Scott Miller Guitar

01/02/2026

"How does a sus2 chord differ from a major add9 chord?"

On guitar, the difference between a sus2 chord and an add9 chord comes down to whether the 3rd is present.

Although the 2 and the 9 are the same pitch class—for example, in C, both are D—they serve different harmonic roles.

A sus2 chord, which replaces the 3rd with the 2, is a three-note triad with the formula 1–2–5, which removes the chord’s major or minor identity.

An add9 chord, which keeps the 3rd and adds the 9th, has the formula 1–3–5–9, which preserves the chord’s tonal quality.

The names are descriptive:

“sus2”, which indicates suspension, tells you the 3rd has been replaced

“add9”, which assumes the presence of a 3rd, tells you the added pitch is treated as a 9 rather than a 2

In practice, once a chord contains a 3rd, it is far more common to call that added pitch a 9, even though it is technically the same note as the 2.

01/01/2026

Music uses one major scale, which already provides strong harmony and smooth melody.

Minor works differently.

The minor key must balance harmonic strength and melodic smoothness, which one scale cannot fully satisfy. Musicians therefore use three related minor forms, which solve different musical problems.

Natural minor: 1 2 ♭3 4 5 ♭6 ♭7

This form sounds dark and modal, but lacks a strong leading tone, which weakens harmony.

Harmonic minor: 1 2 ♭3 4 5 ♭6 7

This form restores the leading tone, which strengthens cadences, but creates a difficult melodic leap.

Melodic minor: 1 2 ♭3 4 5 6 7

This form smooths melodies while preserving harmonic pull.

Music theory describes one minor key, which allows flexible 6ths and 7ths, which change according to musical need.

Major does not require this flexibility—which is why it has one form.

Practice hard!

12/31/2025

Natural minor has a problem.
The V chord is minor — and weak.

No leading tone.
No strong pull home.

By raising the 7th, composers created:

• a true dominant (V7)
• a strong resolution
• clear tonal gravity

The “exotic” sound wasn’t the goal.
It was the cost of fixing harmony.

Scales weren’t invented for practice.
They exist because music demanded them.

Save this 🎸

12/30/2025

Now that we have explored all four tertian triad types, which are major, minor, augmented, and diminished, here is one of the coolest and most practical ways to use triads as chord structures!

As discussed previously, a slash chord is a chord which places a note other than the root in the bass. If we take triads built on C—C major, C minor, C augmented, and C diminished—and place each of them over a D bass note, we create a powerful collection of extended dominant sounds. These structures produce 9th, 11th, and 13th chord colors, which players commonly use in jazz, fusion, and modern harmony.

Here is how each one functions:

A C major triad over D produces D11, which contains the intervals 1, ♭7, 9, and 11. Players often describe this sound as either D11 or D9sus4, which functions as a D Mixolydian chord.

A C minor triad over D produces 1, ♭7, ♭9, and 4 (or 11) which creates a Dsus♭9 or D7sus4(♭9) sound. This chord produces a dark, Spanish or flamenco-style color, which players frequently hear in Latin and modal contexts.

A C augmented triad over D produces 1, ♭7, 9, and ♯11, which forms a D9♯11 chord. This sound clearly outlines the Lydian dominant mode (mode IV of Melodic Minor), which remains one of the most expressive dominant colors available.

A C diminished triad over D produces 1, ♭7, ♭9, and 3, which results in a D7♭9 chord. This sound works effectively with the G harmonic minor scale, the E♭ melodic minor scale, or the D half–whole diminished scale, each of which reinforces its dominant function.

One of the strongest reasons to practice triads is that they allow players to create rich 9th, 11th, and 13th chord sounds using simple, movable shapes, which removes the need to memorize countless extended-chord fingerings.

Triads are small shapes which generate enormous harmonic power.

Practice them diligently. Let's go!

12/29/2025

The last of the four Tertian triads is the diminished triad. We have already covered major, minor, and augmented triads.

Musicians consider major and minor triads asymmetrical, because their interval structure changes between chord members, which means that their inversions differ.

The augmented triad stands apart because its interval structure stays identical between the root and the third, and between the third and the sharp fifth, which makes all of its inversions the same.

The diminished triad works differently. It consists of two stacked minor thirds, which creates symmetry, but which does not produce identical inversions.

Add diminished triads to your daily practice alongside major, minor, and augmented triads. Practice them in all keys and inversions, which you should do systematically, and your fingerboard knowledge will expand fast!

12/28/2025

Although musicians construct major triads by combining a major third and a minor third, and construct minor triads by combining a minor third and a major third, augmented triads stand apart.

The augmented triad forms a symmetrical structure, which consists of two stacked major thirds.

When we examine major harmony and natural minor harmony, we find no augmented triads which occur naturally within either system. An augmented chord appears naturally only as the III chord of the harmonic minor and as the III chord of melodic minor, which triad produces a raised fifth above the root.

Because the augmented triad is symmetrical, any note which appears in the chord may function as the root. For example, C augmented (C–E–G♯) sounds identical to E augmented and G♯ (A♭) augmented, which represent enharmonic spellings of the same pitch structure.

One of the most valuable practices is to learn augmented triads which you organize systematically across the entire fingerboard, using four different string sets. As noted previously, triads form the upper structures of larger 9th, 11th, and 13th chords, which makes this work far more than simple shape memorization.

Add augmented triads to your daily practice alongside major and minor triads, and once you complete diminished triads, you will have a command the four essential triad qualities, which represent one of the true keys to harmonic mastery!

12/27/2025

12/26/2025

12/24/2025

12/24/2025

Now that we understand the theory behind root-position triads and first and second inversions, it is time to play them.

I always teach students that everything must be played in all twelve keys, or more accurately, across all twelve pitches. One must know all twelve major triads, all twelve minor triads, all twelve augmented triads, and all twelve diminished triads, including every inversion. This is step one.

After working through close-position triads, the next level is to move toward spread voicings, which are often referred to as drop-two voicings. These sound incredible—à la Eric Johnson.

Begin with a C major triad, which consists of the notes C–E–G. On the sixth string, play the root-position triad at the eighth fret, then follow the diagram to play the first inversion, followed by the second inversion, finishing on the root position triad on highest string set.

Next, move to the twelfth fret and begin with the first-inversion triad, followed by the second inversion, then the root position, and then the first inversion again. Move to the fifteenth fret and begin with the second-inversion triad, followed by the root position, the first inversion, and the second inversion.

Finally, drop down to open position and play the same triads which you played at the fifteenth fret, now located at the third fret. At this point, the entire neck is mapped out using C major inversions.

Some students feel that a triad is “just a triad,” but I remind them that in the case of polychords and slash chords, the upper extensions are often nothing more than major or minor triads, which can create rich ninth, eleventh, and thirteenth chord sounds. This is where triads become truly powerful.

Once C major is complete, continue around the circle of fifths, ensuring that you play all eleven remaining major triads in the same manner. Practice hard!

12/23/2025