Chords for This Chord Triad Trick Is Insanely Beautiful (you should learn it!)

Hey my friend, in this lesson I'm gonna show you a chord triad trick that creates insanely beautiful chords.
I promise that if you keep watching, you're gonna be able to implement this trick right away because it's easy and it's beautiful.
So let's dive in.
The trick is to combine small triad shapes and move one note in those triads to reach more colorful notes.
And this is what I did in my most recent ambient guitar song.
So let's pick the same key as that song, E major. _
If I want to play my E major chord with small triad shapes on the top three strings,
I have three different shapes that I can use.
This one.
So this is the [D] same shape as a D chord.
But since we are playing an E and E is two frets higher than [Eb] D,
[E] we're gonna start from the fourth fret.
So that's the first shape.
The second shape is this one.
_ So this one is reminiscent of a bar chord from the fifth string for an E major chord.
But we are just keeping the top portion of it.
And the last shape we need is this one.
_ And this one comes from the bar chord but from the sixth string.
E major bar chord but we keep the top three strings.
So we have those three shapes.
This one, this one and this one.
So what we're gonna do is that we're gonna create a little motif
or a little ostinato with one of those.
An ostinato is just a repeated musical pattern, right?
So what I did in my song is that I picked the middle triad,
the middle one that we've seen,
and I just have a little arpeggio pattern like this.
_ _ _ _ What's important is that it doesn't change.
_ We're not moving any notes for now right here.
So what we're gonna do is that we keep that static pattern here
but we're gonna harmonize it with one other of our triad shapes.
So let's say the next one up is this one.
And then I'm gonna pick any note in that triad.
The top note, the middle note, the bottom note, it doesn't matter.
I'm gonna pick any note and just bring it down one note of the scale.
Bring it down one note down _ diatonically.
Diatonic means that it belongs to the same key and the same scale.
So if my key is E major and my scale is E major,
it means that each note that I'm gonna move has to be in the E major scale.
So if I'm picking the top note, which is E,
the next note down in my [Eb] scale is gonna be D [E] sharp.
Because if I play my E major scale, it's E, F sharp, G sharp, A, [B] B, [Db] C [Eb] sharp, D sharp,
E.
[B] _ So _ next to my E is the D sharp.
So it means that I can [E] transform this [Abm] triad shape into this one.
_ And that's gonna add a little color on top.
I can do it with the middle [E] string.
So that's a B.
The next note down in my E [A] major scale is [E] G.
So I have _ this one, nice friction in it.
And the bottom note, which is G sharp, it can go [Gb] down to F [B] sharp.
_ So I have [Abm] those three shapes right now.
_ [E] _
[B] Or this.
So if [E] I harmonize those little shapes, the one that I like the most,
I can harmonize it on top of my little _ ostinato like this, right?
So if I play it on my looper and I harmonize, I'm gonna play the first one, the regular triad,
[Abm] and then I'm gonna play all versions of one note down.
So regular, [E] _
_ _ _ _ _ once again.
_ _ _ _ One note down on the top string.
_ _ _ _ _ _ _ _
_ _ _ _ One note down on the middle string.
_ _ _ _ Big friction. _
_ _ I love it.
And one note down on the bottom string. _ _ _ _ _ _ _
_ _ _ _ _ So are you starting to hear that little harmonized sound that you can hear a lot
if you listen to my music?
This is what I'm doing.
I'm just selecting some simple [Abm] triads and I'm moving notes inside [Gb] of them.
It creates [B] frictions, it creates great colors.
We could do that with the other triad too, the one on [E] the bottom here.
From the fourth fret.
So we can do the same principle and actually sometimes it sounds better when it's on top.
So I'm gonna slide 12 frets higher up until the 16th fret, right?
And I'm gonna do the same principle.
The top note, the next note in my [B] scale is F sharp.
So I have _ _ [E] this option.
The middle note, [Abm]
it makes a bar chord on the 16th [E] and the bottom note,
one note down in [A] my scale is to reach the A right here.
So it's [E] gonna do_
And they're all gonna sound great.
So once again, I'm gonna play the regular version and then top, middle and bottom.
_ _ _ _ _ _ Once again, _ _ _ _ _ _ first, _ _ _ _ _ _ _ _
_ _ _ _ _ middle string _ _ _ _ _ _ _ _
_ _ _ _ _ and bottom string.
_ _ _ _ I love this one. _
_ _ _ _ _ _ _
Beautiful, beautiful sound.
So that's what I did in my song 10 Years that I posted a few weeks ago.
I started this triad here and I actually took the D shape one right here
and I moved the top [Gb] note down one note [B] diatonically
_ and then I [Dbm] changed some of the bass notes at the bottom
[A] _ _
to create other kinds of chords.
But the same principle [Bb] applies here.
So it was [Dbm] exactly the same thing.
_ _ _ [Abm] _ _ _
_ [E] _ _ _ _ _ _ _
_ [Dbm] _ _ _ _ [B] _ _ _
_ [E] _ _ _ _ [Abm] _ _
And for those of you who are more fan of theory and explaining why it's beautiful,
let's analyze something right here.
[E] So it means that when we're moving any of the notes in the triad,
we're gonna create either a 7th, a 9th or an 11th extension to the chord.
Because when you're thinking about it, if I move the top note here,
that's the root note, that's the first note of my scale.
So if I go [Abm] down, that's gonna become the 7th.
If I [E] move the middle note, [B] this is the 5th of my chord.
So if I move it [Dm] down, that's gonna be the 4th,
but we also call the 4th the 11th because we want to use only odd [E] numbers, right?
So now [Am] that's an [E] 11th.
And if I move the note at the bottom, which is the 3rd,
that's gonna create [Gb] a 2nd, which is [D] also a 9th.
[B] _ Sorry.
So now we [Abm] have the 7th, the [E] 11th or the [B] 9th.
And that's why it [E] sounds so good because now we have the 1st, 3rd and 5th that stay static,
but now [Abm] we're gonna add either a 7th [Gb] or an 11th or a [E] 9th on top of what is already established here.
And it creates those beautiful [G] frictions, those beautiful colors on top of the chords.
So I hope that inspired you to use those little triad shapes
and create some more complex sounding chords in an easy way with this little trick right here.
And if you want to go further with me and it's your first time on the channel,
I offer a free mini course on ambient guitar chords.
You can click on the first link in the description box to get it.
I offer free chord charts and exercises and video lessons.
My students love it and I want you to have it too.
So it's the first link once again below.
Click on it to enroll for free.
Thank you very much for watching and until next time, au [A] revoir my friend. _
_ [B] _ _ [C] _ _ _ _ _
_ [A] _ _ _ _ [B] _ [F] _ _
[A] _ _ [G] _ _ _ [A] _ _ _