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Guitar Lab: Triads and Hendrixian Double Stops
An intensive on rock & pop guitar arranging in a band setting
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About this course
Generally, the bigger the band or the more players at the jam, the less you play. In those situations it is not important how often you shine, but that when you do, to shine brightly. To do that, you need some tools and Matthieu Brandt's Guitar Lab: Triads and Hendrixian Double Stops allows you to develop those tools quickly and easily.
In a band rehearsal and at a jam there are often other chord instruments, so arranging an interesting guitar part for yourself can be somewhat of a puzzle. You need to find your spot in the groove and deal with whatever another guitar player is laying down. Maybe there's a piano player, organ player or keyboard player at the jam. They tend to take up a lot of harmonic space. And let's not forget the bass down low and the singer and soloist up high. You don't want to step on their toes.
Triads on adjacent strings in close proximity will make this a walk in the park. And with Hendrixian double stops you'll be able smoothly color your backup part, weave in and out between all the different instruments in the band. This fresh look at the fret board will also give you your target notes for strong solos. Using this approach will make you feel like you're soloing all night long.
The master of this style of backup / solo playing is of course Jimi Hendrix. Hendrix style of backup playing in songs like 'Castles Made of Sand', 'Electric Ladyland', 'Wind Cries Mary', and 'Little Wing' actually originated in the Soul Music of the 60's. Players like Curtis Mayfield, Cornell Dupree and Steve Cropper used to play this intricate triad based double stop style in arrangements backing up horn players in larger band settings. Often these bands would feature an organ player and multiple guitar players. Hendrix took it to another level using this soulful playing in a power trio, weaving double stop lines between and beneath his vocals throwing in triads, sometimes only hinting at the underlying harmony.
The first part of this course will give you the theoretical backbone of the triadic system. It's a fresh look at the fret board, which will be used in about 20 different songs in the second part of the course.
In the last part we'll dig deep into Hendrix' challenging style of accompaniment / solo. We'll be playing through a number of songs in a rock/pop band rehearsal and study how you can create interesting triadic guitar parts when there's another guitar player, a Hammond organ player and a singer present.
We'll also look at a smaller setting with an acoustic guitar and an electric guitar, showing you several arrangement options for different grooves.
Jaco Benckhuijsen is a seasoned piano player and award winning arranger from Amsterdam in The Netherlands. Together we'll play through a number of typical piano grooves and show you how you can put triads and Hendrixian double stops to work in these 'thick' arrangements.
All the breakdowns of the examples feature chord grids on the screen, for your convenience.
TABLE OF CONTENTS
56 Interactive Video Segments
Introduction
Triads on Adjacent Strings - Introduction
My Chick - Middle Strings - Breakdown part 1
My Chick - Middle Strings - Breakdown part 2
My Chick - Middle Strings - Breakdown part 3
Triad Shapes - General Principles
My Chick - Top Strings - Introduction
My Chick - Top Strings - Breakdown part 1
My Chick - Top Strings - Breakdown part 2
Various Chicks - Mid Strings - Extensions & Variations
Various Chicks - Mid Strings - Breakdown part 1
Various Chicks - Mid Strings - Breakdown part 2
Various Chicks - Mid Strings - Coloring the V
Various Chicks - Mid Strings - Coloring the IV
Middle Strings - Second Position
Middle Strings - Third Position
Overview of Triad Positions - Position One
Overview of Triad Positions - Position Two
Overview of Triad Positions - Position Three
Top Chicks - Top Strings - Extensions & Variations
Top Chicks - Top Strings - Position One
Top Chicks - Top Strings - Position Two
Top Chicks - Top Strings - Position Three
Girls of Mine - Scales & Triads
Girls of Mine - Band Arranging
Girls Of Mine - Lower Triads
Mini Me - Minor Triads
Everybody Needs a Lolly - Triads from Different Keys
Charlie's Swing - Triads from Dominant Seventh's
Boogie On - Dominant Seventh Triads Ext.
Jaco's Piano Blues - Dominant Seventh Triads
Donkey Kong Women - Triads Solo
Colorful Pedaling - Triads from the Key
Colorful Pedaling - Intense Extensions
Pedaling Piano - Support or Fill
In The Sky - Backup or Melody
Nobody's Triad - Open Sustained Triads
Sweet Wife - Find Your Groove
Piano Funk - Rhythmic Placement
Latin Threesome - Repeating Triads
Soul Mates - Splitting Triads
Piano Vs. Guitar - Finding Your Groove
Slip Sliding - Targeting Strong Double Stops
Feed Your Dove Some Bread - Hendrixian Double Stops
Hendrixian Double Stops - Positional Play From Scale
Hendrix' Little Castles - Backup or Solo
In a band rehearsal and at a jam there are often other chord instruments, so arranging an interesting guitar part for yourself can be somewhat of a puzzle. You need to find your spot in the groove and deal with whatever another guitar player is laying down. Maybe there's a piano player, organ player or keyboard player at the jam. They tend to take up a lot of harmonic space. And let's not forget the bass down low and the singer and soloist up high. You don't want to step on their toes.
Triads on adjacent strings in close proximity will make this a walk in the park. And with Hendrixian double stops you'll be able smoothly color your backup part, weave in and out between all the different instruments in the band. This fresh look at the fret board will also give you your target notes for strong solos. Using this approach will make you feel like you're soloing all night long.
The master of this style of backup / solo playing is of course Jimi Hendrix. Hendrix style of backup playing in songs like 'Castles Made of Sand', 'Electric Ladyland', 'Wind Cries Mary', and 'Little Wing' actually originated in the Soul Music of the 60's. Players like Curtis Mayfield, Cornell Dupree and Steve Cropper used to play this intricate triad based double stop style in arrangements backing up horn players in larger band settings. Often these bands would feature an organ player and multiple guitar players. Hendrix took it to another level using this soulful playing in a power trio, weaving double stop lines between and beneath his vocals throwing in triads, sometimes only hinting at the underlying harmony.
The first part of this course will give you the theoretical backbone of the triadic system. It's a fresh look at the fret board, which will be used in about 20 different songs in the second part of the course.
In the last part we'll dig deep into Hendrix' challenging style of accompaniment / solo. We'll be playing through a number of songs in a rock/pop band rehearsal and study how you can create interesting triadic guitar parts when there's another guitar player, a Hammond organ player and a singer present.
We'll also look at a smaller setting with an acoustic guitar and an electric guitar, showing you several arrangement options for different grooves.
Jaco Benckhuijsen is a seasoned piano player and award winning arranger from Amsterdam in The Netherlands. Together we'll play through a number of typical piano grooves and show you how you can put triads and Hendrixian double stops to work in these 'thick' arrangements.
All the breakdowns of the examples feature chord grids on the screen, for your convenience.
TABLE OF CONTENTS
56 Interactive Video Segments
Introduction
Triads on Adjacent Strings - Introduction
My Chick - Middle Strings - Breakdown part 1
My Chick - Middle Strings - Breakdown part 2
My Chick - Middle Strings - Breakdown part 3
Triad Shapes - General Principles
My Chick - Top Strings - Introduction
My Chick - Top Strings - Breakdown part 1
My Chick - Top Strings - Breakdown part 2
Various Chicks - Mid Strings - Extensions & Variations
Various Chicks - Mid Strings - Breakdown part 1
Various Chicks - Mid Strings - Breakdown part 2
Various Chicks - Mid Strings - Coloring the V
Various Chicks - Mid Strings - Coloring the IV
Middle Strings - Second Position
Middle Strings - Third Position
Overview of Triad Positions - Position One
Overview of Triad Positions - Position Two
Overview of Triad Positions - Position Three
Top Chicks - Top Strings - Extensions & Variations
Top Chicks - Top Strings - Position One
Top Chicks - Top Strings - Position Two
Top Chicks - Top Strings - Position Three
Girls of Mine - Scales & Triads
Girls of Mine - Band Arranging
Girls Of Mine - Lower Triads
Mini Me - Minor Triads
Everybody Needs a Lolly - Triads from Different Keys
Charlie's Swing - Triads from Dominant Seventh's
Boogie On - Dominant Seventh Triads Ext.
Jaco's Piano Blues - Dominant Seventh Triads
Donkey Kong Women - Triads Solo
Colorful Pedaling - Triads from the Key
Colorful Pedaling - Intense Extensions
Pedaling Piano - Support or Fill
In The Sky - Backup or Melody
Nobody's Triad - Open Sustained Triads
Sweet Wife - Find Your Groove
Piano Funk - Rhythmic Placement
Latin Threesome - Repeating Triads
Soul Mates - Splitting Triads
Piano Vs. Guitar - Finding Your Groove
Slip Sliding - Targeting Strong Double Stops
Feed Your Dove Some Bread - Hendrixian Double Stops
Hendrixian Double Stops - Positional Play From Scale
Hendrix' Little Castles - Backup or Solo
What you'll learn
- Use open strings as pedal tones to connect chord changes
- Apply arrangement awareness to know when to play more or less
- Create sophisticated backup parts using triads over pedal bass
- Add melodic hooks to rhythm parts
- Understand and apply triad inversions (root, first, second)
Release date: 11/17/2011 • 6h 23m runtime
Sample lessons
Middle Strings
Second Position
Girls of Mine
Band Arranging
Mini Me
Minor Triads
Jaco's Piano Blues
Dominant Seventh Triads
What's included
46 lessons • 21 charts • 17 Jam Tracks
Guitar Lab: Triads & Hendrixian Double Stops
Generally, the bigger the band or the more players at the jam, the less you play. In those situations it is not important how often you shine, but that when you do, to shine brightly.
You need some tools; Triad and Hendrixian Double Stops are those tools!
In a band rehearsal and at a jam there are often other chord instruments, so arranging an interesting guitar part for yourself can be somewhat of a puzzle. You need to find your spot in the groove and deal with whatever another guitar player is laying down. Maybe there’s a piano player, organ player or keyboard player at the jam. They tend to take up a lot of harmonic space. And let’s not forget the bass down low and the singer and soloist up high. You don’t want to step on their toes.
Triads on adjacent strings in close proximity will make this a walk in the park. And with Hendrixian double stops you’ll be able smoothly color your backup part, weave in and out between all the different instruments in the band. This fresh look at the fret board will also give you your target notes for strong solos. Using this approach will make you feel like you’re soloing all night long.
The master of this style of backup / solo playing is of course Jimi Hendrix. Hendrix style of backup playing in songs like 'Castles Made of Sand', 'Electric Ladyland', 'Wind Cries Mary', and ‘Little Wing’ actually originated in the Soul Music of the 60's. Players like Curtis Mayfield, Cornell Dupree and Steve Cropper used to play this intricate triad based double stop style in arrangements backing up horn players in larger band settings. Often these bands would feature an organ player and multiple guitar players. Hendrix took it to another level using this soulful playing in a power trio, weaving double stop lines between and beneath his vocals throwing in triads, sometimes only hinting at the underlying harmony.
The first part of this course will give you the theoretical backbone of the triadic system. It’s a fresh look at the fret board, which will be used in about 20 different songs in the second part of the course.
In the last part we’ll dig deep into Hendrix’ challenging style of accompaniment / solo. We’ll be playing through a number of songs in a rock/pop band rehearsal and study how you can create interesting triadic guitar parts when there’s another guitar player, a Hammond organ player and a singer present.
We’ll also look at a smaller setting with an acoustic guitar and an electric guitar, showing you several arrangement options for different grooves.
Jaco Benckhuijsen is a seasoned piano player and award winning arranger from Amsterdam in The Netherlands. Together we’ll play through a number of typical piano grooves and show you how you can put triads and Hendrixian double stops to work in these ‘thick’ arrangements.
All the breakdowns of the examples feature chord grids on the screen, for your convenience.
Let’s dig in!
You need some tools; Triad and Hendrixian Double Stops are those tools!
In a band rehearsal and at a jam there are often other chord instruments, so arranging an interesting guitar part for yourself can be somewhat of a puzzle. You need to find your spot in the groove and deal with whatever another guitar player is laying down. Maybe there’s a piano player, organ player or keyboard player at the jam. They tend to take up a lot of harmonic space. And let’s not forget the bass down low and the singer and soloist up high. You don’t want to step on their toes.
Triads on adjacent strings in close proximity will make this a walk in the park. And with Hendrixian double stops you’ll be able smoothly color your backup part, weave in and out between all the different instruments in the band. This fresh look at the fret board will also give you your target notes for strong solos. Using this approach will make you feel like you’re soloing all night long.
The master of this style of backup / solo playing is of course Jimi Hendrix. Hendrix style of backup playing in songs like 'Castles Made of Sand', 'Electric Ladyland', 'Wind Cries Mary', and ‘Little Wing’ actually originated in the Soul Music of the 60's. Players like Curtis Mayfield, Cornell Dupree and Steve Cropper used to play this intricate triad based double stop style in arrangements backing up horn players in larger band settings. Often these bands would feature an organ player and multiple guitar players. Hendrix took it to another level using this soulful playing in a power trio, weaving double stop lines between and beneath his vocals throwing in triads, sometimes only hinting at the underlying harmony.
The first part of this course will give you the theoretical backbone of the triadic system. It’s a fresh look at the fret board, which will be used in about 20 different songs in the second part of the course.
In the last part we’ll dig deep into Hendrix’ challenging style of accompaniment / solo. We’ll be playing through a number of songs in a rock/pop band rehearsal and study how you can create interesting triadic guitar parts when there’s another guitar player, a Hammond organ player and a singer present.
We’ll also look at a smaller setting with an acoustic guitar and an electric guitar, showing you several arrangement options for different grooves.
Jaco Benckhuijsen is a seasoned piano player and award winning arranger from Amsterdam in The Netherlands. Together we’ll play through a number of typical piano grooves and show you how you can put triads and Hendrixian double stops to work in these ‘thick’ arrangements.
All the breakdowns of the examples feature chord grids on the screen, for your convenience.
Let’s dig in!
Triads on Adjacent Strings
This first lesson introduces the basics of the triadic system. We'll use triads to create clever backup parts and use them to target the strong notes in our solos.
This system is quick and efficient; great for jam sessions and arranging guitar parts for your band. We'll start with the first degree chord. Once we've found its triad(s) we'll look for other triads in relationship to the first degree chord.
This system is quick and efficient; great for jam sessions and arranging guitar parts for your band. We'll start with the first degree chord. Once we've found its triad(s) we'll look for other triads in relationship to the first degree chord.
My Chick - Middle Strings
For the triad approach to work, we need to reduce the thick (barre) chord we know to three note chords. These triads can only contain ONE root, ONE major or minor third and ONE perfect fifth. We'll locate these chord notes on adjacent strings to keep the voicing as tight as possible. Chord extensions are removed. We'll find the other triads from the progression in close proximity; no large jumps allowed.
In this lesson we'll also show you how this system works on a piano keyboard to show you the logic behind the triad system.
In this lesson we'll also show you how this system works on a piano keyboard to show you the logic behind the triad system.
My Chick - Middle Strings
Smooth, efficient and good sounding backup parts can be created by locating the three traid shapes for the I, IV and V chords in close proximity to each other. On the middle three strings there are only three different shapes for major triads and three for minor triads.
It is crucial to know which note of the triad is the root. You can deduct the shape of the triad from the string on which the root is played. If the lowest sounding note of the triad is not the root, you'll be playing an inversion.
When moving from one triad to the other, piano players will automatically leave as many notes as they can in their position. The less movement, the smoother the arrangement. A principle that is just as important on guitar.
It is crucial to know which note of the triad is the root. You can deduct the shape of the triad from the string on which the root is played. If the lowest sounding note of the triad is not the root, you'll be playing an inversion.
When moving from one triad to the other, piano players will automatically leave as many notes as they can in their position. The less movement, the smoother the arrangement. A principle that is just as important on guitar.
My Chick - Middle Strings
We'll look at the third position to play the three triads for the I, IV and V chords in. The shapes will be the exact same ones we encountered in the previous lesson, but their function in the key will be different.
Keep your eye on the root of the triads to establish the shape. Although we're working in one key only (the key of G) this principle and the relationships of the triads is the same in every key. Locate the tonic of the key first, then locate the I chord triad and then it's IV and V triad shapes in close proximity.
Keep your eye on the root of the triads to establish the shape. Although we're working in one key only (the key of G) this principle and the relationships of the triads is the same in every key. Locate the tonic of the key first, then locate the I chord triad and then it's IV and V triad shapes in close proximity.
Triad Shapes
In this lesson we'll give you a resume of the general principles of the triad system and how to use it on the middle three strings; strings two, three and four.
The goal you are aiming for is to create a smooth backup part, without attracting too much attention. No jumping around on the fret board allowed. When you use triads you often have more than one option when you move around from one chord to the other.
The goal you are aiming for is to create a smooth backup part, without attracting too much attention. No jumping around on the fret board allowed. When you use triads you often have more than one option when you move around from one chord to the other.
My Chick - Top Strings
Aside from the middle strings four, three and two, you can also find triads on the TOP three adjacent strings: strings three, two and one.
In this section we'll listen to an example that uses these particular strings. The principles remain exactly the same as the ones discussed in the previous lessons.
In this section we'll listen to an example that uses these particular strings. The principles remain exactly the same as the ones discussed in the previous lessons.
+ 39 more lessons
Reviews
25 results
GeoffB1
Verified buyer
08/17/24
Well structured
excellent value, very well structured, easy for a beginner to follow along, also has a lot of information and discussion on music theory, so more advanced players will find it relevant
pab14
Verified buyer
10/26/23
Matt Knows How to Throw Chords Around
Good material. The chord diagrams are displayed in the video which is helpful.
Granitehead1
05/27/23
Game-Changer
I am very careful in using this language, but this course really changed my direction in playing. I'm a HS math teacher so my expectations are high for someone presenting themselves as an educator, but he is one of the few on Truefire that really is one.
rryder67
Verified buyer
04/28/23
Sound more like Jimi
Who wouldn't be interested in a course that has lessons to make you sound more like Hendrix? Brad is a natural guitar teacher.
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