This festive workout puts your triad chops to the test by drilling D major shapes up and down the neck using inversion slides. It’s a focused routine in seeing barre chords as moveable frameworks and unlocking smooth, creative voice movement.
This ear-first session flips the script—no licks, no shapes, just your ears guiding your fingers through simple melodies. It’s all about building that internal connection so you can hear something and instantly play it.
This week we’re continuing our ear-first practice by focusing on melodies that begin on the 3rd of the scale, training your internal pitch sense and sharpening your ability to identify intervals in real time.
This final installment of our ear training series explores melodies that begin on the 5th scale degree, helping you internalize yet another key tonal reference point. Keep building that ears-to-fingers connection—and let this be the start, not the end.
New year, same mission: deeper fretboard fluency. This week, we’re reconnecting triad shapes around D major to strengthen your chordal instincts and build true on-the-fly adaptability.
This week we’re moving beyond triad basics and tackling a systematic workout that builds real fretboard fluency—by connecting G, C, and D triads across positions and string sets through inversion movement.
We’re back to triads this week—this time focusing on minor shapes, working through 12 C minor voicings using the A, E, and C forms. Once those are under your fingers, we’ll move through inversions just like last time, building toward full major/minor fluency.
This week we’re applying last week’s minor triads using the “Gospel Triad Trick”—alternating a major triad with a minor triad one whole step above to create soulful, melodic motion in your rhythm playing. We’ll start over a C groove, working first on the DGB strings, then the GBE set, all while building your rhythmic instincts along the way.
This week we’re expanding the Gospel Triad Trick by crossing string sets, shifting positions, and introducing a new chord change—from C to F. You’ll build four triad voicings per chord, work them across the fretboard, and explore the smoother I–ii motion in both C and F. Watch how the neck starts to open up as you internalize these sounds and transitions.
This week we flip the Gospel Triad Trick for minor grooves, exploring how major triads a whole step down (the ♭VII) can add color and motion to minor chords. Using an Am–G pairing, you’ll build rhythm fluency, triad movement, and real-world fretboard awareness across the top three string sets—all over a tight minor vamp.