Click here to hear sounds
clips of these examples.
Fig. 3
G
5fr
13 4
Fig. 5
Fig. 6
Fig. 7
Fig. 1
Fig. 2
;
G
;;
5
4
3
;
Gm
;;
5
3
3
5fr
G‹
G
8fr
13 2
2 13
;;
G
;;;
;
;
; 57
D
;;
;
;
;
5
7
7
A
; ;
;;;
;
;
;
5
7
7
5
7
6
8fr
G‹
1 14
Am
7
5
8
Em
Bm
7
4
8
;;;
7
4
7
9
7
8
8
7
8
9
8
10
8
8
10
G
11fr
G‹
12fr
1 14
2 14
F
;;;
7
6
8
7
6
8
C
;;;
7
4
8
7
5
8
G
7
5
7
LESSONS > RHYTHM & GROOVES
12
12
12
12
12
15
12
12
11
12
11
15
Fig. 4
G
G
5fr
3fr
7fr
A‹
5fr
A‹
13 4
2 14
13 2
3 14
Csus4
C
;;
5
6
8
5
6
8
5
6
8
5
5
8
;
;
Gsus4
;;
;;
5
5
8
9
8;
;
;
;
;
3
;;
79
7
7
7
;
;
9
7
If you use your 3rd finger for the slide at
the end of bar 2, you’ll be back in position
for playing A again in bar 1. Smooth!
After you’ve digested these three progressions, create a few of your own by mixing
and matching the open forms we’ve covered
in this lesson. Next month, in our final
open triad episode, we’ll look at another
form we can create by moving two notes of
a closed triad in opposite directions. We’ll
also look for ways to mingle all the fingerings we’ve developed so far. See you then.
ANDY ELLIS is a veteran guitar jour-
nalist and Senior Editor at PG. Based
in Nashville, Andy backs singer-song-
writers on the baritone guitar, and also
hosts The Guitar Show, a weekly on-air
and online broadcast. For the sched-
ule, links to the stations’ streams, archived audio
interviews with inspiring players, and more,
visit theguitarshow.com.
