Major, minor, and diminished triads are included with their root voicing and inversions.

Roman numerals label positions on the guitar, and fingerings are written in small circles next to the note letters.

Some triads only have one fingering that is practical, others can be fretted multiple ways.
Primary fingerings are written in the circle orbiting closest to the note letter, secondary fingerings orbit second, and tertiary orbit third. ]]> chord_diagrams_triads_inversions-and-alternate-fingerings_Major.jpg
chord_diagrams_triads_inversions-and-alternate-fingerings_minor.jpg
chord_diagrams_triads_inversions-and-alternate-fingerings_diminished.jpg

chord_diagrams_triads_inversions-and-alternate-fingerings.pdf]]> ]]> https://creativecommons.org/licenses/by/4.0/deed.en]]> intervals-of-triad-inversions_with_figured-bass-notation

flashcard_Major_chord_spelling_staff_print.pdf

flashcard_minor_chord_spelling_staff_print.pdf

flashcard_diminished_chord_spelling_staff_print.pdf

triads_Major_root-voice_cycle-of-4ths_alternating-sets-of-3strings

triads_minor_root-voice_cycle-of-4ths_alternating-sets-of-3strings

triads_diminished_root-voice_cycle-of-4ths_alternating-sets-of-3strings

triads_Major_root-voice_cycle-of-4ths_same-sets-of-3strings

triads_minor_root-voice_cycle-of-4ths_same-sets-of-3strings

triads_diminished_root-voice_cycle-of-4ths_same-sets-of-3strings

song_guitar-solo_Melody-with-Triads-C-Major

]]> ]]> .pdf letter size
]]> ]]>
m3-minor third
M3-Major third
P4- Perfect fourth
b5-diminished fifth
P5- Perfect fifth
m6-minor sixth
M6-Major sixth

Triads are spelled every other letter from their root: C E G

C E G : The voicing with the chord's root in the bass is called the root voicing.
E G C : The 1st inversion has the third (E) of the scale in the base.
G C E : The 2nd inversion has the fifth (G) of the scale in the base.

The triads in this diagram are all closed voice, meaning there's not more than an octave between the bottom and top notes.

C Major, CEG, is the example here for major triad inversions,
D minor, DFA, is the example for minor inversions, and,
B diminished, BDF, is the example for diminished.

The triad inversions are notated with figured bass symbols:
The (6) is not a symbol for a Major 6th chord,
it describes how the bass is a 6th below the top note in the triad.
The (6,4) again describes the bass being a 6th below the top, and also describes that the bass is an augmented 4th below the next note in the chord.

Improvisations were played in Baroque music with figured bass notation.
]]> intervals-of-triad-inversions_with_figured-bass-notation.jpg
intervals-of-triad-inversions_with_figured-bass-notation.pdf]]> ]]> https://creativecommons.org/licenses/by/4.0/deed.en]]> chord_diagrams_triads_inversions-and-alternate-fingerings

]]> ]]> .pdf letter size
]]> ]]> ]]> Specific fingerings are given to help with all the chord changes.

This song may sound a little 'blocky', since so many beats have triads on them.

Maybe add volume changes with the strumming hand to create variety.
Try to hold the chords as long as possible before switching.
Some of the chords share notes in common, try to hold those notes when changing chords.
The Em chords have different fingerings depending on where they are in the song.

The beginnings of the song's phrases have three C Major triad inversions that resolve to either an E minor, B diminished, or G Major chord. I sometimes skip the variety and only play Em for all three.
]]> song_guitar-solo_Melody-with-Triads-C-Major.png
song_guitar-solo_Melody-with-Triads-C-Major.mp3
song_guitar-solo_Melody-with-Triads-C-Major.mid
song_guitar-solo_Melody-with-Triads-C-Major.pdf]]> ]]> https://creativecommons.org/licenses/by/4.0/deed.en]]> intervals-of-triad-inversions_with_figured-bass-notation

intervals-of-triad-inversions_with_figured-bass-notation

from_Pascual-Roch_Tarrega-Método-12-arpeggios_on-sets-of-3strings

chord_diagrams_triads_inversions-and-alternate-fingerings

]]> ]]> .mp3
.pdf letter size
.mid]]> However, the 1st and 2nd sets of strings are much easier to practice because the fingerings on the 3rd and 4th sets of strings require difficult stretches of the fretting hand.

Starting with exercises between the 1st and 2nd sets of strings are ideal technical practice because the pinky and index fingers stay the same, and the only difference between the chords is that the ring finger is added on the 1st set of three strings, and the middle finger is added on the 2nd.

When things don't change much during practicing, we can think more about things like how we are seated, how much pressure we are using with our hands, naming notes, etc... Having some measure of mundane practice helps with building a stable base of our playing technique. If we are playing songs with musical and emotional tension all the time, we don't get a sense of what physical tension is required to play. For those reasons, I think it's beneficial to always have some bland technique exercises in practice routines.

Practice tip:
To cope with the physical stretch required for some of these diminished chords, try something called 'sequential planting' of the fretting hand fingers. Instead of trying to press all the fingers down at the same time, start with the pinky, then the middle, and finally stretch the index finger. You will have to pluck the notes individually instead of strumming the chord, but the fretting hand stretching won't be as difficult.

Different parts of the fretboard have different challenges. Reaching beyond the 12th fret can be difficult on some guitars, even though the frets are closer together up there. Be kind to yourself if the notes don't sound perfectly. I find chords between the 5th and 10th positions on the guitar to be the easiest to fret. If you have difficulties playing all these chords, start with only playing the chord changes that are in the middle of the fretboard, especially with these diminished triads. ]]> triads_diminished_root-voice_cycle-of-4ths_alternating-sets-of-3strings_4th-3rd.png
triads_diminished_root-voice_cycle-of-4ths_alternating-sets-of-3strings_4th-3rd.mp3
triads_diminished_root-voice_cycle-of-4ths_alternating-sets-of-3strings_4th-3rd.mid

triads_diminished_root-voice_cycle-of-4ths_alternating-sets-of-3strings_3rd-4th.png
triads_diminished_root-voice_cycle-of-4ths_alternating-sets-of-3strings_3rd-4th.mp3
triads_diminished_root-voice_cycle-of-4ths_alternating-sets-of-3strings_3rd-4th.mid

triads_diminished_root-voice_cycle-of-4ths_alternating-sets-of-3strings_3rd-2nd.png
triads_diminished_root-voice_cycle-of-4ths_alternating-sets-of-3strings_3rd-2nd.mp3
triads_diminished_root-voice_cycle-of-4ths_alternating-sets-of-3strings_3rd-2nd.mid

triads_diminished_root-voice_cycle-of-4ths_alternating-sets-of-3strings_2nd-3rd.png
triads_diminished_root-voice_cycle-of-4ths_alternating-sets-of-3strings_2nd-3rd.mp3
triads_diminished_root-voice_cycle-of-4ths_alternating-sets-of-3strings_2nd-3rd.mid

triads_diminished_root-voice_cycle-of-4ths_alternating-sets-of-3strings_2nd-1st.png
triads_diminished_root-voice_cycle-of-4ths_alternating-sets-of-3strings_2nd-1st.mp3
triads_diminished_root-voice_cycle-of-4ths_alternating-sets-of-3strings_2nd-1st.mid

triads_diminished_root-voice_cycle-of-4ths_alternating-sets-of-3strings_1st-2nd.png
triads_diminished_root-voice_cycle-of-4ths_alternating-sets-of-3strings_1st-2nd.mp3
triads_diminished_root-voice_cycle-of-4ths_alternating-sets-of-3strings_1st-2nd.mid

triads_diminished_root-voice_cycle-of-4ths_alternating-sets-of-3strings.pdf]]> ]]> https://creativecommons.org/licenses/by/4.0/deed.en]]> key-signatures_and_scale-formulas

intervals-of-triad-inversions_with_figured-bass-notation

flashcard_diminished_chord_spelling_staff_print.pdf

chord_diagrams_triads_inversions-and-alternate-fingerings

intervals-of-triad-inversions_with_figured-bass-notation

theory_key-signatures_and_scale-formulas

flashcard_diminished_chord_spelling_staff_print.pdf

triads_diminished_root-voice_cycle-of-4ths_alternating-sets-of-3strings

chord_diagrams_triads_inversions-and-alternate-fingerings

]]> ]]> .mp3 128kbps
.mid
.pdf letter size
]]> For example, between 6th and 5th strings the pattern is:

(6) C -then up a string to-
(5) F -then down a string and down two frets to-
(6) Bb -then up a string to-
(5) Eb -then down a string and down to frets to- Ab, etc...

or,

C -up a 4th to F-
F -down a 5th (inversion of 4th) to Bb-
Bb -up a 4th to Eb-
Eb- down a 5th (inversion of 4th) to Ab, etc....

The triads in these exercises all zig-zag between adjacent strings.
The most difficult changes are when octave leaps are required.

The fretting hand is shaped the same for triads on the 3rd and 4th sets of three strings. I start with those. The bass strings were the first I memorized after practicing moveable barre chords whose roots were on the 5th and 6th strings.

As the chords become more comfortable,
start gradually naming the triad roots on the fretboard.
If you don't have to look at the fretboard, name the roots on the staff and tablature.

These exercises illustrate the virtues of both tablature and standard notation:
With tablature, patterns on the fretboard are more noticeable.
With standard notation, the note names and intervals between them are more easily seen.

Progressing by 4ths is chosen because chords change by 4ths most often, i.e. the ii/V/I progression in Jazz.]]> triads_Major_root-voice_cycle-of-4ths_alternating-sets-of-3strings_4th-3rd.png
triads_Major_root-voice_cycle-of-4ths_alternating-sets-of-3strings_4th-3rd.mp3
triads_Major_root-voice_cycle-of-4ths_alternating-sets-of-3strings_4th-3rd.mid

triads_Major_root-voice_cycle-of-4ths_alternating-sets-of-3strings_3rd-4th.png
triads_Major_root-voice_cycle-of-4ths_alternating-sets-of-3strings_3rd-4th.mp3
triads_Major_root-voice_cycle-of-4ths_alternating-sets-of-3strings_3rd-4th.mid

triads_Major_root-voice_cycle-of-4ths_alternating-sets-of-3strings_3rd-2nd.png
triads_Major_root-voice_cycle-of-4ths_alternating-sets-of-3strings_3rd-2nd.mp3
triads_Major_root-voice_cycle-of-4ths_alternating-sets-of-3strings_3rd-2nd.mid

triads_Major_root-voice_cycle-of-4ths_alternating-sets-of-3strings_2nd-3rd.png
triads_Major_root-voice_cycle-of-4ths_alternating-sets-of-3strings_2nd-3rd.mp3
triads_Major_root-voice_cycle-of-4ths_alternating-sets-of-3strings_2nd-3rd.mid

triads_Major_root-voice_cycle-of-4ths_alternating-sets-of-3strings_2nd-1st.png
triads_Major_root-voice_cycle-of-4ths_alternating-sets-of-3strings_2nd-1st.mp3
triads_Major_root-voice_cycle-of-4ths_alternating-sets-of-3strings_2nd-1st.mid

triads_Major_root-voice_cycle-of-4ths_alternating-sets-of-3strings_1st-2nd.png
triads_Major_root-voice_cycle-of-4ths_alternating-sets-of-3strings_1st-2nd.mp3
triads_Major_root-voice_cycle-of-4ths_alternating-sets-of-3strings_1st-2nd.mid

triads_Major_root-voice_cycle-of-4ths_alternating-sets-of-3strings.pdf]]> ]]> https://creativecommons.org/licenses/by/4.0/deed.en]]> key-signatures_and_scale-formulas

intervals-of-triad-inversions_with_figured-bass-notation

flashcard_Major_chord_spelling_staff_print.pdf

chord_diagrams_triads_inversions-and-alternate-fingerings

intervals-of-triad-inversions_with_figured-bass-notation

theory_key-signatures_and_scale-formulas

flashcard_Major_chord_spelling_staff_print.pdf

triads_Major_root-voice_cycle-of-4ths_alternating-sets-of-3strings

chord_diagrams_triads_inversions-and-alternate-fingerings

]]> ]]> .mp3 128kbps
.mid
.pdf letter size
]]> ]]> For example, between 6th and 5th strings the pattern is:

(6) C -then up a string to-
(5) F -then down a string and down two frets to-
(6) Bb -then up a string to-
(5) Eb -then down a string and down to frets to- Ab, etc...

or,

C -up a 4th to F-
F -down a 5th (inversion of 4th) to Bb-
Bb -up a 4th to Eb-
Eb- down a 5th (inversion of 4th) to Ab, etc....

The triads in these exercises all zig-zag between adjacent strings.
The most difficult changes are when octave leaps are required.

The fretting hand is shaped the same for triads on the 3rd and 4th sets of three strings. I start with those. The bass strings were the first I memorized after practicing moveable barre chords whose roots were on the 5th and 6th strings.

As the chords become more comfortable,
start gradually naming the triad roots on the fretboard.
If you don't have to look at the fretboard, name the roots on the staff and tablature.

These exercises illustrate the virtues of both tablature and standard notation:
With tablature, patterns on the fretboard are more noticeable.
With standard notation, the note names and intervals between them are more easily seen.

Progressing by 4ths is chosen because chords change by 4ths most often, i.e. the ii/V/I progression in Jazz.]]> triads_minor_root-voice_cycle-of-4ths_alternating-sets-of-3strings_4th-3rd.png
triads_minor_root-voice_cycle-of-4ths_alternating-sets-of-3strings_4th-3rd.mp3
triads_minor_root-voice_cycle-of-4ths_alternating-sets-of-3strings_4th-3rd.mid

triads_minor_root-voice_cycle-of-4ths_alternating-sets-of-3strings_3rd-4th.png
triads_minor_root-voice_cycle-of-4ths_alternating-sets-of-3strings_3rd-4th.mp3
triads_minor_root-voice_cycle-of-4ths_alternating-sets-of-3strings_3rd-4th.mid

triads_minor_root-voice_cycle-of-4ths_alternating-sets-of-3strings_3rd-2nd.png
triads_minor_root-voice_cycle-of-4ths_alternating-sets-of-3strings_3rd-2nd.mp3
triads_minor_root-voice_cycle-of-4ths_alternating-sets-of-3strings_3rd-2nd.mid

triads_minor_root-voice_cycle-of-4ths_alternating-sets-of-3strings_2nd-3rd.png
triads_minor_root-voice_cycle-of-4ths_alternating-sets-of-3strings_2nd-3rd.mp3
triads_minor_root-voice_cycle-of-4ths_alternating-sets-of-3strings_2nd-3rd.mid

triads_minor_root-voice_cycle-of-4ths_alternating-sets-of-3strings_2nd-1st.png
triads_minor_root-voice_cycle-of-4ths_alternating-sets-of-3strings_2nd-1st.mp3
triads_minor_root-voice_cycle-of-4ths_alternating-sets-of-3strings_2nd-1st.mid

triads_minor_root-voice_cycle-of-4ths_alternating-sets-of-3strings_1st-2nd.png
triads_minor_root-voice_cycle-of-4ths_alternating-sets-of-3strings_1st-2nd.mp3
triads_minor_root-voice_cycle-of-4ths_alternating-sets-of-3strings_1st-2nd.mid

triads_minor_root-voice_cycle-of-4ths_alternating-sets-of-3strings.pdf]]> ]]> https://creativecommons.org/licenses/by/4.0/deed.en]]> key-signatures_and_scale-formulas

intervals-of-triad-inversions_with_figured-bass-notation

flashcard_minor_chord_spelling_staff_print.pdf

chord_diagrams_triads_inversions-and-alternate-fingerings

intervals-of-triad-inversions_with_figured-bass-notation

theory_key-signatures_and_scale-formulas

flashcard_minor_chord_spelling_staff_print.pdf

triads_minor_root-voice_cycle-of-4ths_alternating-sets-of-3strings

chord_diagrams_triads_inversions-and-alternate-fingerings

]]> ]]> .mp3 128kbps
.mid
.pdf letter size
]]> ]]> George Van Eps made a system for categorizing chords on the guitar in: Guitar Method. Mel Bay, 1961.

He bunched chords on what he called 'sets of strings'.

He bunched closed voice triads on 'sets of three strings' because all the chord notes can be played within three adjacent strings on the guitar.

The sets of three adjacent strings are:
    strings 1-3 (1st set of three strings)
    strings 2-4 (2nd set of three strings)
    strings 3-5 (3rd set of three strings)
    strings 4-6 (4th set of three strings)

Three inversions (root, 1st, 2nd) of closed voice triads can be played on each set of three strings.
There are twelve chord shapes in total.

For example:

These C Major triad inversions can be played on the 1st set of three strings:
GCE (open), CEG (position III), and EGC (position VIII)

There are also twelve chord shapes for minor and diminished triads.

I learned these chord shapes from studying Van Eps. In his work, Van Eps harmonizes scales by playing a closed voice triad under each scale tone. Here, I sometimes use different fingerings for the triads because I am relating the triad to a scale, not playing a scale with triads on the bottom. I often practice Van Eps's triads with three note strumming hand arpeggio patterns from Francisco Tárrega.

For this exercise:

The fret hand fingerings for the chords and scales are numbers: 0,1,2,3,4
The root's have string numbers in parentheses: (1)(2)(3)(4)(5)(6)

The finger that plays the root of the chord is the same finger that plays the root of the neighboring scale.

These exercises are listed by groups of strings, not by simplicity. Try all the chord/scale combinations, though some of them will be easier to play than others.]]> triads_sets-of-3strings_major-triads-with-scales_C-Major_Page_1.jpg
triads_sets-of-3strings_major-triads-with-scales_C-Major_Page_2.jpg
triads_sets-of-3strings_major-triads-with-scales_C-Major.pdf]]> ]]> https://creativecommons.org/licenses/by/4.0/deed.en]]> chord_diagrams_triads_inversions-and-alternate-fingerings

]]> ]]> .pdf letter size
]]> ]]> George Van Eps made a system for categorizing chords on the guitar in: Guitar Method. Mel Bay, 1961.

He bunched chords on what he called 'sets of strings'.

He bunched closed voice triads on 'sets of three strings' because all the chord notes can be played within three adjacent strings on the guitar.

The sets of three adjacent strings are:
    strings 1-3 (1st set of three strings)
    strings 2-4 (2nd set of three strings)
    strings 3-5 (3rd set of three strings)
    strings 4-6 (4th set of three strings)

Three inversions (root, 1st, 2nd) of closed voice triads can be played on each set of three strings.
There are twelve chord shapes in total.

For example:

These C Major triad inversions can be played on the 1st set of three strings:
GCE (open), CEG (position III), and EGC (position VIII)

There are also twelve chord shapes for minor and diminished triads.

I learned these chord shapes from studying Van Eps. In his work, Van Eps harmonizes scales by playing a closed voice triad under each scale tone. Here, I sometimes use different fingerings for the triads because I am relating the triad to a scale, not playing a scale with triads on the bottom. I often practice Van Eps's triads with three note strumming hand arpeggio patterns from Francisco Tárrega.

For this exercise:

The fret hand fingerings for the chords and scales are numbers: 0,1,2,3,4
The root's have string numbers in parentheses: (1)(2)(3)(4)(5)(6)

The finger that plays the root of the chord is the same finger that plays the root of the neighboring scale.

These exercises are listed by groups of strings, not by simplicity. Try all the chord/scale combinations, though some of them will be easier to play than others.]]> triads_sets-of-3strings_minor-triads-with-scales_A-Minor_Page_1.jpg
triads_sets-of-3strings_minor-triads-with-scales_A-Minor_Page_2.jpg
triads_sets-of-3strings_minor-triads-with-scales_A-Minor.pdf]]> ]]> https://creativecommons.org/licenses/by/4.0/deed.en]]> chord_diagrams_triads_inversions-and-alternate-fingerings

]]> ]]> .pdf letter size
]]>