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
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