1st Triads in 1, 4, 5 Chord Progressions on the Three Highest Strings Voicing (1, 3, 5), (1, 3, 5), (1, 3, 5)

1:1  Triads are three note chords, where each of the three notes in each three note chord is a different interval of a 7 note major scale, specifically the Ionian mode.

1:2  A 1, 4, 5 chord progression is probably most common chord progression.

1:3  Because it is a 1, 4, 5 chord progression, it is a pattern of 3 chords in progression, where 1, 4, and 5 represent the root notes of the chords.  The 1 of “1, 4, 5,” represents a chord.  The 4 of “1, 4, 5,” represents a cord.  And, the 5 of “1, 4, 5,” represents a chord.

1:3  1, 4, 5 chord progressions take their name, 1, 4, 5, by the root notes of the scale they occupy.

1:4  Every chord in a 1, 4, 5 chord progression is a major chord, taking its root notes as the 3 major notes of the Ionian scale, the 1^st note, 4^th note and the 5^th note.

1:5  Every note of the 1 chord, the 4 chord, and the 5 chord is contained within the respective Ionian scale pattern of the key that the progression is played in.

1:6  There are seven notes to the Ionian scale, which should sound very familiar if played in order.  Additionally the Ionian sound can be played in any key, and that is true for any mode.  The notes are of Ionian Mode are Doe (which when Doe is used as a root note in any key the result sound is Ionian), Ray (which when Ray is used as a root note in any key the result sound is Dorian), Me (which when Me is used as a root note it any key the result sound is Phrygian), Fa (which when Fa is used as a root note in any key the result sound is Lydian), Sew (which when Sew is used as a root note in any key the result sound is Mixolydian), La (which when La is used as a root note in any key, the result sound is Aeolian), Tea (which when Tea is used as a root sound in any key the result sound is Locrian).  However, for this exercise, because it consists of 1, 4, and 5, chords, the only sounds that will be used are, Ionian, Lydian, and Mixolydian, respectively, but not the Dorian, Phrygian, Aeolian, and Locrain modes.

1:7  In any key the Ionian scale follows the pattern Root, whole step, whole step, half step, whole step, whole step, half step, where a whole step is 2 notes (2 frets) higher than a previous note, and a half step is 1 note (1 fret) higher than a previous note.

1:8  With respect to the Ionian major scale, the intervals for these exercises will always be stacked as (1, 3, 5).  Thus, the 1 chord has a 1, 3, and 5 pattern of the Ionian pattern, the 4 chord has its root considered as the 1 note of a different Ionian mode, but it sounds Lydian in comparison to the 1 chord and the 5 chord, and the 5 chord has its root considered as the 1 note of yet another different Ionian mode, but it sounds Mixolydian in comparison to the 1 chord and the 4 chord.

1:9  Each root is “1” of the three different chords, each consisting of 1, 3, and 5 intervals, where each chord is labeled according to its respective Ionian scale, such that the root note in labeling a chord is always Ionian, though the sound of the 1 chord is still Ionian, the sound of the 4 chord is Lydian, and the sound of the 5 chord is Mixolydian.

1:10  The first root will be 1, the root note of the Ionian scale.  The 2^nd major root note of the major scale is the 4^th note of the Ionian mode.  The 3^rd major root note of the major scale is the 5^th note of the Ionian mode.

1:11  The 1 chord of the C major (Ionian) scale is “Doe.”  The 4 chord of the C major scale (Ionian) has its root as “Fa” chord of the major scale because it is the 4^th note of the pattern “Do Ray Me Fa.”  The 5 chord of the C major scale (Ionian) is Sew because it is the 5^th note in the pattern, “Do Ray Me Fa Sew.”

1:12  The labeling of the intervals of the three chords of the 1, 4, 5 chord progression is made with respect to as if the root note as if each of these 3 chords was created by a separate Ionian scale pattern.

2:1  The strings are labeled as such: the 6^th string is the highest pitched string, or the thinnest string, the 5^th string is the next highest pitched string, and the 4^th string is the lowest pitched string of the three highest pitched strings, whose pitches are measured in standard E tuning and played at the same fret.

2:2  The key of A#:

The 1 chord consists of the notes, A#, D, and F.

The A# is the 1, the root note, of the chord.  The D is the 3 of the chord.  The F is the 5 of the chord.  This is why it is a chord with 1, 3, 5 voicing.

Because of the way this chord is stacked, the A# is on the 4^th string at the 3^rd fret.  The D is on 5^th string at the 3^rd fret, and the F is on the 6^th string at the 1^st fret.

Get familiar with it.

The 4 chord is a D# and it consists of the notes, D#, G, and A#.

The D# is the 1, the root note, of the chord.  The G is the 3 of the chord.  The A# is the 5 of the chord.  This is why it is a€ chord with 1, 3, 5 voicing.

Because of the way this chord is stacked the D# is on the 4^th string at the 8^th fret.  The G is on the 5^th string at the 8^th fret, and the A# is on the 6^th string at the 6^th fret.

Get familiar with it.

The 5 chord is a F chord and it consists of the notes, F, A, C.

The F is the 1, the root note, of the chord.  The A is the 3 of the chord.  The F is the 5 of the chord.  This is why it is a chord with 1, 3, 5 voicing.

Because of the way this chord is stacked the F is on the 4^th string at the 10^th fret.  The A is on the 5^th string at the 10^th fret, and the C is on the 6^th string at the 8^th fret.

Get familiar with it.

Now play these chords in the 1, 4, 5 pattern, strumming each for a count of 4 before switching to a different chord.

Try playing them in different orders other than 1, 4, 5; for instance play 5, 1, 4 or 4, 1, 5.

2:3  The key of B:

The 1 chord consists of the notes B, D#, and F#.

\The B is the 1, the root note, of the chord.  The D# is the 3 of the chord.  The F# is the 5 of the chord.  This is why it is a chord with 1, 3, 5 voicing.

Because of the way this chord is stacked, the B is on the 4^th string at the 4^th fret.  The D# is on 5^th string at the 4^th fret, and the F# is on the 6^th string at the 2^nd fret.

The 4 chord is an E and it consists of the notes, E, G#, and B.

The E is the 1, the root note, of the chord.  The G# is the 3 of the chord.  The B is the 5 of the chord.  This is why it is a chord with 1, 3, 5 voicing.

Because of the way this chord is stacked, the E is on the 4^th string at the 9^th fret.  The G# is on the 5^th string at the 9^th fret, and the B is on the 6^th string at the 7^th fret.

The 5 chord is a F chord and it consists of the notes, F#, A#, C#.

The F# is the 1, the root note, of the chord.  The A# is the 3 of the chord.  The C# is the 5 of the chord.  This is why it is a chord with 1, 3, 5 voicing.

Because of the way this chord is stacked the F# is on the 4^th string at the 11^th fret.  The A# is on the 5^th string at the 11^th fret, and the C# is on the 6^th string at the 9^th fret.

Now play these chords in the 1, 4, 5 pattern, strumming each for a count of 4 before switching to a different chord.

Try playing them in different orders other than 1, 4, 5.

2:4  The key of C:

The 1 chord consists of the notes C, E, and G.

The C is the 1, the root note, of the chord.  The E is the 3 of the chord.  The G is the 5 of the chord.  This is why it is a chord with 1, 3, 5 voicing.

Because of the way this chord is stacked, the C is on the 4^th string at the 5^rd fret.  The E is on 5^th string at the 5^th fret, and the G is on the 6^th string at the 3^rd fret.

The 4 chord is a F and it consists of the notes, F, A, and C.

The F is the 1, the root note, of the chord.  The A is the 3 of the chord.  The C is the 5 of the chord.  This is why it is a chord with 1, 3, 5 voicing.

Because of the way this chord is stacked, the F is on the 4^th string at the 10^th fret.  The A is on the 5^th string at the 10^th fret, and the C# is on the 6^th string at the 8^th fret.

The 5 chord is a G chord and it consists of the notes, G, B, and D.

The G is the 1, the root note, of the chord.  The B is the 3 of the chord.  The D is the 5 of the chord.  This is why it is a chord with 1, 3, 5 voicing.

Because of the way this chord is stacked the G is on the 4^th string at the 12^th fret.  The B is on the 5^th string at the 12^th fret, and the D is on the 6^th string at the 10^th fret.

Now play these chords in the 1, 4, 5 pattern, strumming each for a count of 4 before switching to a different chord.

Try playing them in different orders other than 1, 4, 5.

2:5  The key of C#:

The 1 chord consists of the notes C#, F, and G#.

The C# is the 1, the root note, of the chord.  The F is the 3 of the chord.  The G# is the 5 of the chord.  This is why it is a chord with 1, 3, 5 voicing.

Because of the way this chord is stacked, the C# is on the 4^th string at the 6^th fret.  The F is on 5^th string at the 6^th fret, and the G# is on the 6^th string at the 4^th fret.

The 4 chord is a F# and it consists of the notes, F#, A#, and C#.

The F# is the 1, the root note, of the chord.  The A# is the 3 of the chord.  The C# is the 5 of the chord.  This is why it is a chord with 1, 3, 5 voicing.

Because of the way this chord is stacked, the F# is on the 4^th string at the 11^th fret.  The A# is on the 5^th string at the 11^th, and the C# is on the 6^th string at the 9^th fret.

The 5 chord is a G# chord and it consists of the notes, G#, C, D#.

The G# is the 1, the root note, of the chord.  The C is the 3 of the chord.  The D# is the 5 of the chord.  This is why it is a chord with 1, 3, 5 voicing.

Because of the way this chord is stacked the G# is on the 4^th string at the 13^th fret.  The A is on the 5^th string at the 13^th fret, and the C is on the 6^th string at the 11^th fret.

Now play these chords in the 1, 4, 5 pattern, strumming each for a count of 4 before switching to a different chord.

Try playing them in different orders other than 1, 4, 5.

2:6  The key of D:

The 1 chord consists of the notes D, F#, and A.

The D is the 1, the root note, of the chord.  The F# is the 3 of the chord.  The A is the 5 of the chord.  This is why it is a chord with 1, 3, 5 voicing.

Because of the way this chord is stacked, the D is on the 4^th string at the 7^th fret.  The F# is on 5^th string at the 7^th fret, and the A is on the 6^th string at the 5^th fret.

The 4 chord is a G and it consists of the notes, G, B, and D.

The G is the 1, the root note, of the chord.  The B is the 3 of the chord.  The D is the 5 of the chord.  This is why it is a chord with 1, 3, 5 voicing.

Because of the way this chord is stacked, the G is on the 4^th string at the 12^th fret.  The B is on the 5^th string at the 12th, and the D is on the 6^th string at the 10^th fret.

The 5 chord is an A chord and it consists of the notes, A, C#, E.

The A is the 1, the root note, of the chord.  The C# is the 3 of the chord.  The E is the 5 of the chord.  This is why it is a chord with 1, 3, 5 voicing.

Because of the way this chord is stacked the A is on the 4^th string at the 14^th fret.  The C# is on the 5^th string at the 14^th fret, and the E is on the 6^th string at the 12^th fret.

Now play these chords in the 1, 4, 5 pattern, strumming each for a count of 4 before switching to a different chord.

Try playing them in different orders other than 1, 4, 5.;

Syllabus: Major Triad Chords in 1 4 5 Chord Progression on the Three Highest Strings

1^st Triads in 1, 4, 5 Chord Progressions on the Three Highest Strings Voicing (1, 3, 5), (1, 3, 5), (1, 3, 5)

2^nd Triads in 1, 4, 5 Chord Progressions on the Three Highest Strings Voicing (5, 1, 3), (5, 1, 3), (5, 1, 3)

3^rd Triads in 1, 4, 5 Chord Progressions on the Three Highest Strings Voicing (3, 5, 1), (3, 5, 1), (3, 5, 1)

4^th Triads in 1, 4, 5 Chord Progressions on the Three Highest Strings Voicing (1, 3, 5), (5, 1, 3), (5, 1, 3)

5^th Triads in 1, 4, 5 Chord Progressions on the Three Highest Strings Voicing (1, 3, 5), (3, 5, 1), (3, 5, 1)

6^th Triads in 1, 4, 5 Chord Progressions on the Three Highest Strings Voicing (1, 3, 5), (5, 1, 3), (3, 5, 1)

7^th Triads in 1, 4, 5 Chord Progressions on the Three Highest Strings Voicing (1, 3, 5), (3, 5, 1), (5, 1, 3)

8^th Triads in 1, 4, 5 Chord Progressions on the Three Highest Strings Voicing (5, 1, 3), (1, 3, 5), (1, 3, 5)

9^th Triads in 1, 4, 5 Chord Progressions on the Three Highest Strings Voicing (5, 1, 3), (3, 5, 1), (3, 5, 1)

10^th Triads in 1, 4, 5 Chord Progressions on the Three Highest Strings Voicing (5, 1, 3), (1, 3, 5), (3, 5, 1)

11^th Triads in 1, 4, 5 Chord Progressions on the Three Highest Strings Voicing (5, 1, 3), (3, 5, 1), (1, 3, 5)

12^th Triads in 1, 4, 5 Chord Progressions on the Three Highest Strings Voicing (3, 5, 1), (1, 3, 5), (1, 3, 5)

13^th Triads in 1, 4, 5 Chord Progressions on the Three Highest Strings Voicing (3, 5, 1), (5, 1, 3), (5, 1, 3)

14^th Triads in 1, 4, 5 Chord Progressions on the Three Highest Strings Voicing (3, 5, 1), (1, 3, 5), (5, 1, 3)

15^th Triads in 1, 4, 5 Chord Progressions on the Three Highest Strings Voicing (3, 5, 1), (5, 1, 3), (1, 3, 5),

100 Disc Changer- A Better Mix

This is early, but I felt it was necessary to have a mix of cds that I like better. Usually, I only update this twice a year, but I made some major changes, and thought I would share.

List of Artists:

Flower Kings, Dream Theater, Steven Wilson, Led Zeppelin, Dixie Dregs, Metallica, Megadeth, Queensryche, Pat Metheny, Gary Burton, John Scofield, Joe Pass, Iron Maiden, Iced Earth, Ozzy Osbourne, Extreme, Ayreon, Red Hot Chili Peppers, Symphony X, Pearl Jam, Steve Vai, John Coltrane, Black Label Society, Tool, Bela Fleck, Wes Montgomery, The Who, Herbie Hancock, The Mahavishnu Orchestra, Soulive, King Crimson, Stanely Clarke, Niacin, Testament, Shadow Gallery, Radiohead, Pat Martino, B.B. King, King’s X, Bill Frisell, Deep Purple, Savatage, Tony MacAlpine, Allan Holdsworth

List of cds:

Allan Holdsworth - Secrets

Tony MacAlpine – Maximum Security

Savatage – Edge of Thorns

Deep Purple – Machine Head

Bill Frisell – Live

King’s X – Gretchen Goes to Nebraska

B.B. King – 20th Century Masters

Pat Martino – Live at Yoshi’s

Radiohead – OK computer

Shadow Gallery – Prime Cuts

Testament – The Ritual

Niacin – self-titled

Stanley Clarke – School Days

King Crimson – The Power to Believe

Soulive – Doin’ Something

The Mahvishnu Orchestra – Birds of Fire

Herbie Hancock - Empyrean Isles

The Who – Who’s Better Who’s Best: This Is the Very Best of the Who

Wes Montgomery – Full House

Bela Fleck and the Flecktones – Greatest Hits of the 20th Century

Tool – Aenima

Black Label Society – Kings of Damnation Era

John Coltrane – Impressions

Steve Vai – Sex and Religion

Pearl Jam – Ten

Pearl Jam - Yield

Symphony X – The Odyssey

Symphony X – Twilight In Olympus

Red Hot Chili Peppers – The Uplift Mofo Party Plan

Red Hot Chili Peppers – The Abby Road EP

Ayreon – The Human Equation

Ayreon – Into the Electric Castle

Extreme – II Pornograffitti

Extreme – III Sides to Every Story

Ozzy Osbourne – Tribute

Ozzy Osbourne – Bark at the Moon

Iced Earth – Days of Purgatory

Iced Earth – The Blessed and the Damned

Iron Maiden – Fear of the Dark

Iron Maiden – 7th Son of a 7th Son

Joe Pass – Virtuoso No. 3

Joe Pass – Virtuoso No. 2

John Scofield – Works for Me

The John Scofield Band – Up All Night

John Scofield & Pat Metheny – I Can See Your House from Here

Gary Burton - Departure

Gary Burton, Chick Corea, Pat Metheny, Dave Holland, Roy Haynes – Like Minds

Pat Metheny – Speaking of Now

Pat Metheny – Secret Story

Pat Metheny Trio – 99 00

Pat Metheny, Dave Holland, Roy Haynes – Question and Answer

The Pat Metheny Group – Imaginary Day

Queensryche – Greatest Hits

Queensryche – Here in the Now Frontier

Queensryche – Empire

Megadeth – Youthanasia

Megadeth – So Far so Good

Megadeth – Killing Is My Business

Megadeth – United Abominations

Megadeth – Countdown to Extinction

Megadeth – Rust in Peace

Metallica – Ride the Lightning

Metallica - …And Justice for All

Metallica – black album

Metallica – Kill ‘Em All

Steve Morse – Coast to Coast

Steve Morse – High Tension Wires

Dixie Dregs – Full Circle

Dixie Dregs – What If

Dixie Dregs – Industry Standard

Dixie Dregs – Free Fall

Dixie Dregs – Unsung Heroes

Dixie Dregs – Dreg’s of Earth

Led Zeppelin – Coda

Led Zeppelin – In Through the Out Door

Steven Wilson – Grace for Drowning disc 1&2

Porcupine Tree – In Absentia

Porcupine Tree – Deadwing

Porcupine Tree – Lightbulb Sun

Porcupine Tree – Fear of a Blank Planet

Steven Wilson – The Raven That Refused to Sing

Dream Theater – A Dramatic Turn of Events

Dream Theater – Black Clouds & Silver Lining

Dream Theater – Systematic Chaos

Dream Theater – Awake

Dream Theater – 4 Degrees of Radio Edits

Dream Theater – Octavarium

Dream Theater – Falling Into Infinity

Dream Theater – Metropolis Pt. 2: Scenes from a Memory

Dream Theater – Self-Titled

Jordan Rudess – Notes on a Dream

Dream Theater – Score disc 1

James LaBrie – Winter Rose

Dream Theater – Train of Thought

Dream Theater – When Dream and Day Unite

Flower Kings – Back in the World of Adventures

Flower Kings – Stardust We Are

Flower Kings –The Rainmaker



Flower Kings – Space Revolver