GUITAR SOLOING 008: Killer Solos with 3-Note Triads

September 15, 2017:
Lesson 008 - Killer Solos with 3-Note Triads

Performing solos using 3-note triads allows for a very interesting blend of harmony and melody. Once melody lines can be inter-changed with 3-note chords, the impact of a lead takes on a whole new dimension. 

Lesson 008 explores this idea in detail... 

As guitar players, one of the more unique sounds we have as soloists is the option of using multiple notes to create our melodic passages.

Watch the Part One Video FREE on YouTube:

PART ONE:  In example one, we study how the 3-note triad can be applied to single-note lines. A solo segment in the key of "G Major" uses two triad punches to highlight the melodic line in the solos 2nd and 4th measures. The use of 3-note chords map the lead part across each phrase producing a crisp attack to the parts of the lead that involve changes to the harmony.

Example two explores how to use 3-note triads for the fast tracking of chord changes. This is a powerful idea since the sound of rapidly moving triads (closely positioned) can produce a strong embellishment to any melody. The key of "D Minor" melody line in example two demonstrates this effect in measure four. Be sure to begin by learning all of the triads and how they flow one to the next in the example. Become clear about their fingerings and build their speed afterward using a metronome.

PART TWOIn example three, triad soloing ideas will be matched to rhythm punches in order to form a blended line between rhythm and lead. The impact of this effect within a worked out solo is very dynamic and produces a strong highlight to any part where these are applied.

NOTE: Doing "matched rhythm concepts" within any ensemble will require advanced planning between the rhythm guitarist and the lead guitarist since the parts are essentially, "worked out."

Example four studies how certain color tones in a solo can be directly focused on using target tones built using the 3-note triads. This technique is explored using a progression in "F Lydian." The focus is placed on the unique color tone of this mode, (the scale tone of "B"). In the example, we highlight the modes color tone (B) and help push the harmony of other chords across the solo. This technique is one of the best ways to zero in on the unique color tones of key centers and modes.

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