Oh... You're right!. Sorry, I made a mistake in the tabs. On The Em It's exactly the opposite of what's displayed: It's Up(E), Up(B), Up (G), Down (B). I correct the tabs on my website, so everyone can reference this. Thanks for pointing this out to me!👍
Great lesson extremely well explained. Thank you this will help many guitar players. Please keep up your tutorials they are very refreshing clear and concise . Excellent!!!
@@becomegreatatguitar Thanks for including a free tab in your website. By the way i think you made a little mistake while writting it. At the end of the B section, at the second to last bar you go F Dm, i think it should be Am and F in order to follow the same pattern (all the previous triads are either 1st or 2nd inversion and here the Dm is in root position creating kind of a Dm7 arpeggio).
Really Good Lesson : Sounds Good, Fun, Understandable with some basic. I’ve not played guitar 10 years+ & watched this vdo till the end enjoying it. Really recommended.
J'ai travaillé votre exercice avec guitar Pro dans les 12 tonalités et sur les 4 sets de cordes. C'est un travail colossal mais qui apporte énormément dans la conaissances triades certes mais aussi du manche. Sans parler de la connaissance des gammes Majeures dans une configuration horizontale. Et en Bonus, c'est très musical et on peut s'amuser à improviser.
I'm impressed with the level of determination you're putting into these exercises! Practicing this in all 12 keys is really a major commitment! I'm sure you've made some serious progress. Thank you for giving them a try and letting me know! You rock!!!
This is a really cool concept!. I see a bass in the back round. I was wondering if you could do a video showing this idea on the bass? I am a bass player looking to work on my soloing by connecting triads.
Cool! Great having a bass player here. You can simply take a look at the tabs and go through the exercise with starting the one string pattern on the g string. Everything else is the same for bass guitar.
Brilliant tutorial man! Thanks so much for putting it together and sharing it here. I think I found a minor mistake on page 2/4 of the tabs: the Am chord at the bottom of the page (last bar) is displayed as using a B on the 5th string. I think it should be C (3rd fret on the same string). Regardless, this is a great exercise for getting to know the fretboard and the triads around it. Cheers👏
Ok, I got you. The same theory applies for both directions. If you practice this horizontally, like in the video, then it's very likely that you'll recognize the vertical scale to chord connections as well. This might just take some time to implement. But sure, I capture your video idea. Thanks for your suggestion!
I haven't tried this exercise with harmonic minor scale yet. This could be worth trying. But I think it will sound weird if you rigidly follow the same pattern with the harm. min. scale. It would be better to play around with different triads like I did in the intro of this video where I play the G triad and transition then to E7. This way I see scale pattern BDCD as a part of a G major triad and a E7 triad.
At 9:12 why not start the sequence with Em_C_Am_F_Dm_Bdim._G. This covers all 7 natural triads in the key of C, still stays at/below the 4th fret and perhaps uses better voice leading. Would this not connect to the C major scale notes as well when you try to combine/visualize them together?
J'ai bien compris le principe. Ce qui serait idéal, ce serait un cours complet avec toutes les cordes. On peut évidemment chercher soi-même mais c'est beaucoup de temps qu'on pourrait s'économiser. D'autant que l'idéal serait aussi de faire le même travail dans toutes les tonalités. Qu'en pensez-vous?
You got it, Christian! The tabs to play this exercise on all strings are freely available here: www.becomegreatatguitar.com/learn-to-connect-scales-with-triads-chords/ I think it’s a good idea to practice this in different keys. I would start easy by progressively going through the circle of fifths. But even if you just do this exercise in one or two different keys, you'll already make BIG progress.
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The triad diagram at the end, Em to C is 6 notes away C to F is 4 notes away F to Dm is 6 notes Dm to G is 4 G to Em 6 and so on it alternates between 6 and 4 throughtout the fretboard 😊
Hello, I just discover your website and it"s realy super. Thanks for this. Have a question is there a way to make a copy of the excercice? so you don"t have to play before the pcv but you can work even outside or in another room..
So we can think of this practice like this : Build up 7 chords from C major: Cmaj7, Dmin7, Em7, Fmaj7, G7, Am7, Bm7-5, and devide each into 2 independent chords, we got Em and C from Cmaj7, F and Dm from Dm7, G and Em from Em7....
Yeah, it's all about the third relationships. On one hand is building 7th chords and dividing them a step extra for the just learning the exercise. But on the other hand is knowing about the close relationship you mentioned very useful when it comes to improvisation.
That's ok. It takes time. Keep practicing, be playful, and let it sink in. Then, watch again after you've spent some time with this exercise. Or just ask what exactly you haven't understood. I'll be happy to clarify.
I think I mean to keep using the same (sixteens note) pattern while practicing this on every string. But I'm not 100% sure if I understand your question right. Could you please point to the time stamp when I'm saying this? You can also take a look at the tabs on my website. I tabbed how to play the entire pattern on all strings.
Thanks. I went straight into my audio interface and just used the Softube Marshall Silver Jubilee 2555 plugin with the spring box reverb and true delay from logic pro x's guitar pedal plugin.
Bonjour. J'ai fait de votre exercice une des mes routines. Je viens de constater cependant qu'il n'y avait aucune triade à l'état fondamental dans votre exercice. Est-ce un choix délibéré? Cela n'enlève rien à la qualité de l'exercice et à l'aide qu'il apporte dans la connaissance du manche.
Bonjour. Thanks for mentioning this. The root positions are really not covered in this exercise at all. It's was not a deliberate choice by me to omit them. It turned out this way because of the way the exercise is designed. But you surely could design a similar exercise where you go through all inversions for each triad. My first idea for such an exercise would be to simply extend the triads vertically. This way you arpeggiate the triad on more than just 3 strings. You could do variations on 4, 5 or maybe even 6 six strings. Similar to what I showed in part two of this exercise.
Thanks for asking. I was hesitant not to include this first, but there are three main reasons for why I'm not showing this. First, creating tabs for such an extensive exercise across multiple keys and all strings is a lot of work. Additionally, the video production and editing process-especially displaying the tabs-takes a considerable amount of time. Not doing this saves me probably 5-10 hours. Second, there's the RU-vid algorithm to consider. The retention rate might drop if I repeat the same exercises on different strings or in different keys, as viewers could skip ahead or stop watching. Though I'm not certain, this is a concern. Lastly, from a teaching perspective, once you understand the concept, it’s highly beneficial to avoid relying solely on tabs and to figure things out on your own. I believe this is important for learning. That said, the tabs for this exercise across all strings and in one key are available for free on my website. You just need to transpose this. May I ask if you need help with transposing? I’d be happy to cover this in future videos if it's something you'd find useful.
J'ai essayé votre pattern à partir de la corde 2 à vide. Je devais obtenir les triades Bdim et G à partir de la corde à vide. ça marche pour G mais pas pour B dim. Il y a quelque chose qui m'échappe dans votre démarche. Pourriez-vous m'aider à mieux la comprenre? Merci
Sure! If you start this on the b string and you wanna play the bdim then you need to play this triad on just the b and d string: b d f -> b=open b string, d=open d string, f=d string 3rd fret. Unfortunately, it breaks the beautiful pattern because you can't go lower than g. To understand why this happens just try to play the first triads bdim and G an octave higher. This should help you understand why it works this way. You can easily take a look at the tabs here. It is on page 2/4: www.becomegreatatguitar.com/learn-to-connect-scales-with-triads-chords/ Hope this help!
This may be considered a trivial comment.. But my Fingers won't stretch far enough for the first pattern, unless I lift the first finger after playing it ?
Thanks for mentioning this. You're 100% not alone with this. Here are two things you can do about it. First, start this exercise on the 12th fret and work your way towards the lower frets. This way, you sequentially increase the difficulty. Notice when it's getting hard to stretch and slow down. Second, keep trying. It's okay to do this imperfectly. It's part of the journey. With time and practice, you will gradually improve.
Sorry to hear that, Jordan. Can you be more specific about what’s difficult? Maybe I can clarify…The topic in this video is quite information dense, so there is a lot to process and I haven‘t explained everything from the very beginning. So chances are that you‘re not alone with this.
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A scale is a way of looking at a group of notes as individuals. Then go to intervallic pairs which would be two notes. Then group the notes in a little party of three. These are the triads. There is no separation between chords and scales. Chords are just collections of scale notes. This method of looking at the material is not really balanced and needs more work. It is not smart to jump from single notes to triads. All the pairs should be learned first.
Thanks for sharing your perspective. It's true that scales and chords are closely interconnected, with chords being derived from scales. This approach here is just one of many methods used to understand the relationship between scales and chords. It's just one piece from an infinite puzzle...
I don't think it is infinite really. It expands out to a great body but not infinite. The human ear canonly percieve a limited range of pitches so infinite is not the right word. I find that most teachers say things that are not true and inaccurate. I try now to only say things that are true when I teach.@@becomegreatatguitar
I don't think that chords are derived from scales. You can just create a chord without thinking of the scale as the source. If you want you can think back to the scale and show where the pitches occur in the scale in 2nds. The word derive implies a sequence of thought conducted to acheive a desired destination. You statement should be changed to "The chords may be derived from the scale." I can for example derive chords from intervals, not scales. It can be shown that the pitches of a given chord also occur in a scale but the chord exists independant of that contrivance.@@becomegreatatguitar
Dude… I could barely hear what you were saying above all the noise. Maybe take out the background wind noise and I could understand what you’re saying.
