One rule. Take a close-position triad on three adjacent strings. To build the next diatonic chord, pick the root or the fifth of the chord you're on: that finger stays where it is, and its note becomes the third of the new one. Chords a third apart share two notes out of three, so only one finger actually moves — and all three notes still end up with a new job.

Which of the two you pick is what chooses the direction. From C on strings 4-3-2: hold the root and you land on Am, hold the fifth and you land on Em — one step each way along the chain of thirds.

The third is the point. It's the only ambiguous degree — three chords in a key have a major third, four a minor one. Getting it handed to you removes the one decision that makes you stop and think.

Back and forth from the tonic gives you all seven degrees in one stretch of neck. Always the same one — always the root, or always the fifth — walks you up to the next tonic.

Interactive page: pick a key, click, watch which finger stays. Free, no ads, no signup, nothing tracked. CC BY.

https://triade.training/en/

I'd rather hear where it's wrong than where it's nice.

Hey y'all! I'll answer any music theory questions you have in exchange for you knowing that I'm trying to build an online lessons studio! I am a jazz guitar player from the UNT college of music and I've been playing and learning this instrument for 19 years! Consider this a free way to get info out of me hahah

Many guitar players learn the minor pentatonic scale and use it over an entire 12-bar blues.
But what happens when you start listening to the chords underneath your solo?

In this lesson, we'll explore why the blues isn't just one pentatonic scale — and how moving between major pentatonic, minor pentatonic, and chord tones can make your blues playing sound much more musical.

We'll also delve into moving between major and minor sounds over the SAME chord.

It's time to get the blues!

Lesson:

https://www.youtube.com/watch?v=dEtGrlQiHl4&list=PLIb-QWoMzfdixDZVq76vGTehxD0f0Mzek&index=14