In my last article I talked about how triads can be used to construct more interesting solos. If you take this whole concept one step further you can begin to really incorporate these ideas and shapes in new ways.that will allow you to scale the fret board, somewhat escaping the idea of scales, or combining the knowledge you have of scales with the shapes and melodic sounds of these triads. In doing this you are approaching the music the way many of the greats did in all different genres of music from Charlie Parker to Yngwie Malmsteen. In a sense, these chord shapes are 
really just arpeggios, considering that the definition of an arpeggio is the notes of a chord played individually. For this article to really help you, you must already be familiar with your seven modes and the shapes of these scales on the fret board, as well as the theory that must be known to understand the logic behind the modes. Now let’s get started!!!
If we are working out of C major, no sharps or no flats for example, then we know that the C major scale, or Ionion mode, has six other corresponding scales that correspond to it. These are the Dorian, Phyrigian, Lydian, Mixolydian, Aolian, (natural minor) and the Locrian. Each of these scales is based around either a major, minor, dominant or some kind of diminished chord and within these scales you have all these chords shaped out. These chords are then reduced to their triadic equivalent In this case a Major seventh chord is just a major triad without the major seventh. The 2 chord is a minor triad without the seventh . The three chord is the same as the second. The four chord is a major triad without the seventh and the 5 chord is also a major triad without the flatted seventh, so instead of a dominant we just have a major triad again. The sixth chord is a minor triad without the seventh and the last chord is a diminished chord. This comes from the minor7b5 because when we remove the flattened seventh we merely have a diminished triad. Once you can envision these chord shapes within the scale, you can really begin to create interesting melodies within your solo as it will open up an array of ideas both audibly and visually.
As discussed above, in the Key of C major (as we are using this key as our example) we have all these seven triads that are all diatonic to the key. Believe it or not every one of these chord shapes can be found within each mode. This is where the excitement begins. One can then begin to weave ideas in and out of these chords connecting them in an array of ways to coax amazing sounds and melodies from their guitar. Now imagine within your solos being able to navigate your ideas with such an array of possibilities. Remember, the most important thing you will be gaining from this concept is melodicism, which is essentially the most important aspect to music outside of or even along with rhythm. In this next diagram I am going to show how each triad can be “cut out” of its parent mode. After memorizing the shapes of the various triads, try connecting them to one another by whole and half steps, and make sure to pay close attention to how these chords are taken directly out of each mode. You will realize that the shapes of the triads stay the same, but merely vary on what note they begin with. This makes the whole concept of incorporating triads into your solos much easier to grasp. Unlike piano players, the guitar’s advantage is that shapes do not differ that much when transposed to other keys.I do believe however, that the guitar poses to be more challenging due to simple technique!!! Yet, that conversation is for a another time. Also, remember that before getting started with the attached examples any note outside of the triad shape, but within the parent scale or mode, will work within your solos as a color tone and serve to enhance the harmonic possibilities amongst your playing. We will begin with a C major scale. I am going to demonstrate the scale shape which we can think of as the Ionion mode, and then cut out its seven relative triads so you can see how the chords fit within the parameters of the scale. Essentially, all these chords can have the sevenths attached to them making them seventh chords, sounding more Jazz like, but for soloing purposes we usually think in terms of triads.
Now, after you have played through this example and memorized the shapes, go through each of the six other modes and find all these chord shapes and work on connecting them in different and creative ways. Simply begin on the root of each triad and continue forming these patterns within the particular mode you are working out of. When you use these lines in your solos make sure to employ rhythmic variations to these eight note ideas. Although there is nothing wrong with using eight note lines, rhythmic variation just tends to add interest in your playing, as inflections can do the same.
Next time, I would like to discuss how alterations amongst these triads and superimposing these same chords over certain other chords can even further push your melodic sensibility.
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