Watch the Triad Chord Scales online guitar lesson by Chris Buono from Guitar Gym: Triad Chord Scales - Harmonic Minor
Welcome to Guitar Gym :: Triad Chord Scales - Harmonic Minor - the most intensive chord scale study you may ever play through. There's a LOT going on - more than any other Guitar Gym course to date.
To best organize all that's going on here I instituted a few Guitar Gym Series firsts. The first first is an additional Prerequisite Level making four levels of triadic to-do's. Within the "Prereqs" as well as the following three Levels will be another first in the form of "Workout Groups". The Prereq Level is four Workout Groups made up of three Workouts each. They will be enumerated as such:
#1A, #1B, #1C
#2A, #2B, #2C
#3A, #3B, #3C
#4A, #4B, #4C
Levels #1-3 are made up of three Workout Groups made up of four Workouts each. They will be enumerated as such:
#1A, #1B, #1C, #1D
#2A, #2B, #2C, #2D
#3A, #3B, #3C, #3D
When all is said and done throughout all the Levels and Workout Groups Guitar Gym :: Triad Chord Scales - Harmonic Minor comes out to be 48 Workouts large!
Yet another GG first is the manner in which the tempo rises throughout the entire course as well as how you drill each Workout. Instead of the tried-and-true three tempo tier system all my previous Gym courses have employed this time each Workout will rise in tempo by a single bpm within in each Level. The goal is get to 101bpm by the 48th and final Workout. Celebrating the great 48 you'll start at 48bpm and incrementally rise throughout each Level. Celebrating the three notes in a triad formula you'll add 3bpm from level to level. Eventually the math will work out to 101bpm, trust me! This approach helps stealthily reinforce the constant shuffling of the 21 chords that make up the chord scale and chord scale cycles you're about to take on. The breakdown of tempos is as follows:
Prerequisite Level: 48bpm-59bpm
Level 1: 62bpm-73bpm
Level 2: 76bpm-87bpm
Level 3: 90bpm-101bpm
To further that goal I've switched up the manner in which the repetitions are carried out. Instead of a time-based system that changes per Level, each Level will have a number of "reps" required. Starting with the Prereq Level it will go like this:
Prerequisite Level: 2 reps
Level 1: 3 reps
Level 2: 4 reps
Level 3: 5 reps
This rep-based system dictates the length of the Jam Tracks as well. Instead of a click track running for a set amount of time, these tracks provide the exact amount of "clicks" needed to play each Workout as required by the reps designated to that Workout. This is a useful advantage if you're not yet up to monitoring your reps while you play, especially for those higher rep counts!
While all these firsts influence how the course flows in a very positive way, there's one more notable facet of the design that's equally valuable. I call it "Sawtooth Neck Flow." It's simple, really: The Prerequisite Levels starts on the 3-2-1 string set and has you playing your way down to the 5-4-3 string set. From there Level 1 starts on that same string set and has you play back up to the 3-2-1 string set. Level 2 progresses back to 5-4-3, while Level 3 works its way back up to 3-2-1. In my head this up and down motion is much like a sawtooth waveform, but then again I'm a bit of an audio nerd at times!
As you work through this entire course you'll be working under two key foundational concepts of my own doing. The ascending/descending repetition is designed to drive home a concept I call "Chordal Gravity." It's simple, like the basics of gravity, what goes up must come down. In this case, what ascends, must descend. Over and over I see player's chord visions seem incomplete and splintered and one reason is they only drill ascending chord sequences. The other is my vision of the neck as being a conveyor belt where what progresses to the end comes back at the top. This is how I organize the neck in boundaries helping to me to effectively play in all keys. To do this I don't allow myself to play any triad shapes with open strings as well as no chords being played in the 13th position or above. This allows all my chords to have a consistent visualization while containing any key within one octave. Otherwise some keys are played from the I chord to vii˚ chord with no restrictions while others run out of neck real estate. Complete command is what we're going for and this how I do it.