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Just about every Guitar player in the world knows how to play the simple,
three-note C chord in Ex1. But far fewer guitarists realize that because this
triad’s root, 3, and 5 (C, E, and G, respectively) all reside within the same
octave, it’s a perfect example of close harmony. Why is this little fact even
worth knowing? Because, if you  understand close harmony, then you’re one
step closer to understanding open harmony, the use of which will allow you
to create some uniquely tantalizing chords, riffs, and textures.

If you’re not familiar with open harmony, introduce yourself to it by

playing through the open voicings in EX. 2. Yes, they are all C chords, but,
wow, do they sound different from the C in the first example! This is
because in each C triad, one of the three chord tones has been displaced up
or down an octave. In other words, the root, 3, and 5 collectively reside in
two octaves, which is exactly why these triads have such a vibrant, sparkly
and, well, open sound .

The real fun with open triads begins when you plug them into chord

progressions and arpeggiate them - a practice common to pianists, classical
guitar composers, and Jazz guitarists, but somewhat alien to the average
rock or blues picker. Here’s an example of how it works: If you are asked
to play a standard II-V-I-VI  in the key of C, instead of simply strumming
an ordinary Dm-G7-C-A7 progression, try revoicing the chords as open
triads and arpeggiating  them as show in EX. 3. Now, suddenly, you  don’t
have a mundane, workhorse chord progression, you have an alluring guitar
part; Remember that smooth voice-leading is often preferable in any chord
progression, and in many cases - particularly if you have a bassist playing
the roots for you - you can get an even more open sound by leaving out a
seventh chord’s root in favor of its 7, which is exactly what happens with
A7 and G7 in this example. For more bursts of this hip, rootless harmony,
try EX. 4, an arpeggiated progression in D minor. In this example, only the
Bm7b5 chord tags its root.  

As you probably noticed with the many C chords we saw in
EX. 2, one
interesting and fun thing about using open harmony is that if you’re playing
a triad, you don’t always have to make the lowest note the root. That bass
note can be the 3 or the 5 instead. This freedom allows you to dictate the
bass line of a given progression. Few things sound more natural than a bass
part that moves in stepwise, scalar motion, so why not try creating some
open-voiced progressions with this feature? EX. 5 contains a descending
bass line; EX. 6 an ascending bass line.
Opening Up to Open Triads by Jean Marc Belkadi
More Instructional book / CD sets - Jean Marc Belkadi  Musicians Institute Press/ Hal Leonard
Also among my books you'll find interesting ideas about the open triads in these 3:
Modern Jazz Rock
& Fusion for Guitar
Jazz Rock Triad
Improvising for Guitar
Advanced Scale Concepts
and licks for Guitar