Lesson EP356 and Dominant / Minor triads

[Kurt S]

First off, I just want to say that Lesson 356 was incredibly helpful for me and really cemented together the CAGED system and pentatonic scales in my mind. Definitely one of the best guitar lessons I’ve ever had.

Would you consider doing follow-up lessons centered around Dominant and Minor triads? There are so many great blues tunes out there that make heavy use of these kinds of chords. Doing two more follow up lessons would, I think, be really useful for helping someone like myself navigate the fretboard during a jam based on Dominant or Minor chords.

Cheers!

[Kurt S]

I just want to add that, although I understand how to turn the major triads into dominant or minor triads, it’s not necessarily the intellectual knowledge that is most helpful, but rather having an etude to work through to help with muscle memory and give a foundation for some musical phrases in each position.

[Duffy P]

Just a point of clarification. There’s no such thing as a dominant triad. Triads can be major, minor, diminished or augmented. When someone refers to a dominant chord, he is either talking about a dominant seventh chord, with the notes 1 3 5 b7. That’s a major triad with a minor third added on top. Or he could be talking about the V chord, which has dominant function, in that it tends to want to resolve to the I chord.

[Kurt S]

Hi. I’m not sure I agree that there’s no such thing as a dominant triad. What would you call a 1-3-b7 triad? It contains all of the relevant tonal information of a dominant chord.

[Kurt S]

You can also do a 3-5-b7 triad which implies the 1 without using it. Both 1-3-b7 and 3-5-b7 triads are common in blues and jazz.

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