�1
Sight Reading Made SimpleSummary of Workshop 3
The 2 Main topics were:
1) Fretboard Charts2) Moveable Building Blocks
Fretboard Charts:
Use the charts to practice the fretboard in different ways - solfege (do-re-mi), letters, notation.
• Choose one position and say the notes (using solfege and/or letters) horizontally across the fretboard.
�3
Letters
Choose a position and practice saying the notes this way
�2
• Practice playing the same note in different places using the Equisonants chart.
�8
Equisonants(locating same notes in different places)
Choose one note and practice it in all different places.
�3
Moveable Building Blocks: Learn the fretboard by practicing what pieces are made of.
Intervals: Find your desired interval pattern and shift it up the fretboard.
Say the name of the interval and/or the individual note names as you play
�14
Moveable Interval Patterns
In Aguado’s “The Guitar Taught by a Simple Method” (1836?), the maestro gives examples of interval patterns that can be shifted up and down the fretboard. This is a very worthwhile exercise, as you can learn many intervals very quickly through using this method of practice.
Aguado covers a significant number of intervals, but for now you will only focus on 3rds, 6ths, 8ves and 10ths. Each moveable exercise is accompanied with a study that uses the patterns from the exercise.
1. Shift each interval up the fretboard 2. Say the notes as you play them
Thirds (3rds)
Shift each pattern up the fretboard as high as possible
In the study below, use the given information to help you find the interval pattern from the exercises.
1. Ensure that you fret all bracketed notes before playing 2. Identify the quality of each interval (major, minor or perfect)
�5
Moveable Interval PatternsIn Aguado’s “The Guitar Taught by a Simple Method” (1836?), the maestro gives examples of interval patterns that can be shifted up and down the fretboard. This is a very worthwhile exercise, as you can learn many intervals very quickly through using this method of practice.
Aguado covers a significant number of intervals, but for now you will only focus on 3rds, 6ths, 8ves and 10ths. Each moveable exercise is accompanied with a study that uses the patterns from the exercise.
1. Shift each interval up the fretboard 2. Say the notes as you play them
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In the study below, use the given information to help you find the interval pattern from the exercises.
1. Ensure that you fret all bracketed notes before playing 2. Identify the quality of each interval (major, minor or perfect)
Triads: Find your desired triad pattern and shift it up the fretboard.
Say the name of the triad and/or the individual note names as you play
�25
Moveable Triad Patterns
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MOVEABLE MAJOR TRIADS Root Position
Two Ways To Practice 1) Say the individual notes
2) Say the chord name
�4
Dominant and Tonic: Find your desired chord progression and shift it up the fretboard.
Say the name of the chords and/or the individual note names as you play.
If you are already fluent and experienced at this, try writing out the shifting chords.
�34
Moveable Dominant and TonicDominant and Tonic together form the most important chords in classical music. You can often find entire pieces made up of these two chords. These moveable exercises allow you to learn many of the progressions relatively fast.
How they work: Each line presents a moveable progression, from one bar to the next. Play the first bar and then the second is the same chord progression (same fingerings) but shifted up one fret. You can continue to whatever position you wish, but here they’re only indicated up to the 2nd position.
Moveable V-I patternsOnce again, we can learn one of the foundations of harmony through practicing moveable chords. This time, we can combine the Dominant and Tonic together and shift that progression up and down the fretboard. Add arpeggios if you wish.
It’s recommended that you say the chords as you play them. If you want/need to review triads and seventh chords, you can more carefully analyze each individual chord (triad, inversion, spacing, etc.). Short term - play it now.
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19
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Moveable V-I patternsOnce again, we can learn one of the foundations of harmony through practicing moveable chords. This time, we can combine the Dominant and Tonic together and shift that progression up and down the fretboard. Add arpeggios if you wish.
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19
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It’s recommended that you say the chords as you play them. If you want/need to review triads and seventh chords, you can more carefully analyze each individual chord (triad, inversion, spacing, etc.). Short term - play it now.
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19
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3
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It’s recommended that you say the chords as you play them. If you want/need to review triads and seventh chords, you can more carefully analyze each individual chord (triad, inversion, spacing, etc.). Short term - play it now.
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19
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3
Moveable V-I patternsOnce again, we can learn one of the foundations of harmony through practicing moveable chords. This time, we can combine the Dominant and Tonic together and shift that progression up and down the fretboard. Add arpeggios if you wish.
It’s recommended that you say the chords as you play them. If you want/need to review triads and seventh chords, you can more carefully analyze each individual chord (triad, inversion, spacing, etc.). Short term - play it now.
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19
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3
Moveable V-I patternsOnce again, we can learn one of the foundations of harmony through practicing moveable chords. This time, we can combine the Dominant and Tonic together and shift that progression up and down the fretboard. Add arpeggios if you wish.
It’s recommended that you say the chords as you play them. If you want/need to review triads and seventh chords, you can more carefully analyze each individual chord (triad, inversion, spacing, etc.). Short term - play it now.
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19
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3
Moveable Dominant and TonicDominant and Tonic together form the most important chords in classical music. You can often find entire pieces made up of these two chords. These moveable exercises allow you to learn many of the progressions relatively fast.
How they work: Each line presents a moveable progression, from one bar to the next. Play the first bar and then the second is the same chord progression (same fingerings) but shifted up one fret. You can continue to whatever position you wish, but here they’re only indicated up to the 2nd position.
Moveable V-I patternsOnce again, we can learn one of the foundations of harmony through practicing moveable chords. This time, we can combine the Dominant and Tonic together and shift that progression up and down the fretboard. Add arpeggios if you wish.
It’s recommended that you say the chords as you play them. If you want/need to review triads and seventh chords, you can more carefully analyze each individual chord (triad, inversion, spacing, etc.). Short term - play it now.
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19
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3
Moveable V-I patternsOnce again, we can learn one of the foundations of harmony through practicing moveable chords. This time, we can combine the Dominant and Tonic together and shift that progression up and down the fretboard. Add arpeggios if you wish.
It’s recommended that you say the chords as you play them. If you want/need to review triads and seventh chords, you can more carefully analyze each individual chord (triad, inversion, spacing, etc.). Short term - play it now.
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19
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3
Moveable V-I patternsOnce again, we can learn one of the foundations of harmony through practicing moveable chords. This time, we can combine the Dominant and Tonic together and shift that progression up and down the fretboard. Add arpeggios if you wish.
It’s recommended that you say the chords as you play them. If you want/need to review triads and seventh chords, you can more carefully analyze each individual chord (triad, inversion, spacing, etc.). Short term - play it now.
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19
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3
Moveable V-I patternsOnce again, we can learn one of the foundations of harmony through practicing moveable chords. This time, we can combine the Dominant and Tonic together and shift that progression up and down the fretboard. Add arpeggios if you wish.
It’s recommended that you say the chords as you play them. If you want/need to review triads and seventh chords, you can more carefully analyze each individual chord (triad, inversion, spacing, etc.). Short term - play it now.
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19
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Moveable V-I patternsOnce again, we can learn one of the foundations of harmony through practicing moveable chords. This time, we can combine the Dominant and Tonic together and shift that progression up and down the fretboard. Add arpeggios if you wish.
It’s recommended that you say the chords as you play them. If you want/need to review triads and seventh chords, you can more carefully analyze each individual chord (triad, inversion, spacing, etc.). Short term - play it now.
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19
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19
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3
Moveable Dominant and Tonic
The Rule of the Octave: Find your desired chord and shift it up the fretboard.
Say the name of the chord and/or the individual note names as you play.
If you are already fluent and experienced at this, try writing out the shifting chords.
�37
C Major
“A pure, certain and decisive manner, full of innocence, earnestness, deepest religious feeling.”
“Completely pure. Its character is innocence, simplicity, naïvety and children's talk.”
“State of nature, virginal chastity and purity, lovely innocence of youth.”
L’Innocence - William-Adolphe Bouguereau (1825-1905)
Chords and Rotations
423 3
20 2
01 001 3
41
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341
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43
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314
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44
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Harmonized Scale (Rule of the Octave)
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Major Root Position 5/3
Dominant 7th 2nd Inversion 4/3
Major 1st Inversion 6/3
Minor 7th 1st Inversion 6/5
Major Root Position 5/3
Minor 7th Root Position 7
Dominant 7th 1st Inversion 6/5
Major Root Position 5/3
Here is how you can apply the same process of shifting chord shapes to the ROTO.
Major ROTO Ascending
25
�5
Shifting Chord Shapes in Pieces
Most chord shapes that we play in high positions are chords that we’re already familiar with in lower positions.
Identify these chords by shifting the high chord down one fret at a time to the first position.
Shifting Chord Shapes in Pieces
Most chord shapes that we play in high positions are chords that we’re already familiar with in lower positions.
When you shift chords in high positions down to the 1st position, you realize that many of these high position chords are shapes you’re already familiar with.
This makes reading and learning chords in higher positions a lot easier, as you can associate them with shapes you know well. Can you work out chords 4 and 5 below using this process?
1 2
3
4 5
Etude 3, Op. 29 by Fernando Sor
431
432
1
211
432
411
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Root note
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42