- TRIADES & HARMONIZATION
I'm happy to meet you here for a blog - vlog on one of my favorite topics: the triads !!!
I know a lot of people are wondering: - "What's the use of the triads?"
It is true that according to the style of music we play we use more or less of the form in which I describe them.
However everyone plays triads, even without knowing it.
When you learn to play your favorite songs using chords with empty chords, you use triads.
The chord of G (G major) is a major triad, ie it consists of 3 notes (you will tell me, - "but no there are not 3 notes, I scratch the 6 strings "... In fact in this case you repeat the same notes: G (G major) from low to high is Sol Si Ré Sol Ré Sol.)
I must admit that I have a hard time defining the goal in a concrete way.
Personally it serves me, among other things, to map the neck of the guitar. This has created a systematism for me and thanks to that I always know where are placed each note in relation to others and it is more than useful when you improvise on a grid that modulates for example. Beginners in improvisations tend to look for their fundamentals on the low E string with each chord change so their solos resemble small melodic blocks a little poop rather than cross chord changes.
Your video of the day
HARMONIZATION OF THE MAJOR RANGE
DEGRES I II III IV V VI VII
TRIADES C Dm Em F G Am Bmb5
Major Triad: Fundamental - Major Third - Right Straight 1-3-5
Minor Triad: Fundamental - Minor Third - Right Straight 1-b3-5
Decreased Triad (mb5): Fundamental - Minor Third - Decreased Tail 1-b3-b5
Of course there are countless ways to use them.
For the arrangement for example, find several different ways to play the same thing, especially when you do the studio ... Often the sound engineer or the composer asks you to make several proposals.
One apprehends the sweeping with the triads in general. You can read my article on the subject elsewhere.
For phrasing and articulation. (I will develop this topic in another article).
For improvised accompaniment in styles such as jazz or jazz fusion.
For the development.
For the composition
And many more...
When one begins to dig the subject on the triads one realizes that there is really an untold number of possibilities and development.
If we take into account all the possibilities of drop reversals on a single major triad and apply it to all types of triads ... The work is colossal! because there are so many types of triads too ...
Major, minor, augmented, diminished, sus2, sus4, Lydian etc etc etc ...
There are also all the associated concepts: triads with foreign basses, even triads ....
THE WORK IS COLOSSAL !!! But I think that the person who deepen this concept to the maximum will be well rewarded in the end.
I will try to make sure that is my case.