~`        `~
E|Z0++r0++|E
B|Z0++a0++|B
G|Z1++m1++|G
D|Z2++z2++|D
A|Z2++z2++|A
E|Z0++z0++|E
~`       `~

          

p)   i)   m)   a)


 [Assumption, that you'll play guitar:
fretting the strings with your left hand, and striking strings by the right hand,
 somehow, with a flatpick Z and/or plucking with the free three fingers  r)a)m) 
 Left handers?  m)a)l) , take it from there, and Tappers, are something else]
 My Right Hand terms, for guitar, have to be seen from the
Classical Guitar's attack terms, p i m a (Thumb Index Middle Annular), where 
p)+ i) is lost to holding a flatpicK \/.
      
 There's something about looking at a triangular pick \/striking
a string, that K reminds me of.... 
|See: single note articulation and apeggiation|
|http://www.geocities.com/guitalife/gtramk.html.|
 Here, though, Z, likewise harkens to the motion of the flatpick striking
 two or more strings rapidly, instantly, a strum. 
The Downstroke\Z\../z/The Upstroke.


K  k
Down=\/=  Up 
Strum Z\ /z strum

 The \ & / serve here, in text, to show the pick's Vertical attacks;
in Tabulature they usually mean glissandi, pitch slides on the string.
 I've added the little finger, designated as r) , well, just look at it!
 Since we, paler English-speaking folk, tend to call the
little finger "pinky", I opted for the (red/rose/rosa) 'r': I
was prompted by a Ralph Towner article in Guitar Player magazine
in the 80's,about multivoice possibilities, albeit, here in pick
and 3-finger roll terms. So, "r)" for Ralph, roll, right...? 
 Turn your right hand up, and look at the small finger(((( ).
 The plucking of {multiple stop} chord voicings can be done all together with
the fingers, largely on the treble strings.
  Hence K\/k r)a)m) or  r)a)m)K\/k :-) . 
 K\  /  \  /  \  /k   ._\__\__\__\__\__\+.
__E__A__D__G__B__E__  __E__A__D__G__B__E_.
| 0  0  -  -  -  0  | |.0..0. -  -  -.\0 |
|       !__1__!     | |     .\!__1__!.   |
|___________________| |__________________|

__________~`\ / \ / \ /     \ /   `~_____________
K\/k .....E|----------k0++--Z0z0++|E ....Z\/z....
Single ...B|--------K2++++--Z2z2++|B ...Multiple.
...Note...G|------k2++++++--Z2z2++|G.(6).string..
...Attack.D|----K2++++++++--Z2z2++|D..Attack.....
Alternate A|--k0++++++++++--Z0z0++|A Alternate...
Stroke \/ E|K0++++++++++++--Z0z0++|E ...Stroke...
__________~`......A Major.........`~_____________

 \Z__Zz/Zz/m) a) r)  
__E__A__D__G__B__E__
| 0  0  -  -  -  0  |
|       !__1__!     |
|___________________|

 The reverse 1/8th note /z strum here is the neater trick. most of this 
particular alternate picking here comes from the right thumb and index, 
not from the wrist, or elbow which can in turn add levels of power
and imact to the strum attack.
 That may be a help in distinguishing strum technique. If the guitar
is kept too far up or down on the abdomen, the complete set of strumming skills
will be short. Classical guitar position, generally, can help make the most of
the fingers, wrist, and elbow.
~`                                 `~
E|------r0------"+|--r0++"+--r0++"+|E
B|----a2++----"+++|--a2++"+--a2++"+|B
G|--m2++++--"+++++|--m2++"+--m2++"+|G
D|,---,---,---,---|Z2++++z2Z2++++z2|D
A|K0++++++--------|Z0++++z0Z0++++z0|A
E|--------K0++++++|,---,---,---,---|E
~`                                 `~
 Z\/z is pick Strumming "biZ" two or more strings {pick-struck} simultaneous.
 Plucking multiple-stops with the fingers r)a)m), simultaneously can be integrated
in motion with the pick, or independantly, on and off.
 (Concentrating on the particular qualities of Block voices is this file's target.)
 The Rythym of attack and Tempo, are factors deciding, what approach, on a passage, is used.
   
 Hold the flatpick K with the pointed end,  parallel and extended from 
the Index, and look at the Right Hand, palm up.
 Strum Z\, repeat & pluck r)a)m), repeating on 4 strings to 
hear the simultaneous-voiced 'C' Major /\ chord.

              
~`  Strum  Pluck  `~      ~`  Strum  Pluck  `~  ~`  Strum  Pluck  `~
E|-----C Major----|E      E|--C Major-------|E       E|--C Major-------|E
B|Z1++"+++r1++"+++|B      B|--Z1--"+--r1--"=|B       B|----Z1++----r1++|B
G|Z0++"+++a0++"+++|G      G|--Z0--"+--a0--"+|G       G|----Z0++----a0++|G
D|Z2++"+++m2++"+++|D      D|--Z2--"+--m2--"+|D       D|----Z2++----m2++|D
A|Z3++"+++K3++"+++|A      A|--Z3--"+--K---"+|A       A|----Z3++----K3++|A
E|,---,---,---,---|E      E|,---,---,---,---|E       E|,---,---,---,---|E
~`1 & 2 & 3 & 4 & `~      ~`1 & 2 & 3 & 4 & `~       ~`1 & 2 & 3 & 4 & `~
~~~~~~~~~~~~~~~~~~~~_________________________________~~~~~~~~~~~~~~~~~~~~


 Playing a series of block Triad voices, stepwise,
 e.g., _C Major_D Minor_E Minor_
 harmonized in a particular scale, they may simply move vertically, up or down, 
in any inversion allowing for pitch limits. Pick-attacking groups of strings 
(< All 6)takes 
a little focus to avoid the strings above or below the block.

Strumming
~`            `~ ~`            `~ ~`            `~
E|------------|E E|,---,---,---|E E|,---,---,---|E
B|------------|B B|Z1++z3++z5++|B B|Z5++Z6++Z8++|B
G|Z0++Z2++Z4++|G G|Z0++Z2++Z4++|G G|Z5++Z7++Z9++|G
D|Z2++Z3++Z5++|D D|Z2++Z3++Z5++|D D|Z5++Z7++Z9++|D
A|Z3++Z5++Z7++|A A|------------|A A|------------|A
E|,---,---,---|E E|------------|E E|------------|E
~`            `~ ~`            `~ ~`            `~



Plucking  C _d_e
~`            `~           ~`            `~           ~`            `~
E|------------|E           E|,---,---,---|E           E|,---,---,---|E
B|------------|B           B|r1++r3++r5++|B           B|r5++r6++r8++|B
G|r0++r2++r4++|G           G|a0++a2++a4++|G           G|a5++a7++a9++|G
D|a2++a3++a5++|D           D|m2++m3++m5++|D           D|m5++m7++m9++|D
A|m3++m5++m7++|A           A|------------|A           A|------------|A
E|,---,---,---|E           E|------------|E           E|------------|E
~`            `~           ~`            `~           ~`            `~
 
 The same C Major voicings  with Alternate line motion to D Minor & E Minor
could be interesting.
~``~          `~ ~`            `~ ~`            `~
E|,---,---,---|E E|,---,---,---|E E|,---,---,---|E
B|------------|B B|Z1++----Z0++|B B|Z5++--------|B
G|Z0++----Z0++|G G|Z0++Z2++Z0++|G G|Z5++Z7++Z4++|G
D|Z2++Z3++Z2++|D D|Z2++Z3++Z2++|D D|Z5++Z7++Z5++|D
A|Z3++Z5++Z2++|A A|----Z5++----|A A|----Z8++Z7++|A
E|----Z5++----|E E|,---,---,---|E E|,---,---,---|E
~`           `~  ~`            `~ ~`            `~ 

 ~C Major Root ~
_____/\__________/\_____
 Strumming Z\/, or plucking r)a)m),
 new grips on adjacent string groups for close voiced Triads /\,
 a limited number of different grips avail the same pitch voicings for C Major,
 e.g., up and down the neck.
 Where the number of frets (semitone interval/fret) separating these close 
voicings can be instructive in the re-voicing of a triad, on any particular 
string set, options of selecting the note on top. 5th, 3rd, or Root are up to 
the guitarist or arranger, as an ingredient in the musical recipe.
"Warming up" with these blocks, the fingers can let the ears catch the pitches.
 The least practical multi-stops (...) are included to demonstrate the guitar's 
comfortable limits for some strings' tones.
 Various C Major/\ Triads Roots "<" or " ^"
~`    `~ ~`    `~ ~`    `~ (~`    `~)
E|r0++|E E|----|E E|----|E (E|----|E)
B|a1^+|B B|Z5++|B B|----|B (B|----|B)
G|m0++|G G|Z5++|G G|r9++|G (G|----|G)
D|----|D D|Z5++|D D|a10<|D (D|Z14+|D)
A|----|A A|----|A A|m10+|A (A|Z15^|A)
E|,---|E E|,---|E E|,---|E (E|Z15+|E)
~`    `~ ~`    `~ ~`    `~ ~``~

[][]~`    `~ ~`    `~ ~`(??)`~
[][]E|----|E E|----|E E|----|E
[][]B|r1^+|B B|----|B B|----|B
[][]G|a0++|G G|Z5<+|G G|----|G
[][]D|m2++|D D|Z5++|D D|Z10<|D
[][]A|----|A A|Z7++|A A|Z10+|A
[][]E|----|E E|----|E E|Z12+|E
[][]~`    `~ ~`    `~ ~`    `~



[]~` Root /\.....`~  []  ~`    `~ ~`    `~ (~`    `~)  []   ~`    `~ (~`    `~)[]
[]E|----|E E|----|E  []  E|r3++|E E|----|E (E|----|E)  []   E|r15+|E (E|----|E)[]
[]B|----|B B|----|B  []  B|a5++|B B|Z8++|B (B|----|B)  []   B|a17+|B (B|Z20+|B)[]
[]G|r0++|G G|----|G  []  G|m5++|G G|Z9++|G (G|Z12+|G)  []   G|m17+|G (G|Z21+|G)[]
[]D|a2++|D D|Z5++|D  []  D|-^--|D D|Z10+|D (D|Z14<|D)  []   D|----|D (D|Z22+|D)[]
[]A|m3++|A A|Z7++|A  []  A|----|A A|--^-|A (A|Z15+|A)  []   A|----|A (A|----|A)[]
[]E|-^--|E E|EZ8+|E  []  E|----|E E|----|E (E|----|E)  []   E|----|E (E|----|E)[]
[]~`    `~ ~`  ^ `~  []  ~`    `~ ~`    `~ (~`    `~)  []   ~`    `~ (~`    `~)[]

~`    `~ ~`    `~ (~`    `~)
E|r3++|E E|----|E (E|----|E)
B|a5++|B B|Z8++|B (B|----|B)
G|m5++|G G|Z9++|G (G|Z12+|G)
D|-^--|D D|Z10+|D (D|Z14<|D)
A|----|A A|--^-|A (A|Z15+|A)
E|----|E E|----|E (E|----|E)
~`    `~ ~`    `~ (~`    `~)

 Open, Horizontal and Vertical
Open voiced Triads can call some basic movable shapes, and as a rule, here, 
the following voicings from the F Major triad spell the Root 3rd (10th) and 5th 
tones through two octaves as lowest notes. Flexibility gives the options of 
various grips (fingerings) for the same pitch voicings, and the shapes can be 
seen, transposed to other tonalities, to have many applications. Adding or 
altering one pitch to these can give variety to the comping lines.
Z\ Strumming three notes may be practical, with higher pitches, but the first 
set $$$ here include open string option which must use [K\_r)a)m) -1]plucking combinations.

 

OPEN Triad VOICINGS 
  R_5th_10th 3rd_Root_5th  5th_3rd_Root  R_5th_10th  3rd_Root_5th  5th_3rd_Root
~`        `~  ~`         `~ ~`        `~ ~`        `~ ~`        `~ ~`        `~
E|---------|E E|-__F/A__-|E E|Z1++r1++|E E|Z5++r5++|E E|Z8++r8++|E E|Z13+r13+|E
B|F MA-----|B B|a1+++r1++|B B|-^------|B B|Z1++a1++|B B|Z6++a6++|B B|Z10+a10+|B
G|Z2++r2+++|G G|---------|G G|Z2++a2++|G G|--------|G G|----^---|G G|--------|G
D|---------|D D|m3<++m3++|D D|--------|D D|Z3++K3++|D D|Z7++K7++|D D|Z10+k10+|D
A|Z3++m3+++|A A|K0+++K0++|A A|Z3++K3++|A A|-^--^---|A A|--F/A---|A A|---F/C--|A
E|Z1++K1+++|E E|$$$--$$$-|E E|-_F/C__-|E E|-FMajor-|E E|--------|E E|--------|E
~`^        `~ ~`         `~ ~`        `~  ~`       `~ ~`        `~ ~`        `~

 Z_Z___Z        K_m)__a)     Z___Z___Z      Z___Z_Z        Z__Z_Z       Z___Z_Z 
_E_A_D_G_B_E__E_A_D_G_B_E__E_A_D_G_B_E__E_A_D_G_B_E_ _E_A_D_G_B_E_ _E_A_D_G_B_E_
|1 - x - x x||x 0\- x 1 x||x - x - x 1||x x - x 1 -| |x(Fret6)1 -| |x x(Fret 9)|
|^ -   2.   ||  . -   .  ||  -   2   ^||    - (5th)| |     2  ^ -| |x10)1   2 -|
|^ 3.   .   ||  .>3<  .  ||  3        ||    3     -| |          -| |          -|
|R_5th_10th ||  3_R___5th||  5th_3rd_R||Root^     -| |          4| |(Fret12)  -|
|           ||           ||           ||    (10th)4| |    3rd_R_5| |    Root_>4|
 

~`        `~  ~`        `~ ~`        `~ ~`        `~ ~`         `~
E|---------|E E|--------|E E|--------|E E|--------|E E|Z13++r13+|E
B|F MA-----|B B|--------|B B|Z6++r6++|B B|Z10+r10+|B B|---------|B
G|Z2++r2+++|G G|Z5++r5++|G G|Z2++a2++|G G|--------|G G|Z14++m14+|G
D|---------|D D|Z3++a3++|D D|--------|D D|Z10+m10+|D D|---------|D
A|Z3++m3+++|A A|--------|A A|Z3++K3++|A A|Z8++K8++|A A|Z15++K15+|A
E|Z1++K1+++|E E|Z5++K5++|E E|--------|E E|--------|E E|---------|E
~`^       `~ ~`        `~ ~`        `~ ~`        `~ ~`         `~

 Z_Z__Z       Z___Z_Z         Z__Z_Z        Z_Z__Z        Z___Z___Z
_E_A_D_G_B_E__E_A_D_G_B_E_ _E_A_D_G_B_E_ _E_A_D_G_B_E_ _E_A_D_G_B_E_
|1 - (Fret1)||- x - - x x| |x - x - - x| |x - - x - x| |x - x - x -|
|^ -   2.   ||-   - -    | |  -   1 -  | |SeventhFret| | 12thFret -|
|^ 3_   _   ||-   1 -    | |  2     -  | |  1 -   -  | |  -   -   1|
|R_5th_10th ||    ^ -    | | 5th_3__R_ | |  ^        | |      2   ^|
|           ||2     3    | |        -  | |    2   3  | |   3       |
|           ||3rd_R_5th_ | |   Root>4< | |  R_5th_10 | |   5__10__R|


_E_A_D_G_B_E_ _E_A_D_G_B_E_ _E_A_D_G_B_E_ _E_A_D_G_B_E_ _E_A_D_G_B_E_
|1 - x - x x| |x 0 - - x x| |-Sixth-fret| |SeventhFret| | Ninth Fret|
|^ -   2.   | |Second Fret| |- x 1 - x x| |x 1 - x - x| |x - x 1 - x|
|^ 3.   .   | |    1 -    | |2     -    | |  ^ -   -  | |  -   ^ -  |
|R_5th_10th | |    ^ -    | |      -    | |    3   4  | |  3     -  |
|           | |      3    | |     >4<   | |  R_5th_10 | |        4  |
|           | |  3_R_5th  | |5th_3_R    | |           | |  3rd_R_5th|
 

_E_A_D_G_B_E_   _E_A_D_G_B_E_
|1 - x - x x|   ||
|^ -   2.   |   ||
|^ 3.   .   |   ||
|R_5th_10th |   ||
 





Pick and pluck 4 strings to hear the simultaneous-voiced G Major /\chord.
 Skip the  'G' string *** with the middle finger, m) and pluck 'D' in the 
second pattern below here, then add three new roll patterns. The 'D' can be added, 
played by both pick K\ and m), and ($) on the upbeat -3&- and last beat($$) -4-.
E|r3++----"+++"+++|E  E|------r3---"---"|E
B|a0++----"+++"+++|B  B|----a0++-"++--"+|B
G|m0++----"+++"+++|G  G|***----------m0+|G
D|----K0++------k0|D  D|--m0++++--"+K0++|D
A|,---,---,-k0K2--|A  A|,---,---,-$-,---|A
E|K3++----K3--,---|E  E|K3++++++K3++-$$-|E



^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^__________^^^^^^^
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^/ ________ \^^^^^^
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^/ / ______ \ \grips
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^/ / / ____ \ \ \^^^|
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^/ / / / __ \ \ \ \^^|
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^/ / / / /  \ \ \ \ \^|
____________Guitalife____C /\  G/\    / / / / / /\ \ \ \ \ \|
~E_A_D_G_B_E~     ______E|Z0++|Z3++|E/ / / / / /~E_A_D_G_B_E~
{- - - 0 1 0}    / _____B|Z1++|Z0++|B_/ / / / / {- - 0 0 0 -}
[- - 2   R  ]   / / ____G|Z0++|Z0++|G__/ / / /  [- -   R   -]
[ 3         ]  / / / ___D|Z2++|Z0++|D___/ / /   [- 1       -]
[ Root      ] / / / / __A|Z3++|Z2++|A____/ /    [2         3]
[ C Major   ]/ / / / / _E|Z3++|Z3++|E_____/     [Root      R]
#\ \ \ \ \ \/ / / / / /#########                [ G Major . ]
g-\ \ \ \ \__/ / / / /-Tablature
r;;\ \ \ \____/ / / /;;;;;;;;;;;
i---\ \ \______/ / /-Tabulature-
p::::\ \________/ /:::::::::::::
s-----\__________/Tabulature!!!!



~


          
Letting the left hand do some chromatic magic?...Under Construction
___________________________________________________________________~ 
___________________________________________________________________
~`
                                         Back to Guitalife's Home Page?
 


E Jell_OW! a Twisted Blues turnaround substitution based on
 |G       Bb7     |Eb7          Ab7| 

~|  G7C6   F-7Bb13|  Eb9   Eb-7Ab13|
~
E|--r3s5++--r8r8++|--r6++++--k6K6++|E
B|--a3s5++--a6a8++|--a6++++--k4K6++|B
G|--m4s5++--m8m8++|--m6++++--k6K5++|G
D|--k3s5++--k6K2++|--k5++++--k4K4++|D
A|----------------|----------------|A
E|,---,---,---,---|,---,---,---,---|E
____________________________________________________________

~     # b # b # b     # b # b     # b # b # b    # b # b ~
~     | | | | | |     | | | |     | | | | | |     | | | | ~
| | | | | | | | | | | | | | | | | | | | | | | | | | | | | |
 E   F   G   A   B   C   D   E   F   G   A   B   C   D   E

E to E string outlay at NUT
~        # b # b # b     # b # b     # b # b # b     # b # b     # b # b # b~
~        | | | | | |     | | | |     | | | | | |     | | | |     | | |\| | |~
| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |/| | 
  E   F   G   A   B   C   D   E   F   G   A   B   C   D   E   F   G /A440Hz


                  BLANK!!!!!Grow your own (blue screen and select to print)
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^__________^^^^^^^
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^/ ________ \^^^^^^
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^/ / ______ \ \grips
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^/ / / ____ \ \ \^^^|
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^/ / / / __ \ \ \ \^^|
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^/ / / / /  \ \ \ \ \^|
____________Guitalife____.......      / / / / / /\ \ \ \ \ \|
~E_A_D_G_B_E~     ______E|Z0++|Z.++|E/ / / / / /~E_A_D_G_B_E~
{0 - - - 0 0}    / _____B|Z0++|Z.++|B_/ / / / / { . . . . . }
[  - - 1    ]   / / ____G|Z1++|Z.++|G__/ / / /  [ . . . . . ]
[  2 3      ]  / / / ___D|Z2++|Z.++|D___/ / /   [ . . . . . ]
[           ] / / / / __A|Z2++|Z.++|A____/ /    [ . . . . . ]
[ grips     ]/ / / / / _E|Z0++|Z.++|E_____/     [ . . . . . ]
#\ \ \ \ \ \/ / / / / /#########                [ . . . . . ]
g-\ \ \ \ \__/ / / / /-Tablature
r;;\ \ \ \____/ / / /;;;;;;;;;;;
i---\ \ \______/ / /-Tabulature-
p::::\ \________/ /:::::::::::::
s-----\__________/Tabulature!!!!

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