https://www.youtube.com/watch?v=Zx0yLblHEA0
Hey fam! Have a pretty cool concept the Patreon Community enjoyed very much, so I figured I might as well produce a fuller lesson on it and share the concept

https://www.truthinshredding.com/2021/01/keven-eknes-elevate-your-triad-game.html
Hey fam! Have a pretty cool concept the Patreon Community enjoyed very much, so I figured I might as well produce a fuller lesson on it and share the concept further.

https://www.royzivmusic.com/hexatonicscale1
Adding this note to the scale changes it from a Pentatonic to a Hexatonic, and the Hexatonic scale shapes can open up a whole new way of visualizing and mapping out the fretboard. It's so much more than just a scale, because hidden within these scale shapes is an entire system that can help you ... Basic position triads and 7th arpeggios

https://www.guitarworld.com/lessons/how-to-use-the-major-hexatonic-scale-of-a-i-iv-progression
A great twist on the standard major hexatonic scale is to use an altered set of intervals: in Figure 5, the notes G#, A, B, C#, E and F# are played over A, which sounds E major hexatonic over an A tonal center. Figure 6 offers an 11-bar solo based on A major hexatonic over the Amaj7-Dmaj7 progression. Play through the solo slowly while taking

https://www.guitarworld.com/lessons/guitar-101-learning-harmony-through-six-note-hexatonic-scales-part-4
These same two triads, D and Em, also happen to form another cool hexatonic scale, the somber-sounding E minor hexatonic (E F# G A B D) shown in FIGURE 2. When played over an E bass note, the Em triad is heard as "one minor," and D becomes "flat-seven major."

https://posidovega.com/triad-pairs
Minor triad: 1, ♭3, 5. Augmented triad: 1, 3, ♯5. Diminished triad: 1, ♭3, ♭5. Up next, we'll take a look at how we can pair specific triads to create any sound of chord that you want. This is an exciting concept often used by jazz musicians that can help bring both freedom and harmonic clarity to your lines.

https://www.jazz-guitar-licks.com/blog/what-are-hexatonic-scales.html
The Blues Scales. This group of hexatonic scales includes the Blues Scales, that are actually the major and minor pentatonic scales (five notes) with an added chromatic passing tone. The most commonly used are : The minor blues scale with a b5. The minor blues scale with a 3. The minor blues scale with a 7.

https://www.saxontheweb.net/threads/chad-lb-triad-pairs-hexatonics-exercises.397005/
raghav. With triad pairs, the key is to experiment with different options and see what type of sound each option leads you to over the chord/scale of interest. For example, over a major scale, you have 7 different options of triad pairs (depending on which note you choose to omit; most commonly the 4/5 triad is used, which omits the major third).

https://johnnycoxmusic.com/triad-pairs-hexatonic-scales/
Another hexatonic scale created by combining two augmented triads is the augmented scale. Augmented Scale - Starting on C. The augmented scale is comprised of the notes of two augmented triads a semitone apart. In this case, C augmented and B augmented. C and B augmented Triad Pair. These examples only scratch the surface of everything that

https://bensguitarclub.teachable.com/p/how-to-play-triad-pairs
We'll be exploring a total of 27 detailed Triad Pair/Hexatonic Scale examples, demonstrating how these materials work theoretically and how they can be applied over a ii-V-I progression in the key of C Major. In this online masterclass, you will be able to access 19 lesson videos across a total of 4 sections, featuring in-depth theoretical

https://www.zotzinguitarlessons.com/blog/improvising-with-triad-pairs-on-guitar/
The result is a unique sound, which you could never get if you just thought of the notes as 1 grouping of 6 notes, or in other words "as a scale". That is the beauty of triad pairs. These triad pairs could be played as actual triad chord shapes, or as triad arpeggio fingerings. Both approaches will be showcased in videos later on.

https://jtcguitar.com/store/package/hexatonic-scale-masterclass-beginner
The sections you'll be digging into are as follows; Concepts and positions of the scales, linking the shapes together, finding and emphasising the target note, breaking out of the box with single strings, developing and building motion using sequences and patterns and finally, finding triads and 7th arpeggios.

http://www.opus28.co.uk/hexsfromtriads.pdf
8. AUGMENTED HEXATONIC. Combine a minor triad and a major triad a major 3rd apart (or, probably easier to remember, 2 augmented triads a minor 3rd apart). This is a totally symmetrical scale comprised of minor 3rds a half step apart. You can also see it as an equal split of the octave into major 3rds with approach tones.

https://www.jazzlessonvideos.com/post/6-exercises-on-triad-pairs-hexatonics-for-jazz-musicians
Exercise 1. We're going to start with an easy pairing, again, it will be two major triads a whole step apart. Let's look at F and Eb. This makes a hexatonic scale of F, G, A, Bb, C, Eb. Of course you can use this when playing over the chords we built from, but there are more choices, too. Let's play it over F7 and Cm7. Often, it works

https://bobbysternjazz.com/blog-b-natural/hexatonic-triad-pairs-vol-1-major-scale-pairs
The term "Hexatonic Triad Pairs" is actually a redundant phrase, or something known as a "pleonasm". It is, however, accurately self-descriptive and rolls off the tongue quite easily. A true triad pair - which is formed from 2 adjacent triads and therefore comprised of 6 non repeating notes - always results in a hexatonic (6 note) scale.

https://postmodernguitarist.wordpress.com/2014/04/18/triad-pairshexatonic-scales-introduction/
Triad Pairs are a common tool amongst both modern jazz players and composers of the early 20th century. The idea is self-explanatory. Put simply they are two triads paired together that do not share a common tone. For example check out these triads: By nature of them being triads (3 notes each) and not sharing a common tone

https://www.simplifyingtheory.com/whole-tone-scale-hexatonic/
The whole tone scale can be applied on top of the dominant chords. To do this, just play the hexatonic of the dominant in question. For example: in the Am7 | G7 | C progression, we can play the hexatonic scale of G on top of G7. Great, we will add a few more details next, but it's good to know that the hexatonic scale is not as used as the

https://bobbysternjazz.com/blog-b-natural/directions-connections-alternating-triads-in-a-pair
The premise of this ii-V7 exercise is to create a line consisting of the alternating Melodic Minor triad pair described above over both the ii and V chords. Using each descending note of the ii chord's hexatonic scale as a starting point, connections between the chords are made via the smallest possible interval, before resolving to the tonic Major chord in the final bar.

https://ianring.com/musictheory/scales/2457
Scale 2457: "Augmented". This highly symmetrical scale is constructed from two interlocked augmented triads. Often referred to as just "The Augmented Scale" or "Augmented Hexatonic", it was used prominently used in Liszt's "Faust Symphony". It is sometimes confused with another scale which is nicknamed Major Augmented, the 3rd mode of the

https://www.reddit.com/r/Guitar_Theory/comments/lfoj8r/hexatonic_scales_are_arguably_more_tasteful_than/
(Diatonic scales literally house 3 pentatonic scales/shapes inside of them, therefore in practice a pentatonic scale can only turn into one of three diatonic scales) Enough about video games, you should know that HEXATONIC SCALES ARE DANGEROUS! Just kidding, as long as you can add your 4 and 7 to a pentatonic then 6note scales are great, they

https://www.facebook.com/groups/jazzimprovresources/permalink/1965237877035704/
Hexatonic ideas. Combining scale motion and triads, then playing that shape through the modes on the hexatonic scale

https://studylib.net/doc/18263583/hex-scales-from-triad-pairs
AUGMENTED HEXATONIC. Combine a minor triad and a major triad a major 3rd apart (or, probably easier. to remember, 2 augmented triads a minor 3rd apart). This is a totally symmetrical scale comprised of minor 3rds a half step apart. You can also see it as an equal split of the octave into major 3rds with.

https://acousticguitarlessonsonline.net/combining-pentatonic-scales-and-triads
Triads are a great tool for playing more melodic guitar solos. So mixing these two concepts makes sense and results in a great method for creating solos on guitar in any style of music. In this lesson, you learn a super simple way to train the skill of connecting pentatonic scales with triad shapes so you can craft some super tasty guitar solos