Whole Tone Triads

So you’ve learnt the Whole Tone scale and the next natural thought is how do I use this? I find the most effective way is to play the triads in triplets and to learn these triads in different locations on the neck. Like the diminished scale and diminished triads, the whole tone scale is symmetrical and therefore gives us nice and easy patterns to remember. Open the PDF to see a few suggestions on where and how to play them: Whole Tone Triads

In terms of application, the most common usage is over an altered dominant chord. Imagine you have G7 chord – here is how it could link to altered versions of a G7:

dom whole tone


Looking at this the best usage to create outside sounds would be over a G7b5 or #5 chord.

One very outside application is to use it over a minor chord. For a Gminor chord you wouldn’t use G whole tone, you would go from a semitone below- so Gb Whole Tone.

minorwholeI think this works best over a Gminor/Maj7 chord (G, Bb, D, Gb). Whole Tone ideas to create quite a bit of tension so it’s always good to try and resolve to something more in keeping with the chords you are playing after playing a whole tone idea.