The triad or basic 3 note chords can also be broken down into two tone harmonies that are the building blocks for most chord structures.  Two other forms of chords not yet discussed are the dominant 7^th (V7) and the subdominant (IV). 

The dominant 7^th or (V7) starts on the 5^th note of the key as a triad and adds a 7^th.  C (V7) would be G B D F.  In a 2 note 2^nd or V7 chord we could play G and F.  In the diagram below we show the D (V7) combination as D E.  The full D (V7) chord would be E G# B D.  B and D are also used as a melodic version, shown below as D 6^th, this is actually a 3^rd chord minus one octave.

            The subdominant or (IV) chord is a triad built on the 4^th note of the scale.  In the case of C major we play F A C.  In a 2 note (IV) we can use the root plus the 4^th note to achieve this result.  In the example below we show D (IV) in the fourth selection from the left.

             Now using this format on 2 strings we can cover (V7), Minor 3^rd, Major 3^rd, (IV) and 5^th tonic or (I) chords.  Root scale notes are always the lowest notes of the two-string combination, which makes placement relatively simple.

           Rhythm can be thought of as selected pulses from a continuous pulse.  These selected pulses are grouped into combinations of 2 or 3.  The term syncopation (ouch) is the beat point of reference, an accented downbeat, foot tap or the continuous metric pulse.  Any notes not played on the downbeat are called offbeat and are followed with a silence, a lesser-accented downbeat or a sustain to reacquire syncopation.

            Reading the staff for rhythms can be a challenge at first, once you understand all the different symbols it becomes easier.