The "a" finger moves less independently than p,i, & m. Some methods introduce it early on, in single-string alternation or in arpeggios with opposed finger motion.
By contrast Shearer introduces "a" with sympathetic motion, adding it to the already established m-i free stroke to play adjacent-string triads. In Learning the Classic Guitar Part I, Shearer writes:
"A naturally tends to move with m, so i-m-a, is simply a matter of adding it to your already secure i-m movement.
Three-note patterns are called triads. While technically easy for the right hand, triads present some left-hand challenges, as well as reading issues such as recognizing chord patterns and common tones. I-m-a triads are prepared as the 5th step in the Shearer Method sequence (seen in the table to the right):
Moving triads from one to another can be challenging. The best way to learn is to isolate/ coordinate any difficult changes. Triad connections are always easier with more common tones:
Fixed strings
String crossing
Fixed strings
String crossing
Fixed strings
String crossing
Simple Songs VI, VII, & VIII (pp. 77-82) in the Shearer Method introduce i-m-a triad studies. They're supplemented here with more challenging Triad Reading Studies, offered in two versions: 1) standard notation; 2) colored note heads to better see common-tone connections. After pre-reading, be sure to isolate and coordinate any difficult triad connection.
This movement form is similar to i-m alternating with p (Shearer Method pp. 35-48 and see Petite Valse from Learning the Classic Guitar, Pt. II). The triad studies here—Petite Valse No. 3 and Rag-blues are played only on strings ④, ③, ②, & ① with open ⑥ and ⑤ played with p.
Written in the French, Late-Romantic style, Petite Valse (French for Little Waltz) is a dance in 3/4. The p bass generally sounds on the 1st beat and i-m-a triads on the 2nd and 3rd beats. An exception at mm. 29-31 and mm. 62-67 provide rhythmic contrast with a 2-beat hemiola.
When pre-reading, begin by looking for common-tone connections:
As you read triads, associate their patterns on the staff with patterns on the fingerboard. Furthermore, begin to recognize these patterns as chord names. To learn more about chords, see Guitar Harmony.
Strum and coordinate these primary Petite Valse No. 3 chords before pre-reading.
The alternating pattern of i-m-a and p is somewhat different at mm. 29-31. Notice the alternation changes from a three-beat pattern to two beats. When this happens in a 3/4 meter, it's called hemiola.
A similar section at mm. 62-65 involves temporarily changing the count to 4/4. This is an instance of what is called mixed meter
This piece is written in a Scott Joplinesque ragtime style with added blues-style harmonies. Note the key signature of 4♯'s—F♯, C♯, G♯ & D♯—which is the key of E major.
When pre-reading, look for common-tone connections.
Strum and coordinate these primary Rag-blues chords before pre-reading. A major, B7, E7, and A♯ Diminished are somewhat challenging.
There are several L.H. triad challenges in Rag-blues. The first one (m. 15) requires a one-fret shift, on the 3rd and 4th beats.
At the final cadences (mm. 33 & 37) the activity in the harmony, called harmonic rhythm, increases. The best approach is to isolate, repeating the 3 chords slowly, while visualizing the L.H. shapes and their connecting movements.
coordinate and visualize:
coordinate and visualize:
If you're using The Shearer Method Book I and need extra help reading triads, be sure to check out the new Note Recognition App at the Book I, Online Media Supplement (password required). The app includes 5 levels of triad recognition, organized by adjacent string set, either ④-③-② or ③-②-① and either chromatic or non-chromatic spellings.
The app works in tandem with the book, reinforcing notes that correspond to each step of its sequence.
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Identify three-note fretboard patterns as chord names. Each pattern is part of a larger 4-, 5-, or 6- string chord. The qualities choices are lead-sheet style. (Here "o7" is for all types of diminished 7th chords)
Alan must never sleep. He is constantly writing fantastic material for guitar. Thomas, if the gig at Duquesne doesn’t work out, your dulcet speaking voice makes you a perfect candidate for an NPR announcer. Thank you Shearer Foundation for all you do.
Appreciate your comments Glen. Glad you enjoyed the article and music. And yes, I’m working on getting better with sleep.
-Alan