I start with theory, but if you only want the patterns,
feel free to search for “3:15” in this lesson using the command F function if
you have a PC.
3:1 Triads are
three note chords, where each of the three notes in each three note chord is a
different interval of a 7 note major scale, specifically the Ionian mode.
3:2 A 1, 4, 5
chord progression is probably most common chord progression.
3:3 Because it
is a 1, 4, 5 chord progression, it is a pattern of 3 chords in progression,
where 1, 4, and 5 represent the root notes of the chords. The 1 of “1, 4, 5,” represents a chord. The 4 of “1, 4, 5,” represents a cord. And, the 5 of “1, 4, 5,” represents a
chord. These chords do not necessarily
need to be played in order.
3:4 1, 4, 5
chord progressions take their name, 1, 4, 5, by the root notes of the scale
they occupy.
3:5 Every chord
in a 1, 4, 5 chord progression is a major chord. Major means that it sounds happy, as opposed
to minor which sounds sad, taking its root notes as the 3 major notes of the
Ionian scale, the 1st note, 4th note and the 5th
note.
3:6 Every note of the 1 chord, the 4 chord, and
the 5 chord is contained within the respective Ionian scale pattern of the key
that the progression is played in.
3:7 In the key of C, the Ionian mode has no
sharps or flats. The root of the Ionian
mode in the key of C is C. Its notes
follow the pattern C (major) D, (minor) E (minor), F (major), G (minor), A
(minor), B (diminished), repeating C, which is an octave.
3:8 There are seven notes to the Ionian scale,
which should sound very familiar if played in order. Additionally the Ionian sound can be played
in any key, and that is true for any mode.
The notes are of Ionian Mode in the key of C are Doe (which when Doe is
used as a root note in any key the result sound is Ionian), Ray (which when Ray
is used as a root note in any key the result sound is Dorian), Me (which when
Me is used as a root note it any key the result sound is Phrygian), Fa (which
when Fa is used as a root note in any key the result sound is Lydian), Sew
(which when Sew is used as a root note in any key the result sound is
Mixolydian), La (which when La is used as a root note in any key, the result
sound is Aeolian), Tea (which when Tea is used as a root sound in any key the
result sound is Locrian). However, for
this exercise, because it consists of 1, 4, and 5, chords, the only sounds that
will be used are, Ionian, Lydian, and Mixolydian, respectively, but not the
Dorian, Phrygian, Aeolian, and Locrain modes.
3:8 In any key the Ionian scale follows the
pattern Root, whole step, whole step, half step, whole step, whole step, whole
step, half step, where a whole step is 2 notes (2 frets) higher than a previous
note, and a half step is 1 note (1 fret) higher than a previous note.
3:9 With respect to the Ionian major scale, the
intervals for these exercises will always be stacked as (3, 5, 1). Consequently, the 1 chord, the 4 chord, and
the 5 chord all have 5, 1, and 3 notes of different Ionian keys, where the 1 is
a root note of the beginning of the respective Ionian scale. Although, the 4 chord has the 4th
interval of the song key as its root, that root is considered as the 1 note of
a different Ionian mode for the purpose of labeling its identity, as in
comparison to the 1 and 5 chords though it sounds Lydian. And, although the 5 chord has the 5th
interval of the song key as its root, that root is considered as the 1 note of
a different Ionian mode for the purpose of labeling its identity, as in
comparison to the 1 and 4 chords it sounds Mixolydian.
3:10 Each root is “1” of the three different
chords, each consisting of 3, 5, and 1 intervals, where 3 is on the fattest of
the 3 highest strings, 5 is on the next fattest of the 3 high strings, and 1 is
played on the highest string.
3:11 The root note is called 1, the root note of
the Ionian scale. The 2nd
major root note of the major scale is the 4th note of the Ionian
mode. The 3rd major root note
of the major scale is the 5th note of the Ionian mode.
3:12 The 1 chord
of the C major (Ionian) scale is “Doe.”
The 4 chord of the C major scale (Ionian) has its root as “Fa” chord of
the major scale because it is the 4th note of the pattern “Do Ray Me
Fa.” The 5 chord of the C major scale
(Ionian) is Sew because it is the 5th note in the pattern, “Do Ray
Me Fa Sew.”
3:13 The
labeling of the intervals of the three chords of the 1, 4, 5 chord progression
is made with respect to as if the root note as if each of these 3 chords was created
by a separate Ionian scale pattern.
3:14 The strings
are labeled as such: the 6th string is the highest pitched string,
or the thinnest string, the 5th string is the next highest pitched
string, and the 4th string is the lowest pitched string of the three
highest pitched strings, whose pitches are measured in standard E tuning and
played at the same fret.
3:15 For this
exercise the chords will all be fretted with the middle finger on the 4th
string, the index finger on the 5th string, and the index finger on
the 6th string.
3:16 The key of E:
The 1 chord consists of the notes, G#, B, and E.
The G# is the 3 of the chord. The B is the 5 of the chord. The E is the 1 note, the root note, of the
chord. This is why it is a chord with 3,
5, 1 voicing.
Because of the way this chord is stacked, the G# is on
the 4th string at the 13 fret.
The B is on 5th string at the 12th fret, and the E
is on the 6th string at the 12th fret.
Get familiar with it.
The 4 chord is an A and it consists of the notes, C#,
E, and A.
The C# is the 3 note of the chord. The E is the 5 note of the chord. The A is the 1 note, the root note, of the
chord. This is why it is a chord with 3,
5, 1 voicing.
Because of the way this chord is stacked the C# is on
the 4th string (the 3rd thinnest string) at the 6th
fret. The E is on the 5th string
(the 2nd thinnest) at the 5th fret, and the A is on the 6th
string (the thinnest string) at the 5th fret.
Get familiar with it.
The 5 chord is a B chord. It consists of the notes, D#, F#, B.
The D# is the 3 note of the chord. The F# is the 5 note of the chord. The B is the 1 note, the root note, of the
chord. This is why it is a chord with 5,
1, 3 voicing.
Because of the way this chord is stacked the D# is on
the 4th string at the 8th fret. The F# is on the 5th string at the
7th fret, and the B is on the 6th string at the 7th
fret.
Get familiar with it.
Now play these chords in the 1, 4, 5 pattern, strumming
each for a count of 4 before switching to a different chord.
Try playing them in different orders other than 1, 4,
5; for instance play 5, 1, 4 or 4, 1, 5.
3:17 The key of D# (the same pattern, but a half
step lower):
The 1 chord consists of the notes G, A#, and D#.
The G is the 3 note of the chord. The A# is the 5 note of the chord. The D# is the 1 note, the root note, of the of
the chord. This is why it is a chord
with 3, 5, 1 voicing.
Because of the way this chord is stacked, the G is on
the 4th string at the 12th fret. The A# is on 5th string at the 11th
fret, and the D# is on the 6th string at the 11th fret.
The 4 chord is a G# and it consists of the notes, C,
D#, and G#.
The C is the 3 note of the chord. The D# is the 5 note of the chord. The G# is the 1 note, the rood note, of the
chord. This is why it is a chord with 3,
5, 1 voicing.
Because of the way this chord is stacked, the C is on
the 4th string at the 5th fret. The D# is on the 5th string at the
4th fret, and the G# is on the 6th string at the 4th
fret.
The 5 chord is an A# chord and it consists of the notes
D, F, A#.
The D is the 3 note of the chord. The F is the 5 note, of the chord. The A# is the 1 note, the root note, of the
chord. This is why it is a chord with 3,
5, 1 voicing.
Because of the way this chord is stacked the D is on
the 4th string at the 7th fret. The F is on the 5th string at the 6th
fret, and the A# is on the 6th string at the 6th fret.
Now play these chords in the 1, 4, 5 pattern, strumming
each for a count of 4 before switching to a different chord.
Try playing them in different orders other than 1, 4,
5.
3:18 The key of D (the same pattern, yet another
half-step lower):
The 1 chord consists of the notes F#, A, and D.
The F# is the 3 note of the chord. The A is the 5 note of the chord. The D is the 1 note, the root note of the
chord. This is why it is a chord with 5,
1, 3 voicing.
Because of the way this chord is stacked, the F# is on
the 4th string at the 11th fret. The D# is on 5th string at the 10th
fret, and the G is on the 6th string at the 10th fret.
The 4 chord is a G and it consists of the notes, B, D,
and G.
The B is the 3 note of the chord. The D is the 5 note of the chord. The G is the 1 note, the root note, of the
chord. This is why it is a chord with 3,
5, 1 voicing.
Because of the way this chord is stacked, the B is on
the 4th string at the 4th fret. The D is on the 5th string at the 3rd
fret, and the G is on the 6th string at the 3rd fret.
The 5 chord is an A chord and it consists of the notes,
C#, E, and A.
The C# is the 3 note of the chord. The E is the 5 note of the chord. The A is the 1 note, the root note, of the
chord. This is why it is a chord with 3,
5, 1 voicing.
Because of the way this chord is stacked the C# is on
the 4th string at the 6th fret. The E is on the 5th string at the 5th
fret, and the A is on the 6th string at the 5th fret.
Now play these chords in the 1, 4, 5 pattern, strumming
each for a count of 4 before switching to a different chord.
Try playing them in different orders other than 1, 4,
5.
3:19 The key of C#:
Using the patterns established in this exercise, play a
1, 4, 5 chord progression in the key of C# with 3, 5, 1 voicing. The 1 chord is a C#. The 4 chord is a G#. The 5 chord is a F#.
3:20 The key of C:
Using the patterns established in this exercise, play a
1, 5, 4 chord progression in the key of C with 3, 5, 1 voicing. The 1 chord is a C. The 5 chord is a G. The 4 chord is a F.
