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Only 3 separate letter names). None of these grips use any open strings so they can be transposed easily up and down the fretboard. They all have the chord’s root as the lowest pitch. The 3rds and 5ths of these voicings are often in a higher octave than they were when we were originally constructing the triad types. This is nothing to be alarmed about. An E situated a 10th above a C Root will still be functioning as the major 3rd of some type of a C chord. An A# situated an Aug12th above a D Root will still be functioning as the #5 of some sort of a D chord.

When you feel ready change the time signature to 5/4 thus shortening the gap between chords. Continue practicing at very slow tempos as well as some quicker ones. When you feel ready change the time signature to 4/4 thus shortening the gap between chords. Continue practicing at very slow tempos as well as some quicker ones. When you feel ready change the time signature to 3/4 thus shortening the gap between chords. Continue practicing at very slow tempos as well as some quicker ones. When you feel ready change the time signature to 2/4 thus minimizing the gap between chords.

E. ) Practice with your amplifier on so you can hear clearly what sounds your guitar is making. We will start with the inversions of a C Major chord using strings 5, 4 and 3. Ex. -1 (C Major Triad Inversions on Strings 5, 4 and 3) Root Pos. =90 C 44 1st Inv. 2nd Inv. R 5 3 5 3 R 3 R 5 3 4 5 0 2 3 1 1 3 4 5 3 1 3 2 3 3 Root Pos. 4 5 5 3 R 4 5 1 3 4 Ex. -2 (C Minor Triad Inversions on Strings 5, 4 and 3) Root Pos. 44 3 0 1 3 4 5 1st Inv. R 5 ∫3 5 ∫3 Cµ R 2nd Inv. Root Pos. ∫3 R 5 5 ∫3 R 1 4 3 1 1 2 1 2 4 Ex.

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