Take a song chord progression of 1, 4 & 5 and the chords in the key of C to help with my question: In a sequence where the song calls for a chord change from the 1 chord to the 4, is it musically feasible to use the 2 &/or 3 chord in a passing fashion to make the progression? I’ve been doodling with triads on strings 1, 2 & 3 today and playing all the chords in the key of C up the fretboard. C Dm Em F G Am Bdim C and on their own the transitions sound musical but I don’t know if it would create dissonance if playing with others who stayed with the basic major chords. If I had a way of recording I could try it out myself. I’ll do some experimenting playing along with some songs. Question probably highlights my lack of knowledge.
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It certainly is Willsie, and many other ways besides.
There are pretty much infinite possibilities when moving between chords. This is is a simple chromatic like climb. Another cool one to play around with is the ii V (I); from the I to the IV, on the turnaround etc,
Cheers, Shane
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Short answer … oh yes indeedy.
Long answer brewing in my thoughts.
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[quote="sclay, post:2, topic:397316”]
Another cool one to play around with is the ii V (I); from the I to the IV, on the turnaround etc
[/quote]
@sclay I think I remember something like this coming up in the BLIM lessons?
[quote="Richard_close2u, post:3, topic:397316”]
Long answer brewing in my thoughts.
[/quote]
@Richard_close2u Can’t wait!
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This is a really good question, which I’m not sure was answered. I would have guessed that everybody should be playing the same chords, even the passing chords, but I’m really not sure.
I suppose you could do an experiment using a looper (or a friend ).
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@Willsie
There are many ways to insert passing chords as a temporary stepping stone to move between chords. If playing triads, they can provide a useful means of adding this to your playing. As a rule of thumb, to move from one chord to another, you can place in front of the arriving chord, a brief passing chord that is the diatonic chord one above or one below it in the sequence of the scale degrees.
Examples
C → F
1] C → [ Em ] → F
2] C → [ G ] → F
Em and G would be the passing chord.
A similar technique to create the feeling of movement and transitioning is to alter the bass note and use slash chords.
Examples
1] C → [ C/E ] → F
2] C → [ C/G ] → F
C/E and C/G are slash chords whose bass note is a scale degree below and above the root note of the F chord that is coming next.
So it is with triads. Your question asks about playing not one but two triads as a bigger set of stepping stones. In particular going from the I chord to the IV chord using both the ii and iii chords (as triads). It’s the old adage … if it sounds good it is good.
I have created a repeating loop of C → F → G → C as a backing and added some passing triads over the top. I have done this in a combination of ways.
2 triads passing up
From C to F using Dm then Em respectively (D, E, F).
From G to C using Am then Bdim respectively (A, B, C).
1 triad passing up
As above but with the middle triad removed.
2 triads passing down
From C to F using Am then G respectively (A, G, F)
From G to C using Em then Dm respectively (E, D, C).
1 triad passing down
As above but with the middle triad removed.
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That’s such a helpful answer, Richard, so much in your debt! Brilliant.
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Well Richard, whatever warm up I was planning just got replaced with your triad exercise!
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Exactement!
I will have to take a look at this cheers guys, it all looks so interesting cheers hec
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Hello John,
its really interesting to think about that like this… and I am glad other said this is how it works. You just teached me something new. 
Deep down I had thinking something like this works, because I can do some walking base, so I guess the base is from chords you are saying. I was not just thinking about such complexity.
Thanks for sharing.
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Thank you @Carreta but @Richard_close2u deserves all the thanks.
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Interesting read Richard and a good question JW. Been doing a lot of work with major and minor triads over recent weeks, mainly for solos and arpeggios. Progressions when used have been pretty vanilla, espescially as my old fingers don’t do rapid changes. But this opened my eyes for a piece I am working on. And though a little to late to feature on it first outing, these types of passing chords may be added down the road.
IMHO some of these work better than others but we all have different ears and taste, so I’ll say no more than that. Of course the usual caveat is “IISGIIG” !!
Such endeavours are much appreciated,
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Wow, now that’s what I call a comprehensive answer! Lots to get into there, thanks Richard!
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