@lookwhereallthistalkinggotusbaby: "I was having this discussion earlier and wanted to get some other's
input.  The thought being discussed was finding a chord anywhere up
and down a neck by just barring the root note fret and figuring your
intervals from there.  Then, it was brought out many jazz musicians
play the triad, to be more precise, because the bass player and/or
pianist usually picks up the other octaves in a barre chord.
Obviously, it's very easy to learn the 10 shapes on the 6th string and
5th string, and play your barre chord.  But, it would be more precise
to play the triad only.
What do you guys do?  What is the best way?  And what is the thought
process that goes into figuring triads only, as opposed to the
layman's way of barring and learning your ten shapes or so...
Thoughts?"
    @derek: "My thoughts are, as a jazz guy I find the CAGED system of barre chords
a very limiting system, and triad based chords much more functional.
I don't know if it is the "best" way, but it is highly useable.
You have a triad shape with the root in the base, plus 2 inversions
for each string set, so that gives you 12 different shapes using
adjacent string sets.  If you include nonadjacent sets, obviously the
number increases.
They are very handy for improvisation also.  You mention jazz, and
often as guitarists we are not playing roots, as the bassist is
covering them.  That frees us up to play extensions like 7ths, 9ths,
11ths, & 13ths.
EVH was classically trained on piano before he took up guitar, and
consequently, he plays alot of triad based stuff.  Keith Richards,
Andy Summers, Edge are just a few rock guys who also make great use of
triads."
    @sycochkn: "<email_address> wrote in message 
news:<email_address>
<quote>
I started out by learning the triad shapes of the major, minor, augmented 
and diminshied triads in all three inversion on each set of adjacent 
strings. 1, 2, 3; 2, 3, 4; 3, 4, 5 and 4, 5, 6 4. 4 string sets, 4 types, 3 
inversions. That comes out to 48 shapes. Times 12 positions or 576 chords. 
then you have your drop 2 and raised 2 versions. then I would learn the 7ths 
as 3 and 4 note chords with various drop and rasied note.
Bob "
    @rc_moonpies: "On Wed, 24 Oct 2007 19:24:00 -0700,
<quote>
I use triads constantly and play off them. Sometimes i guess i miss
the growl of the bottom E string and I'll use that too.... 
But I use the triads more. I learned a couple of sort of 4th and 6th
hammer ons from old Rolling Stones records, probly Keith Richards, and
that started me off. Good example of it is Brown Sugar, part of the
riff of Gimme Shelter, and not the Stones but Ron Wood on the
beginning section and outro section of Stay With Me.
Once you figure out how these work, its just a short ride to
experimenting with different scales and arpeggios and patterns you can
repeat. The kewlest thing is that if you keep your index finger
barred, and move into some hybrid picking along with straight picking,
you can quickly get into two and three string leads and riffing. Of
course the real advantage to playing off the triad is that whatever
pattern you do learn, will work in any key,.... just move your index
finger to the right spot."
    @rc_moonpies: "On Wed, 24 Oct 2007 20:01:49 -0700, Derek <email_address>
wrote:
<quote>
I dont know if I'm playing it correctly, but it seems like the bg riff
on Running with the Devil is a series of triads with appropriate
add-ons."
    @cliff: "<quote>
Another approach, used by many jazz players, is to play three note
chords made up of the 1st, 3rd and 7th. It's surprising how full just
these three notes can sound. Add one more note to create a 9th, 13th
or b5th etc. I was struggling trying to learn a lot of new chord
shapes until I was told about this trick.
Cliff"
    @derek: "<quote>
I haven't looked in many years, but when I did, I found EVH's stuff
was much more triad based than power chords from the CAGED system.  Of
course, he used it all, but as you observed, so much of what he did
started around a basic triad.
As we all learned the hard way, any more than 2-3 distorted notes
together gets real muddy real fast, so it only makes sense that he
would take this idea from his piano training and apply it to guitar."
    @lookwhereallthistalkinggotusbaby: "Do you think the technique of barring chords with your index finger up
and down the neck limits your growth as a guitarist?  Or is it
something you definitely "WANT" to have in your repertoire?   I'm in
the stage between being a beginner and intermediate level guitarist
and want to take the right paths.  My goal is to become a virtuoso.
However realistic or not this may be is irrelevant to me.  I
appreciate the input thus far."
    @rednoisenews: "On 24 Oct 2007, <email_address> wrote in 
alt.guitar: 
<quote>
OK, so you've found it. Now what? 
I think you're laboring under a misconception. "Jazz guys" probably 
DON'T usually play "the triad". They're more likely to play either
shell chords (root or 5th, third, and seventh) or extended chords
which include the upper color tones. It doesn't sound very jazzy to
play triads. 
If you're playing with a bassist you can often get away with leaving 
out the root, because the bass is likely to have recently played it 
and it will be fresh in the listeners ears. If you're playing with
other chordal instruments like piano or guitar, you have to take
care to not play upper tones that conflict with each other. 
Big barre chords tend to sound right for rock and folk. Of course,
they are used in jazz too, but not usually full 6-string simple
major and minor ones. 
Keep in mind that "barre" doesn't necessarily mean across all 6
strings. It can also mean partial barres over 3 or 4 strings. You
can also barre across more strings but sound only a few of the
strings. Barreing is a perfectly legitimate technique for all kinds
of music. "
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