major and minor in one position · an octave and a fifth from the root
Built as a memo rather than a table: the thing worth hanging it up for reads across the room, with the full reference in smaller type below it.
Three sizes in one archive — from a sheet on the fridge to a poster on the wall.
The filled dot is the root and the figure inside each dot is the degree of the triad. The dots are calculated from standard tuning; the sheet prescribes no left-hand fingering.
The shape starts on the root at fret 5 and ends at that same fret 5 on the thinnest string — except the note there is no longer the root but the fifth. The reason is the tuning: the first and fifth strings are 19 semitones apart, an octave and a fifth, not two octaves.
The practical consequence is a single awkward one: a run upward does not arrive where it set out from. To end on the root you need either the sixth string or a move into the next position, which is why five-string arpeggios are more often played downward, from the top root, than upward.
Minor behaves more simply here than on any other sheet in the family: both thirds step back one fret on their own strings and move nowhere else. Nothing else shifts at all.
Why the numbers can be trusted. Every countable number here is computed from data rather than typed in, and the sheet must pass 12 independent checks before it is allowed to build — how many items there are, the order they come in, and the claim in the highlighted box itself. If one fails, there is no file.
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