In part four, we will explore 7th no 3rd triads. Like 7th no 5th triads, these are derived simply by removing one note from a traditional 7th chord although, in this case, the 3rd is removed. This fascinating structure creates a sound that is both traditional and tonal due to its derivation from 7th chords, and at the same time, open and ambiguous because of its lack of 3rd. In many ways, this configuration provides the best of both worlds.

Diatonic Triads Complete part 4: 7th no 3rd covers:

• explanation of 7th no 3rd chords
• “piano style” versus “choir style” inversions on the guitar
• map of all inversions of 7th no 3rd triads, plus diatonic harmonized scales on all string sets
• using diatonic cycles to gain fluency with inversions and voice leading, including contrapuntal variations
• exploration of open 7th no 3rd triads
• arpeggiating 7th no 3rd triads to create melodic ideas
• exploring 7th no 3rd triads from the melodic and harmonic minor scales
• single-note line and chordal phrases over major and minor II V I progressions to demonstrate real-world applications
• 51 minute running time
• includes 13 pages of written examples and exercises
• includes backing tracks for major and minor II V I musical examples
• All musical examples from the video are provided in music notation, tablature, and chord grid form.
• Each example performance is shown in close-up view and titled and numbered for easy navigation.