Chords for The Hendrix/Frusciante Triad Trick

_ [C] _ _ [G] _ [D] _ _ [A] _ [G] _
[E] _ _ [D] _ _ [E] _ _ [G] _ [C] _
_ [G] _ [Dm] Hey everyone, welcome back, thank [Ab] you so much for all of the love on the previous John Mayer
lesson, I was [Abm] blown away by the response that video got, so thank you to everyone who liked,
shared and subscribed.
In today's video we're going to be taking a look at a really
cool and useful idea that you would hear players such as Jimi Hendrix and John Frusciante use
in their playing.
So what is this idea, concept or technique that I'm talking about?
Well,
it's actually very simple, but it's also very effective if you're playing a song that only
has 3 or 4 chords and you want to keep your rhythm chops sounding interesting and not keep
playing the same basic chord shapes for 3 or 4 minutes.
With all of that being [C] said, let me now
show you what it sounds like.
I'm going to play the chords to Hey Joe by Jimi Hendrix and the
chords for this are C major, [G] G major, [D] D major, [A] A major and [E] E major.
Now [Ab] some people might choose
to play dominant 7th chords for [Bb] the last two A [A] and E chords, [E] _ _ [Abm] but for the purposes of this lesson
[G] that doesn't really matter too much [N] and it doesn't make any difference to what we're going to learn.
I'll play the chord progression twice and I want you to listen and look out for any differences
between the two times that I play the progression.
[C] _ _ [G] _ [D] _
_ [A] _ _ [E] _ _ _ [D] _ [E] _
_ [Em] _ _ [C] _ [G] _ _ [D] _ _
[A] _ [G] _ [E] _ _ [D] _ _ [E] _ _
_ So you probably [A] noticed that [Abm] the second time I
played something different for the D major chord [D] which was this _ _ _ [E] _ [D] _ _
and all I'm doing there is playing
a D major bar chord with the root on the 5th string and [E] sliding up [D] _ to a [E] first inversion [N] D
major triad.
Now if you don't know anything about triads I'll try my best to give you a
brief explanation right now.
If you do fully understand triads feel free to skip ahead to
the timecode displayed on screen.
Major and minor chords in their most basic form are constructed
from just three notes the root, the third and the fifth.
These three notes are what's known as a
triad and there are three possible inversions for any triad and these are called the root position,
first inversion and the second inversion.
Let's take a look at three different triad inversions
for D major on the third string set.
Here is the [D] root position, _
_ _ _ _ [Gb] _ [A] _ [D] here is the first inversion _ _ _ _ _ [A] _ [D]
and
here is the second inversion. _ _ _ _
_ _ [B] And if you were to [A] continue up the [Ab] neck you would just play [G] another
root [D] position, D major triad an [N] octave higher.
And by the way a string set is basically a group
of three [E] strings and [G] I was using the third string set [A] which contains [D] the A, [G] D and G strings.
[E] If you
are interested in learning much more about triads and how to apply them to your guitar playing in
a way that is easy to follow and understand [N] my course Bulletproof Guitar Player is available
to purchase at 50% off via the link in the description.
Back to the lesson.
So in the
context of Hey Joe [Ab] when I hit the D [D] major bar chord with the root on the 5th string, I hit this chord
and then I take my 3rd finger [Ab] and strike fret 7 on the [E] A string and slide up to fret 9 [Gb] like so.
[D] _ [Gb] _ [D] _ _
[Gb] _ [N] _ Then to complete the [A] triad I'd bar the 7th fret of the D [D] and G strings and in fact you could include
the 7th fret of the B string too and I strike these notes [Bm] and hammer on with my 3rd finger to
fret 9 on the D string.
I remove [Abm] my finger, strike the [D] 7th fret bar again followed by fret 9 on the
A string.
So here is that again.
[E] _ [D] _ _ _
[E] _ [D] _ _ _ [N] Now when you apply this motion of starting with a major bar
chord and sliding up to its first inversion [Ab] triad you obviously don't have to play it exactly as I
have just shown you.
So I'm going to end this video by showing you a couple of different rhythm
parts that make use of this concept in different ways.
[C] Here is example 1.
_ [C] _ _ [F] _ _ [C] _
[C] _ [D] _ [C] _ _ [F] _ _ [C] _ _
_ _ Slowed down example 1
sounds like this. _ _
[C] _ _ _ [F] _ _ [A] _ [C] _ [C] _
_ [D] _ [C] _ _ [F] _ _ [G] _ [C] _
_ _ _ [N] _ Here is example 2 _
[D] _ [Bm] _ _ _ [A] _ [D] _ [Em] _ [D] _
[Bm] _ _ [A] _ [D] _ [Db] [C] and slowed down example 2 [D] sounds like this.
_ [E] _ [Bm] _ _ _ _ _
_ [A] _ _ [D] _ [E] _ [Bm] _ _ _
_ _ _ [A] _ [D] _ _ _ [C] _
[Ab] That's it for
today's video, thank you all for watching.
If you did enjoy it please give it a thumbs up below and
[G] click subscribe for more.
[C] _ _ [G] _ [D] _ _ [A] _ _ [E] _ _ _ [D] _ [E] _ _ [Bm] _ [N] _