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
]]> ]]> ]]>
C Major = C E G
C minor = C Eb G
C diminished = C Eb Gb

Triads can be derived by the intervals between their notes:

Major = Major 3rd + minor 3rd
minor = minor 3rd + Major 3rd
diminished = minor 3rd + minor 3rd

Or, triads can be derived from the i, iii, and v notes of their parent scale; Major scale for Major triads, minor scale for minor triads, and the locrian scale for diminished triads.

C Major = CDEFGABC =CEG
A minor = ABCDEFGA =ACE
B locrian = BCDEFGAB =BDF

Fill out as many of these triad reference charts as possible to build familiarity with triads and their intervals. Start with the charts that include example triads and roots, then progress to the charts that don't have examples after you've memorized the triad's intervals, and the cycle of 4ths.

See related files on the Cycle of 4ths, Chord Formulas, and Scales.]]> spelling_diminished_triads_chart.jpg
spelling_diminished_triads_examples.jpg
spelling_diminished_triads_roots.jpg
spelling_diminished_triads_blank.jpg

spelling_diminished_triads.pdf]]> ]]> https://creativecommons.org/licenses/by/4.0/deed.en]]> theory_key-signatures_and_scale-formulas

intervals-of-triad-inversions_with_figured-bass-notation

spelling_locrian_scales

spelling_chromatic_scales

flashcard_diminished_chord_spelling_staff_print.pdf

]]> ]]> .pdf letter size
]]> ]]>
C Major = C E G
C minor = C Eb G
C diminished = C Eb Gb

Triads can be derived by the intervals between their notes:

Major = Major 3rd + minor 3rd
minor = minor 3rd + Major 3rd
diminished = minor 3rd + minor 3rd

Or, triads can be derived from the i, iii, and v notes of their parent scale; Major scale for Major triads, minor scale for minor triads, and the locrian scale for diminished triads.

C Major = CDEFGABC =CEG
A minor = ABCDEFGA =ACE
B locrian = BCDEFGAB =BDF

Fill out as many of these triad reference charts as possible to build familiarity with triads and their intervals. Start with the charts that include example triads and roots, then progress to the charts that don't have examples after you've memorized the triad's intervals, and the cycle of 4ths.

See related files on the Cycle of 4ths, Chord Formulas, and Scales.]]> spelling_minor_triads_chart.jpg
spelling_minor_triads_examples.jpg
spelling_minor_triads_roots.jpg
spelling_minor_triads_blank.jpg

spelling_minor_triads.pdf]]> ]]> https://creativecommons.org/licenses/by/4.0/deed.en]]> theory_key-signatures_and_scale-formulas

intervals-of-triad-inversions_with_figured-bass-notation

spelling_minor_scales

spelling_chromatic_scales

flashcard_minor_chord_spelling_staff_print.pdf

]]> ]]> .pdf letter size
]]> ]]> ]]>
C Major = C E G
C minor = C Eb G
C diminished = C Eb Gb

Triads can be derived by the intervals between their notes:

Major = Major 3rd + minor 3rd
minor = minor 3rd + Major 3rd
diminished = minor 3rd + minor 3rd

Or, triads can be derived from the i, iii, and v notes of their parent scale; Major scale for Major triads, minor scale for minor triads, and the locrian scale for diminished triads.

C Major = CDEFGABC =CEG
A minor = ABCDEFGA =ACE
B locrian = BCDEFGAB =BDF

Fill out as many of these triad reference charts as possible to build familiarity with triads and their intervals. Start with the charts that include example triads and roots, then progress to the charts that don't have examples after you've memorized the triad's intervals, and the cycle of 4ths.

See related files on the Cycle of 4ths, Chord Formulas, and Scales.]]> spelling_major_triads_chart.jpg
spelling_major_triads_examples.jpg
spelling_major_triads_roots.jpg
spelling_major_triads_blank.jpg

spelling_major_triads.pdf]]> ]]> https://creativecommons.org/licenses/by/4.0/deed.en]]> theory_key-signatures_and_scale-formulas

intervals-of-triad-inversions_with_figured-bass-notation

spelling_Major_scales

spelling_chromatic_scales

flashcard_Major_chord_spelling_staff_print.pdf

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

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

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
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Simple chord changes help with learning difficult fingerpicking arpeggios. The triads in these exercises stay on the same sets of strings, so we don't have to change our picking hand much.

Major I/V and minor i/v progressions abound in music. These chord vamps are presented by difficulty, the first have open strings, and the last require half-barring and/or stretches.

The (p,i,m) and (p,m,a) are the most ergonomic, but practicing all four develops balance and versatility.]]> technique_three-note-arpeggios_I-V_i-v_chord-vamps-1
technique_three-note-arpeggios_I-V_i-v_chord-vamps-2
technique_three-note-arpeggios_I-V_i-v_chord-vamps.mp3
technique_three-note-arpeggios_I-V_i-v_chord-vamps.mid
technique_three-note-arpeggios_I-V_i-v_chord-vamps.pdf]]> ]]> https://creativecommons.org/licenses/by/4.0/deed.en]]> from_Pascual-Roch_Tarrega-Método-12-arpeggios_on-sets-of-3strings

intervals-of-triad-inversions_with_figured-bass-notation

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The Em chord doesn't require any fretting except for the bass notes. For the Am chord, hold your index and ring fingers down, and use your pinky and middle fingers to play the bass line.

Try to practice all the finger-pickings for balance and versatility, but the (i,m) and (m,a) fingerings are the most ergonomic and best for speed.

For more practice, make variations by applying other three note arpeggio patterns.]]> etude_three-note-arpeggios_E-minor_3rds-in-melody.png
etude_three-note-arpeggios_E-minor_3rds-in-melody.mp3
etude_three-note-arpeggios_E-minor_3rds-in-melody.mid
etude_three-note-arpeggios_E-minor_3rds-in-melody.pdf]]> ]]> https://creativecommons.org/licenses/by/4.0/deed.en]]> from_Pascual-Roch_Tarrega-Método-12-arpeggios_on-sets-of-3strings

]]> ]]> .pdf letter size
.mp3 128kbps
.mid]]> ]]> ]]> Variations can be made by applying different arpeggio patterns to them.

In this etude by Carulli, each measure can be thought of as having four triad changes during a constant p,i,m, arpeggio.

Try applying any three note arpeggio to this Carulli etude, it's effective technique practice, and your composing.

The first two measures have a I-V (C-G7) chord progression. If you can't play the entire piece, repeat those measures only.
Mauro Giuliani's arpeggios from his Op.1 (Boije 136) repeat C and G7 with 120 variations, so you'd be doing something like that.]]> etude_from_École de guitare_Op.241_p14_Arpeggios-of-three-notes.png
etude_from_École de guitare_Op.241_p14_Arpeggios-of-three-notes.mp3
etude_from_École de guitare_Op.241_p14_Arpeggios-of-three-notes.mid
Page- from_Carulli_IMSLP260383-PMLP339588-Carulli__Method_Complete_Op.241_p14
etude_from_École de guitare_Op.241_p14_Arpeggios-of-three-notes.pdf]]> ]]> https://imslp.org/wiki/%C3%89cole_de_guitare,_Op.241_(Carulli,_Ferdinando)#IMSLP260383]]> https://creativecommons.org/licenses/by/4.0/deed.en]]> from_Pascual-Roch_Tarrega-Método-12-arpeggios_on-sets-of-3strings

]]> ]]> .jpeg 2556 x 3598
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Wondrous Love is similar to many songs like Captain Kidd, and Jack Hall. I don't know which happened first, but it's interesting to me that there are secular and religious songs that resemble each other.

I've heard it said of African-American Spirituals, that sometimes in the songs God is not in heaven, but within us. It's a different locus of Divinity. I think Henry Edward Krehbiel provides a quote from Booker T. Washington about a personal locus of Divinity in Afro-American Folksongs (1914) p.30, when Washington says, "They [Sorrow Songs/Slave Songs/Spirituals] breathe a childlike faith in a personal Father."

I think that concept of Divinity may be in Vera Hall's singing of He That Believe Have An Everlasting Home, when she sings, "I'm sometimes up, I'm sometimes down, I'm sometimes almost level with the ground." I think that concept is also in the song Wondrous Love.

My favorite recording of Wondrous Love is sung acapella by Jean Ritchie.
Her singing can be heard at:
https://archive.culturalequity.org/field-work/jean-ritchie-1949-and-1950/jean-ritchie-349/wondrous-love

A melody can do wondrous things. The more I play fingerstyle guitar, the more I try to make sure the melody is the focus.]]> song_from_Southern-Harmony_Wondrous_Love_D-dorian_solo-1.png
song_from_Southern-Harmony_Wondrous_Love_D-dorian_solo-2.png
song_from_Southern-Harmony_Wondrous_Love_D-dorian_solo.mp3
song_from_Southern-Harmony_Wondrous_Love_D-dorian_solo.mid
from_IMSLP104698-PMLP213802-Southern-Harmony_title.jpg
from_IMSLP104698-PMLP213802-Southern-Harmony_p252.jpg
song_from_Southern-Harmony_Wondrous_Love_D-dorian_solo.pdf]]> ]]> https://imslp.org/wiki/The_Southern_Harmony_(Walker,_William)]]> ]]> ]]> .jpeg 3063 x 1950
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Here are twelve from pages 34-37 combined with triads.

These examples are written with the C Major triad, but play any triads you like.
Play the arpeggio with a chord, then move the triad one fret and play the arpeggio again. Or, try any other chord changes.

It's simplest to apply these arpeggios to chord changes that don't move between sets of strings so fingers don't have to leap between strings.

Combining Tarrega arpegios with triads, and practicing them slow, can develop accuracy, tone, volume, and fretboard knowledge.

Roch often writes the same notes, but with different fingerings. I think that's key. Familiarity with many different fingerings builds versatility.

Fingerings:
i= indice (index finger)
m= medio (middle finger)
a= anular (ring finger)
P= pulgar (thumb) ]]> from_Pascual-Roch_Tarrega-Método-12-arpeggios_on-sets-of-3strings.jpg
from_Pascual-Roch_Método_moderno_para_guitarra-1921-pp34-37_title
from_Pascual-Roch_Método_moderno_para_guitarra-1921-pp34-37_Page_34
from_Pascual-Roch_Método_moderno_para_guitarra-1921-pp34-37_Page_35
from_Pascual-Roch_Método_moderno_para_guitarra-1921-pp34-37_Page_36
from_Pascual-Roch_Método_moderno_para_guitarra-1921-pp34-37_Page_37
from_Pascual-Roch_Tarrega-Método-12-arpeggios_on-sets-of-3strings.pdf]]> ]]> https://imslp.org/wiki/M%C3%A9todo_moderno_para_guitarra_(Roch%2C_Pascual)]]> https://creativecommons.org/licenses/by/4.0/deed.en]]> 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

song_guitar-solo_Melody-with-Triads-C-Major

etude_from_École de guitare_Op.241_p14_Arpeggios-of-three-notes

etude_three-note-arpeggios_E-minor_3rds-in-melody

technique_three-note-arpeggios_I-V_i-v_chord-vamps

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

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

]]> ]]> .pdf letter size
.mp3
.midi]]> ]]> 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

]]> ]]> .pdf letter size
.mp3
.midi]]> 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

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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

]]> ]]> .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

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

chord_diagrams_triads_inversions-and-alternate-fingerings

]]> ]]> .mp3
.pdf letter size
.mid]]> ]]>
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
]]> ]]> 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
]]> ]]>
Guitar Solo in the first position with chords, tab, and standard notation.
Fingerings are added to tablature as dots.]]> guitar-solo_chart_chords-staff-tab_Twinkle-Twinkle-Little-Star_G-Major-1.png
guitar-solo_chart_chords-staff-tab_Twinkle-Twinkle-Little-Star_G-Major-2.png
Recueil_de_romances_75.png
guitar-solo_chart_chords-staff-tab_Twinkle-Twinkle-Little-Star_G-Major.mp3
guitar-solo_chart_chords-staff-tab_Twinkle-Twinkle-Little-Star_G-Major.pdf
guitar-solo_chart_chords-staff-tab_Twinkle-Twinkle-Little-Star_G-Major.mid]]> ]]> https://en.wikipedia.org/wiki/File:Recueil_de_romances_75.png]]> https://creativecommons.org/licenses/by/4.0/deed.en]]> ]]> .pdf letter size
.mp3 128 kbps
.mid Midi]]> ]]>
Guitar Solo in the first position with chords, tab, and standard notation.
Fingerings are added to tablature as dots.
]]> guitar-solo_chart_chords-staff-tab_La-Confidence_Naive_G-Major-1.png
guitar-solo_chart_chords-staff-tab_La-Confidence_Naive_G-Major-2.png
Recueil_de_romances_75.png
guitar-solo_chart_chords-staff-tab_La-Confidence_Naive_G-Major.mp3
guitar-solo_chart_chords-staff-tab_La-Confidence_Naive_G_G-Major.pdf
guitar-solo_chart_chords-staff-tab_La-Confidence_Naive_G-Major.mid]]> ]]> https://en.wikipedia.org/wiki/File:Recueil_de_romances_75.png]]> https://creativecommons.org/licenses/by/4.0/deed.en]]> ]]> .pdf letter size
.mp3 128 kbps
.mid Midi]]> ]]>
Guitar Solo in the first position with chords, tab, and standard notation.
Fingerings are added to tablature as dots.]]> guitar-solo_chart_chords-staff-tab_The-Dawning-of-the-Day_G-Major-1.png
guitar-solo_chart_chords-staff-tab_The-Dawning-of-the-Day_G-Major-2.png
Pages from bib irish music and song joyce IMSLP239331-title.jpg
Pages from bib irish music and song joyce IMSLP239331-Page_1.jpg
Pages from bib irish music and song joyce IMSLP239331-Page_2.jpg
Pages from bib irish music and song joyce IMSLP239331-Page_3.jpg
guitar-solo_chart_chords-staff-tab_The-Dawning-of-the-Day_G-Major.mp3
guitar-solo_chart_chords-staff-tab_The-Dawning-of-the-Day_G-Major.pdf
guitar-solo_chart_chords-staff-tab_The-Dawning-of-the-Day_G-Major.mid]]> https://imslp.org/wiki/Irish_Music_and_Song_(Joyce%2C_Patrick_Weston)]]> https://creativecommons.org/licenses/by/4.0/deed.en]]> ]]> .pdf letter size
.jpg
.mp3 128 kbps
.mid Midi]]> ]]>
Guitar Solo in the first position with chords, tab, and standard notation.
Fingerings are added to tablature as dots.]]> guitar-solo_chart_chords-staff-tab_Auld-Lang-Syne_G-Major-1.png
guitar-solo_chart_chords-staff-tab_Auld-Lang-Syne_G-Major-2.png
songs of scotland reid IMSLP232976-SIBLEY1802.14763.17e8-39087012504702score_title.jpg
songs of scotland reid IMSLP232976-SIBLEY1802.14763.17e8-39087012504702score_pp62-63_Page_1.jpg
songs of scotland reid IMSLP232976-SIBLEY1802.14763.17e8-39087012504702score_pp62-63_Page_2.jpg
guitar-solo_chart_chords-staff-tab_Auld-Lang-Syne_G-Major.mp3
guitar-solo_chart_chords-staff-tab_Auld-Lang-Syne_G-Major.pdf
guitar-solo_chart_chords-staff-tab_Auld-Lang-Syne_G-Major.mid]]> ]]> https://imslp.org/wiki/Songs_of_Scotland_(Reid%2C_John)]]> https://creativecommons.org/licenses/by/4.0/deed.en]]> ]]> .pdf letter size
.jpg
.mp3 128 kbps
.mid Midi]]>
Guitar Solo in the first position with chords, tab, and standard notation.
Fingerings are added to tablature as dots.]]> guitar-solo_chart_chords-staff-tab_Amazing-Grace_G-Major-1.png
guitar-solo_chart_chords-staff-tab_Amazing-Grace_G-Major-2.png
IMSLP104698-PMLP213802-southern_harmony_title-page.jpg
IMSLP104698-PMLP213802-southern_harmony_p8_New-Britain.jpg
guitar-solo_chart_chords-staff-tab_Amazing-Grace_G-Major.mp3
guitar-solo_chart_chords-staff-tab_Amazing-Grace_G-Major.pdf
guitar-solo_chart_chords-staff-tab_Amazing-Grace_G-Major.mid]]> ]]> https://imslp.org/wiki/The_Southern_Harmony_(Walker,_William)]]> https://creativecommons.org/licenses/by/4.0/deed.en]]> ]]> .jpg 3038-1909
.pdf letter size
.mp3 128 kbps
.mid Midi ]]> ]]> ]]> from: Fenner, Thomas, P. Religious Folk Songs of the Negro. Institute Press, 1909. pp.126-127
Lead sheet with chords in twelve keys.

The title and introductions of Fenner's book make me very uncomfortable.

However, both the introductions say something important. They say that many people weren't supportive of choirs like Fenner's. To that issue I say: Fenner and Morton, my experience is that people are reluctant to support you when you call them, “ignorant," and their melodies, "rude."

Reconstruction was not a harmonious time for many blacks. Many were struggling as sharecroppers. They were quite literally poor and wayfaring. Maybe they were struggling so much to support themselves that they couldn't be supportive of anything else?

I'm worried today that I'm doing something similar to Fenner. I'm harmonizing melodies.

However, I do not find the melodies, “rude.” The pentatonic scale is ubiquitous in music from every continent. The notes of the melody of “The Pilgrim's Song” are all from the minor-pentationic scale. The song may be basic and repetitious, but music like that is better for anyone to participate with. A camp meeting wouldn't be a camp meeting if people had to read SATB charts.

When I learned music theory, I learned the chromatic 12 note scale first, then the major/minor scales, then the pentatonic scale. But musicologists believe that music evolved in the opposite direction. People first sang in pentatonic scales, then seven note scales, and then added chromaticism to compositions.

On the guitar, the minor pentatonic scale has a “box” like pattern. Box pattern scales, though criticized by many guitarists, are a staple of my playing.

I began studying Spirituals because I was fascinated by their sound and history, but I soon learned that studying them can be a very effective way of learning music. Fundamental concepts like call and response can help people learn about song forms, and having public domain access to hundreds of songs can vastly help anyone learning music. I don't think these melodies are, “rude.” I think if a musician studies fifty Spirituals, they are well on their way to being able to play almost any music made today. It's maybe hyperbole for me to say such. I haven't studied fifty Spirituals, myself, though many genres branch from Spirituals.

*I added an eighth note to the pickup at the beginning of this song. It wasn't to remove the contraction, “I'm,” and replace it with “I am.” I added the eighth note so the beginning rhythm, “and three and one,” is the same as the, “and three and one” measures that happen throughout the song. I think hearing that, “and three and one” clearly at the beginning of the song helps with understanding the rhythm better throughout the song.

I didn't read Fenner's chord harmonies. I'm terrible at reading bass-clef. I added chords based on my understanding of the minor-pentatonic scale. The dom7 chords can be replaced with simple major triads. The third of those dom7 chords puts the song briefly in the harmonic minor mode for those measures.

-D.J. Ellis]]> song_from_Religious-Folk-Songs-of-the-Negro_Pilgrim's_Song_A-minor_lead_sheet.png
song_from_Religious-Folk-Songs-of-the-Negro_Pilgrim's_Song_E-minor_lead_sheet.png
song_from_Religious-Folk-Songs-of-the-Negro_Pilgrim's_Song_B-minor_lead_sheet.png
song_from_Religious-Folk-Songs-of-the-Negro_Pilgrim's_Song_F-sharp-minor_lead_sheet.png
song_from_Religious-Folk-Songs-of-the-Negro_Pilgrim's_Song_C-sharp-minor_lead_sheet.png
song_from_Religious-Folk-Songs-of-the-Negro_Pilgrim's_Song_G-sharp-minor_lead_sheet.png
song_from_Religious-Folk-Songs-of-the-Negro_Pilgrim's_Song_E-flat-minor_lead_sheet.png
song_from_Religious-Folk-Songs-of-the-Negro_Pilgrim's_Song_B-flat-minor_lead_sheet.png
song_from_Religious-Folk-Songs-of-the-Negro_Pilgrim's_Song_F-minor_lead_sheet.png
song_from_Religious-Folk-Songs-of-the-Negro_Pilgrim's_Song_C-minor_lead_sheet.png
song_from_Religious-Folk-Songs-of-the-Negro_Pilgrim's_Song_G-minor_lead_sheet.png
song_from_Religious-Folk-Songs-of-the-Negro_Pilgrim's_Song_D-minor_lead_sheet.png
from_Fenner-Thomas-P_Religious-Folk-Songs-of-the-Negro_Pilgrim's_Song_E-minor_Page_126.jpg
from_Fenner-Thomas-P_Religious-Folk-Songs-of-the-Negro_Pilgrim's_Song_E-minor_Page_127.jpg
song_from_Religious-Folk-Songs-of-the-Negro_Pilgrim's_Song_A-minor_lead_sheet.mp3
song_from_Religious-Folk-Songs-of-the-Negro_Pilgrim's_Song_A-minor_lead_sheet.mid
Pilgrim's-Song_from_Religious-Folk-Songs-of-the-Negro.pdf]]> ]]> https://archive.org/details/religiousfolkson00fenn]]> ]]> ]]> .jpeg 1962x3000
.mp3 128 kbps
.pdf letter size
.mid Midi
]]> ]]> from: Reid, John. Songs of Scotland. Boosey and Co. 1908. p. 62.
Lead sheet with chords in twelve keys.]]> song_from_Songs-of-Scotland_Auld_Lang_Syne_C-Major_lead_sheet.png
song_from_Songs-of-Scotland_Auld_Lang_Syne_G-Major_lead_sheet.png
song_from_Songs-of-Scotland_Auld_Lang_Syne_D-Major_lead_sheet.png
song_from_Songs-of-Scotland_Auld_Lang_Syne_A-Major_lead_sheet.png
song_from_Songs-of-Scotland_Auld_Lang_Syne_E-Major_lead_sheet.png
song_from_Songs-of-Scotland_Auld_Lang_Syne_B-Major_lead_sheet.png
song_from_Songs-of-Scotland_Auld_Lang_Syne_G-flat-Major_lead_sheet.png
song_from_Songs-of-Scotland_Auld_Lang_Syne_D-flat-Major_lead_sheet.png
song_from_Songs-of-Scotland_Auld_Lang_Syne_A-flat-Major_lead_sheet.png
song_from_Songs-of-Scotland_Auld_Lang_Syne_E-flat-Major_lead_sheet.png
song_from_Songs-of-Scotland_Auld_Lang_Syne_B-flat-Major_lead_sheet.png
song_from_Songs-of-Scotland_Auld_Lang_Syne_F-Major_lead_sheet.png
songs of scotland reid IMSLP232976-SIBLEY1802.14763.17e8-39087012504702score_title.jpg
songs of scotland reidIMSLP232976-SIBLEY1802.14763.17e8-39087012504702score_pp62-63_Page_1.jpg
songs of scotland reidIMSLP232976-SIBLEY1802.14763.17e8-39087012504702score_pp62-63_Page_2.jpg
song_from_Songs-of-Scotland_Auld_Lang_Syne_C-Major_lead_sheet.mp3
song_from_Songs-of-Scottland_Auld_Lang_Syne_C-Major_lead_sheet.mid
Auld_Lang_Syne_song_from_Songs-of-Scotland.pdf]]> ]]> https://imslp.org/wiki/Songs_of_Scotland_(Reid%2C_John)]]> ]]> ]]> .jpeg 3451x4482
.pdf letter size
.mp3 128kbps
.mid Midi]]> ]]> ]]> from: Walker, William. The Southern Harmony, and Musical Companion. E.W. Miller, 1854. p.8
Lead sheet with chords in twelve keys.]]> song_from_Southern-Harmony_Amazing_Grace_C-Major_lead_sheet.png
song_from_Southern-Harmony_Amazing_Grace_G-Major_lead_sheet.png
song_from_Southern-Harmony_Amazing_Grace_D-Major_lead_sheet.png
song_from_Southern-Harmony_Amazing_Grace_A-Major_lead_sheet.png
song_from_Southern-Harmony_Amazing_Grace_E-Major_lead_sheet.png
song_from_Southern-Harmony_Amazing_Grace_B-Major_lead_sheet.png
song_from_Southern-Harmony_Amazing_Grace_G-flat-Major_lead_sheet.png
song_from_Southern-Harmony_Amazing_Grace_D-flat-Major_lead_sheet.png
song_from_Southern-Harmony_Amazing_Grace_A-flat-Major_lead_sheet.png
song_from_Southern-Harmony_Amazing_Grace_E-flat-Major_lead_sheet.png
song_from_Southern-Harmony_Amazing_Grace_B-flat-Major_lead_sheet.png
song_from_Southern-Harmony_Amazing_Grace_F-Major_lead_sheet.png
IMSLP104698-PMLP213802-southern_harmony_title-page.jpg
IMSLP104698-PMLP213802-southern_harmony_p8_New-Britain.jpg
song_from_Southern-Harmony_Amazing_Grace_C-Major_lead_sheet.mp3
song_from_Southern-Harmony_Amazing_Grace_C-Major_lead_sheet.mid
Amazing_Grace_song_from_Southern-Harmony.pdf]]> ]]> https://imslp.org/wiki/The_Southern_Harmony_(Walker,_William)]]> ]]> ]]> .jpeg 3038x1909
.pdf letter size
.mp3 128kbps
.mid Midi]]> ]]> template_staff_treble-clef_6staves-per-page.png
template_staff_treble-clef_4staves-per-page.png
template_staff_treble-clef_2staves-per-page-horizontal.png
template_staff_treble-clef_1staff-per-page-horizontal.png
template_staff_treble-clef.pdf]]> ]]> ]]> ]]> .pdf letter size (portrait and landscape)

]]> ]]> ]]> flashcard_template_standard-notation_12staves_print.jpg
flashcard_template_standard-notation_12staves_print.pdf]]> ]]> ]]> ]]> .pdf letter size
]]> ]]> Set your printer to print on both sides of the paper so that the names of the chords print on the opposite side of the staff notations.]]> ]]> ]]> ]]> ]]> ]]> Set your printer to print on both sides of the paper so that the names of the chords print on the opposite side of the staff notations. ]]> ]]> ]]> ]]> ]]> ]]> Set your printer to print on both sides of the paper so that the names of the chords print on the opposite side of the staff notations.]]> ]]> ]]> ]]> ]]> ]]> ]]>
Roman numerals number the scale tones and also identify
whether a minor, major,or half diminished chord
is built on that scale tone.

Four variations of the chart are included:

The first is a completely filled chart.
The second provides example scales and roots.
The third provides the scale roots only.
The fourth is a blank chart.

The second-fourth variations progress in difficulty.
It's encouraged that students fill in the charts with examples first
while gradually memorizing the scales and the cycle of 4ths/circle of 5ths.

It's not expected that all the scales will be memorized.
A preliminary goal is to recognize what combination of notes make
half-steps, whole-steps, and minor thirds.
Filling out as many scales as possible solidifies our recognition of common scale intervals.
]]> spelling_minor-pentatonic_chart.jpg
spelling_minor-pentatonic_examples.jpg
spelling_minor-pentatonic_roots.jpg
spelling_minor-pentatonic_blank.jpg
spelling_minor-pentatonic_packet.pdf]]> ]]> ]]> ]]> .pdf letter size
]]> ]]> ]]>
Roman numerals number the scale tones and also identify
whether a minor, major,or half diminished chord
is built on that scale tone.

Four variations of the chart are included:

The first is a completely filled chart.
The second provides example scales and roots.
The third provides the scale roots only.
The fourth is a blank chart.

The second-fourth variations progress in difficulty.
It's encouraged that students fill in the charts with examples first
while gradually memorizing the scales and the cycle of 4ths/circle of 5ths.

It's not expected that all the scales will be memorized.
A preliminary goal is to recognize what combination of notes make
half-steps, whole-steps, and minor thirds.
Filling out as many scales as possible solidifies our recognition of common scale intervals.]]> spelling_mixolydian-pentatonic_chart.jpg
spelling_mixolydian-pentatonic_examples.jpg
spelling_mixolydian-pentatonic_roots.jpg
spelling_mixolydian-pentatonic_blank.jpg
spelling_mixolydian-pentatonic_packet.pdf]]> ]]> ]]> ]]> .pdf letter size
]]> ]]> ]]>
Roman numerals number the scale tones and also identify
whether a minor, major,or half diminished chord
is built on that scale tone.

Four variations of the chart are included:

The first is a completely filled chart.
The second provides example scales and roots.
The third provides the scale roots only.
The fourth is a blank chart.

The second-fourth variations progress in difficulty.
It's encouraged that students fill in the charts with examples first
while gradually memorizing the scales and the cycle of 4ths/circle of 5ths.

It's not expected that all the scales will be memorized.
A preliminary goal is to recognize what combination of notes make
half-steps, whole-steps, and minor thirds.
Filling out as many scales as possible solidifies our recognition of common scale intervals.
]]> spelling_phrygian-pentatonic_chart.jpg
spelling_phrygian-pentatonic_examples.jpg
spelling_phrygian-pentatonic_roots.jpg
spelling_phrygian-pentatonic_blank.jpg
spelling_phrygian-pentatonic_packet.pdf]]> ]]> ]]> ]]> .pdf letter size
]]> ]]> ]]>
Roman numerals number the scale tones and also identify
whether a minor, major,or half diminished chord
is built on that scale tone.

Four variations of the chart are included:

The first is a completely filled chart.
The second provides example scales and roots.
The third provides the scale roots only.
The fourth is a blank chart.

The second-fourth variations progress in difficulty.
It's encouraged that students fill in the charts with examples first
while gradually memorizing the scales and the cycle of 4ths/circle of 5ths.

It's not expected that all the scales will be memorized.
A preliminary goal is to recognize what combination of notes make
half-steps, whole-steps, and minor thirds.
Filling out as many scales as possible solidifies our recognition of common scale intervals.]]> spelling_dorian-pentatonic_chart.jpg
spelling_dorian-pentatonic_examples.jpg
spelling_dorian-pentatonic_roots.jpg
spelling_dorian-pentatonic_blank.jpg
spelling_dorian-pentatonic_packet.pdf]]> ]]> ]]> ]]> .pdf letter size
]]> ]]> ]]>
Roman numerals number the scale tones and also identify
whether a minor, major,or half diminished chord
is built on that scale tone.

Four variations of the chart are included:

The first is a completely filled chart.
The second provides example scales and roots.
The third provides the scale roots only.
The fourth is a blank chart.

The second-fourth variations progress in difficulty.
It's encouraged that students fill in the charts with examples first
while gradually memorizing the scales and the cycle of 4ths/circle of 5ths.

It's not expected that all the scales will be memorized.
A preliminary goal is to recognize what combination of notes make
half-steps, whole-steps, and minor thirds.
Filling out as many scales as possible solidifies our recognition of common scale intervals.]]> spelling_major-pentatonic_chart.jpg
spelling_major-pentatonic_examples.jpg
spelling_major-pentatonic_roots.jpg
spelling_major-pentatonic_blank.jpg
spelling_major-pentatonic_packet.pdf]]> ]]> ]]> ]]> .pdf letter size
]]> ]]> ]]>
Roman numerals number the scale tones and also identify
whether a minor, major, diminished, half diminished,
or augmented chord is built on that scale tone.

Four variations of the chart are included:

The first is a completely filled chart.
The second provides example scales and roots.
The third provides the scale roots only.
The fourth is a blank chart.

The second-fourth variations progress in difficulty.
It's encouraged that students fill in the charts with examples first
while gradually memorizing the scales and the cycle of 4ths/circle of 5ths.

It's not expected that all the scales will be memorized.
A preliminary goal is to recognize what combination of notes make
half-steps, whole-steps, and minor thirds.
Filling out as many scales as possible solidifies our recognition of common scale intervals.]]> spelling_melodic-minor_chart.jpg
spelling_melodic-minor_examples.jpg
spelling_melodic-minor_roots.jpg
spelling_melodic-minor_blank.jpg
spelling_melodic-minor_packet.pdf]]> ]]> ]]> ]]> .pdf letter size
]]> ]]> ]]>
Roman numerals number the scale tones and also identify
whether a minor, major, diminished, or half diminished chord
is built on that scale tone.

Four variations of the chart are included:

The first is a completely filled chart.
The second provides example scales and roots.
The third provides the scale roots only.
The fourth is a blank chart.

The second-fourth variations progress in difficulty.
It's encouraged that students fill in the charts with examples first
while gradually memorizing the scales and the cycle of 4ths/circle of 5ths.

It's not expected that all the scales will be memorized.
A preliminary goal is to recognize what combination of notes make
half-steps, whole-steps, and minor thirds.
Filling out as many scales as possible solidifies our recognition of common scale intervals.]]> spelling_harmonic-minor_chart.jpg
spelling_harmonic-minor_examples.jpg
spelling_harmonic-minor_roots.jpg
spelling_harmonic-minor_blank.jpg
spelling_harmonic-minor_packet.pdf]]> ]]> ]]> ]]> .pdf letter size
]]> ]]> ]]>
Roman numerals number the scale tones and also identify
whether a minor, major, or half diminished chord
is built on that scale tone.

Four variations of the chart are included:

The first is a completely filled chart.
The second provides example scales and roots.
The third provides the scale roots only.
The fourth is a blank chart.

The second-fourth variations progress in difficulty.
It's encouraged that students fill in the charts with examples first
while gradually memorizing the scales and the cycle of 4ths/circle of 5ths.

It's not expected that all the scales will be memorized.
A preliminary goal is to recognize what combination of notes make
half-steps, whole-steps, and minor thirds.
Filling out as many scales as possible solidifies our recognition of common scale intervals.]]> spelling_locrian_scales_chart.jpg
spelling_locrian_scales_examples.jpg
spelling_locrian_scales_roots.jpg
spelling_locrian_scales_blank.jpg
spelling_locrian_scales_packet.pdf]]> ]]> ]]> ]]> .pdf letter size
]]> ]]> ]]>
Roman numerals number the scale tones and also identify
whether a minor, major, or half diminished chord
is built on that scale tone.

Four variations of the chart are included:

The first is a completely filled chart.
The second provides example scales and roots.
The third provides the scale roots only.
The fourth is a blank chart.

The second-fourth variations progress in difficulty.
It's encouraged that students fill in the charts with examples first
while gradually memorizing the scales and the cycle of 4ths/circle of 5ths.

It's not expected that all the scales will be memorized.
A preliminary goal is to recognize what combination of notes make
half-steps, whole-steps, and minor thirds.
Filling out as many scales as possible solidifies our recognition of common scale intervals.]]> spelling_mixolydian_scales_chart.jpg
spelling_mixolydian_scales_examples.jpg
spelling_mixolydian_scales_roots.jpg
spelling_mixolydian_scales_blank.jpg
spelling_mixolydian_scales_packet.pdf]]> ]]> ]]> ]]> .pdf letter size
]]> ]]> ]]>
Roman numerals number the scale tones and also identify
whether a minor, major, or half diminished chord
is built on that scale tone.

Four variations of the chart are included:

The first is a completely filled chart.
The second provides example scales and roots.
The third provides the scale roots only.
The fourth is a blank chart.

The second-fourth variations progress in difficulty.
It's encouraged that students fill in the charts with examples first
while gradually memorizing the scales and the cycle of 4ths/circle of 5ths.

It's not expected that all the scales will be memorized.
A preliminary goal is to recognize what combination of notes make
half-steps, whole-steps, and minor thirds.
Filling out as many scales as possible solidifies our recognition of common scale intervals.]]> spelling_lydian_scales_chart.jpg
spelling_lydian_scales_examples.jpg
spelling_lydian_scales_roots.jpg
spelling_lydian_scales_blank.jpg
spelling_lydian_scales_packet.pdf]]> ]]> ]]> ]]> .pdf letter size
]]> ]]>
Roman numerals number the scale tones and also identify
whether a minor, major, or half diminished chord
is built on that scale tone.

Four variations of the chart are included:

The first is a completely filled chart.
The second provides example scales and roots.
The third provides the scale roots only.
The fourth is a blank chart.

The second-fourth variations progress in difficulty.
It's encouraged that students fill in the charts with examples first
while gradually memorizing the scales and the cycle of 4ths/circle of 5ths.

It's not expected that all the scales will be memorized.
A preliminary goal is to recognize what combination of notes make
half-steps, whole-steps, and minor thirds.
Filling out as many scales as possible solidifies our recognition of common scale intervals.]]> spelling_phrygian_scales_chart.jpg
spelling_phrygian_scales_examples.jpg
spelling_phrygian_scales_roots.jpg
spelling_phrygian_scales_blank.jpg
spelling_phrygian_scales_packet.pdf]]> ]]> ]]> ]]> .pdf letter size
]]> ]]> ]]>
Roman numerals number the scale tones and also identify
whether a minor, major, or half diminished chord
is built on that scale tone.

Four variations of the chart are included:

The first is a completely filled chart.
The second provides example scales and roots.
The third provides the scale roots only.
The fourth is a blank chart.

The second-fourth variations progress in difficulty.
It's encouraged that students fill in the charts with examples first
while gradually memorizing the scales and the cycle of 4ths/circle of 5ths.

It's not expected that all the scales will be memorized.
A preliminary goal is to recognize what combination of notes make
half-steps, whole-steps, and minor thirds.
Filling out as many scales as possible solidifies our recognition of common scale intervals.]]> spelling_dorian_scales_chart.jpg
spelling_dorian_scales_examples.jpg
spelling_dorian_scales_roots.jpg
spelling_dorian_scales_blank.jpg
spelling_dorian_scales_packet.pdf]]> ]]> ]]> ]]> .pdf letter size
]]> ]]> ]]>
Roman numerals number the scale tones and also identify
whether a minor, major, or half diminished chord
is built on that scale tone.

Four variations of the chart are included:

The first is a completely filled chart.
The second provides example scales and roots.
The third provides the scale roots only.
The fourth is a blank chart.

The second-fourth variations progress in difficulty.
It's encouraged that students fill in the charts with examples first
while gradually memorizing the scales and the cycle of 4ths/circle of 5ths.

It's not expected that all the scales will be memorized.
A preliminary goal is to recognize what combination of notes make
half-steps, whole-steps, and minor thirds.
Filling out as many scales as possible solidifies our recognition of common scale intervals.]]> spelling_minor_scales_chart.jpg
spelling_minor_scales_examples.jpg
spelling_minor_scales_roots.jpg
spelling_minor_scales_blank.jpg
spelling_minor_scales_packet.pdf]]> ]]> ]]> ]]> .pdf letter size
]]> ]]> ]]>
Roman numerals number the scale tones and also identify
whether a minor, major, or half diminished chord
is built on that scale tone.

Four variations of the chart are included:

The first is a completely filled chart.
The second provides example scales and roots.
The third provides the scale roots only.
The fourth is a blank chart.

The second-fourth variations progress in difficulty.
It's encouraged that students fill in the charts with examples first,
while gradually memorizing the scales and the cycle of 4ths/circle of 5ths.

It's not expected that all the scales will be memorized.
A preliminary goal is to recognize what combination of notes make
half-steps, whole-steps, and minor thirds.
Filling out as many scales as possible solidifies our recognition of common scale intervals.]]> spelling_major_scales_chart.jpg
spelling_major_scales_examples.jpg
spelling_major_scales_roots.jpg
spelling_major_scales_blank.jpg
spelling_major_scales_packet.pdf]]> ]]> ]]> theory_key-signatures_and_scale-formulas
fretboard-diagram-14frets_ all-keys_and_ relative-modes]]> ]]> .pdf letter size
]]> ]]> ]]>
Four variations of the chart are included:

The first is a completely filled chart.
The second provides example scales and roots.
The third provides the scale roots only.
The fourth is a blank chart.

The second-fourth variations progress in difficulty.
It's encouraged that students fill in the charts with examples first,
while gradually memorizing the scales and the cycle of 4ths/circle of 5ths.

It's not expected that all the scales will be memorized.
A preliminary goal is to recognize what combination of notes make
half-steps, whole-steps, and minor thirds.
Filling out as many scales as possible solidifies our recognition of common scale intervals.]]> spelling_chromatic_scales_chart.jpg
spelling_chromatic_scales_examples.jpg
spelling_chromatic_scales_roots.jpg
spelling_chromatic_scales_blank.jpg
spelling_chromatic_scales_packet.pdf]]> ]]> ]]> theory_key-signatures_and_scale-formulas
fretboard_poster_12fret only_full-sheet]]> ]]> .pdf letter size
]]> ]]> ]]> A diagram of the cycle of 4ths/circle of 5ths,
lists of key signatures written on the treble-clef,
and formulas of intervals that common scales are built with.

Starting at the top of the cycle of 4ths/circle of 5ths:
Keys written with sharps progress clockwise,
keys written with flats progress counter-clockwise.

The scale formulas are all listed relative to C as their scale root.
Brackets above each scale identify the intervals between scale tones.
(H = half step) (W = whole step) (-3 = minor third)

The .pdf file includes the three .jpg source files.]]> key-signatures_circle5ths-cycle4ths.jpg
scale-formulas_1of2.jpg
scale formulas_2of2.jpg
theory_key-signatures_and_scale-formulas.pdf]]> ]]> ]]> ]]> .pdf letter size

]]>
]]> ]]> Four variations are included with different opacities for the parts.
The variations are for multiple viewing and editing scenarios.
The .pdf file contains the four .jpg source files.]]> template_tab-with-chords_12chords-and-measures.jpg
template_tab-with-chords_12chords-and-measures_opaque-chords.jpg
template_tab-with-chords_12chords-and-measures_opaque-chords-and-tab.jpg
template_tab-with-chords_12chords-and-measures_opaque-tab.jpg
template_tab-with-chords_12chords-and-measures_packet.pdf]]> ]]> ]]> ]]> .pdf letter size
]]>
]]> ]]> Four variations are included with different notation and diagrams being opaque.
The variations are for different viewing and editing scenarios.
The .pdf file contains the four .jpg variations.]]> template_tab-and-staff_with_chords.jpg
template_tab-and-staff_with_chords_opaque.jpg
template_tab-and-staff_with_chords_opaque-chords.jpg
template_tab-and-staff_with_chords_opaque-staff.jpg
template_tab-and-staff_with_chords_packet.pdf]]> ]]> ]]> ]]> .pdf letter size
]]>
]]> ]]> An opaque variation is included for different viewing and editing scenarios.
The .pdf file contains both .jpg files.]]> template_tablature_5staves-per-page.jpg
template_tablature_5staves-per-page_opaque.jpg
template_tablature_5staves-per-page_packet.pdf]]> ]]> ]]> ]]> .pdf letter size
]]>
]]> ]]> An opaque version is included for different viewing and editing scenarios.
The .pdf file is a packet of both the .jpg source image files.
]]> template_chord-diagrams_16per-pg.jpg
template_chord-diagrams_16per-pg_opaque.jpg
template_chord-diagrams_16per-pg_packet.pdf]]> ]]> ]]> ]]> .pdf letter size
]]> ]]> ]]> Variations are included with different opacities and fret numberings.
The variations are for different instructional, viewing, and editing scenarios.
The .pdf file is a packet of all seven of the .jpg source image files.]]> fretboard-diagram_14fret_horizontal_blank.jpg
fretboard-diagram_14fret_horizontal_blank_opaque.jpg
fretboard-diagram_14fret_horizontal_numerals.jpg
fretboard-diagram_14fret_horizontal_numerals_opaque.jpg
fretboard-diagram_14fret_horizontal_blank_packet.pdf]]> ]]> ]]> ]]> .pdf letter size

]]> ]]> ]]> Seven variations are included with different parts of the diagram being opaque, faded, and/or blank.
The variations are for scaffolded lesson presentations, and/or specific viewing and editing scenarios.
The .pdf file is a packet of all seven of the .jpg source image files.]]> fretboard_poster_12fretonly_full-sheet.jpg
fretboard_poster_12fretonly_full-sheet_sans_numerals.jpg
fretboard_poster_12fretonly_full-sheet_opaque_note-names.jpg
fretboard_poster_12fretonly_full-sheet_sans_note-names.jpg
fretboard_poster_12fretonly_full-sheet_sans_note-names_and_circles.jpg
fretboard_poster_12fretonly_full-sheet_sans_note-names_and_circles_faded.jpg
fretboard_poster_12fretonly_full-sheet_sans_note-names_circles_and_numerals.jpg
fretboard_poster_12fretonly_full-sheet_pdf_packet.pdf]]> ]]> ]]> ]]> .pdf letter size

]]> ]]> The .pdf packet includes all of the .jpg source files.
.mp4 video files provide a slideshow of the scale diagrams moving around the cycle of 4ths/circle of 5ths.
Diagrams are formatted for printing vertically on letter sized paper.

]]> fb-diagram-14frets_C-Major_and_relative-modes.jpg
fb-diagram-14frets_G-Major_and_relative-modes.jpg
fb-diagram-14frets_D-Major_and_relative-modes.jpg
fb-diagram-14frets_A-Major_and_relative-modes.jpg
fb-diagram-14frets_E-Major_and_relative-modes.jpg
fb-diagram-14frets_B-Major_and_relative-modes.jpg
fb-diagram-14frets_C-flat-Major_and_relative-modes.jpg
fb-diagram-14frets_F-sharp-Major_and_relative-modes.jpg
fb-diagram-14frets_G-flat-Major_and_relative-modes.jpg
fb-diagram-14frets_C-sharp-Major_and_relative-modes.jpg
fb-diagram-14frets_D-flat-Major_and_relative-modes.jpg
fb-diagram-14frets_A-flat-Major_and_relative-modes.jpg
fb-diagram-14frets_E-flat-Major_and_relative-modes.jpg
fb-diagram-14frets_B-flat-Major_and_relative-modes.jpg
fb-diagram-14frets_F-Major_and_relative-modes.jpg

fb-diagram-14frets_all-keys_and_relative-modes_packet.pdf

vid_fb-diagram_Major-scales_cycle-of-4ths-crop_slw.mp4
vid_fb-diagram_Major-scales_circle-of-5ths-crop_slw.mp4]]> ]]> ]]> ]]> .pdf letter size
.mp4 1920x1080

]]>