hord ompendium for Raised Matched Reciprocal tuned hapman Stick by reg Howard This booklet shows where to find commonly occuring chords on both the bass and melody sides of Sticks tuned in the Raised Matched Reciprocal tuning. ach page shows a variety of triads with the same root, bass chords first, then melody chords. The pages are arranged in this alphabetic sequence: b,,,, b,, b,,, #,. ingering suggestions are shown with different geometric symbols, as originally presented in mmett hapman s book ree Hands: = index finger (1st) = middle finger (2nd) = ring finger (3rd) = pinky (4th) Roots (tonics) shown as hollow shapes and other chord tones shown as solid shapes as above. = index finger root (1st) = middle finger root (2nd) = ring finger root (3rd) = pinky root (4th) The chord fingerings are consistent with my book The Stick ook, Volume 1, but if you have other preferred fingerings, by all means use them. My preference on the melody strings is to have the 3rd finger playing the lower notes and the first finger the highest notes for all chord shapes that allow it, which makes transitioning between chords that share common tones easier, as shown in this 1-4-5 example: Maj Maj (second inversion) Maj (first inversion) When a chord has a note other than the root on the bottom, that s called an inversion. The first inversion has the root on the top and the 3rd on the bottom, and the second inversion has the root in the middle and the 5th on the bottom. There s no need to play chords with the tips of the fingers all the time. Often it s more comfortable to open the 1st finger up across the frets, as shown in the photo to the right. This gives your hand more reach, making it unnecessary to use the right pinky at all, and you can keep things relaxed. It s okay to touch strings that are not used as long as you don t push them down to the frets. Note that the 1st finger plays both the and in the Maj chord shown above, to do this just lay the finger down across the strings like a capo. This is called a double-stop. Open the right index finger up for more reach or left hand chords, allow your hand to form the shape of the chord without bending the wrist wherever possible. Often this mean raising or lowering the left elbow to help keep the left wrist straight. lso, playing with the inside edge of the thumb contacting the board, rather than the pad of the thumb, opens the hand up over the board, and makes it much easier to form certain shapes, like the basic major triad. Turning the left thumb opens the left hand up over the board for expanded reach. eyond asic Triads t the end of the booklet there is a page with tips on how to form more complex chord voicings across both sets of strings. 2018 by Stick nterprises, Inc. hapman Stick is a ederally registered trademark of Stick nterprises. Other trademarks include Raised Matched Reciprocal. www.stick.com
b SS HORS b notes from X-fret to fret 11 b b b b b bmaj b b bmin b b baug b bmaj6 b bmaj7 b b7 b b bmin7 b b b bmin7b5 b b asic triads bmaj b bmin b b b bdim b b bmin6 b b bmaj7 b7 b b bmin7 b b b bdim7 b b b b b b b b b b b b b bmaj/ b b bmin/ b b b bmaj7 b7 bmin7 b b b b7sus4 (2nd finger b optional) b ( b) b b b b b b b bmaj/ bmin/b lternate Maj and min bmaj (no 5th) bmaj (deep bass) b b rone (no 3rd) b b b bmin (deep bass) b b b b13 (or Maj6) badd9 b b b69 b b b MLOY HORS b notes from fret 8-18 bmaj b b bmin b b b baug b bdim b b bsus4 b b b bsus2 b b b bmaj b b b asic triads and inversions bmaj (first inversion) b b bmin (first inversion) b b b baug (first inversion) b bdim (first inversion) b b bsus4 (first inversion) b b b b7 (no 5th) b b b b b b b7 or bmin7 (no 3rd) b bmaj (second inversion) b b bmin (second inversion) b b baug (second inversion) b bdim (second inversion) b b bsus4 (second inversion) b b b bmaj6 b bmaj b b b b b
SS HORS Maj # min aug # # Maj6 # # Maj7 # # 7 # min7 min7b5 b asic triads Maj # min dim b min6 Maj7 # # 7 # min7 dim7 b notes from X-fret to fret 10 # Maj/ min/ Maj7 # # 7 # min7 7sus4 ( ) Maj/# # min/ lternate Maj and min Maj (no 5th) Maj (deep bass) # rone (no 3rd) # # # min (deep bass) 13 (or Maj6) # (2nd finger optional) add9 69 MLOY HORS Maj # min aug # # dim b sus4 sus2 Maj # notes from fret 10-17 asic triads and inversions Maj (first inversion) # min (first inversion) aug (first inversion) # # dim (first inversion) b sus4 (first inversion) # 7 (no 5th) 7 or min7 (no 3rd) # Maj (second inversion) min (second inversion) aug (second inversion) # # dim (second inversion) b sus4 (second inversion) Maj6 # # Maj #
b SS HORS bmaj b bmin b baug b # bmaj6 b bmaj7 b b7 b b bmin7 b b b bmin7b5 b b b asic triads bmaj b bmin b b bdim b b bmin6 b b bmaj7 b7 b b bmin7 b b b b b b bdim7 b notes from X-fret to fret 10 b b b b b b b b bmaj/ b bmin/ b b bmaj7 b b7 bmin7 b b b b7sus4 b ( ) b b b b bmaj/ bmin/b lternate Maj and min bmaj (no 5th) bmaj (deep bass) b b b rone (no 3rd) b b b (2nd finger optional) bmin (deep bass) b b b13 (or Maj6) b badd9 b b69 b MLOY HORS bmaj b bmin b b baug # b bdim b b bsus4 b b bsus2 b bmaj b b b notes from fret 8-17 asic triads and inversions bmaj (first inversion) b bmin (first inversion) b b baug (first inversion) b # bdim (first inversion) b b bsus4 (first inversion) b b b7 (no 5th) b b b b b b b7 or bmin7 (no 3rd) bmaj (second inversion) b bmin (second inversion) b b baug (second inversion) b # bdim (second inversion) b b bsus4 (second inversion) b b bmaj6 b bmaj b b b
SS HORS notes from X-fret to fret 10 asic triads Maj # min # # Maj/# # aug dim # Maj6 min6 # # # Maj7 # # 7 # # 7 # # min/ # # # # Maj7 min (deep bass) 7 min7 min7 min7b5 dim7 7sus4 Maj # # min # aug # dim sus4 # # # min7 Maj/# lternate Maj and min Maj (deep bass) Maj (no 5th) # b # # ( # ) # min/# # (2nd finger # optional) # # rone (no 3rd) # # min notes from fret 8-17 # # Maj7 MLOY HORS Maj # asic triads and inversions Maj (first inversion) min (first inversion) # # add9 # # 69 # # min (second inversion) # # aug (first inversion) aug (second inversion) # # dim (first inversion) dim (second inversion) sus4 (first inversion) sus4 (second inversion) # # sus2 Maj (second inversion) # # # 13 (or Maj6) # # Maj 7 (no 5th) Maj6 # # # 7 or min7 (no 3rd) # # # Maj # #
SS HORS notes from X-fret to fret 10 asic triads Maj min min Maj/ b aug dim # b b Maj6 min6 b () min/b b lternate Maj and min Maj (deep bass) Maj (no 5th) Maj7 7 7 Maj7 b b min7 min7 min7 b b b b b b min7b5 dim7 7sus4 b b b b b aug # dim b b min (deep bass) sus4 b 7 b min asic triads and inversions Maj (first inversion) add9 69 (piano middle ) Maj (second inversion) min (first inversion) b min (second inversion) b aug (first inversion) # aug (second inversion) # dim (first inversion) b b dim (second inversion) b b sus4 (first inversion) sus4 (second inversion) 13 (or Maj6) (piano middle ) Maj/ min/ b Maj (piano middle ) (2nd finger optional) rone (no 3rd) notes from fret 8-18 (piano middle ) Maj7 MLOY HORS Maj sus2 7 (no 5th) Maj6 b Maj 7 or min7 (no 3rd) b Maj
b SS HORS b notes from X-fret to fret 11 b b b b rone (no 3rd) b b b b b bmin bmin b b bmaj/b b b baug bdim b b b bmaj6 bmin6 b b b b b b b7 b b7 b bmin/ b b bmin b b baug b bdim b b b bmaj7 b b b bmin (deep bass) bmin7 bmin7 b bmin7b5 bdim7 b7sus4 b b b b bsus4 b7 bmin7 b b b b bmaj/ lternate Maj and min bmaj (deep bass) bmaj (no 5th) b bmaj b b b b b b bmin/b bmaj7 b ( b ) b b b b b bmaj7 (2nd finger b optional) b b b b asic triads and inversions bmaj (first inversion) b b b badd9 b b b b69 b b b b bmaj (second inversion) b b bmin (first inversion) b b bmin (second inversion) b b baug (first inversion) b baug (second inversion) b bdim (first inversion) b bdim (second inversion) b bsus4 (first inversion) b b b b13 (or Maj6) b b b b asic triads bmaj b notes from fret 8-19 b b b bmaj b MLOY HORS bsus4 (second inversion) b b b bsus2 b7 (no 5th) bmaj6 b b b b b b bmaj b7 or bmin7 (no 3rd) b b b b bmaj b b b
SS HORS Maj # min # aug # Maj6 # Maj7 # # 7 # min7 b min7b5 asic triads Maj 7 # min dim b min6 Maj7 # # min7 # dim7 notes from X-fret to fret 10 Maj/ # min/ Maj7 # # 7 # min7 7sus4 ( ) # Maj/# min/ lternate Maj and min Maj (no 5th) Maj (deep bass) # rone (no 3rd) min (deep bass) # 13 (or Maj6) add9 69 (2nd finger optional) MLOY HORS Maj # min aug # # dim b sus4 sus2 Maj # asic triads and inversions Maj (first inversion) # min (first inversion) aug (first inversion) # # dim (first inversion) b sus4 (first inversion) 7 (no 5th) # notes from fret 8-18 7 or min7 (no 3rd) Maj (second inversion) # min (second inversion) aug (second inversion) # # dim (second inversion) b sus4 (second inversion) Maj6 # Maj #
b SS HORS bmaj b b bmin b b baug b bmaj6 b bmaj7 b b7 b b bmin7 b b b bmin7b5 b b b asic triads bmaj bmin b b bdim b b b bmin6 b bmaj7 b b7 b b bmin7 b b b b b b b bdim7 b notes from X-fret to fret 11 b b b b b b b b b bmaj/b b b bmin/b b b bmaj7 b b7 bmin7 b b b b7sus4 b (2nd finger b optional) b ( b ) b b b b b b b bmaj/ bmin/b lternate Maj and min bmaj (no 5th) bmaj (deep bass) b b rone (no 3rd) b b bmin (deep bass) b b b b b13 (or Maj6) badd9 b b b69 b b b b MLOY HORS bmaj b b bmin b b b baug b bdim b b bsus4 b b b bsus2 b b bmaj b b b asic triads and inversions bmaj (first inversion) b b bmin (first inversion) b b b baug (first inversion) b bdim (first inversion) b b bsus4 (first inversion) b b b b7 (no 5th) b b b notes from fret 8-19 b b b b b b7 or bmin7 (no 3rd) bmaj (second inversion) b b bmin (second inversion) b b b baug (second inversion) b bdim (second inversion) b b bsus4 (second inversion) b b b bmaj6 b bmaj b b b b b
SS HORS Maj # min aug # Maj6 # # Maj7 # # 7 # min7 min7b5 b asic triads Maj min dim b min6 # Maj7 # # # 7 min7 dim7 # notes from X-fret to fret 12 # # 7 # # Maj/ min/ Maj7 min7 7sus4 ( ) # Maj/# min/ lternate Maj and min Maj (no 5th) Maj (deep bass) # rone (no 3rd) # min (deep bass) # (2nd finger optional) 13 (or Maj6) add9 # 69 # # MLOY HORS Maj # min aug # dim b sus4 sus2 # Maj # asic triads and inversions Maj (first inversion) # min (first inversion) aug (first inversion) # dim (first inversion) b sus4 (first inversion) 7 (no 5th) # notes from fret 8-19 # 7 or min7 (no 3rd) Maj (second inversion) # min (second inversion) aug (second inversion) # dim (second inversion) b sus4 (second inversion) Maj6 # # Maj #
SS HORS Maj min b aug # Maj6 Maj7 7 b min7 b b min7b5 b asic triads Maj min b dim b min6 b Maj7 7 b min7 b b b dim7 notes from X-fret to fret 13 b b Maj/ min/ b Maj7 7 b min7 b b 7sus4 ( ) b Maj/ min/b lternate Maj and min Maj (no 5th) Maj (deep bass) rone (no 3rd) min (deep bass) b 13 (or Maj6) 69 add9 (2nd finger optional) MLOY HORS Maj min b aug # dim b sus4 b sus2 Maj asic triads and inversions Maj (first inversion) min (first inversion) b aug (first inversion) # dim (first inversion) b sus4 (first inversion) b 7 (no 5th) b notes from fret 8-19 b 7 or min7 (no 3rd) Maj (second inversion) min (second inversion) b aug (second inversion) # Maj dim (second inversion) b sus4 (second inversion) b Maj6
# SS HORS #Maj # # # #min # # #aug # # #Maj6 # # # #Maj7 # # # #7 # # #min7 # #min7b5 # # asic triads #Maj #min # # #dim # #min6 # # #Maj7 # # # #7 # # #min7 # # # # # # #dim7 # notes from X-fret to fret 13 # # # # # #Maj/# # # # #min/# # # #Maj7 # # # #7 # # #min7 # #7sus4 # ( # ) # # # # # # # #Maj/# #min/ lternate Maj and min #Maj (no 5th) #Maj (deep bass) # # # # # rone (no 3rd) # # # #min (deep bass) # # # # # #13 (or Maj6) # # # #add9 # # # #69 # (2nd finger # optional) # MLOY HORS #Maj # # # #min # # #aug # # #dim # #sus4 # # #sus2 # # # #Maj # # # # asic triads and inversions #Maj (first inversion) # # # #min (first inversion) # # #aug (first inversion) # # #dim (first inversion) # sus4 (first inversion) # # #7 (no 5th) # # # notes from fret 8-19 # # # #7 or #min7 (no 3rd) # # # # # #Maj (second inversion) # # # #min (second inversion) # # #aug (second inversion) # # #dim (second inversion) # sus4 (second inversion) # # #Maj6 # # # #Maj # #
SS HORS Maj min b aug # Maj6 Maj7 7 b min7 b b min7b5 b asic triads Maj min b dim b b min6 b Maj7 7 b min7 b b b dim7 notes from X-fret to fret 10 7 b b b b b Maj/ min/ b Maj7 min7 7sus4 ( ) b Maj/ min/b lternate Maj and min Maj (no 5th) Maj (deep bass) rone (no 3rd) min (deep bass) b 13 (or Maj6) add9 69 (2nd finger optional) MLOY HORS Maj min b aug # dim b b sus4 sus2 Maj asic triads and inversions Maj (first inversion) min (first inversion) b aug (first inversion) # dim (first inversion) b b sus4 (first inversion) 7 (no 5th) notes from fret 8-19 7 or min7 (no 3rd) Maj (second inversion) min (second inversion) b aug (second inversion) # dim (second inversion) b b sus4 (second inversion) Maj6 Maj
eyond asic Triads You can combine the hands together to play more complex chord voicings. The chart below shows the positions of intervals in relation to the roots. ecause of the reciprocal nature of the bass and melody tunings, this patter of intervals is the same on both the bass and melody sides. The easiest way to get started with this is to play the root in the bass side, and alter basic triads on the melody side. m7/7 M7 4/11 # 4/ b 5/ # 11 Root m2/ b 9 5 # 5/ b 13 M2/9 Root m2/ b 9 M2/9 m3/ # 9 M3 4/11 5 # 5/ b 13 M6/13 m7/7 M7 Root M2/9 m3/ # 9 M3 4/11 # 4/ b 5/ # 11 5 M6/13 m7/7 M7 Root m2/ b 9 M2/9 # 5/ b13 M6/13 Usually, the left hand is playing the root, so you can shift that note up or down the string to find the voice you are looking for. or example, if you want to play a Maj7 or 7, start with the 1st inversion of the Maj triad. This has the root on top. When we lower the root to the Maj7 or 7 position, we get the three notes above the root of the Maj7 and 7 chords. Maj (first inversion) m3/ # 9 M3 4/11 # 4/ b 5/ # 11 5 Maj7 (without the ) 7 (without the ) # The two new right hand chords are a min and dim triad respectively, but if you combine them with a bass note you get Maj7 and 7. You can use the same process to find a min7, which gives you a bmaj in the right hand, over a bass for min7. Now that you know this relationship, you can add any min or dim inversion and you will also get a Maj7 or 7 chord but it will sound a little different without the 7th on top. min (first inversion) min7 (without the ) b b The chart will help you find other voices. or example, here are the three notes you would add to a bass to get a 7#9 chord, the Maj3, the 7th, and the #9: You can also combine complete trids in each hand to form lush chords with several extensions. To make a min11 chord, play a min triad in the bass and add a bmaj chord in the right hand. There are too many possibilities to show all of them for every root, so use the chart to find the intervals you need to build the chords you want. Usually the highest extension sounds the best on the top, but not always... s always, if you see something on this doscument that needs to be corrected, please drop me an email. Happy Tapping, reg Howard sticksupport@aol.com min 7#9 # bmaj b b + = min11