feat(kb): pop piano cell + 8 guitar shapes for thin qualities (task P-62)
Pop piano: 5 progressions x 2 plays (182 total) — triads/inversions
only, one sourced add9 shimmer; ballad rolls vs voice-led pillars,
doo-wop triplets vs one-finger walks, Pachelbel inversion stair,
tonic-drone pads, octave drive. Shapes: dim7/half_dim/aug/maj6/min6
each reach >=3 placeable grips, add9 gains a movable A-shape; dim
honestly left at 2. Audit also surfaced two WRONG pre-existing shapes
(half_dim E-Barre spells {0,3,6,7}; "Open Dadd9" is Dsus2) -> backlog.
Critic PASS (~110 independent checks; all additions pc-spelled in two
keys; strictly additive diff).
Co-Authored-By: Claude Fable 5 <noreply@anthropic.com>
This commit is contained in:
vadimwit
@@ -35,6 +35,7 @@ import gospelPiano from './gospel/piano.js'
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import popMeta from './pop/meta.js'
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import popProgressions from './pop/progressions.js'
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import popGuitar from './pop/guitar.js'
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import popPiano from './pop/piano.js'
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export default {
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jazz: {
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@@ -85,6 +86,6 @@ export default {
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pop: {
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meta: popMeta,
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progressions: popProgressions,
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instruments: { guitar: popGuitar },
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instruments: { guitar: popGuitar, piano: popPiano },
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},
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}
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@@ -0,0 +1,246 @@
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// Pop piano pack (task P-62). Recipes verified by degree-spelling against
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// CHORD_TYPES (src/lib/theory.js) and the validator's stacking convention
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// (order inside each hand = voicing order low → high, nearest strictly above —
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// documented at jazz/piano.js header). Every voice-leading claim in notes/tips
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// is pitch-class arithmetic, computed and checked against the realized
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// voicings (key of C for the major loops, E minor for the minor loop) before
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// writing. Max combined stack in this pack: 19 semitones (renders for all 12
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// roots inside the 36-key MiniPiano window).
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//
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// Pop piano is deliberately NOT jazz: plain triads and inversions, sus4 pulls
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// and one add9 shimmer where the songs themselves put it — no 7ths or 13ths
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// bolted on. Patterns and treatments sourced from:
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// pianote.com — "Someone Like You" tutorial (the broken bottom–middle–top–
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// middle roll over A–E–F♯m–D, i.e. the axis) and "How To Make Your Left Hand
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// Sound Awesome" / "3 Left Hand Piano Patterns" (the root–5th–octave "1–5–8"
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// pop anchor); pianowithjonny.com — "Rock and Roll Piano Chords and
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// Accompaniment" (the '50s triplet pump) and "Pop Piano Accompaniment:
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// Popstinatos" (repeated-figure pop comping); 500songs.com episode 25 —
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// "Earth Angel" (piano triplets as the doo-wop signature, on the record
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// itself); en.wikipedia.org/wiki/Pachelbel's_Canon and /wiki/'50s_progression
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// (the descending first-inversion bass stair; the ice-cream changes); and the
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// records the progressions.js songs list names: Let It Be (quarter-note block
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// chords), Graduation — Vitamin C (Canon changes as straight-8th piano pulse),
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// Numb — Linkin Park (8th-note octave pulse), Royals — Lorde (sparse pads,
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// the ♭VII shimmer). Pedagogy frame: docs/learn-curriculum.md — Piano pillar
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// (register discipline; voice-leading as hand economy).
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// Reusable degree recipes. Order inside each hand = voicing order, low → high.
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const LH_R = ['1'] // single bass root
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const LH_R5 = ['1', '5'] // root + fifth anchor
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const LH_OCT = ['1', '1'] // pumping octaves (the rock-piano kick drum)
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const LH_STACK = ['1', '5', '1'] // root–5th–octave: the pianote "1–5–8" pop anchor
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const RH_ROOT = ['1', '3', '5'] // root-position triad
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const RH_INV1 = ['3', '5', '1'] // first inversion (root on top)
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const RH_INV2 = ['5', '1', '3'] // second inversion (3rd on top)
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const RH_35 = ['3', '5'] // bare 3rd + 5th dyad
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export default {
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styleIntro:
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'Pop piano is the whole arrangement in one instrument: the left hand plays the bass part (roots, fifths, octaves), the right hand stacks plain triads, and the rhythm — pillars, pulses, rolls, triplets — is what changes between songs, not the harmony. Voice-lead the inversions so the top note barely moves, and spend your one colour (a sus4 pull, an add9 shimmer) where the record spends it.',
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comping: [
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{
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label: 'Quarter-note pillars',
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rhythm: 'four even quarter-note chords per bar',
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description:
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'The Let It Be pulse: block the chord on every beat, straight and unhurried, and let the sustain pedal glue the changes. The steadiness is the point — the vocal supplies all the motion.',
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},
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{
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label: 'Driving eighths',
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rhythm: 'straight 8ths, accents on 2 and 4',
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description:
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'Eight even strokes a bar, the piano as rhythm guitar. Verse quiet, chorus loud — in pop the dynamic jump IS the arrangement, so resist adding notes and add weight instead.',
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},
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{
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label: "'50s triplets",
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rhythm: '12/8 — three strokes per beat',
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description:
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'Twelve even triplet chords a bar, the sound of every slow dance since Earth Angel. Keep them soft and metronomic; accent beats 2 and 4 and the whole band swings around you.',
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},
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{
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label: 'The ballad roll',
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rhythm: 'broken-chord 16ths: bottom–middle–top–middle',
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description:
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'Never block the chord — roll it, low to high to low, in an even stream (the Someone Like You engine). One dynamic swell per phrase, pedal through each change.',
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},
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],
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plays: {
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'pop-axis': [
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{
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label: 'The ballad roll (Someone Like You bed)',
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level: 'foundation',
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chords: [
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{ recipe: { LH: LH_R5, RH: RH_ROOT }, note: 'anchor 1–5 low, roll the triad above: bottom–middle–top–middle in even 16ths' },
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{ recipe: { LH: LH_R5, RH: RH_ROOT }, note: 'the I\'s 5th is this chord\'s root — the whole pattern just slides down a fourth' },
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{ recipe: { LH: LH_R5, RH: RH_ROOT }, note: 'nothing carries over from the V — the total change is why the relative-minor drop lands' },
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{ recipe: { LH: LH_R5, RH: RH_ROOT }, note: 'two names return: the vi\'s root and ♭3 are this chord\'s 3rd and 5th' },
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],
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register: 'LH fifths around C3, RH roll around middle C',
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tips: 'The piano-ballad axis is a texture, not a chord trick: keep the 16ths rolling (the literal Someone Like You verse figure) and let the pedal connect the bars. Know the loop\'s one seam with zero shared notes — V into vi — and lean into it; every other change hands you at least one common tone for free.',
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},
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{
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label: 'Let It Be pillars (voice-led quarters)',
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level: 'intermediate',
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chords: [
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{ recipe: { LH: LH_R, RH: RH_INV1 }, note: 'first inversion — the key\'s home note on top' },
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{ recipe: { LH: LH_R, RH: RH_INV2 }, note: 'the G holds; the other two fall by step (top C→B a half-step, E→D a whole)' },
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{ recipe: { LH: LH_R, RH: RH_INV2 }, note: 'all three voices rise by step: D→E and G→A whole steps, B→C the half-step' },
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{ recipe: { LH: LH_R, RH: RH_ROOT }, note: 'two keys hold (A and C); one finger moves — E up a half-step to F' },
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],
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register: 'RH pillars around middle C, LH single roots an octave and more below',
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tips: 'Four even quarters per bar — the Let It Be pulse — with inversions chosen so the top note only ever leaves the tonic for its neighbour a half-step below (C…B…C…C in the reference key). No right-hand finger moves more than a whole step anywhere in the loop, and the seam home is almost free: the top C holds while F and A fall by step onto E and G.',
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},
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],
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'pop-50s-doowop': [
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{
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label: 'Earth Angel triplets',
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level: 'foundation',
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chords: [
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{ recipe: { LH: LH_R5, RH: RH_ROOT }, note: 'root-position triad over the 1–5 anchor — pump it in triplets' },
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{ recipe: { LH: LH_R5, RH: RH_ROOT }, note: 'two names survive the wistful drop: the I\'s root and 3rd are this chord\'s ♭3 and 5th' },
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{ recipe: { LH: LH_R5, RH: RH_ROOT }, note: 'two survive again: the vi\'s root and ♭3 become this chord\'s 3rd and 5th' },
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{ recipe: { LH: LH_R5, RH: RH_ROOT }, note: 'nothing survives — the whole triad steps up a whole step in parallel: the turn home' },
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],
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register: 'LH around C3, RH triads just above middle C',
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tips: 'Twelve even triplet strokes a bar — the doo-wop engine on the Earth Angel record itself. Root positions on purpose: the pump, not the voice leading, is the part. Play them soft and metronomic, accent 2 and 4, and give the singer the whole top of the keyboard.',
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},
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{
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label: 'Wedding-band walk (one-finger changes)',
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level: 'intermediate',
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chords: [
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{ recipe: { LH: LH_R, RH: RH_INV2 }, note: 'second inversion — G–C–E, the 3rd on top' },
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{ recipe: { LH: LH_R, RH: RH_ROOT }, note: 'one finger: the bottom G rises a whole step to A; C and E hold, re-named from root+3rd to ♭3+5th' },
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{ recipe: { LH: LH_R, RH: RH_INV1 }, note: 'one finger again: E rises a half-step to F; A and C hold' },
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{ recipe: { LH: LH_R, RH: RH_INV1 }, note: 'the whole hand lifts a whole step — A→B, C→D, F→G' },
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],
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register: 'RH close position around middle C, LH roots below; sustained halves and wholes',
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tips: 'The same four chords as the triplet play, reorganised so the first two changes cost exactly one finger each. The seam home is the lesson: the G stays under your hand (top of the V, bottom of the I) while B and D resolve up by step onto C and E. This is the slow-set reading; the triplets play is the dance-set one.',
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},
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],
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'pop-canon': [
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{
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label: 'The Pachelbel stair (first-inversion walk)',
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level: 'intermediate',
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chords: [
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{ recipe: { LH: LH_R, RH: RH_INV1 }, note: 'root in the bass — the stair starts on 1' },
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{ recipe: { LH: ['3'], RH: RH_INV2 }, note: 'LH plays the 3rd, not the root: the bass steps down a half-step onto the key\'s 7th; above, G holds while E→D and C→B fall by step' },
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{ recipe: { LH: LH_R, RH: RH_INV2 }, note: 'bass falls a whole step to 6; every right-hand voice rises by step (D→E, G→A, B→C)' },
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{ recipe: { LH: ['3'], RH: RH_INV2 }, note: 'LH takes the ♭3: the bass stair falls another whole step onto the key\'s 5th; E holds while A→G and C→B fall' },
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{ recipe: { LH: LH_R, RH: RH_INV2 }, note: 'bass reaches 4, one more whole step down; all three voices rise (B→C and E→F by half-step, G→A by whole)' },
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],
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register: 'LH bass line around C3, RH close voicings just above middle C',
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tips: 'The whole trick is two first inversions: put the V and iii over their own 3rds and the left hand walks 1–7–6–5–4 — a half-step then three whole steps, the "classical" stair under Memories and Don\'t Look Back in Anger. The right hand alternates fall, rise, fall, rise so no voice ever leaps; at the loop seam the C holds while F and A fall by step.',
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},
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{
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label: 'Graduation pulse (root-position eighths)',
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level: 'foundation',
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chords: [
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{ recipe: { LH: LH_R5, RH: RH_ROOT }, note: 'straight-eighth root positions — the school-assembly reading' },
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{ recipe: { LH: LH_R5, RH: RH_ROOT }, note: 'the bass drops a fourth; the right hand just re-plants the same grip' },
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{ recipe: { LH: LH_R5, RH: RH_ROOT }, note: 'bass up a whole step' },
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{ recipe: { LH: LH_R5, RH: RH_ROOT }, note: 'down a fourth again' },
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{ recipe: { LH: LH_R5, RH: RH_ROOT }, note: 'up a half-step — then the loop falls a fourth home' },
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],
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register: 'both hands mid-low; eight even strokes a bar',
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tips: 'Graduation (Friends Forever) plays the Canon changes exactly like this: every chord root position, eight even eighths, zero negotiation in the right hand. Let the left hand tell the story instead — down a fourth, up a step, down a fourth, up a half-step, and a fourth drop home. The stair play is what to graduate to once this grooves.',
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},
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],
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'pop-mixo-bVII': [
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{
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label: 'The tonic drone (pad voicings)',
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level: 'intermediate',
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chords: [
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{ recipe: { LH: LH_R, RH: RH_INV1 }, note: 'the key\'s home note on top for the two tonic bars' },
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{ recipe: { LH: LH_R, RH: ['3', '5', '9'] }, note: 'the top note refuses to move — over the ♭VII it becomes the 9, an add9 shimmer; the two voices under it each fall a whole step (E→D, G→F)' },
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{ recipe: { LH: LH_R, RH: RH_ROOT }, note: 'two keys stay down (the ♭VII\'s 5th is this root, its 9 this 5th); only the 3rd moves, leaping a fifth up onto the IV\'s 3rd' },
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],
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register: 'RH just above middle C; long sustains, pedal through each chord',
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tips: 'One key — the key\'s tonic — is physically held down for the entire loop: root of the I, 9 of the ♭VII, 5th of the IV. That drone is the piano translation of the guitar pack\'s ringing open strings, and the 9 it creates on the ♭VII is honest pop colour (Royals hangs its verse on exactly this shimmer). At the seam home the tonic holds again while F and A fall by step onto E and G.',
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},
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{
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label: 'Stadium pulse with the sus pull',
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level: 'foundation',
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chords: [
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{ recipe: { LH: LH_STACK, RH: RH_35 }, note: 'root–5th–octave low, bare 3–5 above; across the two bars lift the 3rd a half-step to the 4th and drop it back — the sus4 pull' },
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{ recipe: { LH: LH_STACK, RH: RH_35 }, note: 'the whole five-note stack slides down a whole step in parallel' },
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{ recipe: { LH: LH_STACK, RH: RH_35 }, note: 'up a fifth (or feel it as down a fourth) — same grip, third station' },
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],
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register: 'LH stack from around C2, RH dyad just above middle C — big and low',
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tips: 'The piano as rhythm guitar: the 1–5–8 left hand is the pop anchor pianote teaches, the two-finger right hand keeps the mid-range clear for the vocal, and dynamics — not new chords — make the chorus. The sus4 pull on the long I bar is the keys version of the guitar pack\'s hammer-on wiggle: 3rd up a half-step, back down, harmony never changes.',
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},
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],
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'pop-minor-loop': [
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{
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label: 'Dark pads (voice-led)',
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level: 'intermediate',
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chords: [
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{ recipe: { LH: LH_R, RH: RH_ROOT }, note: 'root-position minor — state the lone i plainly' },
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{ recipe: { LH: LH_R, RH: RH_INV1 }, note: 'one finger: the i\'s 5th rises a half-step onto this root (on top); the other two hold, re-named as the ♭VI\'s 3rd and 5th' },
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{ recipe: { LH: LH_R, RH: RH_INV2 }, note: 'the ♭VI\'s 5th holds as this root; E→D a whole step, C→B a half-step (reference key E minor)' },
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{ recipe: { LH: LH_R, RH: RH_ROOT }, note: 'the ♭III\'s 5th holds as this root; G→F♯ a half-step, B→A a whole step' },
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],
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register: 'RH around middle C, LH roots below; sustained wholes',
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tips: 'Three of the four changes cost a finger or two; the seam home costs everything — the ♭VII and the i share no notes at all, so all three voices rise by step together (D→E and A→B whole steps, F♯→G the half-step). That full-hand climb is why the loop feels like it leans back into the minor i. Practise the seam alone until the climb is one gesture.',
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},
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{
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label: 'Octave drive (Numb pulse)',
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level: 'foundation',
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chords: [
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{ recipe: { LH: LH_OCT, RH: RH_35 }, note: 'left-hand octaves hammer the root; the right hand is just ♭3+5 — thin on purpose' },
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{ recipe: { LH: LH_OCT, RH: RH_35 }, note: 'same grip on the major: the dyad narrows by one key (♭3–5 is four semitones, 3–5 is three)' },
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{ recipe: { LH: LH_OCT, RH: RH_35 }, note: 'keep the eighths even; accent 2 and 4' },
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{ recipe: { LH: LH_OCT, RH: RH_35 }, note: 'last bar — lean the crescendo into the climb back to the i' },
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],
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register: 'LH octaves around C2–C3, RH dyad mid-keyboard; straight eighths throughout',
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tips: 'The rock-piano reading (Numb\'s pulse): octaves are the kick drum, the two-note right hand stays out of the vocal\'s way, and the chorus is a dynamic, not a chord. The one theory note worth keeping: the dyad is four semitones wide on the minor i and three on the majors — one key narrower every time the loop brightens.',
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},
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],
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},
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improv: {
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scales: [
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{
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over: 'the major loops (axis, doo-wop, Canon)',
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scale: 'major pentatonic',
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why: 'Pop toplines are mostly pentatonic: five notes with no avoid tone over any chord in the loop. Add the full major scale for passing notes between phrases.',
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},
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{
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over: 'vi (and the minor loop\'s i)',
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scale: 'minor',
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why: 'Natural minor of the vi is the same keys as the parent major — identical fingering, darker targets. Minor pentatonic when in doubt; every chord of the minor loop is diatonic to it.',
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},
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{
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over: 'I–♭VII–IV',
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scale: 'mixolydian',
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why: 'The ♭VII is built from the key\'s ♭7, so Mixolydian covers the whole vamp with one scale — the same call the guitar pack makes.',
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},
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{
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over: 'V (doo-wop, Canon)',
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scale: 'major',
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why: 'Stay in the parent major; land on the V\'s 3rd — the key\'s leading tone — when you want the turn home to bite.',
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},
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],
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targetNotes:
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'Pop fills live between vocal phrases, not over them. Find the note the whole loop shares — the tonic-drone play makes it physical — and hang fills off it, landing phrase endings on the current chord\'s 3rd. The 9 is pop\'s one free colour: a whole step above any root, it reads as shimmer, never as jazz.',
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licks: [
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{
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over: 'pop-axis',
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description:
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'The roll figure is itself the fill: when the vocal rests, take the right-hand bottom–middle–top–middle broken pattern up an octave for two beats and come back down — motion without a single new note. This is how the Someone Like You verse breathes.',
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source: 'pianote.com — "Someone Like You" piano tutorial (the broken-chord verse figure)',
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},
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{
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over: 'pop-mixo-bVII',
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description:
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'The sus4 pull as a fill: over the held I, alternate the 3rd and 4th in even eighths (3–4–3, harmony unchanged) — the keyboard translation of the guitar sus hammer-on that fills long tonic bars in pop-rock loops.',
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source: 'the guitar pack\'s sus figure (fretjam.com / guitar.com sus embellishments), translated per pianowithjonny.com pop accompaniment patterns',
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},
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],
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},
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}
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@@ -52,6 +52,9 @@ const GUITAR_SHAPES = {
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{ label: 'Open Am7', type: 'open', onlyRoot: 9, frets: ['x',0,2,0,1,0], fingers: [0,0,2,0,1,0] },
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{ label: 'Open Dm7', type: 'open', onlyRoot: 2, frets: ['x','x',0,2,1,1], fingers: [0,0,0,3,1,2] },
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],
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// dim intentionally stays at 2 shapes: in real guitar practice the bare
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// diminished TRIAD is almost always played as dim7 or m7♭5 (which contain
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// it) — a third stand-alone triad grip would be contrived. (Task P-62 audit.)
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dim: [
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{ label: 'A Barre', type: 'barre', rootStr: 5, offsets: ['x',0,1,2,1,'x'], fingers: [0,1,2,4,3,0] },
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{ label: 'Compact', type: 'barre', rootStr: 4, offsets: ['x','x',0,1,3,1], fingers: [0,0,1,2,4,3] },
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@@ -59,10 +62,16 @@ const GUITAR_SHAPES = {
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dim7: [
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{ label: 'Movable Box', type: 'barre', rootStr: 5, offsets: ['x',0,1,2,1,2], fingers: [0,1,2,4,3,4] },
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{ label: 'Compact', type: 'barre', rootStr: 4, offsets: ['x','x',0,1,0,1], fingers: [0,0,1,2,3,4] },
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// P-62: standard drop-3 dim7 with the root on the 6th string (R–♭♭7–♭3–♭5;
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// e.g. G°7 = 3x232x) — jazzguitar.be diminished-chord chart shape.
|
||||
{ label: 'Drop 3', type: 'barre', rootStr: 6, offsets: [0,'x',-1,0,-1,'x'], fingers: [2,0,1,3,1,0] },
|
||||
],
|
||||
aug: [
|
||||
{ label: 'E Barre', type: 'barre', rootStr: 6, offsets: [0,3,2,1,1,0], fingers: [1,4,3,2,2,1] },
|
||||
{ label: 'Compact', type: 'barre', rootStr: 5, offsets: ['x',0,3,2,2,'x'], fingers: [0,1,4,2,3,0] },
|
||||
// P-62: the top-four-string aug grip (R–♯5–R–3; e.g. D+ = xx0332) —
|
||||
// standard chord-dictionary shape, movable like the file's other D shapes.
|
||||
{ label: 'D Shape', type: 'barre', rootStr: 4, offsets: ['x','x',0,3,3,2], fingers: [0,0,1,3,4,2] },
|
||||
],
|
||||
sus4: [
|
||||
{ label: 'E Barre', type: 'barre', rootStr: 6, offsets: [0,2,2,2,0,0], fingers: [1,2,3,4,1,1], barre: { fromStr: 1, toStr: 6, fo: 0 } },
|
||||
@@ -81,16 +90,34 @@ const GUITAR_SHAPES = {
|
||||
half_dim: [
|
||||
{ label: 'A Barre', type: 'barre', rootStr: 5, offsets: ['x',0,1,0,1,'x'], fingers: [0,1,2,0,3,0] },
|
||||
{ label: 'E Barre', type: 'barre', rootStr: 6, offsets: [0,1,2,0,0,'x'], fingers: [1,2,3,1,1,0], barre: { fromStr: 2, toStr: 6, fo: 0 } },
|
||||
// P-62: standard drop-3 m7♭5 with the root on the 6th string (R–♭7–♭3–♭5;
|
||||
// e.g. Gø7 = 3x332x) — jazzguitar.be m7♭5 chart shape.
|
||||
{ label: 'Drop 3', type: 'barre', rootStr: 6, offsets: [0,'x',0,0,-1,'x'], fingers: [2,0,3,4,1,0] },
|
||||
// P-62: the one-finger-barre m7♭5 (R–♭5–♭7–♭3; e.g. Dø7 = xx0111) —
|
||||
// standard chord-dictionary grip, movable.
|
||||
{ label: 'D Shape', type: 'barre', rootStr: 4, offsets: ['x','x',0,1,1,1], fingers: [0,0,1,3,3,3], barre: { fromStr: 1, toStr: 3, fo: 1 } },
|
||||
],
|
||||
maj6: [
|
||||
{ label: 'E Barre', type: 'barre', rootStr: 6, offsets: [0,2,2,1,2,0], fingers: [1,3,4,2,4,1], barre: { fromStr: 1, toStr: 6, fo: 0 } },
|
||||
{ label: 'A Barre', type: 'barre', rootStr: 5, offsets: ['x',0,2,2,2,2], fingers: [0,1,2,3,4,4], barre: { fromStr: 1, toStr: 2, fo: 2 } },
|
||||
// P-62: the D6 grip (R–5–6–3; e.g. D6 = xx0202) — standard chord-dictionary
|
||||
// shape; the swing/Western-swing four-string 6th, movable.
|
||||
{ label: 'D Shape', type: 'barre', rootStr: 4, offsets: ['x','x',0,2,0,2], fingers: [0,0,1,3,1,4], barre: { fromStr: 2, toStr: 4, fo: 0 } },
|
||||
],
|
||||
min6: [
|
||||
{ label: 'E Barre', type: 'barre', rootStr: 6, offsets: [0,2,2,0,2,0], fingers: [1,3,4,1,4,1], barre: { fromStr: 1, toStr: 6, fo: 0 } },
|
||||
// P-62: the Dm6 grip (R–5–6–♭3; e.g. Dm6 = xx0201) — standard
|
||||
// chord-dictionary shape, movable.
|
||||
{ label: 'D Shape', type: 'barre', rootStr: 4, offsets: ['x','x',0,2,0,1], fingers: [0,0,1,3,1,2], barre: { fromStr: 2, toStr: 4, fo: 0 } },
|
||||
// P-62: the movable open-Am6 shape (R–5–R–♭3–6; x02212 open, e.g.
|
||||
// Bm6 = x24344) — standard barre-chart m6 entry.
|
||||
{ label: 'A Barre', type: 'barre', rootStr: 5, offsets: ['x',0,2,2,1,2], fingers: [0,1,3,3,2,4], barre: { fromStr: 3, toStr: 4, fo: 2 } },
|
||||
],
|
||||
add9: [
|
||||
{ label: 'E Barre', type: 'barre', rootStr: 6, offsets: [0,2,4,1,0,2], fingers: [1,2,4,3,1,1], barre: { fromStr: 1, toStr: 6, fo: 0 } },
|
||||
// P-62: the movable core of the standard Aadd9 chart grip (x02420 open;
|
||||
// the open high-e doubling doesn't move, so it is muted here): R–5–9–3.
|
||||
{ label: 'A Shape', type: 'barre', rootStr: 5, offsets: ['x',0,2,4,2,'x'], fingers: [0,1,2,4,3,0] },
|
||||
{ label: 'Open Cadd9', type: 'open', onlyRoot: 0, frets: ['x',3,2,0,3,0], fingers: [0,3,2,0,4,0] },
|
||||
{ label: 'Open Gadd9', type: 'open', onlyRoot: 7, frets: [3,2,0,2,3,3], fingers: [2,1,0,3,4,4] },
|
||||
{ label: 'Open Dadd9', type: 'open', onlyRoot: 2, frets: ['x','x',0,2,3,0], fingers: [0,0,0,1,3,0] },
|
||||
|
||||
Reference in New Issue
Block a user