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<?xml-stylesheet type="text/xsl" media="screen" href="/~d/styles/atom10full.xsl"?><?xml-stylesheet type="text/css" media="screen" href="http://feeds.feedburner.com/~d/styles/itemcontent.css"?><feed xmlns="http://www.w3.org/2005/Atom" xmlns:openSearch="http://a9.com/-/spec/opensearch/1.1/" xmlns:georss="http://www.georss.org/georss" xmlns:gd="http://schemas.google.com/g/2005" xmlns:thr="http://purl.org/syndication/thread/1.0" xmlns:feedburner="http://rssnamespace.org/feedburner/ext/1.0" gd:etag="W/&quot;Ck4NQHg_eSp7ImA9WhVUFUU.&quot;"><id>tag:blogger.com,1999:blog-3542787394105003366</id><updated>2012-05-21T11:46:31.641+05:30</updated><category term="Base" /><category term="Treble Clef" /><category term="playing pattern" /><category term="Strum Patterns" /><category term="Base Guitar" /><category term="mM6" /><category term="Diminished Scales" /><category term="Gear head" /><category term="strumming pattern" /><category term="Minor" /><category term="guitar help" /><category 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term="G above middle C" /><category term="indian tuning system" /><category term="basic music theory music" /><category term="add5" /><category term="time signature" /><category term="4/4" /><category term="12th" /><category term="playing guitar" /><category term="Wah-wah pedal" /><category term="Tremolo" /><category term="Pentatonic Scales" /><category term="how do I know if" /><category term="physics of tuning a guitar" /><title type="text">BasicMusicTheory : Basics of Music Theory (Guitar)</title><subtitle type="html">Basics of music theory attuned to the Spanish guitar</subtitle><link rel="http://schemas.google.com/g/2005#feed" type="application/atom+xml" href="http://basicmusictheory.blogspot.com/feeds/posts/default" /><link rel="alternate" type="text/html" href="http://basicmusictheory.blogspot.com/" /><link rel="next" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default?start-index=26&amp;max-results=25&amp;redirect=false&amp;v=2" 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Use</feedburner:browserFriendly><entry gd:etag="W/&quot;Dk4HQHg9fyp7ImA9WhRaFEQ.&quot;"><id>tag:blogger.com,1999:blog-3542787394105003366.post-182071310425705656</id><published>2019-01-31T23:51:00.000+05:30</published><updated>2012-02-17T21:38:51.667+05:30</updated><app:edited xmlns:app="http://www.w3.org/2007/app">2012-02-17T21:38:51.667+05:30</app:edited><category scheme="http://www.blogger.com/atom/ns#" term="basic music theory" /><category scheme="http://www.blogger.com/atom/ns#" term="guitar" /><title>Welcome to Basic Music Theory for Guitarists</title><summary>Welcome to BasicMusicTheory:
Welcome to BasicMusicTheory - a free guitar centric music theory site cum ebook focusing on the Spanish acoustic guitar. Hope you find it useful.Free Music Theory e-Book:
 Don't forget to go though your free music theory ebook at BasicMusicTheory and get read the supplementary music theory updates.Theory Topics / Complete List of Topics on BasicMusicTheory:
 The </summary><link rel="replies" type="application/atom+xml" href="http://basicmusictheory.blogspot.com/feeds/182071310425705656/comments/default" title="Post Comments" /><link rel="replies" type="text/html" href="http://www.blogger.com/comment.g?blogID=3542787394105003366&amp;postID=182071310425705656" title="0 Comments" /><link rel="edit" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/182071310425705656?v=2" /><link rel="self" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/182071310425705656?v=2" /><link rel="alternate" type="text/html" href="http://basicmusictheory.blogspot.com/2008/11/basic-music-theory-for-guitarists.html" title="Welcome to Basic Music Theory for Guitarists" /><author><name>Dr. Arindam Sarkar</name><uri>https://profiles.google.com/112161168020659378284</uri><email>noreply@blogger.com</email><gd:image rel="http://schemas.google.com/g/2005#thumbnail" width="32" height="32" src="//lh4.googleusercontent.com/-SBaKmhIcM6o/AAAAAAAAAAI/AAAAAAAAG8Q/GVHs7uhXREA/s512-c/photo.jpg" /></author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://lh5.googleusercontent.com/-IDbAh9Rcahw/Te9lGfcUK8I/AAAAAAAAG3s/OwMCuGyQLRE/s72-c/BMTcover1.png" height="72" width="72" /><thr:total>0</thr:total></entry><entry gd:etag="W/&quot;A0cGRH4-eip7ImA9WhdRFks.&quot;"><id>tag:blogger.com,1999:blog-3542787394105003366.post-1247527874522561765</id><published>2011-08-06T04:59:00.013+05:30</published><updated>2011-08-07T03:47:05.052+05:30</updated><app:edited xmlns:app="http://www.w3.org/2007/app">2011-08-07T03:47:05.052+05:30</app:edited><title>Vertical Relationship Between Chord Shapes</title><summary>Chords are formed of three or more notes played together. A "typically tuned, typical guitar" (12-TET / 6 string) has 6 strings tuned to the perfect 4ths of each other, barring the 2nd string (B string, tuned to a major 3rd of the G string - G to B is 5 semitones, or a minor 3rd interval).

On the guitar neck, many chords share similar shapes and are played at the same position from the nut, </summary><link rel="replies" type="application/atom+xml" href="http://basicmusictheory.blogspot.com/feeds/1247527874522561765/comments/default" title="Post Comments" /><link rel="replies" type="text/html" href="http://www.blogger.com/comment.g?blogID=3542787394105003366&amp;postID=1247527874522561765" title="0 Comments" /><link rel="edit" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/1247527874522561765?v=2" /><link rel="self" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/1247527874522561765?v=2" /><link rel="alternate" type="text/html" href="http://basicmusictheory.blogspot.com/2011/08/vertical-relationship-between-chord.html" title="Vertical Relationship Between Chord Shapes" /><author><name>Dr. Arindam Sarkar</name><uri>https://profiles.google.com/112161168020659378284</uri><email>noreply@blogger.com</email><gd:image rel="http://schemas.google.com/g/2005#thumbnail" width="32" height="32" src="//lh4.googleusercontent.com/-SBaKmhIcM6o/AAAAAAAAAAI/AAAAAAAAG8Q/GVHs7uhXREA/s512-c/photo.jpg" /></author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://lh4.googleusercontent.com/-tRIK20KeDCk/Tjxx7rLJQUI/AAAAAAAAG-o/8k8rYHYPn9M/s72-c/CGFBbFsa.JPG" height="72" width="72" /><thr:total>0</thr:total></entry><entry gd:etag="W/&quot;AkIFSXYyfSp7ImA9WhZbGUg.&quot;"><id>tag:blogger.com,1999:blog-3542787394105003366.post-8561085715944430532</id><published>2011-06-23T02:25:00.004+05:30</published><updated>2011-06-25T05:05:18.895+05:30</updated><app:edited xmlns:app="http://www.w3.org/2007/app">2011-06-25T05:05:18.895+05:30</app:edited><title>How to Find Chords for a Song by Ear (Hearing)</title><summary>Chording a song by ear
First, you must understand that it's not at all difficult. It's a bit like riding a bicycle. You have to do it to know how to do it. And just like riding a bicycle -
It's is easier than it seemsIt just needs a bit of practiceIt takes some time to learn Tabbing is hard at first and gets easier as you progressOnce you learn how to tab a song by ear, you can't forget itIt's </summary><link rel="replies" type="application/atom+xml" href="http://basicmusictheory.blogspot.com/feeds/8561085715944430532/comments/default" title="Post Comments" /><link rel="replies" type="text/html" href="http://www.blogger.com/comment.g?blogID=3542787394105003366&amp;postID=8561085715944430532" title="0 Comments" /><link rel="edit" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/8561085715944430532?v=2" /><link rel="self" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/8561085715944430532?v=2" /><link rel="alternate" type="text/html" href="http://basicmusictheory.blogspot.com/2011/06/how-to-find-chords-for-song-by-ear.html" title="How to Find Chords for a Song by Ear (Hearing)" /><author><name>Dr. Arindam Sarkar</name><uri>https://profiles.google.com/112161168020659378284</uri><email>noreply@blogger.com</email><gd:image rel="http://schemas.google.com/g/2005#thumbnail" width="32" height="32" src="//lh4.googleusercontent.com/-SBaKmhIcM6o/AAAAAAAAAAI/AAAAAAAAG8Q/GVHs7uhXREA/s512-c/photo.jpg" /></author><thr:total>0</thr:total></entry><entry gd:etag="W/&quot;Ck8NQn45cSp7ImA9WhZbFU8.&quot;"><id>tag:blogger.com,1999:blog-3542787394105003366.post-7984888010959948860</id><published>2011-06-20T03:13:00.003+05:30</published><updated>2011-06-20T03:31:33.029+05:30</updated><app:edited xmlns:app="http://www.w3.org/2007/app">2011-06-20T03:31:33.029+05:30</app:edited><title>Beats in music : Off-beat and On-beat</title><summary>To understand beats, one must have a clear idea of time signatures(discussed earlier). 

In music, a "beat" is refers to a single impulse in a "meter / measure". A meter or "measure" - rhythm unit of the piece of music, is succession of an equal number beats, often even number. A typical song consists of repeating sequences of meters of equal length. This ensures that the song will have a regular</summary><link rel="replies" type="application/atom+xml" href="http://basicmusictheory.blogspot.com/feeds/7984888010959948860/comments/default" title="Post Comments" /><link rel="replies" type="text/html" href="http://www.blogger.com/comment.g?blogID=3542787394105003366&amp;postID=7984888010959948860" title="0 Comments" /><link rel="edit" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/7984888010959948860?v=2" /><link rel="self" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/7984888010959948860?v=2" /><link rel="alternate" type="text/html" href="http://basicmusictheory.blogspot.com/2011/06/beats-in-music-off-beat-and-on-beat.html" title="Beats in music : Off-beat and On-beat" /><author><name>Dr. Arindam Sarkar</name><uri>https://profiles.google.com/112161168020659378284</uri><email>noreply@blogger.com</email><gd:image rel="http://schemas.google.com/g/2005#thumbnail" width="32" height="32" src="//lh4.googleusercontent.com/-SBaKmhIcM6o/AAAAAAAAAAI/AAAAAAAAG8Q/GVHs7uhXREA/s512-c/photo.jpg" /></author><thr:total>0</thr:total></entry><entry gd:etag="W/&quot;DUMCRX07fyp7ImA9WhZVE04.&quot;"><id>tag:blogger.com,1999:blog-3542787394105003366.post-3657047968157888764</id><published>2011-03-18T03:30:00.005+05:30</published><updated>2011-05-25T21:01:04.307+05:30</updated><app:edited xmlns:app="http://www.w3.org/2007/app">2011-05-25T21:01:04.307+05:30</app:edited><title>27 Mistakes Any Guitarist Should Avoid</title><summary>The guitar is a fascinating instrument that will enrich your life in more ways than one. It will be your companion either when you're feeling alone or when you the life of the party; beside you in your highs and lows - a confidant you can turn to day and night. It'll help tide over your boredom and sooth you when you are fatigued and go with you where ever you wish to take it.

It all sounds </summary><link rel="replies" type="application/atom+xml" href="http://basicmusictheory.blogspot.com/feeds/3657047968157888764/comments/default" title="Post Comments" /><link rel="replies" type="text/html" href="http://www.blogger.com/comment.g?blogID=3542787394105003366&amp;postID=3657047968157888764" title="6 Comments" /><link rel="edit" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/3657047968157888764?v=2" /><link rel="self" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/3657047968157888764?v=2" /><link rel="alternate" type="text/html" href="http://basicmusictheory.blogspot.com/2011/03/mistakes-any-guitarists-should-avoid.html" title="27 Mistakes Any Guitarist Should Avoid" /><author><name>Dr. Arindam Sarkar</name><uri>https://profiles.google.com/112161168020659378284</uri><email>noreply@blogger.com</email><gd:image rel="http://schemas.google.com/g/2005#thumbnail" width="32" height="32" src="//lh4.googleusercontent.com/-SBaKmhIcM6o/AAAAAAAAAAI/AAAAAAAAG8Q/GVHs7uhXREA/s512-c/photo.jpg" /></author><thr:total>6</thr:total></entry><entry gd:etag="W/&quot;C0UGRno5fip7ImA9WhRWFk0.&quot;"><id>tag:blogger.com,1999:blog-3542787394105003366.post-3906404216398602854</id><published>2011-03-13T20:21:00.003+05:30</published><updated>2012-01-03T20:03:47.426+05:30</updated><app:edited xmlns:app="http://www.w3.org/2007/app">2012-01-03T20:03:47.426+05:30</app:edited><title>Tertian, Secundal, Quartal, Power, Added and Extended Chords</title><summary>Chords in music are varied and numerous. This has lead to them being classified for easier study based on certain peculiarities of their constituent intervals.


(Intervals in music. U = tonic note, equivalent to the root note of chords)
Certain terms among them warrant attention:

Tertian Chords: A chord that can be broken down into a sequence of thirds (major third (M3) or minor third (m3) </summary><link rel="replies" type="application/atom+xml" href="http://basicmusictheory.blogspot.com/feeds/3906404216398602854/comments/default" title="Post Comments" /><link rel="replies" type="text/html" href="http://www.blogger.com/comment.g?blogID=3542787394105003366&amp;postID=3906404216398602854" title="3 Comments" /><link rel="edit" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/3906404216398602854?v=2" /><link rel="self" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/3906404216398602854?v=2" /><link rel="alternate" type="text/html" href="http://basicmusictheory.blogspot.com/2011/03/tertian-secundal-quartal-added-and.html" title="Tertian, Secundal, Quartal, Power, Added and Extended Chords" /><author><name>Dr. Arindam Sarkar</name><uri>https://profiles.google.com/112161168020659378284</uri><email>noreply@blogger.com</email><gd:image rel="http://schemas.google.com/g/2005#thumbnail" width="32" height="32" src="//lh4.googleusercontent.com/-SBaKmhIcM6o/AAAAAAAAAAI/AAAAAAAAG8Q/GVHs7uhXREA/s512-c/photo.jpg" /></author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="http://2.bp.blogspot.com/_focpf64SxpI/TT1OIz3zKQI/AAAAAAAAGq4/VSGvN4YCUbU/s72-c/Intervals.png" height="72" width="72" /><thr:total>3</thr:total></entry><entry gd:etag="W/&quot;DkQHRH44eip7ImA9WhZUGE0.&quot;"><id>tag:blogger.com,1999:blog-3542787394105003366.post-1723913134524367347</id><published>2011-01-24T15:37:00.006+05:30</published><updated>2011-06-11T20:28:55.032+05:30</updated><app:edited xmlns:app="http://www.w3.org/2007/app">2011-06-11T20:28:55.032+05:30</app:edited><title>Added and Extended Guitar Chords (CAGED system)</title><summary>Continuing our discussion about the "5-fret box," that contains all the notes in the octave (chromatic scale) 2 and a 1/2 times over, we arrive at an interesting and significant set of generalizations. 

If we play three notes at a time (triads), out of the possible six (since there are six strings), using elementary combination mathematics (k-combinations), there will be 6C3 = 20 possible triads</summary><link rel="replies" type="application/atom+xml" href="http://basicmusictheory.blogspot.com/feeds/1723913134524367347/comments/default" title="Post Comments" /><link rel="replies" type="text/html" href="http://www.blogger.com/comment.g?blogID=3542787394105003366&amp;postID=1723913134524367347" title="0 Comments" /><link rel="edit" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/1723913134524367347?v=2" /><link rel="self" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/1723913134524367347?v=2" /><link rel="alternate" type="text/html" href="http://basicmusictheory.blogspot.com/2011/01/extended-guitar-chords-caged-system.html" title="Added and Extended Guitar Chords (CAGED system)" /><author><name>Dr. Arindam Sarkar</name><uri>https://profiles.google.com/112161168020659378284</uri><email>noreply@blogger.com</email><gd:image rel="http://schemas.google.com/g/2005#thumbnail" width="32" height="32" src="//lh4.googleusercontent.com/-SBaKmhIcM6o/AAAAAAAAAAI/AAAAAAAAG8Q/GVHs7uhXREA/s512-c/photo.jpg" /></author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="http://4.bp.blogspot.com/_focpf64SxpI/TT1NnE-YJTI/AAAAAAAAGqk/Bo4eeQLK5P0/s72-c/Common%2BExtended%2BChord%2BShapes.jpg" height="72" width="72" /><thr:total>0</thr:total></entry><entry gd:etag="W/&quot;DUcEQH48fip7ImA9WhZVE04.&quot;"><id>tag:blogger.com,1999:blog-3542787394105003366.post-6182590369605402750</id><published>2011-01-03T01:55:00.003+05:30</published><updated>2011-05-25T20:53:21.076+05:30</updated><app:edited xmlns:app="http://www.w3.org/2007/app">2011-05-25T20:53:21.076+05:30</app:edited><title>Guitar note map and Guitar chords shapes</title><summary>Below is a diagrammatic map of notes playable on a guitar in standard tuning (EADGBe). As is evident, as you move from one fret to the next, you move from one note to the next in a chromatic scale. The scale you play while going down the fretboard, from the nut toward the bridge, is an ascending chromatic scale, while the reverse order gives you the descending chromatic scale.


The purpose of </summary><link rel="replies" type="application/atom+xml" href="http://basicmusictheory.blogspot.com/feeds/6182590369605402750/comments/default" title="Post Comments" /><link rel="replies" type="text/html" href="http://www.blogger.com/comment.g?blogID=3542787394105003366&amp;postID=6182590369605402750" title="0 Comments" /><link rel="edit" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/6182590369605402750?v=2" /><link rel="self" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/6182590369605402750?v=2" /><link rel="alternate" type="text/html" href="http://basicmusictheory.blogspot.com/2010/08/guitar-note-map-and-guitar-chords.html" title="Guitar note map and Guitar chords shapes" /><author><name>Dr. Arindam Sarkar</name><uri>https://profiles.google.com/112161168020659378284</uri><email>noreply@blogger.com</email><gd:image rel="http://schemas.google.com/g/2005#thumbnail" width="32" height="32" src="//lh4.googleusercontent.com/-SBaKmhIcM6o/AAAAAAAAAAI/AAAAAAAAG8Q/GVHs7uhXREA/s512-c/photo.jpg" /></author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="http://3.bp.blogspot.com/_focpf64SxpI/THOGqQbG3LI/AAAAAAAAGiI/gS5CS8p9FmY/s72-c/Notes+on+the+fret+board+1.JPG" height="72" width="72" /><thr:total>0</thr:total></entry><entry gd:etag="W/&quot;DEAGQnsyfCp7ImA9WhZVE04.&quot;"><id>tag:blogger.com,1999:blog-3542787394105003366.post-2606667073220243131</id><published>2011-01-03T01:54:00.006+05:30</published><updated>2011-05-25T20:48:43.594+05:30</updated><app:edited xmlns:app="http://www.w3.org/2007/app">2011-05-25T20:48:43.594+05:30</app:edited><title>How to Play a Guitar / Learing to Play a Guitar</title><summary>A guitar is not the easiest of instruments to learn, but with the right mix of guidance and perseverance, even the most unsure of beginners can make magic. Many leading guitarists are taught having no formal training in music.

So, How does one play a guitar?

Well, first, you need a guitar to begin to try. Get one - acoustic is the best for beginners, in my opinion.

A formal tuition in music is</summary><link rel="replies" type="application/atom+xml" href="http://basicmusictheory.blogspot.com/feeds/2606667073220243131/comments/default" title="Post Comments" /><link rel="replies" type="text/html" href="http://www.blogger.com/comment.g?blogID=3542787394105003366&amp;postID=2606667073220243131" title="0 Comments" /><link rel="edit" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/2606667073220243131?v=2" /><link rel="self" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/2606667073220243131?v=2" /><link rel="alternate" type="text/html" href="http://basicmusictheory.blogspot.com/2009/04/how-to-play-guitar.html" title="How to Play a Guitar / Learing to Play a Guitar" /><author><name>Dr. Arindam Sarkar</name><uri>https://profiles.google.com/112161168020659378284</uri><email>noreply@blogger.com</email><gd:image rel="http://schemas.google.com/g/2005#thumbnail" width="32" height="32" src="//lh4.googleusercontent.com/-SBaKmhIcM6o/AAAAAAAAAAI/AAAAAAAAG8Q/GVHs7uhXREA/s512-c/photo.jpg" /></author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="http://lh4.ggpht.com/_focpf64SxpI/TSDWcIV7LqI/AAAAAAAAGp8/215jwl3gKtQ/s72-c/3168005377_0e3e0f1eb6.jpg" height="72" width="72" /><thr:total>0</thr:total></entry><entry gd:etag="W/&quot;DEYDQXg6cCp7ImA9WhZVE04.&quot;"><id>tag:blogger.com,1999:blog-3542787394105003366.post-5052229722103348120</id><published>2010-08-16T21:27:00.006+05:30</published><updated>2011-05-25T20:39:30.618+05:30</updated><app:edited xmlns:app="http://www.w3.org/2007/app">2011-05-25T20:39:30.618+05:30</app:edited><title>Minor chord shapes on guitar (CAGED minor chords)</title><summary>As has been discussed in the previous sections on the CAGED system, the basic major shapes (the C,A,G,E and D major shapes) lend themselves to production of all other major chords. From that we have seen that there is a more general principle to chord structure formation.

Now referring to the section "Composition and Naming of Chords" at the beginning of chapter 6, we can get a comprehensive </summary><link rel="replies" type="application/atom+xml" href="http://basicmusictheory.blogspot.com/feeds/5052229722103348120/comments/default" title="Post Comments" /><link rel="replies" type="text/html" href="http://www.blogger.com/comment.g?blogID=3542787394105003366&amp;postID=5052229722103348120" title="0 Comments" /><link rel="edit" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/5052229722103348120?v=2" /><link rel="self" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/5052229722103348120?v=2" /><link rel="alternate" type="text/html" href="http://basicmusictheory.blogspot.com/2010/08/minor-chord-shapes-on-guitar-caged.html" title="Minor chord shapes on guitar (CAGED minor chords)" /><author><name>Dr. Arindam Sarkar</name><uri>https://profiles.google.com/112161168020659378284</uri><email>noreply@blogger.com</email><gd:image rel="http://schemas.google.com/g/2005#thumbnail" width="32" height="32" src="//lh4.googleusercontent.com/-SBaKmhIcM6o/AAAAAAAAAAI/AAAAAAAAG8Q/GVHs7uhXREA/s512-c/photo.jpg" /></author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="http://4.bp.blogspot.com/_focpf64SxpI/TGlU-LvaD3I/AAAAAAAAGew/9Ob1VuszYZo/s72-c/Shape+of+C+minor+from+C+major+chords.JPG" height="72" width="72" /><thr:total>0</thr:total></entry><entry gd:etag="W/&quot;D0cMSXozcSp7ImA9WhZVE04.&quot;"><id>tag:blogger.com,1999:blog-3542787394105003366.post-5207995904074779532</id><published>2010-08-16T19:46:00.008+05:30</published><updated>2011-05-25T20:21:28.489+05:30</updated><app:edited xmlns:app="http://www.w3.org/2007/app">2011-05-25T20:21:28.489+05:30</app:edited><title>Principle of the CAGED system and movable chord shapes</title><summary>CAGED major chords provide the basic framework, which can be shifted up and down, or modified to produce all other chords playable on a guitar.

Each major shape is, in essence, a way of maintaining the relative positions of the root, third and fifth notes, through transpositions.
The familiar shapes of the major chords, now need to be scrutinized a bit more to assess the relative positions of </summary><link rel="replies" type="application/atom+xml" href="http://basicmusictheory.blogspot.com/feeds/5207995904074779532/comments/default" title="Post Comments" /><link rel="replies" type="text/html" href="http://www.blogger.com/comment.g?blogID=3542787394105003366&amp;postID=5207995904074779532" title="0 Comments" /><link rel="edit" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/5207995904074779532?v=2" /><link rel="self" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/5207995904074779532?v=2" /><link rel="alternate" type="text/html" href="http://basicmusictheory.blogspot.com/2010/08/principle-of-caged-system-and-movable.html" title="Principle of the CAGED system and movable chord shapes" /><author><name>Dr. Arindam Sarkar</name><uri>https://profiles.google.com/112161168020659378284</uri><email>noreply@blogger.com</email><gd:image rel="http://schemas.google.com/g/2005#thumbnail" width="32" height="32" src="//lh4.googleusercontent.com/-SBaKmhIcM6o/AAAAAAAAAAI/AAAAAAAAG8Q/GVHs7uhXREA/s512-c/photo.jpg" /></author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="http://lh6.ggpht.com/_focpf64SxpI/TGlcNiGGM_I/AAAAAAAAGfE/4UpM4YTEusA/s72-c/r3n5%20of%20major%20chord%20shapes.jpg" height="72" width="72" /><thr:total>0</thr:total></entry><entry gd:etag="W/&quot;DkINRHg6cSp7ImA9WhZVE04.&quot;"><id>tag:blogger.com,1999:blog-3542787394105003366.post-7151752072193635971</id><published>2010-08-08T21:58:00.007+05:30</published><updated>2011-05-25T20:13:15.619+05:30</updated><app:edited xmlns:app="http://www.w3.org/2007/app">2011-05-25T20:13:15.619+05:30</app:edited><category scheme="http://www.blogger.com/atom/ns#" term="F major" /><category scheme="http://www.blogger.com/atom/ns#" term="D#" /><category scheme="http://www.blogger.com/atom/ns#" term="F" /><category scheme="http://www.blogger.com/atom/ns#" term="Bb" /><category scheme="http://www.blogger.com/atom/ns#" term="Non-CAGED chords : C#" /><category scheme="http://www.blogger.com/atom/ns#" term="G#" /><category scheme="http://www.blogger.com/atom/ns#" term="Eb" /><category scheme="http://www.blogger.com/atom/ns#" term="B major" /><title>Non-CAGED major chords: F, B, C#, Bb, G#, Eb, D#, etc</title><summary>While reading about CAGED chords, you must have notice that all these chords are derived from these basic five shapes. Hence knowing these shapes will enable us to figure out the positions of non-CAGED major (i.e. the chords that are not C, A, G, E, and D major) chords such as C#, Bb, G#, Eb, F, D#, etc from these.

The process is simple: Transposition. All you do is as follows:

Choose a chord </summary><link rel="replies" type="application/atom+xml" href="http://basicmusictheory.blogspot.com/feeds/7151752072193635971/comments/default" title="Post Comments" /><link rel="replies" type="text/html" href="http://www.blogger.com/comment.g?blogID=3542787394105003366&amp;postID=7151752072193635971" title="0 Comments" /><link rel="edit" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/7151752072193635971?v=2" /><link rel="self" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/7151752072193635971?v=2" /><link rel="alternate" type="text/html" href="http://basicmusictheory.blogspot.com/2010/08/non-caged-chords-f-major-b-major-c-bb-g.html" title="Non-CAGED major chords: F, B, C#, Bb, G#, Eb, D#, etc" /><author><name>Dr. Arindam Sarkar</name><uri>https://profiles.google.com/112161168020659378284</uri><email>noreply@blogger.com</email><gd:image rel="http://schemas.google.com/g/2005#thumbnail" width="32" height="32" src="//lh4.googleusercontent.com/-SBaKmhIcM6o/AAAAAAAAAAI/AAAAAAAAG8Q/GVHs7uhXREA/s512-c/photo.jpg" /></author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="http://3.bp.blogspot.com/_focpf64SxpI/TF7SXWWBSSI/AAAAAAAAGdg/6SUIjNTGI-A/s72-c/F+major+in+C+major+shape.JPG" height="72" width="72" /><thr:total>0</thr:total></entry><entry gd:etag="W/&quot;Ck4AQ3oycCp7ImA9Wx5SEkU.&quot;"><id>tag:blogger.com,1999:blog-3542787394105003366.post-8299628829840091468</id><published>2010-08-08T20:50:00.001+05:30</published><updated>2010-08-08T20:52:22.498+05:30</updated><app:edited xmlns:app="http://www.w3.org/2007/app">2010-08-08T20:52:22.498+05:30</app:edited><category scheme="http://www.blogger.com/atom/ns#" term="notes" /><category scheme="http://www.blogger.com/atom/ns#" term="Semi-tones" /><category scheme="http://www.blogger.com/atom/ns#" term="Tones" /><category scheme="http://www.blogger.com/atom/ns#" term="Intervals" /><category scheme="http://www.blogger.com/atom/ns#" term="scales" /><title>Tones, Semi-tones, Intervals, Notes and Scales</title><summary>To understand tones, semi-tones, notes and scales and the difference between them, one must understand how an octave is divided. Assuming that you already know that, we proceed to explain.

What are Tones and Semitones?
Before the advent of 12-TET, the octave was divided into seven steps starting from C going upto the C of the next octave (C-D-E-F-G-A-B-c). Each of these steps represent one tone.</summary><link rel="replies" type="application/atom+xml" href="http://basicmusictheory.blogspot.com/feeds/8299628829840091468/comments/default" title="Post Comments" /><link rel="replies" type="text/html" href="http://www.blogger.com/comment.g?blogID=3542787394105003366&amp;postID=8299628829840091468" title="0 Comments" /><link rel="edit" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/8299628829840091468?v=2" /><link rel="self" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/8299628829840091468?v=2" /><link rel="alternate" type="text/html" href="http://basicmusictheory.blogspot.com/2010/08/tones-semi-tones-intervals-notes-and.html" title="Tones, Semi-tones, Intervals, Notes and Scales" /><author><name>Dr. Arindam Sarkar</name><uri>https://profiles.google.com/112161168020659378284</uri><email>noreply@blogger.com</email><gd:image rel="http://schemas.google.com/g/2005#thumbnail" width="32" height="32" src="//lh4.googleusercontent.com/-SBaKmhIcM6o/AAAAAAAAAAI/AAAAAAAAG8Q/GVHs7uhXREA/s512-c/photo.jpg" /></author><thr:total>0</thr:total></entry><entry gd:etag="W/&quot;CU8DQHoycSp7ImA9WhZVE04.&quot;"><id>tag:blogger.com,1999:blog-3542787394105003366.post-8454544986095504797</id><published>2010-08-02T15:12:00.004+05:30</published><updated>2011-05-25T20:01:11.499+05:30</updated><app:edited xmlns:app="http://www.w3.org/2007/app">2011-05-25T20:01:11.499+05:30</app:edited><title>Shapes of D major chord (CAGED system)</title><summary>When we transpose each of the above basic CAGED chord shapes up and down the fret board, we get the following shapes of D major. Note that each chord shape plays only the three notes of the D major triad, viz D-F#-A and with D as the bass note.

1. D major in C major shape, i.e. D major in 2nd position,
Played as - x54232:

2. D major in A major shape, i.e. D major in 5th position,
Played as - </summary><link rel="replies" type="application/atom+xml" href="http://basicmusictheory.blogspot.com/feeds/8454544986095504797/comments/default" title="Post Comments" /><link rel="replies" type="text/html" href="http://www.blogger.com/comment.g?blogID=3542787394105003366&amp;postID=8454544986095504797" title="0 Comments" /><link rel="edit" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/8454544986095504797?v=2" /><link rel="self" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/8454544986095504797?v=2" /><link rel="alternate" type="text/html" href="http://basicmusictheory.blogspot.com/2010/08/shapes-of-d-major-chord-caged-system.html" title="Shapes of D major chord (CAGED system)" /><author><name>Dr. Arindam Sarkar</name><uri>https://profiles.google.com/112161168020659378284</uri><email>noreply@blogger.com</email><gd:image rel="http://schemas.google.com/g/2005#thumbnail" width="32" height="32" src="//lh4.googleusercontent.com/-SBaKmhIcM6o/AAAAAAAAAAI/AAAAAAAAG8Q/GVHs7uhXREA/s512-c/photo.jpg" /></author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="http://3.bp.blogspot.com/_focpf64SxpI/TFaMYyYgogI/AAAAAAAAGb4/AaIQuT20XB4/s72-c/D+major+in+C+major+shape.JPG" height="72" width="72" /><thr:total>0</thr:total></entry><entry gd:etag="W/&quot;CUQDQ3g_eSp7ImA9WhZVE04.&quot;"><id>tag:blogger.com,1999:blog-3542787394105003366.post-4664023701822819502</id><published>2010-08-02T13:39:00.005+05:30</published><updated>2011-05-25T19:52:52.641+05:30</updated><app:edited xmlns:app="http://www.w3.org/2007/app">2011-05-25T19:52:52.641+05:30</app:edited><title>Shapes of E major chord (CAGED system)</title><summary>When we transpose each of the above basic CAGED chord shapes up and down the fret board, we get the following shapes of E major. Note that each chord shape plays only the three notes of the E major triad, viz E-G#-B and with E as the bass note.

1. E major in C major shape, i.e. E major in 4th position,
Played as - x76454:

2. E major in A major shape, i.e. E major in 7th position,
Played as - </summary><link rel="replies" type="application/atom+xml" href="http://basicmusictheory.blogspot.com/feeds/4664023701822819502/comments/default" title="Post Comments" /><link rel="replies" type="text/html" href="http://www.blogger.com/comment.g?blogID=3542787394105003366&amp;postID=4664023701822819502" title="0 Comments" /><link rel="edit" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/4664023701822819502?v=2" /><link rel="self" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/4664023701822819502?v=2" /><link rel="alternate" type="text/html" href="http://basicmusictheory.blogspot.com/2010/08/shapes-of-e-major-chord-caged-system.html" title="Shapes of E major chord (CAGED system)" /><author><name>Dr. Arindam Sarkar</name><uri>https://profiles.google.com/112161168020659378284</uri><email>noreply@blogger.com</email><gd:image rel="http://schemas.google.com/g/2005#thumbnail" width="32" height="32" src="//lh4.googleusercontent.com/-SBaKmhIcM6o/AAAAAAAAAAI/AAAAAAAAG8Q/GVHs7uhXREA/s512-c/photo.jpg" /></author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="http://3.bp.blogspot.com/_focpf64SxpI/TFZ1rXr3eII/AAAAAAAAGbM/uL5-pGfMaYY/s72-c/E+major+in+C+major+shape.JPG" height="72" width="72" /><thr:total>0</thr:total></entry><entry gd:etag="W/&quot;CE8MSHk7eSp7ImA9WhZVE04.&quot;"><id>tag:blogger.com,1999:blog-3542787394105003366.post-6733871846371925725</id><published>2010-08-01T00:31:00.005+05:30</published><updated>2011-05-25T19:44:49.701+05:30</updated><app:edited xmlns:app="http://www.w3.org/2007/app">2011-05-25T19:44:49.701+05:30</app:edited><title>Shapes of G major chord (CAGED system)</title><summary>When we transpose each of the above basic CAGED chord shapes up and down the fret board, we get the following shapes of G major. Note that each chord shape plays only the three notes of the G major triad, viz G-B-D and with G as the bass note.

1. G major in C major shape, i.e. G major in 7th position,
Played as - x-10-9-7-8-7:

2. G major in A major shape,  i.e. G major in 10th position,
Played </summary><link rel="replies" type="application/atom+xml" href="http://basicmusictheory.blogspot.com/feeds/6733871846371925725/comments/default" title="Post Comments" /><link rel="replies" type="text/html" href="http://www.blogger.com/comment.g?blogID=3542787394105003366&amp;postID=6733871846371925725" title="0 Comments" /><link rel="edit" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/6733871846371925725?v=2" /><link rel="self" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/6733871846371925725?v=2" /><link rel="alternate" type="text/html" href="http://basicmusictheory.blogspot.com/2010/08/shapes-of-g-major-chord-caged-system.html" title="Shapes of G major chord (CAGED system)" /><author><name>Dr. Arindam Sarkar</name><uri>https://profiles.google.com/112161168020659378284</uri><email>noreply@blogger.com</email><gd:image rel="http://schemas.google.com/g/2005#thumbnail" width="32" height="32" src="//lh4.googleusercontent.com/-SBaKmhIcM6o/AAAAAAAAAAI/AAAAAAAAG8Q/GVHs7uhXREA/s512-c/photo.jpg" /></author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="http://4.bp.blogspot.com/_focpf64SxpI/TFRpcOztjXI/AAAAAAAAGac/hYTNuAK2wYI/s72-c/G+major+in+C+major+shape.JPG" height="72" width="72" /><thr:total>0</thr:total></entry><entry gd:etag="W/&quot;CEMGRn86eCp7ImA9WhZVE04.&quot;"><id>tag:blogger.com,1999:blog-3542787394105003366.post-5973169949676539366</id><published>2010-07-31T20:37:00.009+05:30</published><updated>2011-05-25T19:37:07.110+05:30</updated><app:edited xmlns:app="http://www.w3.org/2007/app">2011-05-25T19:37:07.110+05:30</app:edited><title>Shapes of A major chord (CAGED system)</title><summary>When we transpose each of the above basic CAGED chord shapes up and down the fret board, we get the following shapes of A major. Note that each chord shape plays only the three notes of the A major triad, viz A-C#-E and with A as the bass note.

1. A major in C major shape, i.e. A major in 9th position,
Played as - 9-12-11-9-10-9:

2. A major as the A major shape itself, which is A major in nut (</summary><link rel="replies" type="application/atom+xml" href="http://basicmusictheory.blogspot.com/feeds/5973169949676539366/comments/default" title="Post Comments" /><link rel="replies" type="text/html" href="http://www.blogger.com/comment.g?blogID=3542787394105003366&amp;postID=5973169949676539366" title="0 Comments" /><link rel="edit" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/5973169949676539366?v=2" /><link rel="self" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/5973169949676539366?v=2" /><link rel="alternate" type="text/html" href="http://basicmusictheory.blogspot.com/2010/07/shapes-of-major-chord-caged-system.html" title="Shapes of A major chord (CAGED system)" /><author><name>Dr. Arindam Sarkar</name><uri>https://profiles.google.com/112161168020659378284</uri><email>noreply@blogger.com</email><gd:image rel="http://schemas.google.com/g/2005#thumbnail" width="32" height="32" src="//lh4.googleusercontent.com/-SBaKmhIcM6o/AAAAAAAAAAI/AAAAAAAAG8Q/GVHs7uhXREA/s512-c/photo.jpg" /></author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="http://4.bp.blogspot.com/_focpf64SxpI/TFQ1qggEYqI/AAAAAAAAGZM/TjtaPCVU0Es/s72-c/A+major+in+C+major+shape.JPG" height="72" width="72" /><thr:total>0</thr:total></entry><entry gd:etag="W/&quot;CU4DR308fip7ImA9WhZVE04.&quot;"><id>tag:blogger.com,1999:blog-3542787394105003366.post-7466025964976389370</id><published>2010-07-31T18:41:00.012+05:30</published><updated>2011-05-25T20:02:56.376+05:30</updated><app:edited xmlns:app="http://www.w3.org/2007/app">2011-05-25T20:02:56.376+05:30</app:edited><title>Shapes of C major chord (CAGED system)</title><summary>When we transpose each of the above basic CAGED chord shapes up and down the fret board, we get the following shapes of C major. Note that each chord shape plays only the three notes of the C major triad, viz C-E-G and with C as the bass note.

1. C major in the C major shape itself, which is C major in nut (open) position
Played as - x32010:

2. C major in A major shape, i.e. C major in 3rd </summary><link rel="replies" type="application/atom+xml" href="http://basicmusictheory.blogspot.com/feeds/7466025964976389370/comments/default" title="Post Comments" /><link rel="replies" type="text/html" href="http://www.blogger.com/comment.g?blogID=3542787394105003366&amp;postID=7466025964976389370" title="0 Comments" /><link rel="edit" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/7466025964976389370?v=2" /><link rel="self" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/7466025964976389370?v=2" /><link rel="alternate" type="text/html" href="http://basicmusictheory.blogspot.com/2010/07/shapes-of-c-major-chord-caged-system.html" title="Shapes of C major chord (CAGED system)" /><author><name>Dr. Arindam Sarkar</name><uri>https://profiles.google.com/112161168020659378284</uri><email>noreply@blogger.com</email><gd:image rel="http://schemas.google.com/g/2005#thumbnail" width="32" height="32" src="//lh4.googleusercontent.com/-SBaKmhIcM6o/AAAAAAAAAAI/AAAAAAAAG8Q/GVHs7uhXREA/s512-c/photo.jpg" /></author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="http://4.bp.blogspot.com/_focpf64SxpI/TFfzj7ZvhLI/AAAAAAAAGck/_3JR4SmVJhU/s72-c/C+major+in+C+major+shape.JPG" height="72" width="72" /><thr:total>0</thr:total></entry><entry gd:etag="W/&quot;C0YCQHo6fyp7ImA9WhZVE04.&quot;"><id>tag:blogger.com,1999:blog-3542787394105003366.post-2226095612070659251</id><published>2010-07-31T18:18:00.013+05:30</published><updated>2011-05-25T19:16:01.417+05:30</updated><app:edited xmlns:app="http://www.w3.org/2007/app">2011-05-25T19:16:01.417+05:30</app:edited><title>Shapes of individual CAGED major chords (CAGED system)</title><summary>Continuing the discussion from Basic movable Major chord shapes - CAGED System, now we discuss each of the CAGED major chords:

Shapes of C major chordShapes of A major chordShapes of G major chordShapes of E major chordShapes of D major chord

Among these shapes, the C and D shapes tend to merge into one beyond the nut position for all practical purposes, if we slightly modify the note on the </summary><link rel="replies" type="application/atom+xml" href="http://basicmusictheory.blogspot.com/feeds/2226095612070659251/comments/default" title="Post Comments" /><link rel="replies" type="text/html" href="http://www.blogger.com/comment.g?blogID=3542787394105003366&amp;postID=2226095612070659251" title="0 Comments" /><link rel="edit" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/2226095612070659251?v=2" /><link rel="self" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/2226095612070659251?v=2" /><link rel="alternate" type="text/html" href="http://basicmusictheory.blogspot.com/2010/07/shapes-of-individual-caged-major-chords.html" title="Shapes of individual CAGED major chords (CAGED system)" /><author><name>Dr. Arindam Sarkar</name><uri>https://profiles.google.com/112161168020659378284</uri><email>noreply@blogger.com</email><gd:image rel="http://schemas.google.com/g/2005#thumbnail" width="32" height="32" src="//lh4.googleusercontent.com/-SBaKmhIcM6o/AAAAAAAAAAI/AAAAAAAAG8Q/GVHs7uhXREA/s512-c/photo.jpg" /></author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="http://4.bp.blogspot.com/_focpf64SxpI/SxVtpn8KxvI/AAAAAAAAGH8/FRDMQYtfhoM/s72-c/Basic+Chord+Shapes.jpg" height="72" width="72" /><thr:total>0</thr:total></entry><entry gd:etag="W/&quot;DUcARH4yeSp7ImA9WhZbF0o.&quot;"><id>tag:blogger.com,1999:blog-3542787394105003366.post-3450926190724713266</id><published>2010-03-27T20:27:00.006+05:30</published><updated>2011-06-23T02:40:45.091+05:30</updated><app:edited xmlns:app="http://www.w3.org/2007/app">2011-06-23T02:40:45.091+05:30</app:edited><title>How to Tab a Song by Ear (Hearing)</title><summary>Tabbing a song by ear
First, you must understand that it's not at all difficult. It's a bit like riding a bicycle. You have to do it to know how to do it. And just like riding a bicycle -
Tabbing is easier than it seemsIt just needs a bit of practiceIt takes some time to learn Tabbing is hard at first and gets easier as you progressOnce you learn how to tab a song by ear, you can't forget itIt's </summary><link rel="replies" type="application/atom+xml" href="http://basicmusictheory.blogspot.com/feeds/3450926190724713266/comments/default" title="Post Comments" /><link rel="replies" type="text/html" href="http://www.blogger.com/comment.g?blogID=3542787394105003366&amp;postID=3450926190724713266" title="4 Comments" /><link rel="edit" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/3450926190724713266?v=2" /><link rel="self" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/3450926190724713266?v=2" /><link rel="alternate" type="text/html" href="http://basicmusictheory.blogspot.com/2010/03/how-to-tab-song-by-ear-hearing.html" title="How to Tab a Song by Ear (Hearing)" /><author><name>Dr. Arindam Sarkar</name><uri>https://profiles.google.com/112161168020659378284</uri><email>noreply@blogger.com</email><gd:image rel="http://schemas.google.com/g/2005#thumbnail" width="32" height="32" src="//lh4.googleusercontent.com/-SBaKmhIcM6o/AAAAAAAAAAI/AAAAAAAAG8Q/GVHs7uhXREA/s512-c/photo.jpg" /></author><thr:total>4</thr:total></entry><entry gd:etag="W/&quot;Ck8NQ3w5cSp7ImA9WhZVE04.&quot;"><id>tag:blogger.com,1999:blog-3542787394105003366.post-6673505278997599797</id><published>2009-12-02T01:12:00.005+05:30</published><updated>2011-05-25T19:11:32.229+05:30</updated><app:edited xmlns:app="http://www.w3.org/2007/app">2011-05-25T19:11:32.229+05:30</app:edited><title>Basic movable Major chord shapes - CAGED System</title><summary>Let us have a look at the basic five shapes of major chords - those of the five CAGED Chords:

The chords in question are the five major chords played at the root position (open string chords). These are:

C major, A major, G major, E major and D major. It must be noted here that some strings utilize all six strings, while some are played using only the lower few strings so as to keep the root </summary><link rel="replies" type="application/atom+xml" href="http://basicmusictheory.blogspot.com/feeds/6673505278997599797/comments/default" title="Post Comments" /><link rel="replies" type="text/html" href="http://www.blogger.com/comment.g?blogID=3542787394105003366&amp;postID=6673505278997599797" title="0 Comments" /><link rel="edit" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/6673505278997599797?v=2" /><link rel="self" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/6673505278997599797?v=2" /><link rel="alternate" type="text/html" href="http://basicmusictheory.blogspot.com/2009/12/basic-movable-major-chord-shapes-caged.html" title="Basic movable Major chord shapes - CAGED System" /><author><name>Dr. Arindam Sarkar</name><uri>https://profiles.google.com/112161168020659378284</uri><email>noreply@blogger.com</email><gd:image rel="http://schemas.google.com/g/2005#thumbnail" width="32" height="32" src="//lh4.googleusercontent.com/-SBaKmhIcM6o/AAAAAAAAAAI/AAAAAAAAG8Q/GVHs7uhXREA/s512-c/photo.jpg" /></author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="http://4.bp.blogspot.com/_focpf64SxpI/SxVtpn8KxvI/AAAAAAAAGH8/FRDMQYtfhoM/s72-c/Basic+Chord+Shapes.jpg" height="72" width="72" /><thr:total>0</thr:total></entry><entry gd:etag="W/&quot;Ck8ERXkyfCp7ImA9WhZVE04.&quot;"><id>tag:blogger.com,1999:blog-3542787394105003366.post-2635396712802435799</id><published>2009-12-01T03:49:00.004+05:30</published><updated>2011-05-25T19:10:04.794+05:30</updated><app:edited xmlns:app="http://www.w3.org/2007/app">2011-05-25T19:10:04.794+05:30</app:edited><title>Bar Chords - CAGED System of Chords</title><summary>The term "bar" in "bar chords" refers to the placement of the index finger (other fingers are not commonly used) on the frets at one position at the head end of a guitar chord requiring one. The chords that require this bar are termed "bar chords" while the ones that do not require a bar at the beginning are termed "open chords" or "root position chords." Thus, the use of a bar effectively </summary><link rel="replies" type="application/atom+xml" href="http://basicmusictheory.blogspot.com/feeds/2635396712802435799/comments/default" title="Post Comments" /><link rel="replies" type="text/html" href="http://www.blogger.com/comment.g?blogID=3542787394105003366&amp;postID=2635396712802435799" title="0 Comments" /><link rel="edit" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/2635396712802435799?v=2" /><link rel="self" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/2635396712802435799?v=2" /><link rel="alternate" type="text/html" href="http://basicmusictheory.blogspot.com/2009/11/bar-chords-caged-system-of-chords.html" title="Bar Chords - CAGED System of Chords" /><author><name>Dr. Arindam Sarkar</name><uri>https://profiles.google.com/112161168020659378284</uri><email>noreply@blogger.com</email><gd:image rel="http://schemas.google.com/g/2005#thumbnail" width="32" height="32" src="//lh4.googleusercontent.com/-SBaKmhIcM6o/AAAAAAAAAAI/AAAAAAAAG8Q/GVHs7uhXREA/s512-c/photo.jpg" /></author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="http://2.bp.blogspot.com/_focpf64SxpI/SxREayzQnbI/AAAAAAAAGHU/8nHsSqJmyWU/s72-c/E+shape.JPG" height="72" width="72" /><thr:total>0</thr:total></entry><entry gd:etag="W/&quot;CkAFRXc6fip7ImA9WhZVE04.&quot;"><id>tag:blogger.com,1999:blog-3542787394105003366.post-7206096260328413964</id><published>2009-12-01T02:59:00.004+05:30</published><updated>2011-05-25T19:08:34.916+05:30</updated><app:edited xmlns:app="http://www.w3.org/2007/app">2011-05-25T19:08:34.916+05:30</app:edited><title>Fretboard layout of C notes - CAGED System</title><summary>Let us have a look at this post on Middle C on Guitar - F above and G above middle C on a Guitar. Note the positions of the C4 note. Similarly, if we include all the C notes on the guitar (here open string i.e. 0 to 15th fret), we get a picture like this:
The red dots show the position of the C note on the neck of the guitar. As is obvious, the locations of C on the fret board are as follows -


</summary><link rel="replies" type="application/atom+xml" href="http://basicmusictheory.blogspot.com/feeds/7206096260328413964/comments/default" title="Post Comments" /><link rel="replies" type="text/html" href="http://www.blogger.com/comment.g?blogID=3542787394105003366&amp;postID=7206096260328413964" title="0 Comments" /><link rel="edit" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/7206096260328413964?v=2" /><link rel="self" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/7206096260328413964?v=2" /><link rel="alternate" type="text/html" href="http://basicmusictheory.blogspot.com/2009/11/fretboard-layout-of-c-notes-caged.html" title="Fretboard layout of C notes - CAGED System" /><author><name>Dr. Arindam Sarkar</name><uri>https://profiles.google.com/112161168020659378284</uri><email>noreply@blogger.com</email><gd:image rel="http://schemas.google.com/g/2005#thumbnail" width="32" height="32" src="//lh4.googleusercontent.com/-SBaKmhIcM6o/AAAAAAAAAAI/AAAAAAAAG8Q/GVHs7uhXREA/s512-c/photo.jpg" /></author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="http://2.bp.blogspot.com/_focpf64SxpI/SxQ1umB9tLI/AAAAAAAAGHM/6-8WX8d-gBc/s72-c/C+notes+on+guitar+fret+0+to+15.jpg" height="72" width="72" /><thr:total>0</thr:total></entry><entry gd:etag="W/&quot;CkcNQ3s_fSp7ImA9WhZVE04.&quot;"><id>tag:blogger.com,1999:blog-3542787394105003366.post-5981556715249552202</id><published>2009-12-01T02:07:00.002+05:30</published><updated>2011-05-25T18:58:12.545+05:30</updated><app:edited xmlns:app="http://www.w3.org/2007/app">2011-05-25T18:58:12.545+05:30</app:edited><title>CAGED System of Chords - Basics</title><summary>A chord is formed by, anywhere from 3 to 6 notes on a guitar. Three, because, any lesser makes it an interval, ans six, as there are six strings on a standard guitar and six identically tuned pairs on a 12-string guitar. Now, each string has upto 22 frets (or more). One can probably stretch his/her fingers and hold frets on different strings that are 4-5 frets apart, giving us at (4x6=) 24 to (</summary><link rel="replies" type="application/atom+xml" href="http://basicmusictheory.blogspot.com/feeds/5981556715249552202/comments/default" title="Post Comments" /><link rel="replies" type="text/html" href="http://www.blogger.com/comment.g?blogID=3542787394105003366&amp;postID=5981556715249552202" title="0 Comments" /><link rel="edit" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/5981556715249552202?v=2" /><link rel="self" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/5981556715249552202?v=2" /><link rel="alternate" type="text/html" href="http://basicmusictheory.blogspot.com/2009/11/caged-system-of-chords-basics.html" title="CAGED System of Chords - Basics" /><author><name>Dr. Arindam Sarkar</name><uri>https://profiles.google.com/112161168020659378284</uri><email>noreply@blogger.com</email><gd:image rel="http://schemas.google.com/g/2005#thumbnail" width="32" height="32" src="//lh4.googleusercontent.com/-SBaKmhIcM6o/AAAAAAAAAAI/AAAAAAAAG8Q/GVHs7uhXREA/s512-c/photo.jpg" /></author><thr:total>0</thr:total></entry><entry gd:etag="W/&quot;CkcERXk6fip7ImA9WhZVE04.&quot;"><id>tag:blogger.com,1999:blog-3542787394105003366.post-7074380184739757888</id><published>2009-10-18T04:19:00.001+05:30</published><updated>2011-05-25T18:56:44.716+05:30</updated><app:edited xmlns:app="http://www.w3.org/2007/app">2011-05-25T18:56:44.716+05:30</app:edited><title>Middle C on Guitar - F above and G above middle C on a Guitar</title><summary>The pitches "middle C," "G above middle C," and "F below middle C" are equivalent to the following scientific pitch notations as follows -

Middle C is C4G above middle C is G4, andF below middle C is F3
In order for us to determine their locations, a few functional considerations of the guitar fret board construction need to be realized:

First, the guitar has 6 strings that are tuned </summary><link rel="replies" type="application/atom+xml" href="http://basicmusictheory.blogspot.com/feeds/7074380184739757888/comments/default" title="Post Comments" /><link rel="replies" type="text/html" href="http://www.blogger.com/comment.g?blogID=3542787394105003366&amp;postID=7074380184739757888" title="0 Comments" /><link rel="edit" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/7074380184739757888?v=2" /><link rel="self" type="application/atom+xml" href="http://www.blogger.com/feeds/3542787394105003366/posts/default/7074380184739757888?v=2" /><link rel="alternate" type="text/html" href="http://basicmusictheory.blogspot.com/2009/10/middle-c-on-guitar-f-above-and-g-above.html" title="Middle C on Guitar - F above and G above middle C on a Guitar" /><author><name>Dr. Arindam Sarkar</name><uri>https://profiles.google.com/112161168020659378284</uri><email>noreply@blogger.com</email><gd:image rel="http://schemas.google.com/g/2005#thumbnail" width="32" height="32" src="//lh4.googleusercontent.com/-SBaKmhIcM6o/AAAAAAAAAAI/AAAAAAAAG8Q/GVHs7uhXREA/s512-c/photo.jpg" /></author><thr:total>0</thr:total></entry></feed>

