TRIADS (3 VOICE CHORDS) Tom Lippincott

Ex. 1: the 4 basic types of triads


C Major triad C Minor triad C Diminished triad C Augmented triad

 
  
 

  R §3 §5  R b3 §5  R b3
b5  R §3
#5

3 3 2 4


5 4 4 5
5 5 5 5

INVERSIONS OF TRIADS
An inversion is moving the top or bottom note by an octave to rearrange the notes. The notes
in the chord and their function stay the same, but the sound of the chord can change since the
intervals between the notes may change. Inversions are also important so that chords can be
played in more than one register or with different melody notes on top and/or bass notes
underneath.

Two ways to invert triads on the guitar are up and down strings (like a choir) and across strings
(like a piano). Illustration of the "dual dimensional" nature of the guitar:

C Major triad


§3
Ex. 2: piano-style inversion
 
R
 
 §3 
§5 §5 
R
R
§5 §3
1) Root position chord has root on 5th string, 
3rd on 4th string, 5th on 3rd string. Root position 1st inversion 2nd inversion
2) 1st inversion brings root up an octave
to the 2nd string. 12


3) 2nd inversion brings 3rd up an octave to 12
13
12
13
12
14 14
the 1st string. 15

Ex. 3: choir-style inversion


 §5 §3 
C Major triad
1) All inversions of chord have "soprano R§5   §3 R 

 §3 
 R
voice" on 1st string, "alto voice" on 2nd string, §5
and "tenor voice" on 3rd string.
2) For 1st inversion, each voice moves on same Root position 1st inversion 2nd inversion
string to closest note in the triad above
(C moves to E, E moves to G, G moves to C). 3 8 12


5 8 13
3) For 2nd inversion, repeat the same process 5 9 12

(E to G, G to C, C to E).
 2
CLOSE POSITION TRIADS Tom Lippincott

C major triads
5th on top Root on top 3rd on top
3fr 5fr 5fr 5fr 8fr 8fr 9fr 10fr 12fr 12fr 12fr 14fr


 
R35 5R3 35R R35


35R

R35 5R3 35R


5R3


35R R35

5R3

       
  
 

 

 
 


 


3 8 12


5 5 8 8 13 13
5 5 5 9 9 9 12 12 12
5 5 5 10 10 10 14 14 14
7 7 10 10 15 15
8 12 15

C minor triads 5th on top Root on top 3rd on top

3fr 4fr 5fr 5fr 8fr 8fr 8fr 10fr 11fr 12fr 12fr 13fr



  
R b3 5 5 R b3 b3 5 R R b3 5 b3 5 R R b3 5 5 R b3 b3 5 R 5 R b3 b3 5 R R b3 5 5 R b3



 
  
 

 
 
    
  
  
 
  
 

3 8 11


4 4 8 8 13 13
5 5 5 8 8 8 12 12 12
5 5 5 10 10 10 13 13 13
6 6 10 10 15 15
8 11 15

C diminished triads
5th on top Root on top 3rd on top
2fr 4fr 4fr 4fr 7fr 7fr 8fr 9fr 11fr 11fr 11fr 13fr

R b3 b5 b3 b5 R b5 R b3 R b3 b5 b3 b5 R R b3 b5 b5 R b3 b3 b5 R b5 R b3 b3 b5 R R b3 b5 b5 R b3

  

   

  
  
  

  
 
 
 
 
  

 
 
 

 


2 8 11


4 4 7 7 13 13
5 5 5 8 8 8 11 11 11
4 4 4 10 10 10 13 13 13
6 6 9 9 15 15
8 11 14

C augmented triads 5th on top Root on top 3rd on top

4fr 5fr 5fr 6fr 8fr 9fr 9fr 10fr 12fr 13fr 13fr 14fr


   
R 3 #5 #5 R 3 3 #5 R R 3 #5 3 #5 R R 3 #5 #5 R 3 3 #5 R #5 R 3 3 #5 R R 3 #5 #5 R 3

  
 
      
  
 
   
 
   

 
 
4 8 12


5 5 9 9 13 13
5 5 5 9 9 9 13 13 13
6 6 6 10 10 10 14 14 14
7 7 11 11 15 15
8 12 16
 Tom Lippincott
HARMONIZED MAJOR SCALE 3

Triads can be built from all seven notes in the major scale, although the asymmetrical
interval structure of the scale means that different types of triads will result. Notes are
stacked in 3rds (every other note from the scale) starting from the first note in each triad.
Roman numerals are used to indicate which note in the major scale a triad is built from
(the III chord is built from the 3rd note of the scale). Example 1 has 5th on top, 3rd in
EX. 1 the middle, and root on the bottom. Notice that order stays constant for each triad.
Roman Numeral I II III IV V VI VII I
chord type major minor minor major major minor diminished major
common chord symbol C D- E- F G A- Bº C
 
       
    
 
3 5 7 8 10 12 13 15


5 6 8 10 12 13 15 17
5 7 9 10 12 14 16 17

Example 2 is built from the top 3 strings as well, but this time it starts with the C major triad
with the root on top (5th in the middle, 3rd on the bottom). Again, this order stays constant
EX. 2 for each triad.
C D- E- F G A- Bº
 C
     

    
  

8 10 12 13 15 17 19 20


8 10 12 13 15 17 18 20
9 10 12 14 16 17 19 21

Example 3 starts with C major with the 3rd on top down low on the neck (using two open
strings) so you won't run out of frets as you go up the scale.
EX. 3
C D- E- F G A- Bº C
    
 
    
    

0 1 3 5 7 8 10 12


1 3 5 6 8 10 12 13
0 2 4 5 7 9 10 12

Also, be sure to play up and down the harmonized scales for all string sets and inversions.
EX. 4 Example 4 shows the scale on strings 3, 4, and 5 with the root on the top.
C D- E- F G A- Bº C
      
 
      


5 7 9 10 12 14 16 17
5 7 9 10 12 14 15 17
7 8 10 12 14 15 17 19
 4
Shell Voicings Tom Lippincott

The name "shell voicings" refers to a particular way to play seventh chords. Seventh chords are
four-note chords consisting of Root, 3rd, 5th, and 7th (or 6th in the case of major and minor 6th
chords). The 3rd, 5th, and 7th can be lowered or raised, producing different types of seventh chords.
The seven chords listed below are among the most common and essential in jazz and popular music.
Each chord is listed with a root of G and a relatively easy fingering for playing each on the guitar is
given. Notice that the G major 7 has a natural 3rd, 5th, and 7th, and each of the others has at least
one of those notes lowered or raised a half step, or in the case of the fully diminished chord, two
half steps (the doubly flatted seventh). Note that the enharmonic equivalent of a doubly flatted
seventh is a natural 6th. In the last example, the G fully diminished chord sounds identical to the
previous one, but the highest tone is called an E instead of an Fb. This more streamlined (if slightly
less "correct") approach is fairly common in jazz and pop styles. In this case, the highest tone is still
considered to be a doubly flatted seventh, but it is quicker and easier to write or think of an E than an Fb.

Ex. 1: the seven most common/essential seventh chords

Maj. 7th Dom. 7th Min. 7th Half dim. Maj. 6th Min. 6th Fully dim. Fully Dim.
(also called (respelled)
G-7b5)
G^ G7 G-7 GØ G6 G-6 Gº Gº


r 3 5 b7 rb3 b5b7 r 35 6 rb3 b5bb7 rb3 b5bb7
    b7   
r 3 57 rb3 5b7 rb3 5 6
 57     5 6      b5 bb7
 r 3 
 r 35 b7 
 rb3 5 
 r b3b5 b7 r3 
 r b35 6 
 r b3 b5 bb7    r b3
2 1 1 1 0 0 0 0


3 3 3 2 3 3 2 2
4 4 3 3 4 3 3 3
5 5 5 5 5 5 5 5

The term "voicing" is used by musicians to refer to the order in which the notes of a given chord are
arranged. The shell voicing system is a method of voicing seventh chords that is fairly easy and
straightforward and yields a very manageable number of practical chords that are great for everyday
use. Here are three simple rules for playing shell voicings on the guitar:

1. Omit the 5th of the chord (the 5th is the least important note, at least for our purposes).
2. Play the root on either the 6th or the 5th string (A or low E string).
3. Play the 3rd and the 7th (or 6th in the case of major and minor 6th chords)
on the two middle strings (G and D strings).

This means that, for any given chord, there will be two possible (practical) shell voicings: one with
the root on the 6th string and one with the root on the 5th string. Also, keep in mind that for our
purposes here, the term "shell voicings" refers to a set of guitar-specific "grips." In the general music
world, a "shell voicing" is considered to be a 7th chord voiced with Root, 3rd, and 7th (or 6th),
regardless of where it is played on a guitar, piano, or a set of bagpipes for that matter.
 Tom Lippincott
5
Example 2 shows shell voicings with the root on the 6th string.

Ex. 2:
G^ G7 G-7 GØ G6 G-6 Gº

 r 73 r b7 3 r b7b3 r b7b3 r 63 r 6 b3 r bb7 b3

 
 73 
 b73  
 b3  
 b7b3 
 3   b3
6
  b3
 bb7
r r  b7
r  r  6
r r r


4 4 3 3 4 3 3
4 3 3 3 2 2 2
3 3 3 3 3 3 3

Example 3 shows shell voicings with the root on the 5th string.
Ex. 3:
G^ G7 G-7 GØ G6 G-6 Gº
9fr 9fr 8fr 8fr 9fr 8fr 8fr

    
r b3b7 r b3b7
  
r 37 r 3b7 r 36 r 6b3 r bb7 b3

 
 
 
 
 
 
 
 bb7rb3
7 b7 b7 b7 6 6
r3 r3 r b3 r b3 r3 r b3


11 10 10 10 9 9 9
9 9 8 8 9 8 8
10 10 10 10 10 10 10

Note: Major 6th chords are usually considered a variation of the major 7th chord. The two chords
are somewhat interchangeable. If a chord symbol indicates major 7, major 6th will almost always
work instead, and vice versa. Minor 6th chords are, to a lesser extent, similarly interchangeable
with minor 7th, particularly if the minor chord is being used as a I, or tonic, chord. Minor 7 chords
which are used as the II chord in a II V I progression should typically not be changed to minor 6.

Example 4 shows a II V I progression with shell voicings using smooth voice leading.
Ex. 4:
D-7 G7 C^ D-7 G7 C^
10fr 9fr 8fr

  
rb3b7 r b73 r 37 r b7 b3 r 3b7 r 73

     
 
b3 b7
 
3
 b7 3


7
 b7 r3

7
r b3
 b7
r
r3 r
r


5 4 4 10 10 9
3 3 2 10 9 9
5 3 10
3 10 8
 Tom Lippincott
Example 5 shows a C major diatonic chord scale with shell voicings, root on the 5th string.
6 Ex. 5
Roman I maj.7 II min,7 III min.7 IV maj.7 V7 VI min.7 VII half dim. I maj.7
numeral
C^ D-7 E-7 F^ G7 A-7 BØ C^
5fr 7fr 9fr 10fr 12fr 14fr

  b7  b7  b7 7
r 37 rb3b7 rb3b7 r 37 r 3b7 rb3b7 rb3b7 r 37
 b7  b7 7   
 r3
 
 
 r b3 
 r b3 
 r3 
 r3  r b3  r b3
 r3
7


4 5 7 9 10 12 14 16
2 3 5 7 9 10 12 14
3 5 7 8 10 12 14 15

Example 6 is a C major diatonic chord scale with shell voicings with the root on the 6th string.
Ex. 6 C^ D-7 E-7 F^ G7 A-7 BØ C^
8fr 10fr 12fr 13fr 5fr 7fr 8fr

   
r 73 r b7b3 rb3b7 r 37 r b73 rb3b7 rb3b7 r 73
  b7b3  b3b7  37   
  73 r r r 
 b73  b3 b7  b3 b7  73
r r r r r


9 10 12 14 4 5 7 9
9 10 12 14 3 5 7 9
8 10 12 13 3 5 7 8

In example 7, contrapuntal movement is added in the top voice (root on 5th string, descending).
Ex. 7
C^ BØ A-7 G7 F^ E-7 D-7 C^
14fr 12fr 10fr 9fr 7fr 5fr

           
     




  



14 16 12 14 10 12 9 10 7 9 5 7 4 5 2 4
14 12 10 9 7 5 3 2
15 14 12 10 8 7 5 3

Example 8 moves the contrapuntal movement to middle voice (root on 6th string, ascending).
Ex. 8
G7 A-7 BØ C^ D-7 E-7 F^ G7 C^
5fr 7fr 8fr 10fr 12fr 13fr 15fr 14fr

    
 

 

 

  


 
       
   
   


4 5 7 9 10 12 14 16 16
3 2 5 3 7 5 9 7 10 9 12 10 14 12 15 14 14
15
3 5 7 8 10 12 13 15
 Tom Lippincott

Example 9 shows a Bb blues with shell voicings using smooth voice leading. 7
Ex. 9
Bb7 Eb7 Bb7 F-7 Bb7 Eb7 Eº
6fr 5fr 6fr 6fr 6fr 5fr 5fr


r b7 3 r 3 b7 rb3 b7 rb3bb7
   b7 
   b73  r3 
   b7rb3   


  bb7
 r b3
r  


7 6 7 8 7 6 6
6 5 6 6 6 5 5
6 8 6 7
6 6 6

Bb7 G7 C-7 F7 Bb7 G7 C-7 F7

6fr 9fr 8fr 7fr 6fr 9fr 8fr 7fr

 r 3b7b7 
    b7   
r b7b3 r 3 b7
   b7b3   
   r3 
 r3 
 r  


7 10 8 8 7 10 8 8
6 9 8 7 6 9 8 7
10 8 10 8
6 8 6 8

Example 10 shows a blues as above, but transposed to the key of F and this time with comping
rhythms and half step approaches.
Ex. 10
F7 B7 Bb7 F7 C-7 F7 B7 Bb7 Bº E7
7fr 7fr 6fr 7fr 8fr 7fr 7fr 6fr 6fr 6fr

   
           
                      
                
    
        
             


8 8 8 7 7 8 8 8 8 8 8 8 7 7 7 7 7
7 7 7 6 6 7 7 8 8 7 7 7 6 6 6 6 6
8 8 8 8 8 8 7
7 6 6 8 8 7 6 6 7 7

F7 Eb7 D7 G-7 Db7 C7 Gb7 F7 D7 G-7 C7 F7

7fr 11fr 10fr 8fr 9fr 8fr 8fr 7fr 10fr 8fr 8fr 7fr

 
     


 
              
       
3   
             

             

    


8 8 12 11 11 10 10 10 10 9 9 9 8 11 10 9 8
7 7 11 10 10 8 8 X 9 9 8 8 8 7 10 8 8 7
8 8 10 10 9 8 10 8
11 10 10 9 9 8 8 10 8
 Tom Lippincott
8

When it comes to playing shell voicings, one other consideration is the interpretation of chord
symbols. In the previous examples, typical shortcut symbols were used to indicate the most
common seventh chords. Unfortunately, there is no universally accepted system for chord
symbols, so I have listed below a few more that are commonly used:

Chord Name: Common symbols:

Major 7th Cmaj7 C^ C,7

Dominant 7th (usually C7
just called "seven")
Minor 7th Cm7 C.7 C-7
Half diminished (also CØ C-7b5 Cm7b5 C.7b5
known as minor 7 flat 5)
Major 6th (usually C6
just called "six")
Minor 6th Cm6 C.6 C-6
Fully diminished 7th (usually Cº Cº7 Cˆ†Œ
just called "diminished")

Many times chord symbols will indicate color tones/upper extensions as well as the root and
basic chord quality. While it is often great to include those notes in a chord voicing, it can
sometimes be a better musical choice to leave some, or all of, the color tones out and just
play the basic chord. If you don't have much experience with adding color tones to chords,
it's almost always a safe choice to play the more stripped-down shell voicing. Below are listed
some common chord symbols and the basic shell voicings that will work perfectly fine:

See one of these chord symbols: Play this shell voicing:

Cmaj7#11 C^9 C,13#5 C^#Å C^

C9 C13(b9#11) C7alt C9b5 C7
Cm9 Cm11 C.11 C-9 C-7
CØ(ª9) Cm11b5 C-9b5 CØ
C% C%#11 C6
CŒ% C-% C-6
Cˆ†Œ(ª7) Cº7 Cº
 Tom Lippincott
9

Diatonic 7th chords in 12 keys (cycle of 5ths)

Note that F# and Gb are the same key but written as sharps and flats respectively.

Key I II III IV V VI VII

Cmajor C^ D-7 E-7 F^ G7 A-7 BØ

Gmajor G^ A-7 B-7 C^ D7 E-7 F#Ø
Dmajor D^ E-7 F#-7 G^ A7 B-7 C#Ø
Amajor A^ B-7 C#-7 D^ E7 F#-7 G#Ø
Emajor E^ F#-7 G#-7 A^ B7 C#-7 D#Ø
Bmajor B^ C#-7 D#-7 E^ F#7 G#-7 A#Ø
F#major F#^ G#-7 A#-7 B^ C#7 D#-7 E#Ø
Gbmajor Gb^ Ab-7 Bb-7 Cb^ Db7 Eb-7 FØ
Dbmajor Db^ Eb-7 F-7 Gb^ Ab7 Bb-7 CØ
Abmajor Ab^ Bb-7 C-7 Db^ Eb7 F-7 GØ
Ebmajor Eb^ F-7 G-7 Ab^ Bb7 C-7 DØ
Bbmajor Bb^ C-7 D-7 Eb^ F7 G-7 AØ
Fmajor F^ G-7 A-7 Bb^ C7 D-7 EØ