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MAJOR TRIADS/ROOT POSITION
MAJOR TRIADS
(Root Position)
This section shows root position major triad shapes, built from the root, major third, and perfect fifth, with the root as the lowest note. These shapes are movable across the fretboard, and the chord name changes with the root note.
Major triads are essential for understanding basic chord structure and harmony.
MAJOR TRIADS/FIRST INVERSION
MAJOR TRIADS
(1st Inversion)
This section shows major triad shapes in first inversion, built from the root, major third, and perfect fifth, with the third as the lowest note. These shapes are movable across the fretboard, and the chord name changes with the root note.
First inversion major triads are useful for smooth voice leading and adding variety to chord progressions.
MAJOR TRIADS/SECOND INVERSION
MAJOR TRIADS
(2nd Inversion)
This section shows major triad shapes in second inversion, built from the root, major third, and perfect fifth, with the fifth as the lowest note. These shapes are movable across the fretboard, and the chord name changes with the root note.
Second inversion major triads are useful for smooth voice leading, creating bass movement, and adding harmonic variety.
MINOR TRIADS/ROOT POSITION
MINOR TRIADS
(Root Position)
This section shows root position minor triad shapes, built from the root, minor third, and perfect fifth, with the root as the lowest note. These shapes are movable across the fretboard, and the chord name changes with the root note.
Minor triads are essential for understanding minor harmony and chord structure.
MINOR TRIADS/FIRST INVERSION
MINOR TRIADS
(1st Inversion)
This section shows minor triad shapes in first inversion, built from the root, minor third, and perfect fifth, with the third as the lowest note. These shapes are movable across the fretboard, and the chord name changes with the root note.
First inversion minor triads are useful for smooth voice leading and adding variety to chord progressions.
MINOR TRIADS/SECOND INVERSION
MINOR TRIADS
(2nd Inversion)
This section shows minor triad shapes in second inversion, built from the root, minor third, and perfect fifth, with the fifth as the lowest note. These shapes are movable across the fretboard, and the chord name changes with the root note.
Second inversion minor triads are useful for smooth voice leading, creating bass movement, and adding harmonic variety.
DIMINISHED TRIADS /ROOT POSITION
DIMINISHED TRIADS
(Root Position)
This section shows root position diminished triad shapes, built from the root, minor third, and diminished fifth, with the root as the lowest note. These shapes are movable across the fretboard, and the chord name changes with the root note.
Diminished triads are useful for creating tension, passing chords, and exploring chromatic harmony.
DIMINISHED TRIADS /FIRST INVERSION
DIMINISHED TRIADS
(1st Inversion)
This section shows diminished triad shapes in first inversion, built from the root, minor third, and diminished fifth, with the minor third as the lowest note. These shapes are movable across the fretboard, and the chord name changes with the root note.
First inversion diminished triads are useful for smooth voice leading, creating tension, and connecting chords in chromatic progressions.
DIMINISHED TRIADS /SECOND INVERSION
DIMINISHED TRIADS
(2nd Inversion)
This section shows diminished triad shapes in second inversion, built from the root, minor third, and diminished fifth, with the diminished fifth as the lowest note. These shapes are movable across the fretboard, and the chord name changes with the root note.
Second inversion diminished triads are useful for creating tension, smooth voice leading, and connecting chords in chromatic or modulating progressions.
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