3 To 7 Triads

3 to 7 Triads
When most people begin to learn jazz chords on the guitar, they often dig into large, 4, 5 and
even 6-note shapes as they try and get all of the extensions they possibly can into their voicings.
But, when you start to analyze the chord shapes that the great players used over the years, many
of them preferred to comp with smaller chords, 3-note chords, and in the case of Lenny Breau, 2-
note chords.
There are many ways to comp using 3-note voicings on the guitar, and one of the most popular is
to use triads. Now, I know what you’re thinking, “Triads, but those are rock chords?” Yes, triads
and often considered “vanilla” chords in jazz, but they are also powerful tools that can greatly
expand your chord vocabulary without requiring you to learn a bunch of new shapes, and large
stretches, on the guitar.
While most of us have checked out tonic triads, R-3-5, at some point in our practicing, more
often than not we have yet to explore other variations of these three-note powerhouses within the
context of a larger chord. In this lesson we’re going to learn how to apply triads that start on the
3rd of each chord to our ii-V-I comping, in both major and minor keys.
Don’t let their simple reputation fool you, using triads in your comping not only makes things
easier on your hands, but it also helps you sound the chords that are going by, while at the same
time getting out of the bass player’s way, and leaving room for the soloist to work within your
harmonic timber.
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3 to 7 Triads Major Keys
Let’s break down each 3 to 7 triad for the chords in a ii-V-I-VI chord progression, in this case in
the key of C Major. First, we’ll spell each 4-note arpeggio:
 Dm7: D F A C
 G7: G B D F
 Cmaj7: C E G B
 A7: A C# E G
Now, we’ll isolate the 3rd, 5th and 7th note to build our 3 to 7 triads that we will use below to
comp through this chord progression:
 Dm7: F A C (F Major Triad)

 G7: B D F (B Diminished Triad)
 Cmaj7: E G B (E Minor Triad)
 A7: C# E G (C# Diminished Triad)
As you can see, if you know three of the four basic triad shapes, Major, Diminished and Minor,
you can already comp using this concept, giving you the cool, rootless sound of players such as
Ed Bickert, Jim Hall and Lenny Breau.
In the examples below I have used an extension of the B Diminished triad (starting on F, F Ab B)
adding in the b9 of the G7 chord (Ab) for an extra dose of voice leading, notice how the A on
Dm7 flows downward to the Ab in G7 and then resolves to the G in Cmaj7, and similarly in the
Minor key examples below. Feel free to use either or Diminished triad in your comping, B
Diminished or F Diminished, or both to add more voice leading options to your accompaniment.
If you are unfamiliar with these triads, and how they are fingered on the guitar, you might want
to check out my chord charts for Major Triads, Minor Triads and Diminished Triads on guitar.
With our minds wrapped around the concept behind the major version of 3 to 7 triads, it’s time to
dig in and learn them on the guitar. Below are all of the possible inversions of 3 to 7 triads
through a ii-V-I-VI in C Major. I have skipped the lowest three strings since those tend to sound
very muddy and are rarely used, but if you are into learning them feel free to practice them on
that string set as well.
******
3 to 7 Triads: ii-V-I-VI Major
Page 2
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3 to 7 Triads Minor Keys
Now, let’s break down each 3 to 7 triad for the chords in a ii-V-i chord progression, in this case
in the key of C Minor. First, we’ll spell each 4-note arpeggio:
Dm7b5: D F Ab C
G7alt: G B D F
Cm7: C Eb G Bb
Now, we’ll isolate the 3rd, 5th and 7th note to build our 3 to 7 triads that we will use below to
comp through this chord progression:
Dm7b5: F Ab C (F Minor Triad)

G7alt: B D F (B Diminished Triad)
Cm7: Eb G Bb (Eb Major Triad)
With our minds wrapped around the concept behind the minor version of 3 to 7 triads, it’s time
to dig in and learn them on the guitar. Below are all of the possible inversions of 3 to 7 triads
through a ii-V-i in C Minor. As was the case with the major version of this chord progression, I
have skipped the lowest three strings.
******
3 to 7 Triads: ii-V-i Minor
Page 2
In the examples below I have used an extension of the B Diminished triad (starting on D to
produce D-F-Ab), adding in the b9 of the G7 chord (Ab) for an extra dose of voice leading,
notice how the A on Dm7 flows downward to the Ab in G7 and then resolves to the G in Cmaj7,
and similarly in the Minor key examples below. Feel free to use either or Diminished triad in
your comping, B Diminished or D Diminished, or both to add more voice leading options to your
accompaniment.

3 To 7 Triads

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3 to 7 Triads

3 to 7 Triads Major Keys

 Dm7: F A C (F Major Triad)

3 to 7 Triads Minor Keys

Dm7b5: F Ab C (F Minor Triad)

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