Advanced Guitar Triads - Spread Voicings

The concept of the "spread triad" is fairly simple. First, begin with a triad in closed position. The triad can be any inversion. This means we will have 135, 351 and 513.

Next, take the middle note of the triad and raise it one octave. Now we have the following transformation:

Note that this is not merely a re-ordering of triad notes, and the result is that the total span of the triad is now larger than one octave.

Note: We can apply this procedure not only to major triads, but to any of the other types including minor, augmented, diminished or suspended.

Root position spread triad (F major)

First-inversion spread triad (F major)

Second-inversion spread triad (F major)

Now Let's take a look at some of the spread triads starting on the fifth string. To make things a little simpler, we'll start with B♭. This will allow us to show the inversions on a continuous line without the need to jump up or down an octave.

First-inversion spread triad (B♭ major)

First-inversion spread triad (B♭ major)

Second-inversion spread triad (B♭ major)

Key Tasks

• Memorize all spread triads.
• Play spread triads as minor, sus2, sus4, diminished and augmented.
• Use the spread triads to voice-lead common chord progressions. Use the Chord Progression Chart if you need ideas for chord progressions.

Learn and apply these spread chord voicings to real situations for maximum effect.

For each chord, look for its relationship to a minor scale from the root (F). Also, consider practicing the chords in the context of a real chord progression. A great one to use to reinforce these shapes is F- to B♭-, as this is actually a common chord progression.

Sixth String

F- Root position spread triad

F- First-inversion spread triad

F- Second-inversion spread triad

Fifth String

B♭- First-inversion spread triad

B♭- First-inversion spread triad

B♭- Second-inversion spread triad

Key Tasks

• Practice the minor triads.
• Practice visualizing and switching from an F- triad with a root on the 6^th string to a B♭- triad with a root on the 5^th string. Repeat for each inversion.

These spread triads can help you to see the connections between the chords on the fretboard. It is key to study them in relationship to other augmented structures (for example, within a whole tone scale), or in the context of a chord progression that uses an augmented chord. Otherwise, this is merely a finger exercise.

Consider, for example, if this F augmented triad were used in passing between F (F-A-C), to F+ (F-A-C♯) to D-/F (F-A-D). In this progression we hear the note C stepping chromatically to C♯ and then resolving to D. It has context and meaning, and is applicable in real music.

Sixth String

F+Root position spread triad

F+ First-inversion spread triad

F+ Second-inversion spread triad

Fifth String

B♭+ First-inversion spread triad

B+ First-inversion spread triad

B+ Second-inversion spread triad

Key Tasks

• Practice the spread augmented triads.
• Visualize the augmented triads as belonging to a matching whole tone scale.

Practice these spread diminished triads, and then try to find a context for them. Visualize how they fit into other structures; how does each of these compare to a regular minor chord?

Consider practicing them in the context of a real chord progression, such as from D, F^o, to E- and to A. This will give context to them and help you put them to use in real music.

Sixth String

F^o Root position spread triad

F^o First-inversion spread triad

F^o Second-inversion spread triad

Fifth String

B♭^o First-inversion spread triad

B♭^o First-inversion spread triad

B♭^o Second-inversion spread triad

Key Tasks

• Practice the diminished chords.
• Visualize each chord as an inversion of all of its chord tones. For instance, F^o is an inversion of A♭^o, which is also an inversion of C♭^o (also known as B^o.)
• Visualize each root position diminished triad as the upper structure of a dominant seventh chord. For instance, D♭7's upper structure is F, A♭, and C♭—an F^o triad.

Try to see the relationship between these chords and the sus4 chords; the two chord groups are inversions of each other.

Remember also that any three-part chord can be an independent chord structure, or it could also be used and understood as a smaller part of a larger chord or even scale structure. For example, this F^sus2 could easily be used over an F chord in many cases, as the G note is tension 9. Learn more about chord tensions...

Sixth String

F^sus2 Root position spread triad

F^sus2 First-inversion spread triad

F^sus2 Second-inversion spread triad

Fifth String

B♭^sus2 First-inversion spread triad

B♭^sus2 First-inversion spread triad

B♭^sus2 Second-inversion spread triad

Key Tasks

• Study the F^sus2 arpeggios, and compare them to C^sus4 arpeggios; for the B♭^sus2, compare them with F^sus4.
• Practice resolving each sus2 arpeggio up to the major chord.

Learn the sus4 spread triads and apply them to your playing.

Compare these triads to the spread sus2 triads.

Sixth String

F^sus4 Root position spread triad

F^sus4 First-inversion spread triad

F^sus4 Second-inversion spread triad

Fifth String

B♭^sus4 First-inversion spread triad

B♭^sus4 First-inversion spread triad

B♭^sus4 Second-inversion spread triad

Key Tasks

• Practice the triads from the 6^th string root and the 5^th string root.
• Visualize the relationship between the F^sus4 and B♭^sus2.
• Try resolving the F^sus4 chords down to F, and then up to B♭