Triads that are contained in 7th chords, with or without extensions or tension added.
However intellectual we get about chords and voicings, itās safe to admit to learning things visually. The ābig threeā of triad shapes are fairly memorable on the guitar: D, F, and Bb. If we assign more than one job to a chord shape, weāre left with less to teach our fingers, ending up with nice, easy chord forms to play when the chord that is called for on the lead sheet is, say, Bbmaj7(#5).
Upper structure triads usually refer to the three notes that form the high end of a 7th chord with added tensions on it. This month, weāre going to look at triads that are contained in 7th chords, with or without extensions or tension added.
Thereās that D triangle. What weāre really playing on the first three strings is a D major triad in the second inversion, or A, D and F#. Letās suppose weāre playing with a bass player, who is responsible for playing the root of a chord. We can now call that triangle B-7 (B-D-F#-A) if we hear it in the context of B in the bass. Similarly, F can function as a D-7 and Bb can function as a G-7. Letās move those two triad shapes up the neck to get two more inversions of a D major triad.
Thereās the shape that looks like Bb in example 1, but now it is a D major triad in the root position, or D-F#-A at the 5th fret. Following that is the shape that we called F in example 1, but now it is a D major triad in the first inversion, or F#-A-D at the 10th fret. Either of these D triads make a nice B-7 as well.
Consider the notes in that B%maj7(#5): Bb-DF#- A. Thereās our friendly D major triad again on the top three notes, so any of our D majors will give us the right chord sound if our trusted bass player lays down a B%.
Looking for a cool way to grab an E9sus4 (E-A-B-D-F#)? Our D major triads work nicely here, too. Our bass player will give us the E root, and will often play the 5th at some point, too.
These D triads can make a nice Gmaj9, too, but we need to be a little careful here. Gmaj9 is G-B-D-F#-A. Weāve got the upper structure covered just fine, but the all-important third of the chord is missing. Still, it will work if we have already established the major tonality and weāre just complimenting it some by moving around the neck.
The following examples show what happens when we use the other three triad types (minor, diminished and augmented) this way. The fun of the match game comes from recognizing that the chord which you just used as B-7(b5) works quite nicely as Bbmaj7, not to mention a D minor triad. For practice, find your way around lead sheets using only triad shapes. Be creative and transpose to your heartās content.
Jane Miller
Jane Miller is a guitarist, composer, and arranger with roots in both jazz and folk. In addition to leading her own jazz instrumental quartet, she is in a working chamber jazz trio with saxophonist Cercie Miller and bassist David Clark. The Jane Miller Group has released three CDs on Janeās label, Pink Bubble Records. Jane joined the Guitar Department faculty at Berklee College of Music in 1994.
janemillergroup.com
MayFly Le Habanero Review
Great versatility in combined EQ controls. Tasty low-gain boost voice. Muscular Fuzz Face-like fuzz voice.
Can be noisy without a lot of treble attenuation. Boost and fuzz order can only be reversed with the internal DIP switch.
$171
May Fly Le Habanero
A fuzz/boost combo thatās as hot as the name suggests, but which offers plenty of smoky, subdued gain shades, too.
Generally speaking, I avoid combo effects. If I fall out of love with one thing, I donāt want to have to ditch another thatās working fine. But recent fixations with spatial economy find me rethinking that relationship. MayFlyās Le Habanero (yes, the Franco/Spanish article/noun mash-up is deliberate) consolidates boost and fuzz in a single pedal. Thatās far from an original concept. But the characteristics of both effects make it a particularly effective one here, and the relative flexibility and utility of each gives this combination a lot more potential staying power for the fickle.
āLe Habaneroās fuzz circuit has a deep switch that adds a little extra desert-rock woof.ā
The fuzz section has a familiar Fuzz Face-like tone profileāa little bit boomy and very present in that buzzy mid-ā60s, midrangey kind of way. But Le Habaneroās fuzz circuit has a deep switch that adds a little extra desert-rock woof (especially with humbuckers) and an effective filter switch that enhances the fuzzās flexibilityāespecially when used with the boost. The boost is a fairly low-gain affair. Even at maximum settings, it really seems to excite desirable high-mid harmonics more than it churns out dirt. Thatās a good thing, particularly when you introduce hotter settings from the boostās treble and bass controls, which extend the boostās voice from thick and smoky to lacerating. Together, the boost and fuzz can be pushed to screaming extremes. But the interactivity between the tone and filter controls means you can cook up many nuanced fuzz shades spanning Jimi scorch and Sabbath chug with tons of cool overtone and feedback colors.
IK Multimedia is pleased to announce the release of new premium content for all TONEX users, available today through the IK Product Manager.
The latest TONEX Factory Content v2 expands the creative arsenal with a brand-new collection of Tone Models captured at the highest quality and presets optimized for live performance. TONEX Tone Models are unique captures of rigs dialed into a specific sweet spot. TONEX presets are used for performance and recording, combining Tone Models with added TONEX FX, EQ, and compression.
Who Gets What:
TONEX Pedal
- 150 crafted presets matched to 150 Premium Tone Models
- A/B/C layout for instant access to clean, drive, and lead tones
- 30 Banks: Amp & cab presets from classic cleans to crushing high-gain
- 5 Banks: FX-driven presets featuring the 8 new TONEX FX
- 5 Banks: Amp-only presets for integrating external IRs, VIRā¢, or amps
- 5 Banks: Stompbox presets of new overdrive/distortion pedals
- 5 Banks: Bass amp & pedal presets to cover and bass style
TONEX Mac/PC
- 106 new Premium Tone Models + 9 refined classics for TONEX MAX
- 20 new Premium Tone Models for TONEX and TONEX SE
TONEX ONE
- A selection of 20 expertly crafted presets from the list above
- Easy to explore and customize with the new TONEX Editor
Gig-ready Tones
For the TONEX Pedal, the first 30 banks deliver an expansive range of amp & cab tones, covering everything from dynamic cleans to brutal high-gain distortion. Each bank features legendary amplifiers paired with cabs such as a Marshall 1960, ENGL E412V, EVH 412ST and MESA Boogie 4x12 4FB, ensuring a diverse tonal palette. For some extremely high-gain tones, these amps have been boosted with classic pedals like the Ibanez TS9, MXR Timmy, ProCo RAT, and more, pushing them into new sonic territories.
Combined with New FX
The following 5 banks of 15 presets explore the depth of TONEX's latest effects. There's everything from the rich tremolo on a tweed amp to the surf tones of the new Spring 4 reverb. Users can also enjoy warm tape slapback with dotted 8th delays or push boundaries with LCR delay configurations for immersive, stereo-spanning echoes. Further, presets include iconic flanger sweeps, dynamic modulation, expansive chorus, stereo panning, and ambient reverbs to create cinematic soundscapes.
Versatile Control
The TONEX Pedal's A, B, and C footswitches make navigating these presets easy. Slot A delivers clean, smooth tones, Slot B adds crunch and drive, and Slot C pushes into high-gain or lead territory. Five dedicated amp-only banks provide a rich foundation of tones for players looking to integrate external IRs or run directly into a power amp. These amp-only captures span clean, drive, and high-gain categories, offering flexibility to sculpt the sound further with IRs or a real cab.
Must-have Stompboxes
TONEX Pedals are ideal for adding classic effects to any pedalboard. The next 5 banks focus on stompbox captures, showcasing 15 legendary overdrive, distortion, and fuzz pedals. This collection includes iconic models based on the Fulltone Full-Drive 2, Marshall DriveMaster, Maxon OD808, Klon Centaur, ProCo RAT, and more.
For Bass Players, Too
The last 5 banks are reserved for bass players, including a selection of amp & cab Tone Models alongside a few iconic pedals. Specifically, there are Tone Models based on the Ampeg SVT-2 PRO, Gallien-Krueger 800RB, and Aguilar DB750, alongside essential bass pedals based on the Tech21 SansAmp, Darkglass B7K and EHX Big Muff. Whether it's warm vintage thump, modern punch, or extreme grit, these presets ensure that bassists have the depth, clarity and power they need for any playing style.For more information and instructions on how to get the new Factory
Content v2 for TONEX, please visit:
www.ikmultimedia.com/products/tonex
Darkglass Electronics unveils ANAGRAM, a flagship bass platform designed to redefine tone, flexibility, and performance. The pedalās extraordinarily deep feature set includes multiple effects and modeling, an on-board looper and tuner.
Best of all, ANAGRAM brings together these creative tools in a streamlined, rugged format thatās designed for ease of use. Onstage and in the studio, bassists can quickly access and fine-tune their sound via the ANAGRAM interface:
- 7-inch high-brightness touchscreen for clear and intuitive control.
- Three footswitches for live performance control.
- Six high-resolution endless rotary knobs for precise parameter adjustments.
- Flexible input and output configuration.
With ultra-low latency, extensive customization, and seamless integration into the Darkglass ecosystem, it supports both studio precision and stage performance. Combining 15 years of innovation with cutting-edge processing power, ANAGRAM offers a purpose-built solution for bassists seeking unparalleled sound-shaping capabilities.
Anagram
Powered by a state-of-the-art hexacore processor and 32-bit/48kHz audio processing,ANAGRAM delivers ultra-low latency, pristine clarity, and studio-grade sound. Its intuitive blocks-based architecture lets players create signal chains in series (12 blocks) or parallel (24blocks) using a high-resolution touch display. ANAGRAM features three control modesāPreset,Scene, and Stompāfor instant switching, parameter adjustments, and traditional pedalboard-style operation. With a curated collection of distinct preamps, 50+ customizable effects, a looper, tuner, and user-generated IR support, ANAGRAM delivers unmatched creative flexibility.Seamless integration with the Darkglass Suite allows for expanded control and functionality. Additionally, Neural Amp Modeler (NAM) integration provides access to thousands
of high-quality amp and effect models, expanding tonal possibilities from analog warmth to futuristic textures.
"Anagram represents the culmination of years of research and development," says Marcos Barilatti, Managing Director of Darkglass Electronics. "We set out to create a product that not only pushes the boundaries of bass tone but also inspires musicians to explore new sonic territories."
Housed in a rugged anodized aluminum chassis, ANAGRAM is road-ready, compact, and powered via 9V or USB-C (PD). With flagship features at a compelling price, ANAGRAM represents the new standard for bassists seeking a modern platform for their performance.
Street $1199.99 USD
Alongside Nicolas Jaarās electronics, Harrington creates epic sagas of sound with a team of fine-tuned pedalboards.
Guitarist Dave Harrington concedes that while there are a few mile markers in the music that he and musician Nicolas Jaar create as Darkside, improvisation has been the rule from day one. The experimental electronic trioās latest record, Nothing, which released in February on Matador, was the first to feature new percussionist Tlacael Esparza.
Taking the record on tour this year, Darkside stopped in at Nashvilleās Brooklyn Bowl, where Harrington broke down his complex signal chains for PGās Chris Kies.
Brought to you by DāAddario.
Express Yourself
Harrington bought this mid-2000s Gibson SG at 30th Street Guitars in New York, a shop he used to visit as a kid. The headstock had already been broken and repaired, and Harrington switched the neck pickup to a Seymour Duncan model used by Derek Trucks. Harrington runs it with DāAddario NYXL .010s, which he prefers for their stretch and stability.
The standout feature is a round knob installed by his tech behind the bridge, which operates like an expression pedal for the Line 6 DL4. Harrington has extras on hand in case one breaks.
Triple Threat
Harringtonās backline setup in Nashville included two Fender Twin Reverbs and one Fender Hot Rod DeVille. He likes the reissue Fender amps for their reliability and clean headroom. Each amp handles an individual signal, including loops that Harrington creates and plays over; with each amp handling just one signal rather than one handling all loops and live playing, thereās less loss of definition and competition for frequency space.
Dave Harringtonās Pedalboards
Harrington says he never gives up on a pedal, which could explain why heās got so many. Youāre going to have to tune in to the full Rundown to get the proper scoop on how Harrington conducts his three-section orchestra of stomps, but at his feet, he runs a board with a Chase Bliss Habit, Mu-Tron Micro-Tron IV, Eventide PitchFactor, Eventide H90, Hologram Microcosm, Hologram Chroma Console, Walrus Monument, Chase Bliss Thermae, Chase Bliss Brothers AM, JHS NOTAKLĆN, two HexeFX reVOLVERs, and an Amped Innovations JJJ Special Harmonics Extender. A Strymon Ojai provides power.
At hip-level sits a board with a ZVEX Mastotron, Electro-Harmonix Cathedral, EHX Pitch Fork, Xotic EP Booster, two EHX 45000 multi-track looping recorders, Walrus Slƶer, Expedition Electronics 60 Second Deluxe, and another Hologram Microcosm. A Live Wire Solutions ABY Box and MXR DC Brick are among the utility tools on deck.
Under that board rest Harringtonās beloved Line 6 DL4āhis desert-island, must-have pedalāalong with a controller for the EHX 45000, Boss FV-50H volume pedal, Dunlop expression pedal, Boss RT-20, a Radial ProD2, and another MXR DC Brick.