Now that we can easily cover every inch of the fretboard with triads (or 1-3-5's) we being the final steps to total fretboard domination by turning our triads into Spread Voicings. These very popular shapes will be vital when creating larger sounds/chords, and will be the final piece of this chord puzzle.
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The 3 Spread Triads
-Intro-
We finally dive into the world of Spread Voicings which will give use one more tool to easily create whatever sound we want, wherever we want. These shapes are absolutely vital to have in your hands if you are wanting to create larger chords, chord melodies, more "pianistic" sounds, jumpy sounding lines, or just have a better visual layout of the fretboard.
-Minors and Basic Progressions-
We go over the Minor shapes as well as using these voicings in basic progressions. We'll go through triad pairs, 5 of's, basic moves like 1-4-5 or 6-2-3, adding little melodies to these moves, and how inversions can add some variety to an otherwise normal sounding progression.
-Diminished & Augmented Transitions-
We cover the Diminished and Augmented spread voicings with a focus on using them in their natural habitat, as transitional sounds into other chords. We'll go over the shapes, how to practice them, running all of the chords in the key, as well as injecting Hotel California and Little Wing with these sounds.
-Suspended & Chord Embellishments (in 2 parts)-
We'll look at Suspended triads as the final triad type with spread voicings and how we can use them in a variety of ways. Very significant and interesting sound that can not only be used as a standalone sound to great effect, but also as a very easy way to create chord embellishments or "chord moves" that can immediately enhance a basic chord shape with some little hidden melodies. Some of my favorite stuff is in here!
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Spread Triad Power Ups
Exercises that feature Spread Voicings:
-Chord Embellishments
We'll take two inversions, along with their embellishments, and run them over a very simple progression. Take note of the melodies that naturally happen when you put all of this together, some really cool sounds can come from very simple ideas!
-Triad Pairs (Maj-Min)
Continuing the Spread Voicing topic with a more lead approach. We will be arpeggiating these shapes over a simple triad pair-based progression of mostly A - Bm, with a little melody connecting each chord. Will be a good exercise for playing these shapes as leads, as well as a general alternate picking work out due to the string skipping involved.
-Strumming and Muting
This exercise will continue to feature Spread Voicings but in a pop/rock context where we are strumming them. This is a very chordy passage that will require us to not only learn all of the changes, but also learn the rhythm (by ear!) and focus on muting unwanted open strings. Alongside the full Spread shapes, we will also go over the "power chord" version of these shapes/inversions which can be really useful when playing with distortion.
-Minor, Diminished Leads
The final Power Up for spread voicings will feature diminished shapes resolving to minor, a potentially tricky string skipping pattern that you can try with a variety of techniques, and some cute sliding from melody note to melody note. There is also a time signature change in here that may be fun to force your way through. Hope you enjoy!
----------------------------------------------------------------------------Extra Spread Voicing Stuff
Finishing up the Spread Voicing conversation with some extra stuff that I think is valuable, especially on acoustic. We'll make sure we can double notes giving us some thicker shapes, connect this stuff to the CAGED system, throw in open strings for immediate cool sounding voicings, and also experiment with thinner voicings for a more delicate approach to fingerstyle or basic chord melodies.
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