Tim Lerch - Triad Scale Lesson
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- Опубликовано: 24 авг 2024
- Triads are the keys to the kingdom and learning them as triad scales is very helpful.
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Please subscribe to this channel, I’m trying to get to 50k thanks for watching
Just subscribed, Great Pleasure waching your channel , best regards!!
You'll be there very soon! Gonna go check out the true fire courses. I'm an all access subscriber there. Awesome site!
You deserve it
ף@@duke4902
1 year later: 61.3K and counting -- well-deserved!
Maybe I am not adding anything new but I will still mention quickly my hearts words here. I am a late late beginner to guitar. I have been a music enthusiast since I can remember and have had a reputation for a singer once. All I wanted to do was to learn to play the guitar, but I tried and failed many many times. I don't know how i chanced upon Tim's lessons on youtube , all I know is my soul is richer for the same. So many things that once felt so so complicated and so "unachievable" seem like challenges that I know I can learn. I subscribed to the true fire channel "Solo Guitar Sensei" subscribed to a course on solo guitar and I cannot believe at the progress i have made. In a few months I learnt a few things that just "clicked". Now its a pleasure sitting with my guitar. I truly truly appreciate what Tim's course has done for me and want to tell anyone reading this if you are stuck somewhere and it does not make sense do check out his material. You will be surprised. And To Tim I say THANK YOU !
Thank you
After my emergency spine reconstruction surgery...I played the
1 - 3 - 5
1 - b3 - 5
1 - b3 - b5
Chord voicings because I lost the use of my hand to nerve damage (I lost it fully after the 2nd part of the surgery 14 mos later...).
But I thought these voicings were glorious. I also inadvertently figured out the main theme from Brokeback Mountain, which I had seen once, but that music suggested with me.
I never would have figured it or by ear if I hadn't noodled around with different ways to voice the triads. After 30 years of playing by ear.
It's amazing what "disabilities" can push you to learn and compensate. I know about theory and chords now than ever (mr vai pushed me to learn to read and write to get the music in my head out in paper.)
As mentioned in my last comment, I will play again (my hand opened after 13 years of being shut. The late Grandmaster Yuen worked on my spine and hands for 11 years and finally opened my fretting hand that was stuck shut and bent all the way against the inside of my forearm. Now it's almost normal, muscle wise. Not motor control wise.)
But my point is, UNTIL the days when I play all these lovely guitars these companies made me to help me be able to play...I will be happy as ever watching you teach and play.
I'm so happy I found you on Truefire, Tim.
And Ted is one of my favorites: the videos that were first released on RUclips years ago were and are so special. Thank you for keeping his legacy alive... and thank you for sharing your wisdom with all of us.
🙏🏻💜
Namo Namah
Donna
I’ve played guitar for 50 years and this is the best exercise I’ve ever seen for applied fretboard harmony. I learned a variation of this from Peter Butterfield and a Ted Greene handout on the Ted Greene forum. But Tim’s video has made things a lot clearer and brings it all together. I know what I’m practicing this week. Thanks Tim
Hi Tim what a great lesson. I wish I had been able to access a teacher like you 50 years ago when I was 18. You said something that really made me think: "Don't worry about what level you're playing at. Enjoy the pleasure of playing music."
This may be the best triad lessen I've ever seen💡💡💡💡💡
You’re speaking my language, Tim. I use triads all the time. I love using open voiced triads when accompanying either a singer or another instrument, particularly when playing in a guitar duo format because I find most people don’t do that. It gives a nice contrast to what the other guitarist is playing.
This is gold. Wish I had seen this video years ago. What a clear way to present triads to promote understanding and actual practice/use.
I love the triad approach and triad lessons
This is a great video. It is clear cut and instructive, the content is unique and you took your time on each frame to give the audience time to follow along as opposed to the other 99% of you tube videos that just irritate me by the time I’m two minutes into them. Thank you for being authentic. I subscribed to your channel
Thank you Josh, I'm glad you found it useful.
Great lesson. You make the scales sound not like scales.
Putting some movement on top is a great idea, thank you so much for sharing.
For someone who doesnt know the fretboard (which note is in each string and fret) it will take years to find all those triads by him self and learn to play them up and down the fretboard easily with confidence, just imagine closed triads, open triads first and second inversion off them, in every set of 3 strings of the guitar just make the mathimatics its really really alot of work, but of course it's useful and it's worth trying, good luck to everyone who is gonna try it for first time. Thanks for the video Tim
I absolutely recommend Tim's Melodic Triads course!!! After working through the course and then creating a reference booklet with all string groups using Neck Diagrams, my playing and improvising has improved immeasurably.
Thanks Tim. I frequently recommend your course to other guitar players.
Thank you
Heartily concur, his triads course is so so good.
Mr. Eps would approve! Thanks, Tim!
30 years of playing guitar and I just started really digging into triads with my teacher last week .... Perfect timing!
Ok, ok...
Very nice diatonic lesson on major chord scales
WHAT A GROOVY AXE!
Fantastic, thanks
I love this type of instructional video format. I have also enjoyed your stuff on Truefire and you're right that the triad stuff has been some of the most impactful on my playing, while being some of the simplest stuff to learn! (At least on the surface)
Thankyou Tim, very inspiring to learn this.
Your an Amazing player and instructor or teacher. i Love you. Keep shining Mr. Tim ❤
My guitar teacher has just tasked me with triad lessons. This will be an excellent resource. Thanks
HAH!
How did it go...?
HAH!
How did it go...?
I want to say, I appreciate your lessons a ton. I often lose grasp of what I need to learn and practice next. You've clued me into learning my triads. It took me a while to mentally commit to learning my diatonic scale and modes. Triads are a cool gateway into harmony and I really love the way the key of F sounds. Or at least what you played on F. All of it is great though and I'm excited to learn it.
Im 21 right now, going into the military soon. I'm hoping to get unstuck in my life. Sometimes I'm worried I'll lose my love for music. I'll never let it happen. Anyway, I'm really happy you make videos Tim. You make my life better and help guide me toward a strong musical foundation.
Great video showing what should be in every guitarists practice regimen!
Absolutely beautiful stuff. Fully channeling Mr. Greene ❤
Wonderful ideas, Tim!
I like the sound of the top set!
This is a great lesson and I'm awed at how you make it sound like music every time!
I will definitely stick around for more!
Beautiful woody sound!
Merci Tim, great lesson.
Simple, challenging and beautiful. Thank you for amazing ideas for practice!
beautiful lesson
Thanks Tim!
Nice, thanks for posting.
Awesome lesson! I needed that kind of lesson. Thank you!
I love your playing Tim and I also love your videos. Thank you for sharing.
How can I give this video TWO thumbs up? Great work, Tim!
This is loaded with epiphanies. Thanks!
Hi Tim, great video of triads and voicings. I'm a beginner player, and I am currently doing a study on F# minor chord charts with F# minor voicings in root position, F#minor inversion shapes divided by string-sets (1st inversion, 2nd inversion and root position) over four different string-sets. I just happen to come across your channel, and decided to play it. Well lo and behold, you have posted what these triads and what the voicings sound like. Now, I'm able to visualize and hear what I'm studying thanks to your video. Thanks so very much for posting these various triads patterns. I'm going to subscribe to your channel as a new subscriber. I greatly appreciate your content. Keep it coming 🎸💥🔥👍🏿🥂🎵🎶🎼
GOOD JOB, WELL DONE
So nice sounding. Have the TrueFire course very fun
I took lessons many years ago and my teacher, who was a very fine musician, was a very disorganized teacher. He taught me about triads but didn’t ever talk about how to use the information. I’m going to get Tim’s TrueFire course…he knows how to communicate. Thank you for this.
I simply love that guitar, that is to say, the archtop
Thanks!
Thank you
Very nice. Thanks.
Nice lesson. Subscribed.
Tim , your guitar looks like it's on fire.
this is really good...
Great ideas
Very useful Tim--and no need to remind us everytime-just announce "Stay tuned for ?????" thanks
Yeah, that stay tuned thing was on the end of each segment because I originally shot these individually and intended them to be “shorts “only to realize that you need to have a vertical camera orientation for them to be considered shorts so fortunately each one of them ends with stay tuned. Live and learn, I suppose.
Great content! I've known this stuff for years... but it never hurts to review it. Just subbed to your channel from my 2nd youtube account. Twice the goodness!!!
The shrinking and expanding third is where I often fail.
Play 1,4,5 and ii, V, I’s forever!
Awesome
Tim, you're playing such amazing guitars, please can you add the model in the description box in general ?
Search his older videos. There's one from relatively recently, within a year I'd say, where he presents and compares the sound of his Tele style guitars.
Very nicely shown, Sir.
But to me it all sounds reminiscent of someone playing lute at a dreamy Princess’ bedside 😊
WHAT do WE do in Jazz Blues, Jazz and Bebop with this?
Thanks!… JD
One approach would be to apply these shapes/sounds to a blues by using them as mixolydian sounds. For instance if you are playing over an A7 chord use a Dmajor triad scale but focus on the C# diminished triad as your home base. And feel free to approach many of the triads in that system from below to get the bluesy inflections. Perhaps a video on their topic is in order.
you deserve a lot more than 50k man ... great lesson ... thanks for sharing !!! what's the story on the Mike Lull .. that's beautiful man ... what year is it?
Here is a vid with info about this guitar, I have changed the neck and the bridge since it was made. ruclips.net/video/6FBSaA-JI34/видео.html
great lesson
one question- in the intro, there were... "grommets"(?) above the tailpiece and behind the bridge?
are those some sort of device to help with string ring?
if so, what are they called so i may look them up?
not sure if you have already answered/discussed this,
apols if so
thanks in advance \m/
Hi Tim, great video. Could you do a similar one for Melodic and Harmonic minor as well? Thanks again from South Australia.
Good idea
On the other hand could possibly be a little too much since for melodic you just flat the 3rd and for harmonic you are only sharpnin the 5th. So one could do all the things done here and make the alterations, you want to know which are the 3rds and 5ths anyhow. Key of C all your E's will be flat for melodic minor and for harmonic minor all your G's will be sharp.
The problem with the major sale is that it has no augmented triads or dim 7th chords. The harmonic minor scale doesn't have that problem.
The major scale is what it is, it’s not a problem. A 10 minute lesson on YT isn’t going to satisfy everyone. Thanks for watching.
Great lesson Tim! I noticed you left out the root position (1/3/5) scales while including the 1st and 2nd inversion scales for each string set. Any particular reason for that? Are they less popular? The melodic ideas are a huge bonus.
I left them out for a couple of reasons, mostly because I didn’t want to vid to be too long and figured that root position were probably most well known. It’s hard to do a 10 minute video that covers everything haha!
What wood is the neck please ?
Intriguing. Though it might be more helpful if you specified the fingering of each of these in addition to merely playing them
This is cool but where do o get the charts?
What are those things at your tail piece on the Gibson? I think I could use some "ring damping" on mine.
Grommets from ace hardware.
How does this differ from the George Van Eps approach?? I studied it many, many years ago. At a casual glance here they seem very similar.
Not much, triads are triads and GVE organized things via harmonized scales as well. This video is very much more brief than George’s exhaustive approach.
Beautiful! The 2nd inversion (key of B on the bottom set) sounds very very "Greene-ish", seems like he chose those lows as much as he could, at least when playing solo. I have two very different questions: 1: The volume pot on that P90-loaded Gibson seems very close to the bridge, is that factory installed? It's almost Strat-distance, easy to reach, but I for one have never used volume swells on archtops as much as on solids for some reason. Unsure why. 2: Can you show something more about the locrian mode? I've always struggled with that. It's the odd one out to me.
That ES 350 is totally stock/factory. I may do a deep dive into modes soon stay tuned.
Thanks for this Tim-I discovered most of this on my own (not the melodic part) and used to just hammer away triad scales for an hour or two on all string sets. It helped me learn the fretboard more, but I stopped doing it because I felt like I wasn’t “doing” anything musical with it other than having an easier time knowing where a chord lives as a starting point when trying to arrange a tune. I ditched exercises like this for just attempting to write songs, but I want to get back to this. How do you suggest one uses this musically/applies it in real time? Thanks
You have to “hear beyond the individual triad” and imagine music that uses these triad scales as source material to create harmonized melodies . It’s the same as with single note scales, eventually you have to use your imagination and create melody.
@@TimLerchGuitar Thanks, I’m going to try improv with the scales while “grabbing” a chord shape each measure to outline the progression
how about triad use in a tune
My TrueFire course Melodic Triads has two in context tunes that you can check out.
Where is the Tele?
Interesting thx, can I use chord tones instead of triads?
Triads are chord tones but this type of system can work with any collection of pitches common to any key.
dumb question: is this a triad SCALE lesson or CHORD lesson?
it sounds like chords to me (and also reminds me of My Favorite Things).
What I call a triad scale is a scale that has been harmonized into triads. Triads are chords so you are right it sounds like chords but the chords are using the notes of a scale in a systematic way. So you might think of it as a scale that is going up and down from three points of departure simultaneously. Hope that helps
@@TimLerchGuitar this is the best explanation of what "harmonizing the scale" means.
Oh I guess the title is metaphor, figurative.
I dont understand how the sound of your guitar here, sounds nothing like a telecaster. Humbuckers or not, that sounds nothing like it should. Id love to have a tone like that.
Ive seen you playing a blonde guild archtop i think. That also sounded like a cross between an archtop, and a nylon classical guitar.
Two totally different guitars. Which makes me think its either the way you play, or the strings you put on all of them.
Sorry its a long message but id love to know how you get that sound.
Thanks mate
There is a live mic picking up the amp from a distance and the “acoustic” sound of the strings ..
Sorry but I can't see what you are doing. I would ask for more clarity
isn’t a triad scales just arpeggios?
Triad scales are when you play many different triads, going up the scale (C triad, D triad, etc)
I don't get the point of these exercises - practice and then what?
These aren’t exercises as much as they are way to explore the sound of the chords in a major key. The “then what” is up to you . It’s the eternal question about creating music.
Where's the instruction... You're not telling me what your doing.
My TrueFire course melodic triads has lots of instruction. There is a discount link in the description.
I'm just starting to use traids regularly in my playing / soloing....... A bit of constructive crriticism if I may........ Your lesson is a lot of "showing" and not a lot of explaining...... You lost me after the thrird set of scales. Maybe the lesson is for advanced players.
If you’d like a pdf with the material it’s available to my Patreon and TrueFire subscribers. Unfortunately a ten minute video on YT doesn’t allow for detailed explanations. Since I don’t know what the audience will be I can only guess about the best pace to deliver the info. The good news is that you can watch the video over a few times an I think you’ll pick up on the later examples. Thanks for watching.
@@TimLerchGuitar - Thanks for the reply. Yes I think I'll watch a few times and just learn from there.... I'm sure I'll get some more learnings. ..🙂
He states the string sets at the beginning of each example, based on that there are only 3 notes available in each triad. Just use your ears and eyes to find them as musicians have done for decades, it’s well worth the effort and good for your ears.
Also, the term "string-sets" simply means the arrangement order of the three note (triad) on the fretboard. (Let's use F# minor.) First, comes a 1st Inversion triad at the fifth fret. This inversion is referred to as a "voicing" (like a human voice) or notes. In this voicing , the minor 3rd (A) is the lowest note which is on the bottom (low E string), followed by the Perfect 5th (C#) which is our fifth string, and the Root note (F#) on top, which is our fourth string. Next, if we move that same triad of F# A C# from the fifth fret up to the ninth fret, this becomes our 2nd Inversion that starts with the Perfect 5th (C#) now on the bottom (meaning the sixth string on the ninth fret), next our root note F# is now located on the fifth string on the ninth fret, and the A is now on the fourth string of the seventh fret. In other words, the notes of a minor triad can come in different forms. For example, a Root, a minor 3rd and a Perfect 5th do not have to be played only in this arrangement order. If you are playing F# as the root, and A, and C# simultaneously, you are playing F# minor, regardless of the order in which these three notes are played. I hope this helped. Oh for the F# minor example there, there are four such string sets, that I've seen:
1. 6th, 5th, and 4th (low E, A, and D)
2. 5th, 4th, and 3rd (A, D, and G)
3. 4th, 3rd, and 2nd (D, G, and B)
4. 3rd, 2nd, and 1st (G, B, and high E)
This is one of those lessons that only helps those who can already do it :/
That may be true for those of you who already have playing and theory backgrounds, however, don't forget that there are those including myself, that don't have such a background and are just beginning. Many thanks to Tim for providing this lesson on triads, voicings and how they sound to the ear as well as the placement of ones fingers on the fretboard.
Looks like Chinese to me.