Inversions

Triads are three-note chords constructed from the; first, third, and fifth notes of the major scale. A voicing is the order in which the notes are arranged upward from the bass note.

An inversion refers to which note is in the bass. However, with triads the most common inversions are achieved by simply raising the lowest note up one octave.

Here, we will look at the three-note chord shapes and their inversions on the top three strings (1, 2, 3) and the next lower set of strings (2, 3, 4).

These string sets are the most practical for playing in a band situation. Because they cut through the mix well and offer a different texture than barre chords or open position chords, they are used quite often by the professional guitarist. They also further help us connect the positions and fifth are located, and help in the connection process of chords, arpeggios, and scales.

Major Triads

C major triads on the top three strings:

Keep all chords on the same set of strings (1, 2, 3). Below, inversions аre written as „slash chords,“ with the chord name followed by the bass note.

Inverted chords may not always be written as slash chords, but this does help identify the position on the neck. Practice this set of inversions for all roots, then use them in the following progressions.

С major triads on strings 2, 3, and 4

Minor triads

C minor triads on the top three strings:

С minor triads on strings 2, 3, and 4

Augmented Triads

Below are the shapes for augmented triads on the top three strings. Compare these to the major shapes and notice the raised fifth.

С augmented triads on the top three strings:

С augmented triads on strings 2, 3, and 4

Diminished Triads

Below are the shapes for С diminished on the top three strings. Compare these to minor and see the lowered fifth.

C diminished triads on the top three strings:

С diminished triads on strings 2, 3, and 4:

Points to Remember

• Learning these shapes may take some time, but the rewards are well worth the effect. These shapes will unlock a lot of the mystery of the guitar neck. They should be practiced daily and reviewed often.

• Think of different ways to practice these shapes and incorporate them into your arpeggio and scale studies. Memorize the location of each chord tone in every diagram so you know where the root, third, and fifth of every chord is located.

• The smaller triad shapes should also be seen as part of the larger shapes already learned.

• Play all shapes as both single-tone arpeggios and arpeggiated chords (by holding the shape and letting the notes ring together).

• Make sure you learn major and minor first, then see augmented as a variation of major and diminished as a variation of minor.

• Play the chords cleanly and make sure to mute the strings not played. Be able to play loudly and softly. Dynamics will help make chords sound more effective.

• Combine the top set of three strings with the second set (strings. 2. 3. 4) after each set is mastered.