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TPS (Guitar) — Quick Reference
TPS Guitar Quick Reference
Triad Placement System — Guitar
Keyboardist / Harmonist
Core Formula
Shape + Placement + Spacing + Purpose = harmonic color
- Shape: the four triad atoms (major, minor, diminished, augmented)
- Placement: which scale degree the triad sits on relative to the bass
- Spacing: string set, inversions, skipped strings, register
- Purpose: what PDC decided the music needs
The Movable Advantage: Learn one root position, use all 12. The same physical shape produces the same color relationship at every fret. Transfer is immediate once the shape is in your hands.
The Four Triad Atoms
| Triad | Formula | C Example | Character |
|---|---|---|---|
| Major | 1 3 5 | C E G | Stable, bright, clear |
| Minor | 1 b3 5 | C Eb G | Darker, warmer, emotional |
| Diminished | 1 b3 b5 | C Eb Gb | Tense, directional |
| Augmented | 1 3 #5 | C E G# | Dreamy, unresolved |
Three inversions: Root | First | Second (each has a different fret pattern on the string set)
Physical prerequisite: Mute unused strings cleanly before using TPS in ensemble contexts.
G-B-e String Set: C Shapes
| Triad | Root Position | First Inversion | Second Inversion |
|---|---|---|---|
| C major | 5-5-3 | 9-8-8 | 12-13-12 |
| C minor | 5-4-3 | 8-8-8 | 12-13-11 |
These are starting positions. Move the same shape to any fret for a different root — the intervals above the bass remain identical.
The First Seven Placements Over C
| Placement | Triad | Intervals | Sound | Best Use |
|---|---|---|---|---|
| 1 major | C/C | 1 3 5 | Plain major | Clarity, grounding |
| 3 minor | Em/C | 3 5 7 | Maj7 compression | Elegant major color |
| 5 major | G/C | 5 7 9 | Maj9 | Safe sophistication |
| 5 minor | Gm/C | 5 b7 9 | Dominant 9 | Blues, swing, funk |
| b7 major | Bb/C | b7 9 11 | Dominant sus | Soulful, gospel, rock |
| 2 major | D/C | 9 #11 13 | Lydian | Floating, cinematic |
| b3 major | Eb/C | #9 5 b7 | Blues bite | Grit, dominant tension |
Major Family Quick Map
| Goal | Placement | Example |
|---|---|---|
| Plain major | 1 major | C/C |
| Maj7 | 3 minor | Em/C |
| Maj9 | 5 major | G/C |
| Major 6 | 6 minor | Am/C |
| Lydian | 2 major | D/C |
| Lydian shimmer | 7 minor | Bm/C |
Dominant Family Quick Map
| Goal | Placement | Example |
|---|---|---|
| Dominant 9 | 5 minor | Gm/C |
| Dominant sus | b7 major | Bb/C |
| Blues bite | b3 major | Eb/C |
| Open 13sus | 2 minor | Dm/C |
| Dark altered | b6 major | Ab/C |
Minor Family Quick Map
| Goal | Placement | Example |
|---|---|---|
| Plain minor | 1 minor | Cm/C |
| Minor 7 | b3 major | Eb/C |
| Minor 9 | 5 minor | Gm/C |
| Minor 11 | b7 major | Bb/C |
| Dorian | 2 minor | Dm/C |
| Borrowed dark | 4 minor | Fm/C |
PDC to TPS Matrix
| PDC Diagnoses | TPS Options |
|---|---|
| Clarity | 1 major/minor; shells; guide tones |
| Openness | Spread triads; skipped strings; 2 major |
| Blues bite | 5 minor; b7 major; b3 major |
| Sophistication | 3 minor; 5 major; 2 major; 7 minor |
| Crowded texture | One triad on top strings; shell only; silence |
| Calm | 1 major/minor; 6 minor; soft spread |
| Lift | 2 major; high-register triads |
| Tension | b3 major; b2 minor; altered colors |
Guitar Register and Root Rules
- Top string set (G-B-e): Main TPS color zone. Stays above bass, avoids mud.
- Mid string set (D-G-B): Fuller sounds, more spacing awareness needed.
- Low strings (E and A): Blues Root zone. Not for TPS color triads.
- Root supply: From bassist, backing track, open string, or thumb. Always know where the floor is.
Blues Root + TPS on Guitar
- With bassist: Play upper string sets only. Trust the bass to carry the floor.
- Fingerstyle: Thumb = Blues Root (lower strings). Fingers = TPS color (upper strings).
- Ensemble: Know which string is the lowest-sounding note in every voicing.
Instrument Quick SOP
- Let bass/backing establish the root when possible
- Choose one string set
- Place the triad shape above the root
- Move through inversions
- Try skipped/open strings for spread color
- Apply one rhythm cell
- Ask whether it served the music
Guitar Texture Rules
- With bassist: play upper triads only, avoid doubling low roots
- With singer: play between phrases, not over them
- Solo guitar: thumb bass + upper triad shapes
- Three-note shapes are usually clearer than full six-string grips
- Mute unused strings before playing in ensemble
Voice Leading Reminder
Voice leading is a Semester 2 skill. Build the habit now: look for the inversion where your fingers travel the shortest distance between positions. Same string set area, nearby inversions. The explicit training comes later.
15-Minute Daily Loop
| Time | Layer | Action |
|---|---|---|
| 3 min | Shape | Major/minor triads on G-B-e, three inversions |
| 3 min | Placement | Play First Seven over C drone/backing |
| 3 min | Spacing | Try skipped strings and spread versions |
| 3 min | Music | Use one placement over slow blues/vamp |
| 3 min | Visualize | See fretboard shape; hear root underneath |
Definition of Done (per placement)
- Can play it slowly without stopping
- Can name the intervals over the root
- Can hear and describe the color
- Can use it in a groove or progression
- Can play the same shape at a different root (movable transfer confirmed)
- Can explain when it helps and when it would clutter
TPS Mantra
Shape. Placement. Spacing. Purpose. Learn the shape. Place the shape. Open the shape. Hear the color. Serve the music.