#1
All of these examples make great exercises for finger, picking and ear training.
They also are great little bits to incorporate into soloing or used as
the basis of making some scalar soloing lines.

All examples G Diatonic Major


The first example is double-stop diatonic 3rds. I gave a suggested
fingering for the first position. I HIGHLY recommend you keep a
goal in mind for getting ALL combinations of your fingers able to
fret these equally easy. Index-middle and index ring are the easy
ones -- don't be tempted to use them for everything. It will ultimately
limit what you can do with this stuff. Also, if you're using
a pick, I also highly recommend you strict alternate pick these. Get
both your up & down strokes accurate at picking 2 strings at a time.

All examples are tabbed out only ascending. You should descend as well.
Finally, each of the 7 positions are from three note per string
scale fingerings. That's really only organizational for memorizing.
Also practice just walking between positions and all over the fretboard
with these patterns. Ultimately you don't want to be tied to
one position or another.



********************************************************************
Double Stop  diatonic 3rds in 7 positions


Pos1

E-------------------------------------------------- 3 - 5 - 7 -----
B-------------------------------------- 3 - 5 - 7 - 5 - 7 - 8 -----
G-------------------------- 2 - 4 - 5 - 4 - 5 - 7 -----------------
D-------------- 2 - 4 - 5 - 4 - 5 - 7 -----------------------------
A-- 2 - 3 - 5 - 3 - 5 - 7 -----------------------------------------
E-- 3 - 5 - 7 -----------------------------------------------------

Suggested Fingering:
--- i - i - m - i - m - m - i - m - m - i - r - p - i - m - r
--- m - r - p - m - r - p - r - r - p - m - m - p - r - p - p


Pos2

E-------------------------------------------------- 5 - 7 - 8 -----
B-------------------------------------- 5 - 7 - 8 - 7 - 8 - 10-----
G-------------------------- 4 - 5 - 7 - 5 - 7 - 9 -----------------
D-------------- 4 - 5 - 7 - 5 - 7 - 9 -----------------------------
A-- 3 - 5 - 7 - 5 - 7 - 9 -----------------------------------------
E-- 5 - 7 - 8 -----------------------------------------------------


Pos3

E-------------------------------------------------- 7 - 8 - 10-----
B-------------------------------------- 7 - 8 - 10- 8 - 10- 12-----
G-------------------------- 5 - 7 - 9 - 7 - 9 - 11-----------------
D-------------- 5 - 7 - 9 - 7 - 9 - 10-----------------------------
A-- 5 - 7 - 9 - 7 - 9 - 10-----------------------------------------
E-- 7 - 8 - 10-----------------------------------------------------


Pos4

E-------------------------------------------------- 8 - 10- 12-----
B-------------------------------------- 8 - 10- 12- 10- 12- 13-----
G-------------------------- 7 - 9 - 11- 9 - 11- 12-----------------
D-------------- 7 - 9 - 10- 9 - 10- 12-----------------------------
A-- 7 - 9 - 10- 9 - 10- 12-----------------------------------------
E-- 8 - 10- 12-----------------------------------------------------


Pos5

E-------------------------------------------------- 10- 12- 14-----
B-------------------------------------- 10- 12- 13- 12- 13- 15-----
G-------------------------- 9 - 11- 12- 11- 12- 14-----------------
D-------------- 9 - 10- 12- 10- 12- 14-----------------------------
A-- 9 - 10- 12- 10- 12- 14-----------------------------------------
E-- 10- 12- 14-----------------------------------------------------


Pos6

E-------------------------------------------------- 12- 14- 15-----
B-------------------------------------- 12- 13- 15- 13- 15- 17-----
G-------------------------- 11- 12- 14- 12- 14- 16-----------------
D-------------- 10- 12- 14- 12- 14- 16-----------------------------
A-- 10- 12- 14- 12- 14- 15-----------------------------------------
E-- 12- 14- 15-----------------------------------------------------


Pos7

E-------------------------------------------------- 14- 15- 17-----
B-------------------------------------- 13- 15- 17- 15- 17- 19-----
G-------------------------- 12- 14- 16- 14- 16- 17-----------------
D-------------- 12- 14- 16- 14- 16- 17-----------------------------
A-- 12- 14- 15- 14- 15- 17-----------------------------------------
E-- 14- 15- 17-----------------------------------------------------




These are 3 string harmonized 7th voicings. They walk up the scale
in each position. Below each one I put an indication of which
harmonized 7th the chord is functioning as. Each of these
contains the 3rd and 7th of the chord. The root or 5th is omitted
depending where the chord falls in the pattern.

If you're clever you'll notice something about the rootless voicings.
The may *look* like another triad, but they are actually functioning
as the upper part of a 7th chord. For example, in Pos2, the very
first chord. It *looks* like a B minor triad, but it's actually
functioning as a Gmaj7. It WILL sound like a Gmaj7 when used in
sequence.




********************************************************************
Harmonized 7th chord shell voicings in 7 positions


Pos1

E-------------------------------------- 3 - 5 - 7 - 
B-------------------------- 3 - 5 - 7 - 5 - 3 - 5 - 
G-------------- 2 - 4 - 5 - 4 - 2 - 4 - 5 - 4 - 5 -
D-- 2 - 4 - 5 - 4 - 2 - 4 - 5 - 4 - 5 -------------
A-- 3 - 2 - 3 - 5 - 3 - 5 -------------------------
E-- 5 - 3 - 5 -------------------------------------

--vii7-I7-ii7-iii7-IV7-V7-vi7-vii7-I7-ii7-iii7-IV7


Pos2

E-------------------------------------- 5 - 7 - 8 - 
B-------------------------- 5 - 7 - 8 - 7 - 5 - 7 - 
G-------------- 4 - 5 - 7 - 5 - 4 - 5 - 7 - 5 - 7 -
D-- 4 - 5 - 7 - 5 - 4 - 5 - 7 - 5 - 7 -------------
A-- 5 - 3 - 5 - 7 - 5 - 7 -------------------------
E-- 7 - 5 - 7 -------------------------------------

----I7-ii7-iii7-IV7-V7-vi7-vii7-I7-ii7-iii7-IV7-V7

Pos3

E-------------------------------------- 7 - 8 - 10-
B-------------------------- 7 - 8 - 10- 8 - 7 - 8 -
G-------------- 5 - 7 - 9 - 7 - 5 - 7 - 9 - 7 - 9 -
D-- 5 - 7 - 9 - 7 - 5 - 7 - 9 - 7 - 9 -------------
A-- 7 - 5 - 7 - 9 - 7 - 9 -------------------------
E-- 8 - 7 - 8 -------------------------------------

---ii7-iii7-IV7-V7-vi7-vii7-I7-ii7-iii7-IV7-V7-vi7


Pos4

E-------------------------------------- 8 - 10- 12- 
B---------------------------8 - 10- 12- 10- 8 - 10-
G-------------- 7 - 9 - 11- 9 - 7 - 9 - 11- 9 - 11-
D-- 7 - 8 - 10- 9 - 7 - 9 - 10- 9 - 10-------------
A-- 9 - 7 - 9 - 10- 9 - 10-------------------------
E-- 10- 9 - 10-------------------------------------

---iii7-IV7-V7-vi7-vii7-I7-ii7-iii7-IV7-V7-vi7-vii7

Pos5

E-------------------------------------- 10- 12- 14- 
B-------------------------- 10- 12- 13- 12- 10- 12- 
G-------------- 9 - 11- 12- 11- 9 - 11- 12- 11- 12-
D-- 9 - 10- 12- 10- 9 - 10- 12- 10- 12-------------
A-- 10- 9 - 10- 12- 10- 12-------------------------
E-- 12- 10- 12-------------------------------------

----IV7-V7-vi7-vii7-I7-ii7-iii7-IV7-V7-vi7-vii7-I7

Pos6

E-------------------------------------- 12- 14- 15- 
B-------------------------- 12- 13- 15- 13- 12- 13- 
G-------------- 11- 12- 14- 12- 11- 12- 14- 12- 14-
D-- 10- 12- 14- 12- 10- 12- 14- 12- 14-------------
A-- 12- 10- 12- 14- 12- 14-------------------------
E-- 14- 12- 14-------------------------------------

----V7-vi7-vii7-I7-ii7-iii7-IV7-V7-vi7-vii7-I7-ii7


Pos7

E-------------------------------------- 14- 15- 17- 
B-------------------------- 13- 15- 17- 15- 13- 15- 
G-------------- 12- 14- 16- 14- 12- 14- 16- 14- 16-
D-- 12- 14- 16- 14- 12- 14- 16- 14- 16-------------
A-- 14- 12- 14- 15- 14- 15-------------------------
E-- 15- 14- 15-------------------------------------

----vi7-vii7-I7-ii7-iii7-IV7-V7-vi7-vii7-I7-ii7-iii7


Last edited by edg at May 1, 2008,
#2
PART II

OK, here's a single note pattern. Ascending 3rds. It's
really totally in keeping with the above two exercises. I use
bits and pieces of this type of stuff all the time in my
solos. They're absolutely great to base lines on.



********************************************************************
Ascending diatonic 3rds

Pos1

E----------------------------------------------------------------------------------------------------------- 3 ----- 5 - 3 - 7 --
B------------------------------------------------------------------------------------ 3 ----- 5 - 3 - 7 - 5 ---- 7 --------------
G------------------------------------------------------------- 2 ---- 4 - 2 - 5 - 4 ----- 5 -------------------------------------
D------------------------------------- 2 ----- 4 - 2 - 5 - 4 ----- 5 ------------------------------------------------------------
A-------------- 2 ---- 3 - 2 - 5 - 3 ----- 5 ------------------------------------------------------------------------------------
E-- 2 - 5 - 3 ----- 5 -----------------------------------------------------------------------------------------------------------

Pos2

E----------------------------------------------------------------------------------------------------------- 5 ----- 7 - 5 - 8 --
B------------------------------------------------------------------------------------ 5 ----- 7 - 5 - 8 - 7 ---- 8 --------------
G------------------------------------------------------------- 4 ---- 5 - 4 - 7 - 5 ----- 7 -------------------------------------
D------------------------------------- 4 ----- 5 - 4 - 7 - 5 ----- 7 ------------------------------------------------------------
A-------------- 3 ---- 5 - 3 - 7 - 5 ----- 7 ------------------------------------------------------------------------------------
E-- 3 - 7 - 5 ----- 7 -----------------------------------------------------------------------------------------------------------


Pos3


E----------------------------------------------------------------------------------------------------------- 7 ----- 8 - 7 - 10--
B------------------------------------------------------------------------------------ 7 ----- 8 - 7 - 10- 8 ---- 10--------------
G------------------------------------------------------------- 5 ---- 7 - 5 - 9 - 7 ----- 9 -------------------------------------
D------------------------------------- 5 ----- 7 - 5 - 9 - 7 ----- 9 ------------------------------------------------------------
A-------------- 5 ---- 7 - 5 - 9 - 7 ----- 9 ------------------------------------------------------------------------------------
E-- 5 - 8 - 7 ----- 8 -----------------------------------------------------------------------------------------------------------


Pos4

E----------------------------------------------------------------------------------------------------------- 8 ----- 10- 8 - 12--
B------------------------------------------------------------------------------------ 8 ----- 10- 8 - 12- 10---- 12--------------
G------------------------------------------------------------- 7 ---- 9 - 7 - 11- 9 ----- 11-------------------------------------
D------------------------------------- 7 ----- 9 - 7 - 10- 9 ----- 10 -----------------------------------------------------------
A-------------- 7 ---- 9 - 7 - 10- 9 ----- 10------------------------------------------------------------------------------------
E-- 7 - 10- 8 ----- 10-----------------------------------------------------------------------------------------------------------


Pos5

E----------------------------------------------------------------------------------------------------------- 10----- 12- 10- 14--
B------------------------------------------------------------------------------------ 10----- 12- 10- 13- 12---- 13--------------
G------------------------------------------------------------- 9 ---- 11- 9 - 12- 11----- 12-------------------------------------
D------------------------------------- 9 ----- 10- 9 - 12- 10----- 12 -----------------------------------------------------------
A-------------- 9 ---- 10- 9 - 12- 10----- 12------------------------------------------------------------------------------------
E-- 8 - 12- 10----- 12-----------------------------------------------------------------------------------------------------------


Pos6

E----------------------------------------------------------------------------------------------------------- 12----- 14- 12- 15--
B------------------------------------------------------------------------------------ 12----- 13- 12- 15- 13---- 15--------------
G------------------------------------------------------------- 11---- 12- 11- 14- 12----- 14-------------------------------------
D------------------------------------- 10----- 12- 10- 14- 12----- 14 -----------------------------------------------------------
A-------------- 10---- 12- 10- 14- 12----- 14------------------------------------------------------------------------------------
E-- 10- 14- 12----- 14-----------------------------------------------------------------------------------------------------------


Pos7

E----------------------------------------------------------------------------------------------------------- 14----- 15- 14- 17--
B------------------------------------------------------------------------------------ 13----- 15- 13- 17- 15---- 17--------------
G------------------------------------------------------------- 12---- 14- 12- 16- 14----- 16-------------------------------------
D------------------------------------- 12----- 14- 12- 16- 14----- 16 -----------------------------------------------------------
A-------------- 12---- 14- 12- 15- 14----- 15------------------------------------------------------------------------------------
E-- 12- 15- 14----- 15-----------------------------------------------------------------------------------------------------------




********************************************************************
The Basic Patterns

This is why I love 3 note per string patterns. If you started
working through the ascending 3rds, or really ALL the stuff
I've shown above, you may have noticed (or gotten the feeling
that there's) a regular pattern to EVERYTHING. And there is!

If you get to know the 3 note per string patterns really really well,
pretty much all memorization from then on becomes extremely easy.

For example, to me, all that laboriously written out, lengthy tab
for ascending 3rds can be summarized into the first 6 notes:



3rds - Pos1

E-------------------------
B-------------------------
G-------------------------
D-------------------------
A-------------- 2 ---- 3 -
E-- 2 - 5 - 3 ----- 5 ----




That's all I need to see to summarize playing 3rds anywhere on the neck!
Playing it anywhere else is just a simple repetition of that pattern --
on any string on any fret.


Likewise, here are the basic patterns for ALL the diantonic intervals:




4ths - Pos1

E---------------------------
B---------------------------
G---------------------------
D---------------------------
A------ 2 ----- 3 ----- 5 --
E-- 2 ----- 3 ----- 5 ------


5ths - Pos1

E---------------------------
B---------------------------
G---------------------------
D---------------------- 2 --
A------ 3 ----- 5 ----------
E-- 2 ----- 3 ----- 5 ------

6ths - Pos1

E---------------------------
B---------------------------
G---------------------------
D-------------- 2 ----- 4 --
A------ 5 ------------------
E-- 2 ----- 3 ----- 5 ------


7ths - Pos1

E---------------------------
B---------------------------
G---------------------------
D------ 2 ------ 4 ---- 5 --
A---------------------------
E-- 2 ----- 3 ----- 5 ------




Finally, here's another 3rds based pattern I use all the time.
Ascending or descending diatonic triads (the first 9 notes
summarizes the whole pattern).

It's only Position 1. I was going to tab it out in all
positions, but I got tired of tabbing. It's well worth
figuring out all positions. I just tacked this on to the
end as an unfinished, left up to you kind of thing....



********************************************************************
Ascending diatonic triads

Pos1

E-------------------------------------------------------------------------------------------------------------------------------------------- 3 --------- 5 ----- 3 - 7 -------
B-------------------------------------------------------------------------------------------------------- 3 --------- 5 ----- 3 - 7 ----- 5 ----- 3 - 7 ----- 5 ---------------
G-------------------------------------------------------------------- 2 --------- 4 ----- 2 - 5 ----- 4 ----- 2 - 5 ----- 4 --------- 5 ---------------------------------------
D-------------------------------- 2 --------- 4 ----- 2 - 5 ----- 4 ----- 2 - 5 ----- 4 --------- 5 ---------------------------------------------------------------------------
A---------- 4 ----- 2 - 5 ---- 3 ---- 2 - 5 ----- 3 --------- 5 ---------------------------------------------------------------------------------------------------------------
E-- 2 - 5 ----- 3 --------- 5 -------------------------------------------------------------------------------------------------------------------------------------------------


You figure out the rest of the positions....

#3
This is great stuff man, gonna copy and paste it in a .txt file to consolidate it into one place for ease of practicing it. Thanks a ton, I think this is priceless info to have.
Nor less I deem that there are Powers
Which of themselves our minds impress;
That we can feed this mind of ours
In a wise passiveness.
--Wordsworth

last.fm
#5
Just played through it all, and playing with the ascending 3rds single-note pattern one can pick out a pattern, as you did, quite easily and if you know the scale all over it makes it pretty easy. The three-string diatonic 7ths, on the other hand.. not so easy to remember.
Nor less I deem that there are Powers
Which of themselves our minds impress;
That we can feed this mind of ours
In a wise passiveness.
--Wordsworth

last.fm
#6
Quote by Ordinary
It make sence to me of how you can play Bmin Triads over Gmaj7


Makes sense, or no sense? It's pretty simple. If you take the 4 notes of a
Gmaj7 chord and remove the G, what's left? In fact, for any 7th chord can
be broken up into a root + a triad a 3rd higher:

Maj 7 = R + Minor triad
Min7 = R + Major Triad
Dom7 = R + Diminished Triad
m7b5 - R + Minor Triad (same as Maj7 but the triad starts a minor 3rd above root)

Thursdae: Glad you find it useful. Actually the 3 string 7ths are also just a
repeated pattern after the first 3, just not as easy to see.
#7
^^ I shall look harder then. Also, is there a practical use for knowing the sevenths in order like that? I can see the scale sets with different intervals as being used in solos or riffs, but using the sevenths in order kind of escapes me as far as practicality goes. Unless it's just a way to memorize them, in which case cool.
Nor less I deem that there are Powers
Which of themselves our minds impress;
That we can feed this mind of ours
In a wise passiveness.
--Wordsworth

last.fm
#8
Quote by Thursdae

Also, is there a practical use for knowing the sevenths in order like that?


TBH, I don't know yet

It's just one of those things I have a gut feeling is just going to be good to know,
but mostly I'm just practicing them now for seeing them and fingering & picking
them cleanly. I also practice them in other than straight ascending/descending
pattern that I gave. I imagine there'd be uses as comp fills, or adding a mini chord
here and there in a melody line. However, all the other stuff I do use a lot....
#9
Quote by Ordinary
It make sence to me of how you can play Bmin Triads over Gmaj7


assuming you meant no sense:
you just have to see those notes as they relate to the G maj 7


B minor 7th (B,D,F#,A) over G maj 7 = G maj 9th (G,B,D,F#,A)

play a minor 7 arp from the 3rd of any Major 7th chord for a Major 9th sound

the opposite is also true

play a Major 7th arp from the 3rd(b3) of any minor 7th chord for a minor 9th sound


BTW, good post EDG
Last edited by GuitarMunky at May 1, 2008,
#10
Quote by edg
TBH, I don't know yet

It's just one of those things I have a gut feeling is just going to be good to know,
but mostly I'm just practicing them now for seeing them and fingering & picking
them cleanly. I also practice them in other than straight ascending/descending
pattern that I gave. I imagine there'd be uses as comp fills, or adding a mini chord
here and there in a melody line. However, all the other stuff I do use a lot....


I see. I suppose playing the sevenths even just as a warm up is better than just playing nonsense chromatic notes.. kinda killing two birds with one stone, even if only subconsciously. Even playing the single note intervals is a nice warm-up, in addition to its actual usefulness.
Nor less I deem that there are Powers
Which of themselves our minds impress;
That we can feed this mind of ours
In a wise passiveness.
--Wordsworth

last.fm
#11
I understand it. It's every other note.

Nice that you tab it out so I'll get use to seeing it more on the entire fretboard.

I havn't tried expanding it going from the 7th to 9th..but i'll get it.
#12
Hrm.. I think I've found a mistake in your double stop diatonic thirds.. in the 3rd-5th positions, on the G and B strings you've got 11 and 9 accordingly. I think the 9 is supposed to be a 10, as it sounds better and removes the "7-8-9" chromatic run on the B string. Correct me if I'm mistaken.
Nor less I deem that there are Powers
Which of themselves our minds impress;
That we can feed this mind of ours
In a wise passiveness.
--Wordsworth

last.fm
#13
Quote by Thursdae
Hrm.. I think I've found a mistake in your double stop diatonic thirds.. in the 3rd-5th positions, on the G and B strings you've got 11 and 9 accordingly. I think the 9 is supposed to be a 10, as it sounds better and removes the "7-8-9" chromatic run on the B string. Correct me if I'm mistaken.


Yup thanks. I fixed it. I tried to QA it, but it starts looking like a blurr of numbers
after a while...
#15
Quote by edg
Yup thanks. I fixed it. I tried to QA it, but it starts looking like a blurr of numbers
after a while...


Totally understandable man.
Nor less I deem that there are Powers
Which of themselves our minds impress;
That we can feed this mind of ours
In a wise passiveness.
--Wordsworth

last.fm
#16
Quote by Thursdae
Even playing the single note intervals is a nice warm-up, in addition to its actual usefulness.


I gotta say I love 3rds. When in doubt or unsure of what to do next, I usually
go right to the "3rds bag" and pull out a phrase and that generally gets the ball
rolling. They almost always sound pleasing and they're the next step up from a
linear sequence (scalar 2nds), yet still intervallic. Plus, since chords are based on
3rds, it adds an almost immediately strong harmonic component to your melody.
Other interval sequences are good too, but there's something about 3rds....

Experiment with different phrasings and timings. Syncopate them. I think you'll
find them much more useful than just warmups. For instance, take the ascending
triads. Since they are grouped in 3's, you might be tempted to play them as
triplets. Try 16th notes. Much more interesting. Or the ascending 3rds, basically
a group of 2, work great as triplets or other odd groupings.