers help me get unstuck in my progress.

I know I asked this question before and read other posts with the same discussions. This is more a request for a formal way to learn the triads. I have several books, videos, etc, that present triads but what I can't do myself is organize the learning phases. I am back to the self teaching quagmire of virtually getting lost in the process and loosing interest. I think I need a formal approach to learning triads.

I'm flipping back and forth between root forms and first inversions and just spinning my wheels.

Here are my issues/questions.

Do I first learn the triads in the root form first?
If so do I learn them in the order major, minor, dim, aug?
How do I bring in the inversion studies?

Do I use the George Van Epps approach of learning all the first inversion triads, layed out in harmonic progressions in each key (root as the highest note)?

Do I start with the root form or first inversions on string sets 4-3-2, and 3-2-1?

I'm not looking for free advice. There must be a book or books that handle this area. It may come down to finding a teacher, even via Skype, than to keep slogging through one or more books. I need guidance with the organization of the material.

(I must have ADHD)

Ed S.

[FatJeff]

One thing you can do to alleviate the boredom is to play through any given lead sheet using only triads. Make it a game and see if you can play an entire song (e.g. All of Me) within one small 5-fret area of the neck. This will force you to start seeing all the different inversions based off a root note.

As further motivation, study the soloing technique of Charlie Christian. He based his solo ideas on triad and basic 7th chord shapes. And, know that mastering triads will be your key to some really cool soloing techniques as you advance more.

Did you ever make any progress with the Jody Fisher book?

[edspyhill01]

One thing you can do to alleviate the boredom is to play through any given lead sheet using only triads. Make it a game and see if you can play an entire song (e.g. All of Me) within one small 5-fret area of the neck. This will force you to start seeing all the different inversions based off a root note.

As further motivation, study the soloing technique of Charlie Christian. He based his solo ideas on triad and basic 7th chord shapes. And, know that mastering triads will be your key to some really cool soloing techniques as you advance more.

Did you ever make any progress with the Jody Fisher book?

You know, there's the problem. I looked at the Jody Fisher books on Amazon but I'm not sure why I didn't order the book after you recommended it. I think I got sidetracked by the Howard Morgen "Fingerboard Breakthrough" video lessons.

I'm going to order his "Beginner" volume today.

Thanks for the nudge,

Ed S.

[FatJeff]

Garrison Fewell also has a improv book that uses a lot of triads, as does David Becker.

[JakeAcci]

I hate to revive this thread but I have a few questions hoping the answers help me get unstuck in my progress.

I know I asked this question before and read other posts with the same discussions. This is more a request for a formal way to learn the triads. I have several books, videos, etc, that present triads but what I can't do myself is organize the learning phases. I am back to the self teaching quagmire of virtually getting lost in the process and loosing interest. I think I need a formal approach to learning triads.

I'm flipping back and forth between root forms and first inversions and just spinning my wheels.

Here are my issues/questions.

Do I first learn the triads in the root form first?
If so do I learn them in the order major, minor, dim, aug?
How do I bring in the inversion studies?

Do I use the George Van Epps approach of learning all the first inversion triads, layed out in harmonic progressions in each key (root as the highest note)?

Do I start with the root form or first inversions on string sets 4-3-2, and 3-2-1?

I'm not looking for free advice. There must be a book or books that handle this area. It may come down to finding a teacher, even via Skype, than to keep slogging through one or more books. I need guidance with the organization of the material.

(I must have ADHD)

Ed S.

What is the goal of your triad studies?

[BigDaddyLoveHandles]

In the end, you want to know "all of it", so I wouldn't worry to much on a precise order. I would work backwards: pick a tune, and learn to play triads against it. As mentioned above, to do this smarter, pick a range of frets and try to restrict your triads to it (rather than jumping all around the neck).

[edspyhill01]

Garrison Fewell also has a improv book that uses a lot of triads, as does David Becker.

Wow! David Becker is an incredible teacher. He shows how raising one note is a triad creates another triad! Go to 1:90 in the video to see/hear this.

Thanks,

Ed S.

[edspyhill01]

What is the goal of your triad studies?

My goal is to really know all the triads, know where on the fingerboard and string sets they are, and the relationship between one triad to another. I know there is a long memorizing step or phase, but I'm really hoping there is a strategy out there.

I'm thinking that starting with the root forms leads to comping and soloing, while the first inversion (Van Eps) leads more toward chord-melody.

I created a bunch of chord grids of triads on string sets, up/down each string set, across the string sets by form, across the string sets by roots on same fret, triads as I-IV-V on adjacent string sets.

It's not the lack of imagination. It's more the situation of seeing the goal and overwhelming myself with paths to travel.

Ed S.

[edspyhill01]

In the end, you want to know "all of it", so I wouldn't worry to much on a precise order. I would work backwards: pick a tune, and learn to play triads against it. As mentioned above, to do this smarter, pick a range of frets and try to restrict your triads to it (rather than jumping all around the neck).

I was thinking about your comment and watching the David Becker video and I thought - why not take a C-Maj CAGED scale and super-impose the triads on the scale notes.

Thanks.

Ed S.

[bako]

Building a chord scale structured around a pre existing scale fingering is a good strategy.
I think of this as simply harmonizing the scale rather than super imposing triads on the scale notes.

"I'm thinking that starting with the root forms leads to comping and soloing,
while the first inversion (Van Eps) leads more toward chord-melody."

Can you explain what you mean by this.

[JakeAcci]

My goal is to really know all the triads, know where on the fingerboard and string sets they are, and the relationship between one triad to another. I know there is a long memorizing step or phase, but I'm really hoping there is a strategy out there.

For what purpose? That could allow all of us to give you better advice.

"Knowing all traids of the fretboard" is a limitless concept. How far you want to go with it, and what specifically you want to work on, depends pretty much entirely on what you want to do with triads musically.

I used to do a bit of songwriting and I just happened to like the sound of spread triads on the lower registers of guitar. I would sit and just play with voicings and sounds I liked, and through that I learned a lot about triads. I've never personally been that satisfied with 'stock' voicings for anything, so I've always explored new voicings, especially for triads, for my own enjoyment.

One thing that was especially helpful was writing 4 part Bach chorales and trying to play them on guitar.

But what would be best for you depends on what the musical goal is.

[edspyhill01]

For what purpose? That could allow all of us to give you better advice.

<snip>

One thing that was especially helpful was writing 4 part Bach chorales and trying to play them on guitar.

But what would be best for you depends on what the musical goal is.

When I first read advice to write Bach 4 part chorales I said "Whaaaat!". But, I reread an article on triads by Mike Sult I printed out last week that touched on voice leading with triads using one example of I, IV, V, and the light bulb went off.

TriadInversions

In reality doing the very basic of the basics of voice leading practice will open up triadic progressions. Well, in a couple of weeks/months.

Ed S.

[clebergf]

Nice thread with good tips.

[Drumbler]

I made index cards with the chord name on one side and the notes of the chord on the other side. Go through the cards everyday and repeat the chord name and then the notes.

Example:

Side 1= CM7 Side 2 = C-E-G-B

Side 1 = Cm7 Side 2 = C-Eb-G-Bb

Then C7 and Cdim7

Etc. for C, Db, D, Eb, E,... to Bb, B.

My suggestion is to extend the chord to the 7th and learn that too.

It's handy to know this.