I love the way they sound!
Beside the lovely open triads he is playing, I think Tadashi is practicing with reverb also. I am not there yet, but I am so inspired by all of the work shared.
Kind of a tangent but leads back to triads:
I am trying to sing solfage for triads.
But I have not been satisfied by my attempts.
I "binge-watched" all of Essential Theory section (took a few weeks whew) and now I have been working earnestly since the beginning. I "know" C major. But then I realized how Tomo is showing examples of how to play C major is how to learn all the modes. (In this lesson you are working on there is a "something over something" triad, with a #11 (#4?) I know why it's there now, same for all the 2nd, 3rd, 6th, 7th,...and so on flats. Kind of.
I am back at the beginning now at Dorian, b3, b7! I am loving playing C7, and C-7!
Playing from 6th and 5th string root, wow it is so cool sounding.
I think in the beginning of the Mixilodian lesson Tomo mentions playing G major one string one finger on G string and then on top E. Then he plays a third apart starting at Mi-Do, if you add 5th it becomes diatonic triads for G major, and Tomo mentions you can do for other keys so I found C major thirds on 4th and 2nd strings, but still working out "knowing" minor and diminished triads on second string set enough to play. But I am practicing the diatonic G triads like Tomo shows scale ex, like Do Re Mi, Re Mi Fa...and so on. Whick is getting close to this ex you are working in above but no progression of course.
Started the trip into Essential Theory to be able to sing triad solfage without the guitar but I still need the guitar. I think it's a slow practice thing like swing groove, or triads, or chromatic foundation work. I like Tomo's suggestion about singing it like a melody. It is all craft-work. Gotta do it daily, two, three times a day, like Tomo says.
Also, I was looking up when Charlie Parker found modes when he was jamming (practicing?) "Cherokee"...ET giving me some beginning bits of insight into that horizon.