Example 7: Octave Displacement

Eric Johnson often uses octave displaced triads - one of the chord tones is played an octave above, which creates chords that are open voiced. These octave-displaced inversions of I IV V in G (G C D) articulate a G major scale running from B to G (high notes on chords). Voice leading is common and revered in JS Bach's music.

Example 8: The Lydian Tonality

We can generate the sounds of the major scale modes by playing triads from the IV and V degrees of the parent scale against a lower note that outlines the mode required. Here the triads A and B (IV and V) from the parent key of E are played against the bass note of A (4th note of E major) to articulate an A Lydian sound.

Example 9: The Dorian Tonality

This time we are going to generate the A Dorian sound (second mode of G major), by playing the triads of C and D (IV and V of G) against an A bass note. Theory buffs among you my realise that the triad of C (C E G) with an A bass note creates an Am7 chord, which is perfect fit for the Dorian tonality.

Example 10: The Mixolydian Tonality

Now let's look at the fifth mode of the D major scale: A Mixolydian. Here we take triads from the IV and V degree of D (G and A), and play them against an A bass note. Once again theorists may know that the G triad played against A gives the notes of an A11 (or G/A) chord, which complements the Mixolydian sound perfectly.

Triad extensions: Adding an interesting note to a triad can create new colour...

Example 11: Add9

The 9th interval (an octave up from a 2nd) can be added to either a major or minor triad to form an Add9 chord (R 3 5 9). This is a great way to give standard chords some colour without sounding too 'jazzy', which is why you will find them frequently cropping up in country, folk, pop and rock based styles. Gsus2 has no 3rd in it.

Example 12: Add11

The 11th note (octave up from a 4th), can also be added to major and minor triads. Here a C chord form is moved up two frets to establish a D tonality; the open third string (G) gives the add11 sound. These chords lend themselves to picked arpeggios, and appear commonly in rock ballads by bands like Whitesnake and Def Leppard.

Дата добавления: 2015-10-23