Tomo Fujita Guitar Wisdom

Here is my question:

Let´s say we are playing a chord progression of I-IV-V in C major, where these chords are C-F-G. Given that, we know that the triads of C, F and G are the following ones:

C E G
F A C
G B D

According to the lessons, when we practice triads, we have to think of each note of a triad as a root, third, fifth so we can picture in our heads the sound of a triad or the distance in sound between the degrees of a triad.

However, here´s where the problem shows up to me. Tomo said that we should think of each triad in the progression as a separate group of a root, third, and fifth, but the thing is the use of degrees to describe a chord or to think of the sound of certain group of notes is relative to the scale, which is:

C D E F G A B
1 2 3 4 5 6 7
Do Re Mi Fa Sol La Si

With that in mind, should I call (and think about) the notes of the triads like this (so I can really hear the sound of them in relationship to the scale):

C triad

C: root, do.
E: third, mi.
G: fifth, sol.

F triad

F: fourth, fa.
A: sixth, la.
C: root, do.

G triad

G: fifth, sol.
B: seventh, ti.
D: second, re.

Or should I call them all the same ("transposing" its relationship to the scale, like to F major for the F triad and G major for the G triad):

C, F, G triads

C, F, G: root, do.
E, A, B: third, mi.
G, C, D: fifth, sol.

This could be problematic when improvising and thinking of degrees because you can confuse sound. I hope it´s clear.

Thanks so much for the lessons and the help, Tomo.

I personally change the root to the note being played, but you don't have to go looking around for the IVth after you play the Ist. If you play a C triad, and we know that F is the IVth of C, then we can go half a step from the 3rd of the C triad to an F, and then, play around that F AND the C at the same time.

My sense from Tomo’s lessons is that he’s always thinking of the degree relative to the chord he is currently on. Personally I do that too, but the hard part for me is then making your fingers choose the most suitable non-chord tone passing tones when improvising.
I’d add that you’d also have to keep in mind the function of the given chord in a progression too. That way, for example you’re not slipping say an F# in over your G triad chord (thus incorrectly implying a Gmaj7 sound) when the G triad is functioning as a dominant in your C Major progression, meaning you really need the F natural.
Having said that, over the IV (F) chord which would be diatonically a Major7, throwing in the flat 7 (Eb), instead of E, does make for a pretty cool sound.

So thinking in both ways of labeling the notes when practicing?
But if you wanted to play the Eb in the C major scale, let’s say, you could just think of the third flat degree or mi-flat, then you wouldn’t have to get out of the “non-chord” passing tones zone.
Thanks for your answers.

Here is Tomo's comment:

"Thanks so much for subscribing to my Guitar Wisdom. Good job! When we practice, we need to think of the same thing in many different ways!"