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Scales and Modes with Joshua Barnhart – Triads
So last time we talked about super imposing pentatonic scales over our chord changes. This time we’re going to stick with the same subject matter only we’re going to use triads. Triads are fundamental tools to making western music. Everything from Beethoven to Metallica is rooted in triads. Even the greatest Jazz soloist such as John Coltrane used chord tones to navigate his complicated chord changes. They’re a simple concept that everyone can grasp and will take you a long way if you use them right.
The Unique application we’re going to delve into this time is Hexatonics. The idea of overlaying two mutually exclusive triads in order to create a new 6-note scale. The first one I want to look at is two major triads a whole step apart.
Ex. D/C
C, E, G, and D, F#, A
These two triads are responsible for Cmaj7, C7, D7sus4, A-7, F#7alt, G-maj7, and more.
The more you experiment with these 2 triads the more you’ll realize how flexible these actually are. One thing I really enjoy about these is you don’t have to start on the root for the two triads to work over your chord.
Ex. B-/C
C, E, G, and B, D, F#
Playing with these two triads against and A-7 will result in an A Dorian sound with the root left unattended.
One magical thing about using triads is that the ear is so used to them that they work even if they don’t start from the root or even if you have a note that doesn’t fit the chord you’re on
Ex. B/C
C, E, G, and B, D#, F#
Playing these two triads against an E-7 chord will produce a harmonic minor sound, and will accentuate the generally avoided b6(C) interval on the Minor chord. But tastefully playing those two notes can produce songs lines, because the notes resolve by half step to a chord tone, and are part of a triadic approach that will end on chord tones. An easy way to start getting that outside sound and yet still be anchored somewhere.
I highly recommend checking out Jerry Bergonzi’s Hexatonic book. When I play Hexatonics everything just seems to sound like a right note, and sit right where I want it. It’s a simple foundation that results in great power when used correctly.
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Photo: Self-portrait by Melissa Auf Der Maur
Melissa Auf Der Maur is a Canadian bassist who played with Tinker, Hole, and The Smashing Pumpkins. She released her own work and is a photographer with photos published in Nylon, Bust, and National Geographic. She released her ‘90s Rock Memoir “Even The Good Girls Will Cry” on 17 March 2026.
KB: Did you always want to be a singer-musician growing up?
I’ve played music my whole life. In school, I played trumpet and sang in a children’s choir, so music was always within me. My mother was the first female disc jockey on the Montreal airwaves; her record collection played a huge role in my inspiration and love of music.
KB: When did you start playing bass, and why this instrument?
When I was 19, the early 90s music explosion began to percolate in tiny clubs around the world. I was lucky to be a ticket girl at Montreal’s underground music club. In one year, I saw Hole, Sonic Youth, Smashing Pumpkins, White Zombie, and The Breeders – all had female bass players. That’s when the seed was planted. By the age of 22, I was the bass player of Hole.
KB: Which brands of basses have you used in your career, and which one are you using now?
The first bass that I learned on was a vintage Squier Precision. Hole was sponsored by Fender guitars, so I upgraded to Fender Custom Shop Precisions. That is all I play, but I have a cool vintage 8-string Greco that I use on recordings to thicken up guitar parts.
KB: What equipment do you use or have you used with your basses?
Ampeg SVT amps and cabinets, a couple of Sans-Amp pedals, and that is it.
KB: How did you become a member of Hole, and what is your fondest memory of that time?
Billy Corgan of the Smashing Pumpkins was helping scout a replacement for (RIP) Kristen Pfaff, Hole’s bass player. My band, Tinker, opened for them on the Siamese Dream tour, so Billy had seen me play and could vouch for me. Courtney trusted her talented friend, and that was it. I initially said “no thank you” due to my commitment to my photographic studies and the drama and chaos surrounding the band during the “Live Through This” album release. Courtney took it as a good sign that I said no, so convinced me to reconsider, and soon after, I accepted their invitation, in the name of helping put females in the male-dominated landscape of rock music. My fondest memory is every show we played as a mostly female band, symbolizing what a woman could do in a rock band. Every show had a purpose: get more women to play music.
KB: You are a photographer as well. What makes a great picture? Do you shoot in color or b/w?
I started shooting photographs at age 15. Initially only shot black & white and worked in the art school darkroom. In university, I took a color photography course, and shifted mostly and forever to that, because it was easier to process film on the road when I joined a rock band. I experimented with many cameras, point and shoots, manual, polaroids, medium format, and vintage finds. The trick to a good photograph is to shoot many and all the time – the magic is in the edit and selection process.
KB: Are there artists you would love to collaborate with or wish you had?
??I’ve been lucky to collaborate with some of my favorite musicians in my career. I would still love to collaborate with a new generation heavy electronic artist on an analog bass, heavy electronic drums, and synths collaboration project. Take me out of my usual zone, merging the past and future: my love of 80s dark new wave and new artists exploring that genre. It was very futuristic back then, and we are now, after all, living in the future. I am in the mood to play bass to heavy beats I want to dance to.
KB: What are your 7 favorite bass lines in music across all genres? And why these 7?
“Mountain Song” – Jane’s Addiction (love a rambling, rolling bass line – feels like the ocean waves)
“Black Top – Helmet” (was the first bass line I taught myself)
“Gold Dust Woman” – Hole from “The Crow 2” Soundtrack (it was my first bass line contribution to the band)
“Get Ready” – The Temptations (Motown just feels so good, because of the bass)
“Lucretia My Reflection” – Sisters of Mercy (makes me want to hit the dance floor and play bass simultaneously)
“Be My Druidess” – Type O Negative (full chord bass playing at its best by iconic, demonic, Peter Steele, RIP)
“Romantic Rights” – Death from Above (1979 – unique distorted overdriven tone, combined dance rhythm and melodic intelligence, all in one shot – also! Shout out to a bass & drum only band, which is awesome, and we should have more of, but the bass player needs to be a killer to fill that role.
KB: What are you currently up to?
Releasing my ‘90s Rock Memoir “EVEN THE GOOD GIRLS WILL CRY”. Visceral healing process, it was to get it out of me and write it, but I suspect the real magic will begin by putting it into the world and reflecting with others on what the magic of the ‘90s was all about. Powerful music decade that carried us into what is now a brave new world of digital corporate weirdness – may the past shed a light on our future. That’s my hope for this book release and tour.
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