CHORDS TRIADS ROUTINE PLAN - Guitar - Armando Alonso - FREE

SUPERIMPOSITION OF TRIADS

FINGERING TRIADS - SHAPES

HARMONIC PROGRESSIONS

FREE VERSION

(8 exercises in major mode & 8 in minor mode)

21 Backing Tracks

HARMONIC PRACTICE ROUTINE

FOR GUITAR

by Armando Alonso

Practical and dynamic work methodology for the self-taught student as well as for the teacher in class

serie20y20.com.ar

(Mayor - Minor - Augmented - Diminished by position & across the neck)

(does not contain)

25 Assignments

Appendixes Triads - Shapes(sus2 - sus4 - Phrygian - Lydian)

Printable Book(without watermark)

MUSICIAN FRIEND

You’ve just downloaded the Free Version of this Ebook:

Superimposition of Triads Chords Practice Routine

for Guitarby Armando Alonso

If you wish, you can purchase for a very low cost the complete version, which includes a greater number of exercises, assignments, backing, tracks, etc. with the objective of securing the addressed concepts.

As an independent publishing house, we will be so thankful with your purchase, because in this way you are helping us to create even more teaching material.

From Buenos Aires, Argentina, we send you the best wishes for your musical career.

Néstor CrespoSerie20&20 Director

www.serie20y20.com.ar

ARMANDO ALONSO ( Professor - Guitar Player - Composer )

Armando Alonso is a guitar player born in Buenos Aires,

Argentina.

He develops a solid educational trajectory, both in

the private sphere as in important institutions in Argentina,

like "Esccuela de Musica Popular de Avellaneda".

He has given numerous workshops on Improvisation and Functional Harmony in

prestigious universities and schools all over the country.

He has done different work books: Functional Harmony (applied to Blues), Impro-

elementos I and II, Arrangements and transcriptions for guitar, -Triads and slash-chords, concepts of reharmonization and superimposition on improvisation and comping.

He has played both in his groups and as a guest with the most important jazz musicians

in the country.

In 1984 he lives in Freiburg, Germany, sharing important jazz clubs and clubs with

Thomas Fichter (bass) and Tillman Gluenter (piano).

Between 1985 and 1992 he joined the group of bandoneonist and composer Dino

Saluzzi, playing in turn as guests important Argentine and European musicians such as:

Enrico Rava, Arto Tuncboyaci, Gustavo Bergalli and others.

Record the CD "Mojotoro" for the prestigious ECM label (Germany).

Throughout his artistic career he recorded more than 9 CD with its different

formations as well as invited guitarist.

He currently teaches guitar, harmony and improvisation and leads different jazz

groups.

[email protected]/ www.armandoalonso.com.ar / www.armandoalonso.com.ar/blog

CONSIDERATIONS Free Version does NOT CONTAINS:

* 40 Exercises (major mode) and the 47 exercises (major mode)

* 8 Assignments (Jazz standards, Major and Minor Blues)

* 21 Backing Tracks (Essential complement for the complete study of the concepts studied)

* Triads appendix (sus2 - sus4 - Phrygian - Lydian)

* Printable book (without watermark)

If you wish you can buy the complete Ebook by purchasing the Paid Version

OBJECTIVES AND PURPOSES

The note of triads applied to the guitar is the first technical complement of the Workbook: Superposition of

Triads - Volume I.

We will use, in first place, four types of triads: Major - Minor - Diminished and Augmented, both in Root

position and in first and second inversion.

It is worth mentioning that the objective is to use them as a chord form and in closed position.

Going through the different exercises, progressions and etudes the student will achieve a conscious and

dynamic control of the different fingerings

CONTENTS

They are organized starting from the study of the fingerings of each type of triad, before cited, in position

and across the fingerboard. As well as an appendix that includes fingerings of triads sus2 - sus4 - Phrygian and

Lydian.

It also includes the harmonization of the Major Scale and the Composite Minor Scale. The point has 19 progressions in the major mode and 20 in the minor mode four sets of strings, as well as

eight species of chords organized on the circle of fifths.

Practical works include jazz standards, Blues Major and Minor.

METHODOLOGY

The progressions of triads, in both major and minor mode, will affirm the technical management of them within

a musical context. While in the repertoire the training is focused on the concept of superimposed triads.

Important: The nomenclature used in the note should be interpreted as follows:

Example: C/G refers to the triad of C major in second inversion, using only 3 voices and not duplicating in this

case the 5th of the triad.

TRIAD STRUCTURE POSITION

C

C E G

Root Position

C/E

E G C

First Inversion

C/G

G C E

Second Inversion

AUDIOS

The practical works also include 21 practice tracks (Circle of Fifths and repertoire), this being an essential

complement both for the self-taught student as well as for the teacher in class.

[email protected] / www.armandoalonso.com.ar / www.serie20y20.com.ar

INDEX Fingering Major triad in position ......................................................................................................................................... 1 Fingering Minor triad in position ......................................................................................................................................... 2 Fingering Diminished triad in position .................................................................................................................. 3 Fingering Augmented triad in position .................................................................................................................. 4 Fingering Major triad across the fingerboard.................................................................................................................. 5 Fingering Minor triad across the fingerboard.................................................................................................................. 6 Fingering Diminished across the fingerboard.................................................................................................................. 7 Fingering Augmented across the fingerboard................................................................................................................ 8 Diatonic triads (Major scale) .............................................................................................................................. 9‐10‐11‐12‐13‐14 Diatonic triads (Composite Minor scale) .......................................................................................... 15‐16‐17‐18‐19‐20

MAJOR MODE ‐ Progressions I ‐ IV ‐ I ................................................................................................................................................................................ 21‐22 I ‐ V ‐ I ................................................................................................................................................................................ 23‐24 I ‐ IV ‐ V ‐ I ..................................................................................................................................................................... 25‐26 I ‐ V ‐ IV ‐ I.................................................................................................................................................................... 27‐28 II ‐ V ‐ I (only in the paid version).......................................................................................................................... 29‐30 I ‐ VI ‐ II ‐ V ‐ I (only in the paid version) ................................................................................... 31‐32 I ‐ IV ‐ IVm ‐ I (only in the paid version) ................................................................................... 33‐34 I ‐ V/IV ‐ IV ‐ VII° ‐ I (only in the paid version).................................................................................. 35‐36 I ‐ bIII° ‐ II ‐ V ‐ I (only in the paid version).............................................................................................. 37‐38 Cycle of 5ths. (only in the paid version) ...................................................................................... 39‐40 Cycle of 3rds. (only in the paid version) ..................................................................................... 41‐42 I ‐ IV ‐ I (only in the paid version) .............................................................................................................. 43‐44 I ‐ V ‐ I (only in the paid version)................................................................................................................................ 45‐46 I ‐ IV ‐ V ‐ I (only in the paid version)................................................................................................................. 47‐48 I ‐ V ‐ IV ‐ I (only in the paid version)................................................................................................................... 49‐50 I ‐ III° ‐ IV ‐ VII° ‐ I................................................................................................................................................ 51‐52 II ‐ V ‐ I (only in the paid version) ............................................................................................................... 53‐54 I ‐ VI ‐ II ‐ V ‐ I (only in the paid version) ........................................................................................ 55‐56 Blues (only in the paid version) ............................................................................................................... 57‐58‐59‐60

MINOR MODE ‐ Progressions

Im ‐ IVm ‐ Im ........................................................................................................................................................... 61‐62

Im ‐ V ‐ Im .......................................................................................................................................................... 63‐64 Im ‐ VII° ‐ Im .......................................................................................................................................................... 65‐66 Im ‐ IVm ‐ V ‐ Im ................................................................................................................................... 67‐68 Im ‐ bVI ‐ IV ‐ VIm ‐ Im (only in the paid version) ............................................................. 69‐70 Im ‐ bVI ‐ V ‐ Im (only in the paid version) ..................................................................................... 71‐72 Im ‐ bVI ‐ IVm ‐ Im (only in the paid version) .................................................................................... 73‐74 II° ‐ V ‐ I (only in the paid version) ............................................................................................................. 75‐76‐77


Im ‐ bIII+ ‐ II° ‐ V ‐ Im (only in the paid version) .......................................................................... 78‐79 Im ‐ VI° ‐ II° ‐ V ‐ Im (only in the paid version) .................................................................................................. 80‐81 Im ‐ V/IV ‐ IVm ‐ bVII ‐ III+ ‐ bVI ‐ II° ‐ V ‐ Im (only in the paid version) ...... 82‐83 Im ‐ bIII+ ‐ bIII ‐ bVI ‐ IV ‐ II° ‐ V ‐ Im (only in the paid version) ............................ 84‐85 Cycle of 5ths. (only in the paid version) ................................................................................................... 86‐87‐88‐89 Cycle of 3rds. (only in the paid version) ..................................................................................................... 90‐91‐92‐93 Im ‐ IVm ‐ Im (only in the paid version) ...................................................................................................... 94‐95 Im ‐ V ‐ Im (only in the paid version) ............................................................................................................................. 96‐97 Im ‐ IVm ‐ V ‐ Im (only in the paid version) ..................................................................................................... 98‐99 II° ‐ V ‐ I (only in the paid version) ............................................................................................................................. 100‐101 Im ‐ VI° ‐ II° ‐ V ‐ Im (only in the paid version) ................................................................................................... 102‐103 Blues (only in the paid version) ............................................................................................................................. 104‐105‐106

ASSIGNMENTS

CYCLE OF 5THS

Major seventh chord (only in the paid version) ..................................................................................... 107‐108‐109‐110 Minor seventh chord (only in the paid version) ................................................................................... 111‐112‐113‐114 Dominant seventh chord (only in the paid version)................................ 115‐116‐117‐118‐119‐120‐121‐122 Half‐diminished chord (only in the paid version) .................................................................................... 123‐124‐125‐126 Minor triad (only in the paid version) ....................................................................................................... 127‐128‐129‐130 Major seventh (#5) chord (only in the paid version) ................................................................................ 131‐132‐133‐134 Dominant seventh (sus4) chord (only in the paid version) ........................................................... 135‐136‐137‐138 Dominant seventh (sus4)(b9) chord (only in the paid version) ................................... 139‐140‐141‐142

REPERTOIRE

All the things you are (only in the paid version)................................................................................................. 143‐144‐145‐146 Alone together (only in the paid version) ................................................................................................................... 147‐148‐149‐150 I love you (only in the paid version) ............................................................................................................................ 151‐152‐153‐154 Bb Blues (only in the paid version) ........................................................................................................................................ 155 C Minor Blues (only in the paid version) ......................................................................................................... 156 APPENDIX Fingering sus2 triad in position (only in the paid version) .................................................... 157 Fingering sus2 triad across the fingerboard (only in the paid version) .......................... 158 Fingering sus4 triad in position (only in the paid version) ............................................................... 159 Fingering sus4 triad across the fingerboard (only in the paid version).................................. 160 Fingering Phrygian triad in position (only in the paid version) ......................................................... 161 Fingering Phrygian triad across the fingerboard (only in the paid version)...................... 162 Fingering Lydian triad in position (only in the paid version)................................................................... 163 Fingering Lydian triad across the fingerboard (only in the paid version)............................. 164


& wœœ

�

3

1

VIII

& wœœ

3

1�V

& wœœ

1 1�V

& wœœ

�4

1

V

& wœœ

3

1 �V

& wœœ

2 �

1

V

& wœœ

�

2

1

V

& wœœ

2

1�III

& wœœ#

3�

2

V

& wœœ#

�

3

1

V

& wœœ#

3

1

�III

& wœœ#

1

�

2

III


Major Triad Fingering in position(Armando Alonso)

Starting from Root position - C major

Starting from First inversion - G major

Starting from Second inversion - D major

www.arm

andoalonso.com.ar

& wœœb

�

1

VIII

2

& wœœb

1�V

2

& wœœb

2

1

�V

& wœœb

�

2

1

V

& wœœb

1 �V

2

& wœœb

3 �

1

V

& wœœb

�

1 1

V

& wœœb

1 1�III

& wœœ

3�

1

V

& wœœ

�

2

1

V

& wœœ

2

1

�III

& wœœ

2

�

1

III


Minor Triad Fingering in position(Armando Alonso)

Starting from Root position - C minor

Starting from First inversion - G minor

Starting from Second inversion - D minor

www.arm

andoalonso.com.ar

& wœœbb

�

1

VIII

2

& wœœbb

1

�V

3

& wœœbb

1 1

�V

& wœœbb

�

2

1

V

& wœœbb

1

�V

3

& wœœbb

2

�

1

V

& wœœbb

�

2

1

V

& wœœbb

2

1

�III

& wœœb

2

�

1

V

& wœœb�

2

1

V

& wœœb

2

1

�III

& wœœb

1

�

1

III


Diminished Triad Fingering in position(Armando Alonso)

Starting from Root position - C diminished

Starting from First inversion - G diminished

Starting from Second inversion - D diminished

www.arm

andoalonso.com.ar

& wœœ#

�

2

VIII

3

& wœœ#

2

�V

3

& wœœ#

2

1�V

& wœœ#

� 3

1

V

& wœœ#

3

�V

4

& wœœ#

�

3

1

V

& wœœ#

�

1 1

V

& wœœ#

2 3

�III

& wœœ##

4

2

V �

& wœœ##

�

2

1

V

& wœœ##

2

1�III

& wœœ##

2�

1

III


Augmented Triad Fingering in position(Armando Alonso)

Starting from Root position - C augmented

Starting from First inversion - G augmented

Starting from Second inversion - D augmented

www.arm

andoalonso.com.ar

& wœœ#

�

3

1

V

& wœœ#

3

1�VII

XII 3�

2

�

3

1

XVII

& wœœ# & wœœ#

& wœœ#

3

1

�V

& wœœ#

3

1 �VII

& wœœ#

�3

2

XII

& wœœ#

3

1

�XVII

& wœœ

1

�

2

V

& wœœ

�

1

VIII

3

& wœœ

1 1�XII

& wœœ

1

�

2

XVII

& wœœ

1

�4V

&wœœ

�

2

1

VIII

&wœœ

1

�XIII

2

&wœœ�

1

XVII 4


Fingering Major Triad - Across the fingerboard(Armando Alonso)

Set 5 4 3 - D major

Set 4 3 2 - G major

Set 6 5 4 - A major

Set 3 2 1 - C major

www.arm

andoalonso.com.ar

& wœœ

�

1

V

2

& wœœ

1�VII

XII 3�

�

1

XVII

2

1

2

& wœœ & wœœ

& wœœ

1

�V

2 2

& wœœ

1 �VII

& wœœ

�

1

XII 4

& wœœ

1

�XVII

2

& wœœb

1

�V

1

& wœœb

�

1

VIII 2

& wœœb

3

2

�XII

& wœœb

1

�

1

XVII

& wœœb

1

�V

2

&wœœb

�1VIII 1

&wœœb

2

�XIII

1

&wœœb�

1

XVII

2


Fingering Minor Triad - Across the fingerboard(Armando Alonso)

Set 5 4 3 - D minor

Set 4 3 2 - G minor

Set 6 5 4 - A minor

Set 3 2 1 - C minor

www.arm

andoalonso.com.ar

& wœœb

�

1

V

2

& wœœb

1

�VII

XII

2

�

�

1

XVII

3

1

2

& wœœb & wœœb

& wœœb

1

�V

2

3

& wœœb

1

�VII

& wœœb

2

1

XII �

& wœœb

1

�XVII

2

& wœœbb

1

�V

2

& wœœbb

�

1

VIII 3

& wœœbb

1 2

�XII

& wœœbb

1

�

2

XVII

& wœœbb

1

�V

3

&wœœbb

�

1VIII 2

&wœœbb

1

�XIII

1

&wœœbb�

1

XVII

3


Fingering Diminished Triad - Across the fingerboard(Armando Alonso)

Set 5 4 3 - D diminished

Set 4 3 2 - G diminished

Set 6 5 4 - A diminished

Set 3 2 1 - C diminished

www.arm

andoalonso.com.ar

& wœœ# #

�

2

1

V

& wœœ##

3

2�VII

XII

3

�

1

�

2

1

XVII

& wœœ## & wœœ##

& wœœ##

2

1

�V

2

& wœœ##

3

�VII

& wœœ##

�

2

1

XII

& wœœ##

2

1

�XVII

& wœœ#

1

�

1

V

& wœœ#

�1VIII

2

& wœœ#

2

1�XII

& wœœ#

1

�

1XVII

& wœœ#

1

�3V

&wœœ#

�

2 3VIII

&wœœ#

2 �XIII

1

&wœœ#

�

1

XVII 3


Fingering Augmented Triad - Across the fingerboard(Armando Alonso)

Set 5 4 3 - D augmented

Set 4 3 2 - G augmented

Set 6 5 4 - A augmented

Set 3 2 1 - C augmented

www.arm

andoalonso.com.ar

& #w w w w w w w wœœ œœ œœ œœ œœ œœ œœ œœ

�

3

0

III

G Am Bm

F#°

C

D Em G

�

21

V �

21

VII �

3

1

VIII

�

3

1

X �

21

XII

�

2

1

XIV

�

3

1

XV

& w w w w w w w wœœ œœ œœ œœ œœ œœ œœ œœ

C Dm Em

B°

F

G Am C

�

3

0

III

�

21

V �

21

VII �

3

1

VIII

�

3

1

X �

21

XII

�

2

1

XIV

�

3

1

XV


Major Scale(Armando Alonso)

Set 6 5 4

G Am Bm C D Em F#° G

G MajorRoot position

C MajorRoot position

Set 5 4 3

C Dm Em F G Am B° C

www.arm

andoalonso.com.ar

& b w w w wb w w w wœœ œœ œœ œœ œœ œœ œœ œœ

2III

F Gm Am

E°

Bb

C Dm F

1 1

V �

1 1

VII �

1

VIII

�

21

X �

1 1

XII �

21

XIV �

21

XV

�

1

�

2

& bb wb w w wb w w w wbœœ œœ œœ œœ œœ œœ œœ œœ

Bb Cm Dm

A°

Eb

F Gm Bb

�4III

�

21

V �

21

VII �4

1

VIII

�4

1

X �

21

XII �

3

1

XIV �4

1

XV

1



Set 4 3 2

F Gm Am Bb C Dm

F MajorRoot position

Bb MajorRoot position

Set 3 2 1

Bb Cm Dm Eb

E° F

F Gm A° Bb

www.arm

andoalonso.com.ar

& bb b wb w w wb wb w w wbœœ œœ œœ œœ œœ œœ œœ œœ

3

I

Eb Fm Gm

D°

Ab

Bb Cm Eb

12

�12

V �1VI

�

3

1VIII �12

X

�3

1XII

�

2

1XIII

�1�

3

III

& bbb b wb wb w wb wb w w wbœœ œœ œœ œœ œœ œœ œœ œœ

Ab Bbm Cm

G°

Db

Eb Fm Ab

�

3

I

�2

1III �

21V �

3

1VI

�

3

1VIII �2

1X

�

3

1XII

�

3

1XIII

1



Set 6 5 4

Eb Fm Gm Ab Bb Cm

Eb MajorFirst inversion

Ab MajorFirst inversion

Set 5 4 3

Ab Bbm Cm Db Eb Fm

D° Eb

G° Ab

www.arm

andoalonso.com.ar


C Dm Em

B°

F

G Am C

�3

0

I

�21

III �21

V �

3

1VI

�

3

1VIII �2

1X

�2

1

XII

�

3

1XIII


F Gm Am

E°

Bb

C Dm F

�1I

�1 1III �1 1V �2

1VI

�2

1VIII �1 1X �21

XII �

21XIII

2



Set 4 3 2

E° F

C MajorFirst inversion

F MajorFirst inversion

Set 3 2 1


F Gm Am Bb C Dm

www.arm

andoalonso.com.ar


C Dm Em

B°

F

G Am C

�3III

�3

1

V �3

1

VII

�32

VII

�32

X

�3

1

XII �

32

XIV

�32

XV

2


F Gm Am

E°

Bb

C Dm F

�3�3

1III

�3

1

VII

�

23VIII

�31

X

�3

1

XII �

32

XIV

�31

XV

2

V



Set 6 5 4

C MajorSecond inversion

F MajorSecond inversion

Set 5 4 3


F Gm Am Bb C Dm E° F

www.arm

andoalonso.com.ar

& ### w w w# w w w# w# wœœ œœ œœ œœ œœ œœ œœ œœ

1II

A Bm C#m

G#°

D

E F#m A

12 �

12VI

�1VII

�11IX

�

12XI �

31XIII

�11XIV

�1�

1IV

& ## w w w# w w w w# wœœ œœ œœ œœ œœ œœ œœ œœ

D Em F#m

C#°

G

A Bm D

�

2III

�

21

V �

21

VII

�

21VIII

�

21X

�

21

XII �

11

XIV

�

21XV

1



Set 4 3 2

A Bm C#m D E

A MajorSecond inversion

D MajorSecond inversion

Set 3 2 1

D Em F#m

F#m G#° A

C#° D G A Bm

www.arm

andoalonso.com.ar

& bbw w wb w w w wb wn w w# wœœ œœ œœ# œœ œœn œœ# œœ œœ œœ œœ œœ

Gm A° Bb+ Cm C D

Eb E° F F#° Gm

�

1

0

�

2

1

III

V

�

21

VI �

21

VIII �

3

1

VIII �

3

1

X

�

3

1

XI

�

2

1

XII

�

3

1

XIII

�

2

1

XIV

�

21

XV

& bb b w w wb w w w wb wn wb wn wœœ œœ œœn œœ œœn œœn œœ œœ œœ œœ œœ

Cm D° Eb+ Fm F G

Ab A Bb B° Cm

�

1

0

III

�

2

1

V

�

21

VI �

21

VIII VIII �

3

1

X �

3

1

�

3

1

XI

�

2

1

XII

�

3

1

XIII

�

2

1

�XIV

21

XV


(Armando Alonso)

Set 6 5 4

Gm A° Bb+ Cm C D Eb E° F F#° Gm

G MinorRoot Position

C MinorRoot Position

Set 5 4 3

Composite Minor Scale

Cm D° Eb+ Fm F G Ab A° Bb B° Cm

www.arm

andoalonso.com.ar

& bb b b w w wb wb wb w wb wn wb wn wœœ œœ œœn œœ œœn œœn œœ œœ œœ œœ œœ

Fm G° Ab+ Bbm Bb C

Db D° Eb E° Fm

�

1

�

21

III

V

�

1VI

�

1

VIII �

21

VIII �

21

X

�

21

XI �

21

XII �

21

XIII �

21

XIV �

1 1

XV

11 1

& bb b b b wb w wb wb wb w wb wn wb wn wbœœ œœ œœn œœ œœn œœn œœ œœ œœ œœ œœ

Bbm C° Db+ Ebm Eb F

Gb G° Ab A° Bbm

�

1

III

�

3

1

V

�31

VI

�

21

VIII VIII � 4

1

X �4

1

�

1

XI �

3

1

XII �4

1

XIII �

3

1

�XIV

21

XV

2

4


(Armando Alonso)

Set 4 3 2

Fm G° Ab+ Bbm Bb C

F MinorRoot Position

Bb MinorRoot Position

Set 3 2 1


Bbm C° Db+ Ebm Eb F

Eb E° FmDb D°

Gb G° Ab A° Bbm

www.arm

andoalonso.com.ar

& #w w# w w w w w w# w w# wœœ œœ œœ# œœ œœ# œœ# œœ œœ œœ œœ œœ

Em F#° G+ Am A B

C C#° D D#° Em

�12

III

�

1

3IV

�

23

�12

V VII �1

3

VII �1

3

IX

�1

3

X

�

1

3

�1

3�

1

3

XII

XIII XIV

�12XI

& w w w w w w w w# w w# wœœ œœ œœ# œœ œœ# œœ# œœ œœ œœ œœ œœ

Am B° C+ Dm D E

F F#° G G#° Am

�12

II

�

1

3

�

2

3

V

IV

�12

VII �1

3

VII �1

3

IX

�1

3

X

�

1

3

XI

�1

3

XII

�

1

3

XIII

�12

XIV


(Armando Alonso)

Set 6 5 4

Em F#° G+ Am A B C C#° D D#° Em

E MinorFirst inversion

A MinorFirst inversion

Set 5 4 3


Am B° C+ Dm D E F F#° G G#° Am

www.arm

andoalonso.com.ar

& b w w w w w w wb wn w w# wœœ œœ œœ# œœ œœn œœ# œœ œœ œœ œœ œœ

Dm E° F+ Gm G A

Bb B° C C#° Dm

�

23

3

1

�

21�

�

23

3

1� �

1

3

�

1

3 �

1

3�

1

3 �3

1�

23

III

V

VI

VIII VIII X

XI

XII

XIII

XIV

XV

& bb b b w w w w w w w wn wb wn wœœ œœ œœn œœ œœn œœn œœ œœ œœ œœ œœ

Fm G° Ab+ Bbm Bb C

Db D° Eb E° Fm

�1

�21

I

III 3 2IV �1VI �

21VI �

21VIII

�

21IX �2

1X �

21XI �2

1XII

�11XIII

1�

1


(Armando Alonso)

Set 4 3 2

Bbm Bb C

D MinorFirst inversion

F MinorFirst inversion

Set 3 2 1


Dm E° F+ Gm G A

Eb E° FmDb D°

Bb B° C C#° Dm

Fm G° Ab+

www.arm

andoalonso.com.ar

& bb b w w wb w w w wb wn wb wn wœœ œœ œœn œœ œœn œœn œœ œœ œœ œœ œœ

Cm D° Eb+ Fm F G

Ab A° Bb B° Cm

3�

1

III 2�

1

V 3�

1VI

3�

1

XIII

3�1

VIII 3�1

X

3�1

XI 2�

1

XII

3�1

XIII

2�

1

XIV 3�

1

XV

& bb b b w w w w w w w wn wb wn wœœ œœ œœn œœ œœn œœn œœ œœ œœ œœ œœ

Fm G° Ab+ Bbm Bb C

Db D° Eb E° Fm

�3�

21

III

V 3

1VI

�3VIII �32

VIII �32

X

�32

XI

�

21

XII

�32

XIII

�

21

XIV �3

1

XV

1

�

1


(Armando Alonso)

Set 6 5 4

C MinorSecond inversion

F MinorSecond inversion

Set 5 4 3


Cm D° Eb+ Fm F G Ab A° Bb B° Cm

Eb E° FmFm G° Ab+ Bbm Bb C Db D°

www.arm

andoalonso.com.ar

& w w w w w w wn w# wn w# wœœ œœ œœ# œœ œœ# œœ# œœ œœ œœ œœ œœ

Am B° C+ Dm D E

F F#° G G#° Am

�21

II 1

�

2IV

12�V

�21

VII 1 1�VII 11�IX

1 1�X

1 2� 1 1�XIIXI

1 2

�XIII

1

2�XIV

& w w w w w w w wn w w# wœœ œœ œœ# œœ œœn œœ# œœ œœ œœ œœ œœ

Dm E° F+ Gm G A

Bb B° C C#° Dm

2�

1

III

1 1

�V

2�1

VI 2

�

1

VIII

1

�

2VIII

1

�

2X

1 2�XI

1 1

�XII

1 2

�

1 1

�

XIII

XIV

12

�XV


(Armando Alonso)

Set 4 3 2

Am B° C+ Dm D E

A MinorSecond inversion

D MinorSecond inversion

Set 3 2 1


Dm E° F+

F F#° G G#° Am

A Bb B° C C#° DmGm G

www.arm

andoalonso.com.ar

& ### c |1 A

q = 90

|D/A

|A

& ## c |2 D/A

|G/B

|D/A

& # c |3 G/B

| |G/B

& ## c |1 D

q = 90

|G/D

|D

& ## c |2 D/F#

|G

|D/F#

& ## c |3 D/A

|G/B

|D/A

EXERCISE 1a

PROGRESSION I - IV - I

Set: 654

(Armando Alonso)


PROGRESSION I-IV-I

Set: 543

Major Mode

www.arm

andoalonso.com.ar

& # c |1 G

q = 90

|C/G

|G

& ## c |2 D/F#

|G

|D/F#

& bb c |3 Bb/F

|Eb/G

|Bb/F

& c |1 C

q = 90

|F/C

|C

& # c |2 G/B

|C

|G/B

& ## c |3 D/A

|G/B

|D/A

EXERCISE 1b


Set: 432

(Armando Alonso)



Set: 321

Major Mode

www.arm

andoalonso.com.ar

& ### c |1 Aq = 90

|E/G#

|A

& # c |2 G/B

|D/A

|G/B

& ## c |3 D/A

|A

|D/A

& ## c |1 D

q = 90

|A/C#

|D

& c |2 C/E

|G/D

|C/E

& # c |3 G/D

|D

|G/D

EXERCISE 2a

PROGRESSION I - V - I

Set: 654

(Armando Alonso)



Set: 543

Major Mode

www.arm

andoalonso.com.ar

& # c |1 G

q = 90

|D/F#

|G

& ## c |2 D/F#

|A/E

|D/F#

& bb c |3 Bb/F

|F

|Bb/F

& c |1 C

q = 90

|G/B

|C

& # c |2 G/B

|D/A

|G/B

& bb b c |3 Eb/Bb

|Bb

|Eb/Bb

EXERCISE 2b


Set: 432

(Armando Alonso)



Set: 321

Major Mode

www.arm

andoalonso.com.ar

& ### c |1 A

q = 90

|D/A

|E/G#

|A

& # c |2 G/B

|C

|D/A

|G/B

& ## c |3 D/A

|G/B

|A

|D/A

& ## c |1 D

q = 90

|G/D

|A/C#

|D

& c |2 C/E

|F

|G/D

|C/E

& # c |3 G/D

|C/E

|D

|G/D

EXERCISE 3a

PROGRESSION I - IV - V - I

Set: 654

(Armando Alonso)



Set: 543

Major Mode

www.arm

andoalonso.com.ar

& ### c |1 A

q = 90

|D/A

|E/G#

|A

& # c |2 G/B

|C

|D/A

|G/B

& ## c |3 D/A

|G/B

|A

|D/A

& c |1 C

q = 90

|F/C

|G/B

|C

& # c |2 G/B

|C

|D/A

|G/B

& b c |3 F/C

|Bb/D

|C

|F/C

EXERCISE 3b


Set: 432

(Armando Alonso)



Set: 321

Major Mode

www.arm

andoalonso.com.ar

& ### c |1 A

q = 90

|E/G#

|D/A

|A

& # c |2 G/B

|D/A

|C

|G/B

& ## c |3 D/A

|A

|G/B

|D/A

& ## c |1 D

q = 90

|A/C#

|G/D

|D

& c |2 C/E

|G/D

|F

|C/E

& ### c |A/E3

|E

|D/F#

|A/E

EXERCISE 4a

PROGRESSION I - V - IV - ISet: 654

(Armando Alonso)


PROGRESSION I - V - IV - I

Set: 543

Major Mode

www.arm

andoalonso.com.ar

MUSICIAN FRIEND


Superimposition of Triads Harmonic Practice Routine for Guitar by Armando Alonso




Néstor Crespo Serie20&20 Director


& c |1 Am

q = 90

|Dm/A

|Am

& bb c |2 Gm/Bb

|Cm

|Gm/Bb

& # c |3 Em/B

|Am/C

|Em/B

& bb c |1

Gmq = 90

|Cm/G

|Gm

& bb b c |2 Cm/Eb

|Fm

|Cm/Eb

& c |3 Am/E

|Dm/F

|Am/E

EXERCISE 20a

PROGRESSION Im - IVm - Im

Set: 654

(Armando Alonso)



Set: 543

Minor Mode

www.arm

andoalonso.com.ar

& c |1 Am

q = 90

|Dm/A

|Am

& bb c |2 Gm/Bb

|Cm

|Gm/Bb

& # c |3 Em/B

|Am/C

|Em/B

& b c |1 Dm

q = 90

|Gm/D

|Dm

& bb b c |2 Cm/Eb

|Fm

|Cm/Eb

& # c |3 Em/B

|Am/C

|Em/B

EXERCISE 20b


Set: 432

(Armando Alonso)



Set: 321

Minor Mode

www.arm

andoalonso.com.ar

& c |1 Am

q = 90

|E/G#

|Am

& bb c |2 Gm/Bb

|D/A

|Gm/Bb

& # c |3 Em/B

|B

|Em/B

& bb c |1 Gm

q = 90

|D/F#

|Gm

& bb b c |2 Cm/Eb

|G/D

|Cm/Eb

& c |3 Am/E

|E

|Am/E

EXERCISE 21a

PROGRESSION Im - V - Im

Set: 654

(Armando Alonso)



Set: 543

Minor Mode

www.arm

andoalonso.com.ar

& c |1 Am

q = 90

|E/G#

|Am

& bb c |2 Gm/Bb

|D/A

|Gm/Bb

& # c |3 Em/B

|B

|Em/B

& b c |1 Dm

q = 90

|A/C#

|Dm

& bb b c |2 Cm/Eb

|G/D

|Cm/Eb

& # c |3 Em/B

|B

|Em/B

EXERCISE 21b


Set: 432

(Armando Alonso)



Set: 321

Minor Mode

www.arm

andoalonso.com.ar

& # c |1 Em

q = 90

|D#°

|Em/B

|D#°/A

|Em/G

|D#°/F#

|Em/G

& bb b c |2 Cm/Eb

|B°/D

|Cm

|B°

|Cm/G

|B°/F

|Cm/G

& c |3 Am/E

|G#°/D

|Am/C

|G#°/B

|Am

|G#°

|Am

& c |1 Am

q = 90

|G#°

|Am/E

|G#°/D

|Am/C

|G#°/B

|Am/C

& ### c |2 F#m/A

|F°/Ab

|F#m

|F°

|F#m/C#

|F°/Cb

|F#m/C#

& b c |3 Dm/A

|C#°/G

|Dm/F

|C#°/E

|Dm

|C#°

|Dm

EXERCISE 22a

PROGRESSION Im - VII° - Im

Set: 654

(Armando Alonso)


PROGRESSION Im -.VII° - Im

Set: 543

Minor Mode

www.arm

andoalonso.com.ar

& b c |1 Dm

q = 90

|C#°

|Dm/A

|C#°/G

|Dm/F

|C#°/E

|Dm/F

& bb b c |2 Cm/Eb

|B°/D

|Cm

|B°

|Cm/G

|B°/F

|Cm/G

& bb c |3 Gm/D

|F#°/C

|Gm/Bb

|F#°/A

|Gm

|F#°

|Gm

& c |1 Am

q = 90

|G#°

|Am/E

|G#°/D

|Am/C

|G#°/B

|Am/C

& # c |2 Em/G

|D#°/F#

|Em

|D#°

|Em/B

|D#°/A

|Em/B

& ## c |3 Bm/F#

|A#°/E

|Bm/D

|A#°/C#

|Bm

|A#°

|Bm

EXERCISE 22b

PROGRESSION Im - VII° - Im

Set: 432

(Armando Alonso)


PROGRESSION Im -.VII° - Im

Set: 321

Minor Mode

www.arm

andoalonso.com.ar

& c |1 Am

q = 90

|Dm/A

|E/G#

|Am

& bb c |2 Gm/Bb

|Cm

|D/A

|Gm/Bb

& # c |3 Em/B

|Am/C

|B

|Em/B

& bb c |1 Gm

q = 90

|Cm/G

|D/F#

|Gm

& bb b c |2 Cm/Eb

|Fm

|G/D

|Cm/Eb

& c |3 Am/E

|Dm/F

|E

|Am/E

EXERCISE 23a

PROGRESSION Im - IVm - V - Im

Set: 654

(Armando Alonso)



Set: 543

Minor Mode

www.arm

andoalonso.com.ar

& c |1 Am

q = 90

|Dm/A

|E/G#

|Am

& bb c |2 Gm/Bb

|Cm

|D/A

|Gm/Bb

& # c |3 Em/B

|Am/C

|B

|Em/B

& b c |1 Dm

q = 90

|Gm/D

|A/C#

|Dm

& bb b c |2 Cm/Eb

|Fm

|G/D

|Cm/Eb

& # c |3 Em/B

|Am/C

|B

|Em/B

EXERCISE 23b


Set: 432

(Armando Alonso)



Set: 321

Minor Mode

www.arm

andoalonso.com.ar

MUSICIAN FRIEND


Superimposition of Triads Harmonic Practice Routine for Guitar by Armando Alonso




Néstor Crespo Serie20&20 Director


&

&

c

c|

|

C�

Em/G

‘

|Em/B

‘

|G/B

‘

|G

&

&

|

|

F�

Am

‘

|C‘

|G/B

‘

|C/G

&

&

|

|

Bb�

F/A

‘

|C‘

|Dm

‘

|F

&

&

|

|

Eb�

F

‘

|Dm

‘

|Bb

‘

|Gm

&

&

|

|

Ab�

Fm

‘

|Gm

‘

|Eb

‘

|Bb

&

&

|

|

Db�

Cm

‘

|Ab/C

‘

|Cm/G

‘

|Ab

Major Seventh Chord - Cycle of 5ths.

Set: 432 (Armando Alonso)


Backing tracks: 1 - 2

www.arm

andoalonso.com.ar

&

&

|

|

Gb�

Bbm

‘

|Db/Ab

‘

|Ab

‘

|Bbm/F

&

&

|

|

B�

D#m/F#

‘

|Gb/Bb

‘

|A#m/C#

‘

|C#

&

&

|

|

E�

B

‘

|F#/A#

‘

|B/F#

‘

|F#

&

&

|

|

A�

G#m

‘

|E/G#

‘

|B‘

|C#m

&

&

|

|

D�

F#m/C#

‘

|A/C#

‘

|A‘

|E/G#

&

&

....

..|

|

G�

D/F#

‘

|A/E

‘

|A‘

|D/A


Major Seventh Chord - Cycle of 5ths(Armando Alonso)

www.arm

andoalonso.com.ar

&

&

c

c|

|

C�

D/F#

‘

|Bm/D

‘

|G/B

‘

|Em/G

&

&

|

|

F�

Am

‘

|C‘

|Em

‘

|G

&

&

|

|

Bb�

C/G

‘

|Am/E

‘

|F/C

‘

|Dm/A

&

&

|

|

Eb�

Gm/Bb

‘

|Bb/D

‘

|Dm/F

‘

|F/A

&

&

|

|

Ab�

Bb/F

‘

|Gm/D

‘

|Eb/Bb

‘

|Cm/Eb

&

&

|

|

Db�

Cm/Eb

‘

|Eb/G

‘

|Cm/Eb

‘

|Ab/C


Set: 321 (Armando Alonso)


Backing tracks: 1 - 2

www.arm

andoalonso.com.ar

&

&

|

|

Gb�

Db/Ab

‘

|Fm/C

‘

|Bbm/Db

‘

|Ab/Eb

&

&

|

|

B�

F#/C#

‘

|A#m/C#

‘

|C#

‘

|D#m/A#

&

&

|

|

E�

G#m/B

‘

|B/D#

‘

|G#m

‘

|C#m/E

&

&

|

|

A�

C#m/E

‘

|E‘

|B/D#

‘

|G#m/B

&

&

|

|

D�

F#m/A

‘

|A/C#

‘

|Bm/D

‘

|C#m/E

&

&

....

..|

|

G�

A/E

‘

|D‘

|Bm

‘

|A/C#



(Armando Alonso)

www.arm

andoalonso.com.ar

LEGAL

Alonso, Armando José

Superimposition of Triads – Harmonic Practice Routine for Guitar / Armando José Alonso.

1st bilingual edition - Chivilcoy: Armando José Alonso, 2018.

EBook, DXReader

Spanish-English Edition

Digital Archive: download online

1. Music. I. Title.

CDD 780

ISBN 978-987-42-4797-1

Date of registration: 06/24/2017

SUPERIMPOSITION OF TRIADS –HARMONIC PRACTICE ROUTINE FOR GUITAR

VOLUME I

1st edition

© Armando José Alonso, 2018

[email protected]

www.armandoalonso.com.ar


Date of publication: June 2018

Replication Date: June 2018

The deposit established by Law 11.723

EDITED IN ARGENTINA

Graphic Design: Edgardo Vallarino

The backing tracks belongs to the author of the work.

The content and originality of this document is the sole responsibility of its author.

The content and originality of this document is the sole responsibility of its author. No part of this publication may

be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical,

photocopying, recording, or otherwise, without the prior written permission of the publisher. editor.

Your violation is punishable by laws 11,723 and 25,446.


Printed in Buenos Aires , Argentina .

June 2018

Education

CHORDS TRIADS ROUTINE PLAN - Guitar - Armando Alonso - FREE