Triads with Doublings and Suspended 4ths (Harmonized Scale: “D” Harmonic Minor)

The following examples show various four-note triadic constructions with doublings and suspensions moved through a “D” Harmonic Minor scale.

The first chord is a commonly played triad with a duplicated root. The intervals, stacked vertically, are as follows: 5th, 4th, & 3rd. The intervallic construction is maintained and moved through the harmonized scale:

Next, the 3d is suspended (replaced with a diatonic fourth) and the resulting 5th, 4th & 4th construction is moved through the scale:

The second voicing type is a triad with a duplicated 3rd. The intervals, stacked vertically, are as follows: 3rd, 4th, & 3rd. The intervallic structure is maintained and moved through the harmonized scale:

Next, the upper 3d is suspended (replaced with a diatonic fourth) and the resulting 3rd, 4th & 4th construction is moved through the scale:

The third construction is a triad with a duplicated 5th. The intervals, stacked vertically, are as follows: 4th, 3rd, & 3rd. The intervallic structure is maintained and moved through the harmonized scale:

Next, the 3d is suspended (replaced with a diatonic fourth) and the resulting 4th, 4th & 2nd construction is moved through the scale:

Try finding additional four-note triads with duplicate notes or “doublings.” Here are two other possible starting chords:

Also, try transferring these voicings onto other string sets. Here is one of the previous chords transposed down an octave and placed on string set 5432:

Finally, experiment with various scales. Harmonic Minor is particularly useful, however, as it contains Major, Minor, Diminished, and Augmented triads.

7th Chord Arpeggio Permutations, Contours, & Chord Cycles

“The poet only asks to get his head into the heavens. It is the logician who seeks to get the heavens into his head. And it is his head that splits.” – G.K. Chesterton, Orthodoxy

Below are 24 possible orderings of a 7th chord arpeggio.

I have organized the combinations across a six-day practice cycle for digestibility:

Though notated as C Major 7 arpeggios, these permutations can represent other harmonies. I highly recommend playing the permutations through harmonized scale “cycle” progressions, “tweaking” the intervals to suit the chord qualities involved in a given progression:

Various contours are possible, depending on the octave chosen for each of the tones. Here are four different contours for the same combination (1357):

Here are the same four contours, transposed up an octave:

Now through the harmonized Melodic Minor scale, Cycle 2:

The same four contours, transposed up an octave:

Now through the harmonized Harmonic Minor scale, Cycle 2:

The same four contours, transposed up an octave:

As you can see, the possibilities are endless.

Try practicing a few permutations per day through either Major, Melodic Minor, or Harmonic Minor harmonized scales.

Remember to explore the various “Cycle” progressions, listed above.

It’s not reasonable to practice every pattern, but you’ll discover some exciting things if you occasionally dip into this well of possibility.

Diatonic ii-V-I Progressions (7th Chord Inversions)

Learning chords in isolation is useful, but learning chords in relation to common chord progressions is much better.

These diatonic ii-V-I progressions are composed of four-string 7th chords grouped by the closest inversions on the neck.

By retaining common tones smooth voice leading is ensured.

I have intentionally omitted fret numbers to stress the mobility of the shapes.