Triads: Exploring the Basic Building Blocks of Open Tunings

I have been playing in open tunings since the 1980s. At first having no understanding of music theory, they appeared to be a vast wasteland that did not yield much bounty. Of course, this is far from the truth. It is all there, but I could not see it.

Currently, I am fasinated by the reduction of the traditional 6 string tunings down to the essential 3 notes that make up a major chord. (A Major Triad contains the 1,3,5 tones from the Major Scale). The very heart of open tuning.

Using a 3 string CBG, I am exploring the triad stacked low to high, 5 1 3 in the key of D (ADf#)

As I will demonstrate in my new series of lessons that a whole system of moveable chords is easily made based on three major chord "shapes" that take their name from a root note on each string. What appears is the same chord, but in three different locations with the 3 notes stacked in a different order (inversions). Although these chords contain the same notes, having the notes stacked in different orders produces a unique "voice" for each chord. This is an important option in arranging.

Examining the 3 traditional open tunings for 6 string guitar, it is possible to see the various options to apply a knowledge of triads

Open D: DADf#ad 1(513)51 15(135)1 151(351) 3 inversions

Open G: DGDgbd 51(513)5 515(135) 2 inversions

Open C: CGCgce 151(513) 1 inversion

Looking above it is possible to see that by understanding a system of movable chords based on a 513 triad this information can be directly applied to all 3 tunings. The fingering will be the same, but the chord names will change due to the differnece of the original tuning key. This information clearifies the relative nature of the 3 basic open tunings.

Additionally, exploring the other inversions (135 and 351) and discovering the system of moveable chords that they create, offers even more possibilities for arranging.

Thank you for your comments. I can certainly relate to your frustration. I have found the key is definitely theory. I know when I mention this word, many players get even more anxious. In my studies, I have found a way to demonstrate theory applied in a practical way. It is all about relativity. Most people keep focused on the differences, but as I tried to explain in my blog, there is actually more simularities. Currently, I feel the CBG tuned to a triad is the perfect instrument for learning theory and seeing it clearly. I guess is this is mainly due to the simplicity of only three strings. I will be posting the first lesson soon. My hope is that players appreciate what is possible if they take the time to learn it. I appreciate your feedback. Enjoy your practice.

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Comments

PapaSimone April 28, 2011 at 9:07pm

I think that I'm starting to get it!
Keni Lee Burgess November 14, 2010 at 9:09am

Thank you for your comments. I can certainly relate to your frustration. I have found the key is definitely theory. I know when I mention this word, many players get even more anxious. In my studies, I have found a way to demonstrate theory applied in a practical way. It is all about relativity. Most people keep focused on the differences, but as I tried to explain in my blog, there is actually more simularities. Currently, I feel the CBG tuned to a triad is the perfect instrument for learning theory and seeing it clearly. I guess is this is mainly due to the simplicity of only three strings. I will be posting the first lesson soon. My hope is that players appreciate what is possible if they take the time to learn it. I appreciate your feedback. Enjoy your practice.
dogfinger steve November 14, 2010 at 4:47am

interestin stuff keni, i'v been stumbling round open tunings for a while sometimes with good results often ending up with getting frustrated. knowledge is power. cheers :0)

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