What’s up YouTube community Bernth here – welcome back to another video lesson! Today we continue with mastering the
vitally important topic of memorizing and locating all the Triads across the
neck with special focus on the minor triads this time – as we discussed last
week this is the fundamental skill that will suddenly allow you to find chord
voicings all across the neck and you will be able to optimize the spacing of
your chord riffs as we will check out with the second practical example – of
course that will allow you to play faster and more accurate – so without
further ado let’s get started right away! So last week we checked out all the
major triads across the neck and some practical examples concerning that – if
you did not watch this lesson already please make sure to go back and check it
out since it will serve as the foundation for what we are building upon
right now – working with triads fast and effectively is the number one skill I
currently need in all my professional studio and live jobs – on stage I mainly
play for the Austrian pop act Seiler und Speer aside from myself there are two more
guitar players in the band, one more electric guitar player and one acoustic
guitar player and frontman and I’m switching back and forth between
electric and acoustic guitar – aside from that we also have some keyboard sections
played by the other electric guitar player and on some special occasions we
also perform with string or brass sections – what I’m getting at here is
that there’s a lot of stuff going on harmonically on stage with relatively
simple songs – so it will get really messy as soon as three guitar players or even
more musicians in the entire ensemble are playing basic chords in the exact same frequency range – so I have to be really quick and know my way around the fretboard in the studio
when I’m booked to work on the live arrangements or on the studio records
for this project – often the producer will tell me what you’re playing is pretty
cool but it doesn’t work in this frequency range – so for example in the
key of C minor if there is any kind of arpeggiated pattern for example it might clash
with what the acoustic guitar is already playing or with the keyboard or organ
part that is recorded already – and then your producer might say ‘you have to
move it up higher on the fretboard’ and that’s when you have to be quick if you
don’t want to be fired and most of my students are only familiar with moving
up the exact same pattern one octave on the same strings and that won’t get you
very far – you have to be much more original – so let’s dive into it right now
and check out all the A minor triads across the neck for all the different
string groups we discussed last time and of course I also prepared a more
practical example once again where I’m playing a very basic chord riff including
major and minor chords this time and we are rearranging it by only using triads.
Here’s the first example, the A minor triads across the neck! So as we know from last time I’m
actually just playing the same three notes over and over again, the root note, minor third and perfect fifth – last time with the major triads I was playing the
root note, major third and perfect fifth so that essentially means only one note is
changing this time which is great news for us – so if you really put in the work
last week learning all the major triads in the different positions and on the
different string groups you just have to turn the major third into a minor third
with every single voicing – once again if you want the full lesson experience head
over to my patreon page patreon.com/bernth – there you can
download the PDF tabs and guitar pro files for this lesson and I
also made sure to upload some practice backing tracks – it’s much more effective
to work with the practice backing tracks that I uploaded for you over there since
you can also focus on your timing and the correct
switching between the triads with this exercise and having a special backing
track for every exercise that I upload here on YouTube will allow you to stay
organized too with your practice plan – so to start out once again we have to find
all the roots across the neck – so every single A in order to form our triads – if
you still struggle with note location and fretboard visualization in general
make sure to check out the lesson I posted on that a couple of months ago,
there we check out some helpful tricks like the octave triangle and more – so I
have my A right here on the fifth fret of the low E string, it’s the octave
interval on the seventh fret of the D string of course also on the fifth fret
of the high E string on the tenth fret of the B string,
here on the second fret of course here the open A string and so
on – and then we are adding the minor third C and the perfect fifth E to all of those
roots – so first of all we have A right here the root, C minor third and E
the perfect fifth so that would be the most common triad
I think starting with the root, third and fifth
and as we said it gets really interesting as soon as we don’t start
with the root note as the bottom note with the next triad we start with the minor
third C, play the perfect with E then we have A the root on top of the voicing and that
to me immediately sounds much more interesting just like we discussed last
time than playing the standard inversion So next time when you’re playing a minor
chord please focus on not always starting with the root note on the
bottom, switch it up a little bit then for the next one we have A here on
the twelfth fret of the A string and we are placing the perfect fifth on
the bottom and playing the minor third on top So those are all the three voicings for
the first string group Once again, root note on the bottom
then we have minor third. perfect fifth, root
and in the end we have perfect fifth, root note, minor third – and the great news
of course is that these three voicings are repeated in a different order right
now for the next string group – for the A,D, G string group we’re starting off with our A right here on the second fret of the G string
so we’re playing C, minor third, E the perfect fifth and A the root on top which is the exact same voicing we had here Same notes, same octave, the same order
up next we have A right here on the seventh fret of the D string so we are
playing this voicing one again Perfect fifth on the bottom followed by
the root and the minor third just like we played it right here and then for the last one of course we
have A here on the 12th fret of the A string we’re most popular triad with the root as the bass note, minor third and perfect fifth So if we take a short break right here
we can compare it to the major triads we looked at last week as you know we just
have to change one note right here, we have to turn the minor third to a major third to get to the major
triad this knowledge will save you a lot of
time since you don’t have to look at major and minor triads as this divided
thing you have to study, we actually only have to know the structure and after that you can also continue
forming diminished chords or diminished triads I should say by just lowering the
perfect fifth to a diminished fifth or augmented triads
by raising the perfect of major to an augmented fifth So once you learn the major and minor
triads you can also move on to the diminished and augmented triads but we
will not look too much into that for this lesson since I want you to get the
major and minor triads down first – then we have to take the B string into
account once again since the tuning of our guitar is not completely
symmetrical here the voicings look a little bit different – so once again we’re
starting with A right here on the second fret of the G string and we are playing perfect fifth, root, minor third
the next A is right here on the seventh fret of the D string
so we’re playing root note, minor third perfect fifh
the next A is right here on the tenth fret so we’re playing minor third, perfect
fifth and the root on top so for this string group once again… which is actually the top of the classic
A minor chord it already sounds much more interesting
than just playing basic minor chords for example we are working with when we
play Pop songs or ballads whatever you’d like to play Those are the exact same notes I’m
playing but I’m not just always placing the root note on the bottom due to the inversions it just sounds
much more interesting and already kind of suspenseful – and then we move to the
last string group, to the G, B, E string group We start once again with A on the
second fret of the G string, we need the open E string right here
essentially once again just the top with the E string included, the standard A minor voicing so this is what it looks like one octave higher I’m sure you came across this one already, it features the root on bottom once again a very common voicing for minor up next we have A on top the root, then the perfect fifth and
on bottom we have the minor third and I’m sure you’re familiar with the
last triad for today here we have the root sandwiched between the
minor third and perfect fifth this is actually the top of the very
common D minor chord so in the case of A minor that is the last triad for today – so
please take some time to memorize all the minor triads and especially focus on
using the ones that are not starting out with the root note on the bottom or bass
note – once again I also want to show you a practical example of what you can do
in the future if your knowledge about triads – for this one I’m once again just playing very basic chords, major and minor chords but I’m only thinking of the E string as
my reference for the root notes so when I do that I have to perform big jumps and it also doesn’t really sound very interesting, it’s very boring and predictable – so here’s the practical
example, I’m playing a very basic chord riff, mixing major and minor chords and
then I’m using my knowledge about the Triads to make the spacing more economic
and the sound a little bit more interesting So for this example I was playing… …and as you could see
I had to travel all across the fretboard right here and that can be cool if it’s
intentional if the slides are part of the sound but most of the time it’s just
a lack of knowledge about locating chords correctly that results in riffs like that – so let’s say that our producer told us he doesn’t like the way this
riff is sounding either because of all the slides or because of the low
frequencies and that we should play it in a higher section of the fretboard – so
what I could immediately do is take the last triad we looked at with A here on
the tenth fret of the B string and start off right here – so I’m using this triad for A minor, up next we have F major so I’m
thinking about the next F right here and that would be here
on the tenth fret of the G string so I could play… just one note is changing right here
which sounds pretty cool much more interesting than… also much more economic
and easy to play – up next I have D minor which is a pretty big jump right here from the first to the tenth fret
what I could do right here is locate my nearest D, that would be right here on
the tenth fret of the high E string – so I could play this voicing we just learned
with the minor triads so… sounds pretty cool
and then the next chord I was playing was C major so I have to move from D minor
to C major. once again just looking for the next C here and that’s fortunately
right here on the tenth fret of the D string – so I could play this voicing from
last week, very popular major triad with root on the bottom So once again the entire thing… then from C major I have to move to the
final part, to G major A minor – so we stopped right here at C
major and the next G is right here, I’m already
playing G right here, so I could choose this voicing for G major and then I don’t want
to use the exact same voicing for A minor again to make it a bit more interesting
so I could move down right here and play this popular voicing once again, root, minor third perfect fifth – so let’s hear the comparison
once again… Here’s our triad arrangement… I hope that
you agree with me right here, the triads sound much cooler, much more original and
it’s actually a lot easier to play because of the spacing of the chords – as
I said the PDF tabs, standard notation and guitar pro files for what I just played
are online on the patreon page – with those files it’s a little bit easier to
reconstruct my way of thinking when I turned this basic chord riff into this
triad section – so I really hope that you enjoyed these two intense weeks dedicated to triads – as I said this is the most important knowledge you will need in the
future to construct your own complex chords you can add sevenths to them, you
can extend them even beyond that with called extensions like the 9th, 11th or 13th,
you can also turn them into very interesting unique arpeggios – but first
of all you really need to internalize the major and minor triads and all their
positions on all the string groups across the neck – so please make sure to
dedicate at least 10 to 15 minutes every day to mastering the triads across the
neck – in a couple of months it will come very very natural and you won’t ever be
embarrassed again when somebody asks you to play these kind of chord patterns or
arpeggiated chords in a higher section or different section of the fretboard – in
the end make sure to subscribe to never miss a guitar lesson again and to join
this YouTube community, leave a like in case you enjoyed this video or learned
something new that always means a lot to me – or a comment in case you have any
questions that I could answer for you – I really hope you have a lot of fun
practicing all this I will see you soon all the best until then!