How to ACTUALLY Combine Triads, Pentatonics & Modes (3 Strings)

In this lesson I’m answering a question from an email about how to combine triads, pentatonics, and modes on the top three strings (G, B and E). We look at how these ideas connect across the fretboard and how you can use triads to outline harmony, pentatonics for familiar shapes, and modes to add colour — all within the same area of the neck. Focusing on the top strings is a great way to simplify things and really hear how these concepts fit together when soloing or building melodic ideas. If you’ve ever struggled to connect scales, chords, and phrasing, this approach should help you start seeing them as one complete system rather than separate ideas.