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				<updated>2019-08-03T01:52:31Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: /* Common Modulations */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{Top-Level Crumbs|1}}&lt;br /&gt;
{{Lesson Crumbs|3}}&lt;br /&gt;
{{Advanced Lesson Crumbs|2}}&lt;br /&gt;
&lt;br /&gt;
'''Modulation''' is a the practice of changing keys inside of a composition.  This can be done for a variety of reasons, but its basic purpose is to contrast or create tension against the current (and possibly even prior) key(s).  Typical modulations are found when themes or sections change.  They can also be used to seemingly add energy to a prior theme/section.  In terms of complete pieces, they help create structure and balance.&lt;br /&gt;
&lt;br /&gt;
== PreReqs ==&lt;br /&gt;
* [[Music Theory - Diatonic Chord Progressions]]&lt;br /&gt;
* [[Circle of Fifths]]&lt;br /&gt;
&lt;br /&gt;
== Notation ==&lt;br /&gt;
In terms of traditional musical notation or guitar-specific tablature, modulations aren't specifically notated.  The non-diatonic notes for a certain key simply appear.  For traditional notation, the key signature may change; however, this is typically reserved for the start of new section.  Rather, you'd see more {{s}}, {{b}}, and {{natural}} signs appear next to notes.  For guitar tab, there is no key signature - you would simply see notes used that were not used before that point in the song.  Knowing that there is a key modulation is not necessary for the performance of particular piece; it is only necessary for understanding it in terms of theory.&lt;br /&gt;
&lt;br /&gt;
In terms of harmonic analysis, modulations alter the roman numerals used to mark chords.  For example, while C is the I chord of C Major, it is the III chord of A Minor.  The key must be specified for this analysis to make sense, and sometimes there is overlap.  For instance you may see:&lt;br /&gt;
&lt;br /&gt;
 '''Chords     -'''     C    F    G    C    Em   Am   D    G&lt;br /&gt;
 '''Analysis 1 -'''  C: I    IV   V    I    iii  vi&lt;br /&gt;
 '''Analysis 2 -'''                      G: vi   ii   V    I&lt;br /&gt;
&lt;br /&gt;
You can see the &amp;quot;C:&amp;quot; and &amp;quot;G:&amp;quot; in the respective analysis lines indicating the key, with the following roman numerals outlining the member chord from that key.  In this case there is overlap, where we may interpret the Em and Am chords as belonging to either key.  In other cases where the point of modulation is unambiguous, you may see this condensed to a single line:&lt;br /&gt;
&lt;br /&gt;
 '''Chords   -'''     C      F      D      G&lt;br /&gt;
 '''Analysis -'''  C: I      IV  G: V      I&lt;br /&gt;
&lt;br /&gt;
When discussing modulations ''outside of notation'', we can use an arrow, such as &amp;quot;=&amp;gt;&amp;quot; or &amp;quot;-&amp;gt;&amp;quot; to indicate the modulation.  For example, &amp;quot;C -&amp;gt; Am&amp;quot; (C Major to A Minor) or &amp;quot;C =&amp;gt; G&amp;quot; (C Major to G Major).&lt;br /&gt;
&lt;br /&gt;
If we want to make such modulations generic to any key by using roman numerals, this can get a bit more tricky.  For example, if we want to discuss a modulation from a major key to a minor key whose tonic note is the 6th note of the major key, we could say &amp;quot;I -&amp;gt; vi&amp;quot;.  The uppercase &amp;quot;I&amp;quot; and lowercase &amp;quot;vi&amp;quot; indicate that the original key is major, but the new key is minor, and the &amp;quot;vi&amp;quot; also indicates the new key's tonic note is the 6th's note of the original major key.  But what if the tonic note of the new key is non-diatonic to the original key?  Then we have to use a {{b}} or {{s}} to indicate that.  So moving from C -&amp;gt; A{{b}}m could be generically written as &amp;quot;I -&amp;gt; {{b}}vi&amp;quot;.  Cm -&amp;gt; A would be written &amp;quot;i -&amp;gt; {{s}}VI&amp;quot; - the 6th note of C Minor is A{{b}}, but we sharp it to get A.&lt;br /&gt;
&lt;br /&gt;
We must use &amp;quot;I&amp;quot; or &amp;quot;i&amp;quot; to indicate the original key.  &amp;quot;IV -&amp;gt; V&amp;quot; makes no sense - we are moving from the 4th note of ''what'' key?  We are also bound to the common heptatonic major and natural minor scales.  If the source or destination keys use other scales, they must be written out fully - &amp;quot;A modulation from lydian to the harmonic minor key built on its 4th note&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
== Common Modulations ==&lt;br /&gt;
Modulations usually take place between highly-related keys (those with the most common notes).  See the table below.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
|&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| Key 2 Type&amp;lt;br&amp;gt;and number&amp;lt;br&amp;gt;of common&amp;lt;br&amp;gt;notes&lt;br /&gt;
|-&lt;br /&gt;
! Key 1 Type&lt;br /&gt;
! Key 2 Root's&amp;lt;br&amp;gt;relation to&amp;lt;br&amp;gt;Key 1 Root&lt;br /&gt;
! Major !! Minor !! Harmonic&amp;lt;br&amp;gt;Minor&lt;br /&gt;
|-&lt;br /&gt;
!rowspan=&amp;quot;13&amp;quot;| Major&lt;br /&gt;
|-&lt;br /&gt;
| '''U''' ||  || 4 || '''5'''&lt;br /&gt;
|-&lt;br /&gt;
| m2 || 2 || 3 || 3&lt;br /&gt;
|-&lt;br /&gt;
| '''M2''' || 5 || '''6''' || '''5'''&lt;br /&gt;
|-&lt;br /&gt;
| m3 || 4 || 2 || 3&lt;br /&gt;
|-&lt;br /&gt;
| '''M3''' || 3 || '''6''' || '''5'''&lt;br /&gt;
|-&lt;br /&gt;
| '''P4''' || '''6''' || 3 || 3&lt;br /&gt;
|-&lt;br /&gt;
| tt || 2 || 4 || 4&lt;br /&gt;
|-&lt;br /&gt;
| '''P5''' || '''6''' || 5 || 3&lt;br /&gt;
|-&lt;br /&gt;
| m6 || 3 || 2 || 3&lt;br /&gt;
|-&lt;br /&gt;
| '''M6''' || 4 || '''7''' || '''6'''&lt;br /&gt;
|-&lt;br /&gt;
| m7 || 5 || 2 || 4&lt;br /&gt;
|-&lt;br /&gt;
| '''M7''' || 2 || 5 || 4&lt;br /&gt;
|}&lt;br /&gt;
|&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| Key 2 Type&amp;lt;br&amp;gt;and number&amp;lt;br&amp;gt;of common&amp;lt;br&amp;gt;notes&lt;br /&gt;
|-&lt;br /&gt;
! Key 1 Type&lt;br /&gt;
! Key 2 Root's&amp;lt;br&amp;gt;relation to&amp;lt;br&amp;gt;Key 1 Root&lt;br /&gt;
! Major !! Minor !! Harmonic&amp;lt;br&amp;gt;Minor&lt;br /&gt;
|-&lt;br /&gt;
!rowspan=&amp;quot;13&amp;quot;| Minor&lt;br /&gt;
|-&lt;br /&gt;
| '''U'''  || 4 ||   || '''6'''&lt;br /&gt;
|-                &lt;br /&gt;
| m2 || 5 || 2 || 4&lt;br /&gt;
|-                &lt;br /&gt;
| '''M2''' || 2 || 5 || 4&lt;br /&gt;
|-&lt;br /&gt;
| '''m3''' || '''7''' || 4 || '''5'''&lt;br /&gt;
|-                &lt;br /&gt;
| M3 || 2 || 3 || 3&lt;br /&gt;
|-                &lt;br /&gt;
| '''P4''' || 5 || '''6''' || '''5'''&lt;br /&gt;
|-                &lt;br /&gt;
| tt || 4 || 2 || 3&lt;br /&gt;
|-                &lt;br /&gt;
| '''P5''' || 3 || '''6''' || '''5'''&lt;br /&gt;
|-                &lt;br /&gt;
| '''m6''' || '''6''' || 3 || 3&lt;br /&gt;
|-                &lt;br /&gt;
| M6 || 2 || 4 || 4&lt;br /&gt;
|-                &lt;br /&gt;
| '''m7''' || '''6''' || 5 || 3&lt;br /&gt;
|-                &lt;br /&gt;
| M7 || 3 || 2 || 3&lt;br /&gt;
|}&lt;br /&gt;
|&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| Key 2 Type&amp;lt;br&amp;gt;and number&amp;lt;br&amp;gt;of common&amp;lt;br&amp;gt;notes&lt;br /&gt;
|-&lt;br /&gt;
! Key 1 Type&lt;br /&gt;
! Key 2 Root's&amp;lt;br&amp;gt;relation to&amp;lt;br&amp;gt;Key 1 Root&lt;br /&gt;
! Major !! Minor !! Harmonic&amp;lt;br&amp;gt;Minor&lt;br /&gt;
|-&lt;br /&gt;
!rowspan=&amp;quot;13&amp;quot;| Harmonic&amp;lt;br&amp;gt;Minor&lt;br /&gt;
|-&lt;br /&gt;
| '''U''' || 4 || '''6''' ||  &lt;br /&gt;
|-&lt;br /&gt;
| m2 || 4 || 3 || 3&lt;br /&gt;
|-&lt;br /&gt;
| '''M2''' || 4 || 3 || 3&lt;br /&gt;
|-&lt;br /&gt;
| '''m3''' || '''6''' || 4 || 4&lt;br /&gt;
|-&lt;br /&gt;
| M3 || 3 || 3 || 4&lt;br /&gt;
|-&lt;br /&gt;
| '''P4''' || 3 || '''5''' || 4&lt;br /&gt;
|-&lt;br /&gt;
| tt || 4 || 3 || 4&lt;br /&gt;
|-&lt;br /&gt;
| '''P5''' || 3 || '''5''' || 4&lt;br /&gt;
|-&lt;br /&gt;
| '''m6''' || '''5''' || 3 || 4&lt;br /&gt;
|-&lt;br /&gt;
| M6 || 3 || 4 || 4&lt;br /&gt;
|-&lt;br /&gt;
| m7 || '''5''' || 4 || 3&lt;br /&gt;
|-&lt;br /&gt;
| '''M7''' || 3 || 3 || 3&lt;br /&gt;
|}&lt;br /&gt;
|&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
This means the most highly-related keys are the relative major/minor keys, which have the exact same set of notes but different roots (C Major and A Minor).  For any major key, the most related major keys are those whose root is the 4th or 5th note of the original key.  The most related minor keys (other than the relative minor) are those based on the 2nd and 3nd notes in the major key.  Similarly, for a minor key, its most related minor keys are based on its 4th and 5th notes, while its most related major keys are based on the 6th and 7th notes (inverse of 2nd and 3rd).&lt;br /&gt;
&lt;br /&gt;
Harmonic minor's raised 7th causes it to be less related to other keys of all variations covered above; however, it basically shares the same relationships to major and minor keys as its natural minor variation.  The most related major keys are based on the 6th and {{f}}7th notes.  The most related minor keys are based on the 4th and 5th.  Interestingly, almost all modulations to other harmonic minor keys are equally inter-related.&lt;br /&gt;
&lt;br /&gt;
=== Examples ===&lt;br /&gt;
* '''I -&amp;gt; IV''' - (C -&amp;gt; F, F -&amp;gt; Bb, G -&amp;gt; C)&lt;br /&gt;
* '''I -&amp;gt; V''' - (G -&amp;gt; D, C -&amp;gt; G, A -&amp;gt; E)&lt;br /&gt;
* '''i -&amp;gt; III''' - (Am -&amp;gt; C, Em -&amp;gt; G, B{{f}}m -&amp;gt; D)&lt;br /&gt;
* '''i -&amp;gt; {{s}}iv''' - (Ahm -&amp;gt; D{{s}}hm)&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Modulation Methods ==&lt;br /&gt;
=== Common Chord ===&lt;br /&gt;
Uses a chord  that is diatonic to both the source and destination keys to transition between them.  In the below example, we modulate from C to G using 2 common chords.&lt;br /&gt;
&lt;br /&gt;
    C    F    G    C    Em   Am   D/A  G&lt;br /&gt;
 C: I    IV   V    I    iii  vi&lt;br /&gt;
                     G: vi   ii   V/ii I&lt;br /&gt;
 E--0----1----3----0----0----0----2----3--&lt;br /&gt;
 B--1----1----3----1----0----1----3----3--&lt;br /&gt;
 G--0----2----0----0----0----2----2----0--&lt;br /&gt;
 D--2----3----0----2----2----2----0----0--&lt;br /&gt;
 A--3----3----2----3----2----0----0----2--&lt;br /&gt;
 E-------1----3---------0--------------3--&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== Enharmonic Chord ====&lt;br /&gt;
Even if two keys do not have the same chords in way of naming conventions, they may have chords that are enharmonically equivalent.  For example, the keys of C{{s}} and C{{f}} have no chords in common by name.  C{{s}} has only {{s}} chords and C{{f}} has only {{f}} chords.  Yet, E{{f}}m and D{{s}}m are enharmonic, as are G{{b}} and F{{s}}.&lt;br /&gt;
&lt;br /&gt;
     C#   D#m  G#   Cb   D#m&lt;br /&gt;
                         Ebm  Fb   Gb   Cb&lt;br /&gt;
 C#: I    ii   V    I    ii&lt;br /&gt;
                     Cb: iii  IV   V    I&lt;br /&gt;
 E---4----6----4----4----6----0----2----2--&lt;br /&gt;
 B---6----7----4----6----7----0----2----4--&lt;br /&gt;
 G---6----8----5----6----8----1----3----4--&lt;br /&gt;
 D---6----8----6----6----8----2----4----4--&lt;br /&gt;
 A---4----6----6----4----6----2----4----2--&lt;br /&gt;
 E-------------4--------------0----2-------&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Common Tone ===&lt;br /&gt;
A note common to the source and destination key is sustained during the transition.  For example, a C -&amp;gt; E modulation could sustain the E in the I chord of C while moving to the IV chord of E, which also contains E.&lt;br /&gt;
&lt;br /&gt;
    C    F    G    C         A    B7   E&lt;br /&gt;
 C: I    IV   V    I      E: IV   V7   I&lt;br /&gt;
 E--0----1----3----0----0----0----2----0--&lt;br /&gt;
 B--1----1----3----1---(x)---2----0----0--&lt;br /&gt;
 G--0----2----0----0---(x)---2----2----1--&lt;br /&gt;
 D--2----3----0----2---(x)---2----1----2--&lt;br /&gt;
 A--3----3----2----3---(x)---0----2----2--&lt;br /&gt;
 E-------1----3------------------------0--&lt;br /&gt;
&lt;br /&gt;
Unlike the common chord examples, we move directly between chords that are not diatonic to both keys - C Major does not contain the A chord, and E Major lacks the C chord.  Yet the common E note between them bridges the gap particularly well, without creating a stark contrast between keys.&lt;br /&gt;
&lt;br /&gt;
While this example has somewhat-related keys, this modulation method can link virtually any two keys, as it's basically guaranteed that any two keys will share at least one common note.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Chromatic ===&lt;br /&gt;
Useful for modulating between two keys that are not closely related, chromatic modulation uses a chromatic line to bridge the keys.  In other words, for the chords chosen, one voice can move up or down 2 or more half-steps.  This necessarily implies the transition will occur over at least 3 chords.  For the strongest effect, the chromatic line should lead into the root of the new key.  &lt;br /&gt;
&lt;br /&gt;
For example, consider a modulation from C Major to A Harmonic Minor.  C Major has a G note, while A Harmonic Minor has G{{s}} and A.  This allows us to create a G - G{{s}} - A chromatic line through the following progression:  G - E - A.  That's (''G'' B D) - (E ''G{{s}}'' B) - (''A'' C E).  If we follow good [[Voice Leading|voice leading]], we can keep the G, G{{s}}, and A notes in the same voice, thus getting the chromatic line.  G is the V chord of C Major.  E is the V chord of A Harmonic Minor.  The progression could be written as:&lt;br /&gt;
&lt;br /&gt;
    C    F    G    E    Am        C    F    G    E    Am&lt;br /&gt;
 C: I    IV   V                C: I    IV   V &lt;br /&gt;
              Ahm: V    i                   Ahm: V    i&lt;br /&gt;
 E--0----1----3----0----0--    E-------------------------&lt;br /&gt;
 B--1----1----0----0----1--    B-------------------------&lt;br /&gt;
 G--0----2--**0----1----2**    G--0----2--**0----1----2**&lt;br /&gt;
 D--2----3----0----2----2--    D--2----3----0----2----2--&lt;br /&gt;
 A--3----3----2----2----0--    A--3----3----2----2----0--&lt;br /&gt;
 E-------1----3----0-------    E-------1----3----0-------&lt;br /&gt;
&lt;br /&gt;
&amp;lt;small&amp;gt;''Notice the chromatic line on the G string.''&amp;lt;/small&amp;gt;&lt;br /&gt;
&lt;br /&gt;
Here's another example, modulating from C to G, using a chromatic run on the high E string.  Notice how seamless this sounds, especially with the chromatic line as the highest-pitched voice (soprano).&lt;br /&gt;
&lt;br /&gt;
      C    F    D    G&lt;br /&gt;
   C: I    IV   &lt;br /&gt;
             G: V    I&lt;br /&gt;
 E--**0----1----2----3**&lt;br /&gt;
 B----1----1----3----3--&lt;br /&gt;
 G----0----2----2----0--&lt;br /&gt;
 D----2----3----0----0--&lt;br /&gt;
 A----3--------------2--&lt;br /&gt;
 E-------------------3--&lt;br /&gt;
&lt;br /&gt;
Depending on the keys used, it may be more difficult to achieve the chromatic line with only the diatonic chords of the two keys.  In these cases, we can resort to using a [[Borrowing Chords/Notes#Secondary Dominant|secondary dominant]] or some other non-diatonic chord.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Phrase ===&lt;br /&gt;
A phrase modulation avoids any transition whatsoever, occurring abruptly between two virtually independent phrases.  The first phrase in the original key will end on a cadence, finding resolution and ending.  The next phrase begins in the new key, with no harmonic or melodic bridge to ease the transition.  This modulation is commonly between closely-related keys, preventing a completely disjointed feel.  However, the transition is typically quite noticeable, which is the point of this modulation method.&lt;br /&gt;
&lt;br /&gt;
    A           E    A       D              Em&lt;br /&gt;
  A:I           V    I     D:I              ii&lt;br /&gt;
 E-------------------------|-------------------&lt;br /&gt;
 B-------------------------|-------------------&lt;br /&gt;
 G-------------------------|-------2--0--------&lt;br /&gt;
 D-----------0--2----------|-0-----------4--2--&lt;br /&gt;
 A--0--2--4----------0-----|-------------------&lt;br /&gt;
 E-------------------------|-------------------&lt;br /&gt;
    A  B  C# D  E    A       D     A  G  F# E&lt;br /&gt;
&lt;br /&gt;
Notice how we end the key of A with a strong authentic cadence; but immediately use a phrase with G instead of G{{s}}, to differentiate between the keys of A and D Major.  We also use an E in the first measure, but Em in the second.  This emphasizes the modulation, with separation between phrases, even though the 2 keys share 6 of their 7 notes.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Sequential/Rosalia ===&lt;br /&gt;
A phrase or progression ending in a cadence can be transposed up or down to a different key and repeated, once or several times.  Here the harmonic function of the sequence of chords is less important than the effect of the sequential motion.  The transpositions may follow the diatonic notes of the original key, or may move completely chromatically.  The sequence can repeat enough times to return to the original key, or be used to arrive at a new key.&lt;br /&gt;
&lt;br /&gt;
For example, consider the following progression: &lt;br /&gt;
&lt;br /&gt;
     Cm       Bb          Bbm      Ab          Abm      Gb     Ebm   Abm&lt;br /&gt;
 Cm: i        VII    Bbm: i        VII   Abm:  i        VII    v     i&lt;br /&gt;
 E---8--11-10-6-----------6--9--8--4-----------4--7--6--2---------2--4--&lt;br /&gt;
 B-------------------------------------------------------------4--------&lt;br /&gt;
 G----------------------------------------------------------------------&lt;br /&gt;
 D----------------------------------------------------------------------&lt;br /&gt;
 A----------------------------------------------------------------------&lt;br /&gt;
 E----------------------------------------------------------------------&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Chain ===&lt;br /&gt;
Chain Modulation uses multiple modulations to bridge two distantly related keys.  Unlike a rosalia above, a chain modulation is not confined to repeating a sequence - each modulation in the chain can have independent durations, melodies, harmonic progressions, etc.&lt;br /&gt;
&lt;br /&gt;
For example, consider a modulation from C Major to E Major.  These keys only share 3 notes in common, and are separated on the circle of fifths by 4 movements.  They share no diatonic chords.  Instead of trying to modulate directly between them, we can use a chain modulation.  We could follow the circle of fifths, going major to major key until we reach E (C -&amp;gt; G -&amp;gt; D -&amp;gt; A -&amp;gt; E).  Or we could shorten that by jumping every other 5th (C -&amp;gt; D -&amp;gt; E).  C Major and D Major share the diatonic G Major chord.  D Major and E Major share the diatonic A Major chord.  This allows two common chord modulations to easily get from C Major to E Major without any disruptive transitions.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Parallel Key ===&lt;br /&gt;
Parallel keys have the same root but different whole-half step patterns.  For example, C Major and C Minor are parallel keys.  Knowledge of [[Modes|modes]] offer us more parallel keys.  Modulation between parallel keys is typically not as closely related as usual.  For example, major/minor parallel keys only share 4 notes.  However, because they retain the same tonal center, the change is not disruptive.&lt;br /&gt;
&lt;br /&gt;
[[Modes#Pitch Axis Theory|Pitch Axis Theory]] (also see [http://en.wikipedia.org/wiki/Pitch_axis_theory Wikipedia]) is an extreme example of this.  It uses chord progressions that all feature a common note - often this note is the root of every chord in the progression.  The underlying chords are not diatonic to any one key.  Instead, the scale used for melody/lead will change to conform with each chord.&lt;br /&gt;
&lt;br /&gt;
    A          Am         Adim       A+&lt;br /&gt;
 A: I      Am: i     Awh: io    Awt: I+&lt;br /&gt;
 E--0----------0---------------------1--&lt;br /&gt;
 B--2----------1----------1----------2--&lt;br /&gt;
 G--2----------2----------2----------2--&lt;br /&gt;
 D--2----------2----------1----------3--&lt;br /&gt;
 A--0----------0----------0----------0--&lt;br /&gt;
 E--------------------------------------&lt;br /&gt;
&lt;br /&gt;
Note, we have not covered [[Exotic Scales|exotic scales]], such as the whole-half or whote-tone scales yet, which are referenced above as &amp;quot;Awh&amp;quot; and &amp;quot;Awt&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Why/When to Modulate? ==&lt;br /&gt;
Modulation can be used for a variety of purposes.  It is generally used as a means to add contrast to different sections or themes in a song.  The altered tonality adds to the change in harmonic progressions or melody.  It can highlight how much contrast between themes or sections there is depending on how related the chosen keys you modulate to/from.&lt;br /&gt;
&lt;br /&gt;
Just as an ascending melody can be used to build excitement, modulating keys higher and higher can be used the same way.  The frequency of modulations can also be used to indicate such - increasingly frequent modulations can make the piece sound a bit chaotic but also make things seem out-of-control with energy.  The same can be done descending as a calming method.  If the modulations follow an easily-identified pattern, such as in a rosalia, they will not sound chaotic but mellow - it allows repetition while still creating movement.&lt;br /&gt;
&lt;br /&gt;
Modulations can also be used to make a piece sound disjointed, similar to playing in scales with an ambiguous tonality.  Or they can allow the piece to use lots of harmonic and melodic repetition without becoming increasingly boring.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Homework ==&lt;br /&gt;
Choose a major key as your starting key.  List all possible major keys you can modulate to, and order them in terms of those closely related to those least-closely related.  Do the same for all possible natural minor and harmonic minor keys.  Choose another major key and repeat the exercise.&lt;br /&gt;
&lt;br /&gt;
Repeat the above for a natural minor key, then a harmonic minor key.&lt;br /&gt;
&lt;br /&gt;
Compose chord progressions for each modulation technique above.  Start with closely related, then loosely related, then distantly related destination keys.  Notice how some techniques work better for some modulations than others - in fact, some won't work at all.&lt;br /&gt;
&lt;br /&gt;
== Q &amp;amp; A ==&lt;br /&gt;
&lt;br /&gt;
== Related Lessons ==&lt;br /&gt;
* [[Circle of Fifths]]&lt;br /&gt;
* [[Non-Diatonic Chords]]&lt;br /&gt;
* [[Modes]]&lt;br /&gt;
* [[Exotic Scales]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
{{Advanced Lesson Crumbs|2}}&lt;br /&gt;
&lt;br /&gt;
[[Category:Guitar]]&lt;br /&gt;
[[Category:Lessons]]&lt;br /&gt;
[[Category:Advanced Lessons]]&lt;br /&gt;
[[Category:Modulation]]&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=Modulation&amp;diff=8766</id>
		<title>Modulation</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=Modulation&amp;diff=8766"/>
				<updated>2019-08-03T01:50:04Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: /* Common Modulations */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{Top-Level Crumbs|1}}&lt;br /&gt;
{{Lesson Crumbs|3}}&lt;br /&gt;
{{Advanced Lesson Crumbs|2}}&lt;br /&gt;
&lt;br /&gt;
'''Modulation''' is a the practice of changing keys inside of a composition.  This can be done for a variety of reasons, but its basic purpose is to contrast or create tension against the current (and possibly even prior) key(s).  Typical modulations are found when themes or sections change.  They can also be used to seemingly add energy to a prior theme/section.  In terms of complete pieces, they help create structure and balance.&lt;br /&gt;
&lt;br /&gt;
== PreReqs ==&lt;br /&gt;
* [[Music Theory - Diatonic Chord Progressions]]&lt;br /&gt;
* [[Circle of Fifths]]&lt;br /&gt;
&lt;br /&gt;
== Notation ==&lt;br /&gt;
In terms of traditional musical notation or guitar-specific tablature, modulations aren't specifically notated.  The non-diatonic notes for a certain key simply appear.  For traditional notation, the key signature may change; however, this is typically reserved for the start of new section.  Rather, you'd see more {{s}}, {{b}}, and {{natural}} signs appear next to notes.  For guitar tab, there is no key signature - you would simply see notes used that were not used before that point in the song.  Knowing that there is a key modulation is not necessary for the performance of particular piece; it is only necessary for understanding it in terms of theory.&lt;br /&gt;
&lt;br /&gt;
In terms of harmonic analysis, modulations alter the roman numerals used to mark chords.  For example, while C is the I chord of C Major, it is the III chord of A Minor.  The key must be specified for this analysis to make sense, and sometimes there is overlap.  For instance you may see:&lt;br /&gt;
&lt;br /&gt;
 '''Chords     -'''     C    F    G    C    Em   Am   D    G&lt;br /&gt;
 '''Analysis 1 -'''  C: I    IV   V    I    iii  vi&lt;br /&gt;
 '''Analysis 2 -'''                      G: vi   ii   V    I&lt;br /&gt;
&lt;br /&gt;
You can see the &amp;quot;C:&amp;quot; and &amp;quot;G:&amp;quot; in the respective analysis lines indicating the key, with the following roman numerals outlining the member chord from that key.  In this case there is overlap, where we may interpret the Em and Am chords as belonging to either key.  In other cases where the point of modulation is unambiguous, you may see this condensed to a single line:&lt;br /&gt;
&lt;br /&gt;
 '''Chords   -'''     C      F      D      G&lt;br /&gt;
 '''Analysis -'''  C: I      IV  G: V      I&lt;br /&gt;
&lt;br /&gt;
When discussing modulations ''outside of notation'', we can use an arrow, such as &amp;quot;=&amp;gt;&amp;quot; or &amp;quot;-&amp;gt;&amp;quot; to indicate the modulation.  For example, &amp;quot;C -&amp;gt; Am&amp;quot; (C Major to A Minor) or &amp;quot;C =&amp;gt; G&amp;quot; (C Major to G Major).&lt;br /&gt;
&lt;br /&gt;
If we want to make such modulations generic to any key by using roman numerals, this can get a bit more tricky.  For example, if we want to discuss a modulation from a major key to a minor key whose tonic note is the 6th note of the major key, we could say &amp;quot;I -&amp;gt; vi&amp;quot;.  The uppercase &amp;quot;I&amp;quot; and lowercase &amp;quot;vi&amp;quot; indicate that the original key is major, but the new key is minor, and the &amp;quot;vi&amp;quot; also indicates the new key's tonic note is the 6th's note of the original major key.  But what if the tonic note of the new key is non-diatonic to the original key?  Then we have to use a {{b}} or {{s}} to indicate that.  So moving from C -&amp;gt; A{{b}}m could be generically written as &amp;quot;I -&amp;gt; {{b}}vi&amp;quot;.  Cm -&amp;gt; A would be written &amp;quot;i -&amp;gt; {{s}}VI&amp;quot; - the 6th note of C Minor is A{{b}}, but we sharp it to get A.&lt;br /&gt;
&lt;br /&gt;
We must use &amp;quot;I&amp;quot; or &amp;quot;i&amp;quot; to indicate the original key.  &amp;quot;IV -&amp;gt; V&amp;quot; makes no sense - we are moving from the 4th note of ''what'' key?  We are also bound to the common heptatonic major and natural minor scales.  If the source or destination keys use other scales, they must be written out fully - &amp;quot;A modulation from lydian to the harmonic minor key built on its 4th note&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
== Common Modulations ==&lt;br /&gt;
Modulations usually take place between highly-related keys (those with the most common notes).  See the table below.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
|&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| Key 2 Type&amp;lt;br&amp;gt;and number&amp;lt;br&amp;gt;of common&amp;lt;br&amp;gt;notes&lt;br /&gt;
|-&lt;br /&gt;
! Key 1 Type&lt;br /&gt;
! Key 2 Root's&amp;lt;br&amp;gt;relation to&amp;lt;br&amp;gt;Key 1 Root&lt;br /&gt;
! Major !! Minor !! Harmonic&amp;lt;br&amp;gt;Minor&lt;br /&gt;
|-&lt;br /&gt;
!rowspan=&amp;quot;13&amp;quot;| Major&lt;br /&gt;
|-&lt;br /&gt;
| '''U''' ||  || 4 || '''5'''&lt;br /&gt;
|-&lt;br /&gt;
| m2 || 2 || 3 || 3&lt;br /&gt;
|-&lt;br /&gt;
| '''M2''' || 5 || '''6''' || '''5'''&lt;br /&gt;
|-&lt;br /&gt;
| m3 || 4 || 2 || 3&lt;br /&gt;
|-&lt;br /&gt;
| '''M3''' || 3 || '''6''' || '''5'''&lt;br /&gt;
|-&lt;br /&gt;
| '''P4''' || '''6''' || 3 || 3&lt;br /&gt;
|-&lt;br /&gt;
| tt || 2 || 4 || 4&lt;br /&gt;
|-&lt;br /&gt;
| '''P5''' || '''6''' || 5 || 3&lt;br /&gt;
|-&lt;br /&gt;
| m6 || 3 || 2 || 3&lt;br /&gt;
|-&lt;br /&gt;
| '''M6''' || 4 || '''7''' || '''6'''&lt;br /&gt;
|-&lt;br /&gt;
| m7 || 5 || 2 || 4&lt;br /&gt;
|-&lt;br /&gt;
| '''M7''' || 2 || 5 || 4&lt;br /&gt;
|}&lt;br /&gt;
|&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| Key 2 Type&amp;lt;br&amp;gt;and number&amp;lt;br&amp;gt;of common&amp;lt;br&amp;gt;notes&lt;br /&gt;
|-&lt;br /&gt;
! Key 1 Type&lt;br /&gt;
! Key 2 Root's&amp;lt;br&amp;gt;relation to&amp;lt;br&amp;gt;Key 1 Root&lt;br /&gt;
! Major !! Minor !! Harmonic&amp;lt;br&amp;gt;Minor&lt;br /&gt;
|-&lt;br /&gt;
!rowspan=&amp;quot;13&amp;quot;| Minor&lt;br /&gt;
|-&lt;br /&gt;
| '''U'''  || 4 ||   || '''6'''&lt;br /&gt;
|-                &lt;br /&gt;
| m2 || 5 || 2 || 4&lt;br /&gt;
|-                &lt;br /&gt;
| '''M2''' || 2 || 5 || 4&lt;br /&gt;
|-&lt;br /&gt;
| '''m3''' || '''7''' || 4 || '''5'''&lt;br /&gt;
|-                &lt;br /&gt;
| M3 || 2 || 3 || 3&lt;br /&gt;
|-                &lt;br /&gt;
| '''P4''' || 5 || '''6''' || '''5'''&lt;br /&gt;
|-                &lt;br /&gt;
| tt || 4 || 2 || 3&lt;br /&gt;
|-                &lt;br /&gt;
| '''P5''' || 3 || '''6''' || '''5'''&lt;br /&gt;
|-                &lt;br /&gt;
| '''m6''' || '''6''' || 3 || 3&lt;br /&gt;
|-                &lt;br /&gt;
| M6 || 2 || 4 || 4&lt;br /&gt;
|-                &lt;br /&gt;
| '''m7''' || '''6''' || 5 || 3&lt;br /&gt;
|-                &lt;br /&gt;
| M7 || 3 || 2 || 3&lt;br /&gt;
|}&lt;br /&gt;
|&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| Key 2 Type&amp;lt;br&amp;gt;and number&amp;lt;br&amp;gt;of common&amp;lt;br&amp;gt;notes&lt;br /&gt;
|-&lt;br /&gt;
! Key 1 Type&lt;br /&gt;
! Key 2 Root's&amp;lt;br&amp;gt;relation to&amp;lt;br&amp;gt;Key 1 Root&lt;br /&gt;
! Major !! Minor !! Harmonic&amp;lt;br&amp;gt;Minor&lt;br /&gt;
|-&lt;br /&gt;
!rowspan=&amp;quot;13&amp;quot;| Harmonic Minor&lt;br /&gt;
|-&lt;br /&gt;
| '''U''' || 4 || '''6''' ||  &lt;br /&gt;
|-&lt;br /&gt;
| m2 || 4 || 3 || 3&lt;br /&gt;
|-&lt;br /&gt;
| '''M2''' || 4 || 3 || 3&lt;br /&gt;
|-&lt;br /&gt;
| '''m3''' || '''6''' || 4 || 4&lt;br /&gt;
|-&lt;br /&gt;
| M3 || 3 || 3 || 4&lt;br /&gt;
|-&lt;br /&gt;
| '''P4''' || 3 || '''5''' || 4&lt;br /&gt;
|-&lt;br /&gt;
| tt || 4 || 3 || 4&lt;br /&gt;
|-&lt;br /&gt;
| '''P5''' || 3 || '''5''' || 4&lt;br /&gt;
|-&lt;br /&gt;
| '''m6''' || '''5''' || 3 || 4&lt;br /&gt;
|-&lt;br /&gt;
| M6 || 3 || 4 || 4&lt;br /&gt;
|-&lt;br /&gt;
| m7 || '''5''' || 4 || 3&lt;br /&gt;
|-&lt;br /&gt;
| '''M7''' || 3 || 3 || 3&lt;br /&gt;
|}&lt;br /&gt;
|&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
This means the most highly-related keys are the relative major/minor keys, which have the exact same set of notes but different roots (C Major and A Minor).  For any major key, the most related major keys are those whose root is the 4th or 5th note of the original key.  The most related minor keys (other than the relative minor) are those based on the 2nd and 3nd notes in the major key.  Similarly, for a minor key, its most related minor keys are based on its 4th and 5th notes, while its most related major keys are based on the 6th and 7th notes (inverse of 2nd and 3rd).&lt;br /&gt;
&lt;br /&gt;
Harmonic minor's raised 7th causes it to be less related to other keys of all variations covered above; however, it basically shares the same relationships to major and minor keys as its natural minor variation.  The most related major keys are based on the 6th and {{f}}7th notes.  The most related minor keys are based on the 4th and 5th.  Interestingly, almost all modulations to other harmonic minor keys are equally inter-related.&lt;br /&gt;
&lt;br /&gt;
=== Examples ===&lt;br /&gt;
* '''I -&amp;gt; IV''' - (C -&amp;gt; F, F -&amp;gt; Bb, G -&amp;gt; C)&lt;br /&gt;
* '''I -&amp;gt; V''' - (G -&amp;gt; D, C -&amp;gt; G, A -&amp;gt; E)&lt;br /&gt;
* '''i -&amp;gt; III''' - (Am -&amp;gt; C, Em -&amp;gt; G, B{{f}}m -&amp;gt; D)&lt;br /&gt;
* '''i -&amp;gt; {{s}}iv''' - (Ahm -&amp;gt; D{{s}}hm)&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Modulation Methods ==&lt;br /&gt;
=== Common Chord ===&lt;br /&gt;
Uses a chord  that is diatonic to both the source and destination keys to transition between them.  In the below example, we modulate from C to G using 2 common chords.&lt;br /&gt;
&lt;br /&gt;
    C    F    G    C    Em   Am   D/A  G&lt;br /&gt;
 C: I    IV   V    I    iii  vi&lt;br /&gt;
                     G: vi   ii   V/ii I&lt;br /&gt;
 E--0----1----3----0----0----0----2----3--&lt;br /&gt;
 B--1----1----3----1----0----1----3----3--&lt;br /&gt;
 G--0----2----0----0----0----2----2----0--&lt;br /&gt;
 D--2----3----0----2----2----2----0----0--&lt;br /&gt;
 A--3----3----2----3----2----0----0----2--&lt;br /&gt;
 E-------1----3---------0--------------3--&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== Enharmonic Chord ====&lt;br /&gt;
Even if two keys do not have the same chords in way of naming conventions, they may have chords that are enharmonically equivalent.  For example, the keys of C{{s}} and C{{f}} have no chords in common by name.  C{{s}} has only {{s}} chords and C{{f}} has only {{f}} chords.  Yet, E{{f}}m and D{{s}}m are enharmonic, as are G{{b}} and F{{s}}.&lt;br /&gt;
&lt;br /&gt;
     C#   D#m  G#   Cb   D#m&lt;br /&gt;
                         Ebm  Fb   Gb   Cb&lt;br /&gt;
 C#: I    ii   V    I    ii&lt;br /&gt;
                     Cb: iii  IV   V    I&lt;br /&gt;
 E---4----6----4----4----6----0----2----2--&lt;br /&gt;
 B---6----7----4----6----7----0----2----4--&lt;br /&gt;
 G---6----8----5----6----8----1----3----4--&lt;br /&gt;
 D---6----8----6----6----8----2----4----4--&lt;br /&gt;
 A---4----6----6----4----6----2----4----2--&lt;br /&gt;
 E-------------4--------------0----2-------&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Common Tone ===&lt;br /&gt;
A note common to the source and destination key is sustained during the transition.  For example, a C -&amp;gt; E modulation could sustain the E in the I chord of C while moving to the IV chord of E, which also contains E.&lt;br /&gt;
&lt;br /&gt;
    C    F    G    C         A    B7   E&lt;br /&gt;
 C: I    IV   V    I      E: IV   V7   I&lt;br /&gt;
 E--0----1----3----0----0----0----2----0--&lt;br /&gt;
 B--1----1----3----1---(x)---2----0----0--&lt;br /&gt;
 G--0----2----0----0---(x)---2----2----1--&lt;br /&gt;
 D--2----3----0----2---(x)---2----1----2--&lt;br /&gt;
 A--3----3----2----3---(x)---0----2----2--&lt;br /&gt;
 E-------1----3------------------------0--&lt;br /&gt;
&lt;br /&gt;
Unlike the common chord examples, we move directly between chords that are not diatonic to both keys - C Major does not contain the A chord, and E Major lacks the C chord.  Yet the common E note between them bridges the gap particularly well, without creating a stark contrast between keys.&lt;br /&gt;
&lt;br /&gt;
While this example has somewhat-related keys, this modulation method can link virtually any two keys, as it's basically guaranteed that any two keys will share at least one common note.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Chromatic ===&lt;br /&gt;
Useful for modulating between two keys that are not closely related, chromatic modulation uses a chromatic line to bridge the keys.  In other words, for the chords chosen, one voice can move up or down 2 or more half-steps.  This necessarily implies the transition will occur over at least 3 chords.  For the strongest effect, the chromatic line should lead into the root of the new key.  &lt;br /&gt;
&lt;br /&gt;
For example, consider a modulation from C Major to A Harmonic Minor.  C Major has a G note, while A Harmonic Minor has G{{s}} and A.  This allows us to create a G - G{{s}} - A chromatic line through the following progression:  G - E - A.  That's (''G'' B D) - (E ''G{{s}}'' B) - (''A'' C E).  If we follow good [[Voice Leading|voice leading]], we can keep the G, G{{s}}, and A notes in the same voice, thus getting the chromatic line.  G is the V chord of C Major.  E is the V chord of A Harmonic Minor.  The progression could be written as:&lt;br /&gt;
&lt;br /&gt;
    C    F    G    E    Am        C    F    G    E    Am&lt;br /&gt;
 C: I    IV   V                C: I    IV   V &lt;br /&gt;
              Ahm: V    i                   Ahm: V    i&lt;br /&gt;
 E--0----1----3----0----0--    E-------------------------&lt;br /&gt;
 B--1----1----0----0----1--    B-------------------------&lt;br /&gt;
 G--0----2--**0----1----2**    G--0----2--**0----1----2**&lt;br /&gt;
 D--2----3----0----2----2--    D--2----3----0----2----2--&lt;br /&gt;
 A--3----3----2----2----0--    A--3----3----2----2----0--&lt;br /&gt;
 E-------1----3----0-------    E-------1----3----0-------&lt;br /&gt;
&lt;br /&gt;
&amp;lt;small&amp;gt;''Notice the chromatic line on the G string.''&amp;lt;/small&amp;gt;&lt;br /&gt;
&lt;br /&gt;
Here's another example, modulating from C to G, using a chromatic run on the high E string.  Notice how seamless this sounds, especially with the chromatic line as the highest-pitched voice (soprano).&lt;br /&gt;
&lt;br /&gt;
      C    F    D    G&lt;br /&gt;
   C: I    IV   &lt;br /&gt;
             G: V    I&lt;br /&gt;
 E--**0----1----2----3**&lt;br /&gt;
 B----1----1----3----3--&lt;br /&gt;
 G----0----2----2----0--&lt;br /&gt;
 D----2----3----0----0--&lt;br /&gt;
 A----3--------------2--&lt;br /&gt;
 E-------------------3--&lt;br /&gt;
&lt;br /&gt;
Depending on the keys used, it may be more difficult to achieve the chromatic line with only the diatonic chords of the two keys.  In these cases, we can resort to using a [[Borrowing Chords/Notes#Secondary Dominant|secondary dominant]] or some other non-diatonic chord.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Phrase ===&lt;br /&gt;
A phrase modulation avoids any transition whatsoever, occurring abruptly between two virtually independent phrases.  The first phrase in the original key will end on a cadence, finding resolution and ending.  The next phrase begins in the new key, with no harmonic or melodic bridge to ease the transition.  This modulation is commonly between closely-related keys, preventing a completely disjointed feel.  However, the transition is typically quite noticeable, which is the point of this modulation method.&lt;br /&gt;
&lt;br /&gt;
    A           E    A       D              Em&lt;br /&gt;
  A:I           V    I     D:I              ii&lt;br /&gt;
 E-------------------------|-------------------&lt;br /&gt;
 B-------------------------|-------------------&lt;br /&gt;
 G-------------------------|-------2--0--------&lt;br /&gt;
 D-----------0--2----------|-0-----------4--2--&lt;br /&gt;
 A--0--2--4----------0-----|-------------------&lt;br /&gt;
 E-------------------------|-------------------&lt;br /&gt;
    A  B  C# D  E    A       D     A  G  F# E&lt;br /&gt;
&lt;br /&gt;
Notice how we end the key of A with a strong authentic cadence; but immediately use a phrase with G instead of G{{s}}, to differentiate between the keys of A and D Major.  We also use an E in the first measure, but Em in the second.  This emphasizes the modulation, with separation between phrases, even though the 2 keys share 6 of their 7 notes.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Sequential/Rosalia ===&lt;br /&gt;
A phrase or progression ending in a cadence can be transposed up or down to a different key and repeated, once or several times.  Here the harmonic function of the sequence of chords is less important than the effect of the sequential motion.  The transpositions may follow the diatonic notes of the original key, or may move completely chromatically.  The sequence can repeat enough times to return to the original key, or be used to arrive at a new key.&lt;br /&gt;
&lt;br /&gt;
For example, consider the following progression: &lt;br /&gt;
&lt;br /&gt;
     Cm       Bb          Bbm      Ab          Abm      Gb     Ebm   Abm&lt;br /&gt;
 Cm: i        VII    Bbm: i        VII   Abm:  i        VII    v     i&lt;br /&gt;
 E---8--11-10-6-----------6--9--8--4-----------4--7--6--2---------2--4--&lt;br /&gt;
 B-------------------------------------------------------------4--------&lt;br /&gt;
 G----------------------------------------------------------------------&lt;br /&gt;
 D----------------------------------------------------------------------&lt;br /&gt;
 A----------------------------------------------------------------------&lt;br /&gt;
 E----------------------------------------------------------------------&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Chain ===&lt;br /&gt;
Chain Modulation uses multiple modulations to bridge two distantly related keys.  Unlike a rosalia above, a chain modulation is not confined to repeating a sequence - each modulation in the chain can have independent durations, melodies, harmonic progressions, etc.&lt;br /&gt;
&lt;br /&gt;
For example, consider a modulation from C Major to E Major.  These keys only share 3 notes in common, and are separated on the circle of fifths by 4 movements.  They share no diatonic chords.  Instead of trying to modulate directly between them, we can use a chain modulation.  We could follow the circle of fifths, going major to major key until we reach E (C -&amp;gt; G -&amp;gt; D -&amp;gt; A -&amp;gt; E).  Or we could shorten that by jumping every other 5th (C -&amp;gt; D -&amp;gt; E).  C Major and D Major share the diatonic G Major chord.  D Major and E Major share the diatonic A Major chord.  This allows two common chord modulations to easily get from C Major to E Major without any disruptive transitions.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Parallel Key ===&lt;br /&gt;
Parallel keys have the same root but different whole-half step patterns.  For example, C Major and C Minor are parallel keys.  Knowledge of [[Modes|modes]] offer us more parallel keys.  Modulation between parallel keys is typically not as closely related as usual.  For example, major/minor parallel keys only share 4 notes.  However, because they retain the same tonal center, the change is not disruptive.&lt;br /&gt;
&lt;br /&gt;
[[Modes#Pitch Axis Theory|Pitch Axis Theory]] (also see [http://en.wikipedia.org/wiki/Pitch_axis_theory Wikipedia]) is an extreme example of this.  It uses chord progressions that all feature a common note - often this note is the root of every chord in the progression.  The underlying chords are not diatonic to any one key.  Instead, the scale used for melody/lead will change to conform with each chord.&lt;br /&gt;
&lt;br /&gt;
    A          Am         Adim       A+&lt;br /&gt;
 A: I      Am: i     Awh: io    Awt: I+&lt;br /&gt;
 E--0----------0---------------------1--&lt;br /&gt;
 B--2----------1----------1----------2--&lt;br /&gt;
 G--2----------2----------2----------2--&lt;br /&gt;
 D--2----------2----------1----------3--&lt;br /&gt;
 A--0----------0----------0----------0--&lt;br /&gt;
 E--------------------------------------&lt;br /&gt;
&lt;br /&gt;
Note, we have not covered [[Exotic Scales|exotic scales]], such as the whole-half or whote-tone scales yet, which are referenced above as &amp;quot;Awh&amp;quot; and &amp;quot;Awt&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Why/When to Modulate? ==&lt;br /&gt;
Modulation can be used for a variety of purposes.  It is generally used as a means to add contrast to different sections or themes in a song.  The altered tonality adds to the change in harmonic progressions or melody.  It can highlight how much contrast between themes or sections there is depending on how related the chosen keys you modulate to/from.&lt;br /&gt;
&lt;br /&gt;
Just as an ascending melody can be used to build excitement, modulating keys higher and higher can be used the same way.  The frequency of modulations can also be used to indicate such - increasingly frequent modulations can make the piece sound a bit chaotic but also make things seem out-of-control with energy.  The same can be done descending as a calming method.  If the modulations follow an easily-identified pattern, such as in a rosalia, they will not sound chaotic but mellow - it allows repetition while still creating movement.&lt;br /&gt;
&lt;br /&gt;
Modulations can also be used to make a piece sound disjointed, similar to playing in scales with an ambiguous tonality.  Or they can allow the piece to use lots of harmonic and melodic repetition without becoming increasingly boring.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Homework ==&lt;br /&gt;
Choose a major key as your starting key.  List all possible major keys you can modulate to, and order them in terms of those closely related to those least-closely related.  Do the same for all possible natural minor and harmonic minor keys.  Choose another major key and repeat the exercise.&lt;br /&gt;
&lt;br /&gt;
Repeat the above for a natural minor key, then a harmonic minor key.&lt;br /&gt;
&lt;br /&gt;
Compose chord progressions for each modulation technique above.  Start with closely related, then loosely related, then distantly related destination keys.  Notice how some techniques work better for some modulations than others - in fact, some won't work at all.&lt;br /&gt;
&lt;br /&gt;
== Q &amp;amp; A ==&lt;br /&gt;
&lt;br /&gt;
== Related Lessons ==&lt;br /&gt;
* [[Circle of Fifths]]&lt;br /&gt;
* [[Non-Diatonic Chords]]&lt;br /&gt;
* [[Modes]]&lt;br /&gt;
* [[Exotic Scales]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
{{Advanced Lesson Crumbs|2}}&lt;br /&gt;
&lt;br /&gt;
[[Category:Guitar]]&lt;br /&gt;
[[Category:Lessons]]&lt;br /&gt;
[[Category:Advanced Lessons]]&lt;br /&gt;
[[Category:Modulation]]&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=Modulation&amp;diff=8765</id>
		<title>Modulation</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=Modulation&amp;diff=8765"/>
				<updated>2019-08-03T01:46:23Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: /* Common Modulations */&lt;/p&gt;
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&lt;div&gt;{{Top-Level Crumbs|1}}&lt;br /&gt;
{{Lesson Crumbs|3}}&lt;br /&gt;
{{Advanced Lesson Crumbs|2}}&lt;br /&gt;
&lt;br /&gt;
'''Modulation''' is a the practice of changing keys inside of a composition.  This can be done for a variety of reasons, but its basic purpose is to contrast or create tension against the current (and possibly even prior) key(s).  Typical modulations are found when themes or sections change.  They can also be used to seemingly add energy to a prior theme/section.  In terms of complete pieces, they help create structure and balance.&lt;br /&gt;
&lt;br /&gt;
== PreReqs ==&lt;br /&gt;
* [[Music Theory - Diatonic Chord Progressions]]&lt;br /&gt;
* [[Circle of Fifths]]&lt;br /&gt;
&lt;br /&gt;
== Notation ==&lt;br /&gt;
In terms of traditional musical notation or guitar-specific tablature, modulations aren't specifically notated.  The non-diatonic notes for a certain key simply appear.  For traditional notation, the key signature may change; however, this is typically reserved for the start of new section.  Rather, you'd see more {{s}}, {{b}}, and {{natural}} signs appear next to notes.  For guitar tab, there is no key signature - you would simply see notes used that were not used before that point in the song.  Knowing that there is a key modulation is not necessary for the performance of particular piece; it is only necessary for understanding it in terms of theory.&lt;br /&gt;
&lt;br /&gt;
In terms of harmonic analysis, modulations alter the roman numerals used to mark chords.  For example, while C is the I chord of C Major, it is the III chord of A Minor.  The key must be specified for this analysis to make sense, and sometimes there is overlap.  For instance you may see:&lt;br /&gt;
&lt;br /&gt;
 '''Chords     -'''     C    F    G    C    Em   Am   D    G&lt;br /&gt;
 '''Analysis 1 -'''  C: I    IV   V    I    iii  vi&lt;br /&gt;
 '''Analysis 2 -'''                      G: vi   ii   V    I&lt;br /&gt;
&lt;br /&gt;
You can see the &amp;quot;C:&amp;quot; and &amp;quot;G:&amp;quot; in the respective analysis lines indicating the key, with the following roman numerals outlining the member chord from that key.  In this case there is overlap, where we may interpret the Em and Am chords as belonging to either key.  In other cases where the point of modulation is unambiguous, you may see this condensed to a single line:&lt;br /&gt;
&lt;br /&gt;
 '''Chords   -'''     C      F      D      G&lt;br /&gt;
 '''Analysis -'''  C: I      IV  G: V      I&lt;br /&gt;
&lt;br /&gt;
When discussing modulations ''outside of notation'', we can use an arrow, such as &amp;quot;=&amp;gt;&amp;quot; or &amp;quot;-&amp;gt;&amp;quot; to indicate the modulation.  For example, &amp;quot;C -&amp;gt; Am&amp;quot; (C Major to A Minor) or &amp;quot;C =&amp;gt; G&amp;quot; (C Major to G Major).&lt;br /&gt;
&lt;br /&gt;
If we want to make such modulations generic to any key by using roman numerals, this can get a bit more tricky.  For example, if we want to discuss a modulation from a major key to a minor key whose tonic note is the 6th note of the major key, we could say &amp;quot;I -&amp;gt; vi&amp;quot;.  The uppercase &amp;quot;I&amp;quot; and lowercase &amp;quot;vi&amp;quot; indicate that the original key is major, but the new key is minor, and the &amp;quot;vi&amp;quot; also indicates the new key's tonic note is the 6th's note of the original major key.  But what if the tonic note of the new key is non-diatonic to the original key?  Then we have to use a {{b}} or {{s}} to indicate that.  So moving from C -&amp;gt; A{{b}}m could be generically written as &amp;quot;I -&amp;gt; {{b}}vi&amp;quot;.  Cm -&amp;gt; A would be written &amp;quot;i -&amp;gt; {{s}}VI&amp;quot; - the 6th note of C Minor is A{{b}}, but we sharp it to get A.&lt;br /&gt;
&lt;br /&gt;
We must use &amp;quot;I&amp;quot; or &amp;quot;i&amp;quot; to indicate the original key.  &amp;quot;IV -&amp;gt; V&amp;quot; makes no sense - we are moving from the 4th note of ''what'' key?  We are also bound to the common heptatonic major and natural minor scales.  If the source or destination keys use other scales, they must be written out fully - &amp;quot;A modulation from lydian to the harmonic minor key built on its 4th note&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
== Common Modulations ==&lt;br /&gt;
Modulations usually take place between highly-related keys (those with the most common notes).  See the table below.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
|&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| Key 2 Type&amp;lt;br&amp;gt;and number&amp;lt;br&amp;gt;of common&amp;lt;br&amp;gt;notes&lt;br /&gt;
|-&lt;br /&gt;
! Key 1 Type&lt;br /&gt;
! Key 2 Root's&amp;lt;br&amp;gt;relation to&amp;lt;br&amp;gt;Key 1 Root&lt;br /&gt;
! Major !! Minor !! Harmonic&amp;lt;br&amp;gt;Minor&lt;br /&gt;
|-&lt;br /&gt;
!rowspan=&amp;quot;13&amp;quot;| Major&lt;br /&gt;
|-&lt;br /&gt;
| '''U''' ||  || 4 || '''5'''&lt;br /&gt;
|-&lt;br /&gt;
| m2 || 2 || 3 || 3&lt;br /&gt;
|-&lt;br /&gt;
| '''M2''' || 5 || '''6''' || '''5'''&lt;br /&gt;
|-&lt;br /&gt;
| m3 || 4 || 2 || 3&lt;br /&gt;
|-&lt;br /&gt;
| '''M3''' || 3 || '''6''' || '''5'''&lt;br /&gt;
|-&lt;br /&gt;
| '''P4''' || '''6''' || 3 || 3&lt;br /&gt;
|-&lt;br /&gt;
| tt || 2 || 4 || 4&lt;br /&gt;
|-&lt;br /&gt;
| '''P5''' || '''6''' || 5 || 3&lt;br /&gt;
|-&lt;br /&gt;
| m6 || 3 || 2 || 3&lt;br /&gt;
|-&lt;br /&gt;
| '''M6''' || 4 || '''7''' || '''6'''&lt;br /&gt;
|-&lt;br /&gt;
| m7 || 5 || 2 || 4&lt;br /&gt;
|-&lt;br /&gt;
| '''M7''' || 2 || 5 || 4&lt;br /&gt;
|}&lt;br /&gt;
|&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| Key 2 Type&amp;lt;br&amp;gt;and number&amp;lt;br&amp;gt;of common&amp;lt;br&amp;gt;notes&lt;br /&gt;
|-&lt;br /&gt;
! Key 1 Type&lt;br /&gt;
! Key 2 Root's&amp;lt;br&amp;gt;relation to&amp;lt;br&amp;gt;Key 1 Root&lt;br /&gt;
! Major !! Minor !! Harmonic&amp;lt;br&amp;gt;Minor&lt;br /&gt;
|-&lt;br /&gt;
!rowspan=&amp;quot;13&amp;quot;| Minor&lt;br /&gt;
|-&lt;br /&gt;
| '''U'''  || 4 ||   || '''6'''&lt;br /&gt;
|-                &lt;br /&gt;
| m2 || 5 || 2 || 4&lt;br /&gt;
|-                &lt;br /&gt;
| '''M2''' || 2 || 5 || 4&lt;br /&gt;
|-&lt;br /&gt;
| '''m3''' || '''7''' || 4 || '''5'''&lt;br /&gt;
|-                &lt;br /&gt;
| M3 || 2 || 3 || 3&lt;br /&gt;
|-                &lt;br /&gt;
| '''P4''' || 5 || '''6''' || '''5'''&lt;br /&gt;
|-                &lt;br /&gt;
| tt || 4 || 2 || 3&lt;br /&gt;
|-                &lt;br /&gt;
| '''P5''' || 3 || '''6''' || '''5'''&lt;br /&gt;
|-                &lt;br /&gt;
| '''m6''' || '''6''' || 3 || 3&lt;br /&gt;
|-                &lt;br /&gt;
| M6 || 2 || 4 || 4&lt;br /&gt;
|-                &lt;br /&gt;
| '''m7''' || '''6''' || 5 || 3&lt;br /&gt;
|-                &lt;br /&gt;
| M7 || 3 || 2 || 3&lt;br /&gt;
|}&lt;br /&gt;
|&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| Key 2 Type&amp;lt;br&amp;gt;and number&amp;lt;br&amp;gt;of common&amp;lt;br&amp;gt;notes&lt;br /&gt;
|-&lt;br /&gt;
! Key 1 Type&lt;br /&gt;
! Key 2 Root's&amp;lt;br&amp;gt;relation to&amp;lt;br&amp;gt;Key 1 Root&lt;br /&gt;
! Major !! Minor !! Harmonic&amp;lt;br&amp;gt;Minor&lt;br /&gt;
|-&lt;br /&gt;
!rowspan=&amp;quot;13&amp;quot;| Harmonic Minor&lt;br /&gt;
|-&lt;br /&gt;
| '''U''' || 4 || '''6''' ||  &lt;br /&gt;
|-&lt;br /&gt;
| m2 || 4 || 3 || 3&lt;br /&gt;
|-&lt;br /&gt;
| '''M2''' || 4 || 3 || 3&lt;br /&gt;
|-&lt;br /&gt;
| '''m3''' || '''6''' || 4 || 4&lt;br /&gt;
|-&lt;br /&gt;
| M3 || 3 || 3 || 4&lt;br /&gt;
|-&lt;br /&gt;
| '''P4''' || 3 || '''5''' || 4&lt;br /&gt;
|-&lt;br /&gt;
| tt || 4 || 3 || 4&lt;br /&gt;
|-&lt;br /&gt;
| '''P5''' || 3 || '''5''' || 4&lt;br /&gt;
|-&lt;br /&gt;
| '''m6''' || '''5''' || 3 || 4&lt;br /&gt;
|-&lt;br /&gt;
| M6 || 3 || 4 || 4&lt;br /&gt;
|-&lt;br /&gt;
| m7 || '''5''' || 4 || 3&lt;br /&gt;
|-&lt;br /&gt;
| '''M7''' || 3 || 3 || 3&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
This means the most highly-related keys are the relative major/minor keys, which have the exact same set of notes but different roots (C Major and A Minor).  For any major key, the most related major keys are those whose root is the 4th or 5th note of the original key.  The most related minor keys (other than the relative minor) are those based on the 2nd and 3nd notes in the major key.  Similarly, for a minor key, its most related minor keys are based on its 4th and 5th notes, while its most related major keys are based on the 6th and 7th notes (inverse of 2nd and 3rd).&lt;br /&gt;
&lt;br /&gt;
Harmonic minor's raised 7th causes it to be less related to other keys of all variations covered above; however, it basically shares the same relationships to major and minor keys as its natural minor variation.  The most related major keys are based on the 6th and {{f}}7th notes.  The most related minor keys are based on the 4th and 5th.  Interestingly, almost all modulations to other harmonic minor keys are equally inter-related.&lt;br /&gt;
&lt;br /&gt;
=== Examples ===&lt;br /&gt;
* '''I -&amp;gt; IV''' - (C -&amp;gt; F, F -&amp;gt; Bb, G -&amp;gt; C)&lt;br /&gt;
* '''I -&amp;gt; V''' - (G -&amp;gt; D, C -&amp;gt; G, A -&amp;gt; E)&lt;br /&gt;
* '''i -&amp;gt; III''' - (Am -&amp;gt; C, Em -&amp;gt; G, B{{f}}m -&amp;gt; D)&lt;br /&gt;
* '''i -&amp;gt; {{s}}iv''' - (Ahm -&amp;gt; D{{s}}hm)&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Modulation Methods ==&lt;br /&gt;
=== Common Chord ===&lt;br /&gt;
Uses a chord  that is diatonic to both the source and destination keys to transition between them.  In the below example, we modulate from C to G using 2 common chords.&lt;br /&gt;
&lt;br /&gt;
    C    F    G    C    Em   Am   D/A  G&lt;br /&gt;
 C: I    IV   V    I    iii  vi&lt;br /&gt;
                     G: vi   ii   V/ii I&lt;br /&gt;
 E--0----1----3----0----0----0----2----3--&lt;br /&gt;
 B--1----1----3----1----0----1----3----3--&lt;br /&gt;
 G--0----2----0----0----0----2----2----0--&lt;br /&gt;
 D--2----3----0----2----2----2----0----0--&lt;br /&gt;
 A--3----3----2----3----2----0----0----2--&lt;br /&gt;
 E-------1----3---------0--------------3--&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== Enharmonic Chord ====&lt;br /&gt;
Even if two keys do not have the same chords in way of naming conventions, they may have chords that are enharmonically equivalent.  For example, the keys of C{{s}} and C{{f}} have no chords in common by name.  C{{s}} has only {{s}} chords and C{{f}} has only {{f}} chords.  Yet, E{{f}}m and D{{s}}m are enharmonic, as are G{{b}} and F{{s}}.&lt;br /&gt;
&lt;br /&gt;
     C#   D#m  G#   Cb   D#m&lt;br /&gt;
                         Ebm  Fb   Gb   Cb&lt;br /&gt;
 C#: I    ii   V    I    ii&lt;br /&gt;
                     Cb: iii  IV   V    I&lt;br /&gt;
 E---4----6----4----4----6----0----2----2--&lt;br /&gt;
 B---6----7----4----6----7----0----2----4--&lt;br /&gt;
 G---6----8----5----6----8----1----3----4--&lt;br /&gt;
 D---6----8----6----6----8----2----4----4--&lt;br /&gt;
 A---4----6----6----4----6----2----4----2--&lt;br /&gt;
 E-------------4--------------0----2-------&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Common Tone ===&lt;br /&gt;
A note common to the source and destination key is sustained during the transition.  For example, a C -&amp;gt; E modulation could sustain the E in the I chord of C while moving to the IV chord of E, which also contains E.&lt;br /&gt;
&lt;br /&gt;
    C    F    G    C         A    B7   E&lt;br /&gt;
 C: I    IV   V    I      E: IV   V7   I&lt;br /&gt;
 E--0----1----3----0----0----0----2----0--&lt;br /&gt;
 B--1----1----3----1---(x)---2----0----0--&lt;br /&gt;
 G--0----2----0----0---(x)---2----2----1--&lt;br /&gt;
 D--2----3----0----2---(x)---2----1----2--&lt;br /&gt;
 A--3----3----2----3---(x)---0----2----2--&lt;br /&gt;
 E-------1----3------------------------0--&lt;br /&gt;
&lt;br /&gt;
Unlike the common chord examples, we move directly between chords that are not diatonic to both keys - C Major does not contain the A chord, and E Major lacks the C chord.  Yet the common E note between them bridges the gap particularly well, without creating a stark contrast between keys.&lt;br /&gt;
&lt;br /&gt;
While this example has somewhat-related keys, this modulation method can link virtually any two keys, as it's basically guaranteed that any two keys will share at least one common note.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Chromatic ===&lt;br /&gt;
Useful for modulating between two keys that are not closely related, chromatic modulation uses a chromatic line to bridge the keys.  In other words, for the chords chosen, one voice can move up or down 2 or more half-steps.  This necessarily implies the transition will occur over at least 3 chords.  For the strongest effect, the chromatic line should lead into the root of the new key.  &lt;br /&gt;
&lt;br /&gt;
For example, consider a modulation from C Major to A Harmonic Minor.  C Major has a G note, while A Harmonic Minor has G{{s}} and A.  This allows us to create a G - G{{s}} - A chromatic line through the following progression:  G - E - A.  That's (''G'' B D) - (E ''G{{s}}'' B) - (''A'' C E).  If we follow good [[Voice Leading|voice leading]], we can keep the G, G{{s}}, and A notes in the same voice, thus getting the chromatic line.  G is the V chord of C Major.  E is the V chord of A Harmonic Minor.  The progression could be written as:&lt;br /&gt;
&lt;br /&gt;
    C    F    G    E    Am        C    F    G    E    Am&lt;br /&gt;
 C: I    IV   V                C: I    IV   V &lt;br /&gt;
              Ahm: V    i                   Ahm: V    i&lt;br /&gt;
 E--0----1----3----0----0--    E-------------------------&lt;br /&gt;
 B--1----1----0----0----1--    B-------------------------&lt;br /&gt;
 G--0----2--**0----1----2**    G--0----2--**0----1----2**&lt;br /&gt;
 D--2----3----0----2----2--    D--2----3----0----2----2--&lt;br /&gt;
 A--3----3----2----2----0--    A--3----3----2----2----0--&lt;br /&gt;
 E-------1----3----0-------    E-------1----3----0-------&lt;br /&gt;
&lt;br /&gt;
&amp;lt;small&amp;gt;''Notice the chromatic line on the G string.''&amp;lt;/small&amp;gt;&lt;br /&gt;
&lt;br /&gt;
Here's another example, modulating from C to G, using a chromatic run on the high E string.  Notice how seamless this sounds, especially with the chromatic line as the highest-pitched voice (soprano).&lt;br /&gt;
&lt;br /&gt;
      C    F    D    G&lt;br /&gt;
   C: I    IV   &lt;br /&gt;
             G: V    I&lt;br /&gt;
 E--**0----1----2----3**&lt;br /&gt;
 B----1----1----3----3--&lt;br /&gt;
 G----0----2----2----0--&lt;br /&gt;
 D----2----3----0----0--&lt;br /&gt;
 A----3--------------2--&lt;br /&gt;
 E-------------------3--&lt;br /&gt;
&lt;br /&gt;
Depending on the keys used, it may be more difficult to achieve the chromatic line with only the diatonic chords of the two keys.  In these cases, we can resort to using a [[Borrowing Chords/Notes#Secondary Dominant|secondary dominant]] or some other non-diatonic chord.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Phrase ===&lt;br /&gt;
A phrase modulation avoids any transition whatsoever, occurring abruptly between two virtually independent phrases.  The first phrase in the original key will end on a cadence, finding resolution and ending.  The next phrase begins in the new key, with no harmonic or melodic bridge to ease the transition.  This modulation is commonly between closely-related keys, preventing a completely disjointed feel.  However, the transition is typically quite noticeable, which is the point of this modulation method.&lt;br /&gt;
&lt;br /&gt;
    A           E    A       D              Em&lt;br /&gt;
  A:I           V    I     D:I              ii&lt;br /&gt;
 E-------------------------|-------------------&lt;br /&gt;
 B-------------------------|-------------------&lt;br /&gt;
 G-------------------------|-------2--0--------&lt;br /&gt;
 D-----------0--2----------|-0-----------4--2--&lt;br /&gt;
 A--0--2--4----------0-----|-------------------&lt;br /&gt;
 E-------------------------|-------------------&lt;br /&gt;
    A  B  C# D  E    A       D     A  G  F# E&lt;br /&gt;
&lt;br /&gt;
Notice how we end the key of A with a strong authentic cadence; but immediately use a phrase with G instead of G{{s}}, to differentiate between the keys of A and D Major.  We also use an E in the first measure, but Em in the second.  This emphasizes the modulation, with separation between phrases, even though the 2 keys share 6 of their 7 notes.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Sequential/Rosalia ===&lt;br /&gt;
A phrase or progression ending in a cadence can be transposed up or down to a different key and repeated, once or several times.  Here the harmonic function of the sequence of chords is less important than the effect of the sequential motion.  The transpositions may follow the diatonic notes of the original key, or may move completely chromatically.  The sequence can repeat enough times to return to the original key, or be used to arrive at a new key.&lt;br /&gt;
&lt;br /&gt;
For example, consider the following progression: &lt;br /&gt;
&lt;br /&gt;
     Cm       Bb          Bbm      Ab          Abm      Gb     Ebm   Abm&lt;br /&gt;
 Cm: i        VII    Bbm: i        VII   Abm:  i        VII    v     i&lt;br /&gt;
 E---8--11-10-6-----------6--9--8--4-----------4--7--6--2---------2--4--&lt;br /&gt;
 B-------------------------------------------------------------4--------&lt;br /&gt;
 G----------------------------------------------------------------------&lt;br /&gt;
 D----------------------------------------------------------------------&lt;br /&gt;
 A----------------------------------------------------------------------&lt;br /&gt;
 E----------------------------------------------------------------------&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Chain ===&lt;br /&gt;
Chain Modulation uses multiple modulations to bridge two distantly related keys.  Unlike a rosalia above, a chain modulation is not confined to repeating a sequence - each modulation in the chain can have independent durations, melodies, harmonic progressions, etc.&lt;br /&gt;
&lt;br /&gt;
For example, consider a modulation from C Major to E Major.  These keys only share 3 notes in common, and are separated on the circle of fifths by 4 movements.  They share no diatonic chords.  Instead of trying to modulate directly between them, we can use a chain modulation.  We could follow the circle of fifths, going major to major key until we reach E (C -&amp;gt; G -&amp;gt; D -&amp;gt; A -&amp;gt; E).  Or we could shorten that by jumping every other 5th (C -&amp;gt; D -&amp;gt; E).  C Major and D Major share the diatonic G Major chord.  D Major and E Major share the diatonic A Major chord.  This allows two common chord modulations to easily get from C Major to E Major without any disruptive transitions.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Parallel Key ===&lt;br /&gt;
Parallel keys have the same root but different whole-half step patterns.  For example, C Major and C Minor are parallel keys.  Knowledge of [[Modes|modes]] offer us more parallel keys.  Modulation between parallel keys is typically not as closely related as usual.  For example, major/minor parallel keys only share 4 notes.  However, because they retain the same tonal center, the change is not disruptive.&lt;br /&gt;
&lt;br /&gt;
[[Modes#Pitch Axis Theory|Pitch Axis Theory]] (also see [http://en.wikipedia.org/wiki/Pitch_axis_theory Wikipedia]) is an extreme example of this.  It uses chord progressions that all feature a common note - often this note is the root of every chord in the progression.  The underlying chords are not diatonic to any one key.  Instead, the scale used for melody/lead will change to conform with each chord.&lt;br /&gt;
&lt;br /&gt;
    A          Am         Adim       A+&lt;br /&gt;
 A: I      Am: i     Awh: io    Awt: I+&lt;br /&gt;
 E--0----------0---------------------1--&lt;br /&gt;
 B--2----------1----------1----------2--&lt;br /&gt;
 G--2----------2----------2----------2--&lt;br /&gt;
 D--2----------2----------1----------3--&lt;br /&gt;
 A--0----------0----------0----------0--&lt;br /&gt;
 E--------------------------------------&lt;br /&gt;
&lt;br /&gt;
Note, we have not covered [[Exotic Scales|exotic scales]], such as the whole-half or whote-tone scales yet, which are referenced above as &amp;quot;Awh&amp;quot; and &amp;quot;Awt&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Why/When to Modulate? ==&lt;br /&gt;
Modulation can be used for a variety of purposes.  It is generally used as a means to add contrast to different sections or themes in a song.  The altered tonality adds to the change in harmonic progressions or melody.  It can highlight how much contrast between themes or sections there is depending on how related the chosen keys you modulate to/from.&lt;br /&gt;
&lt;br /&gt;
Just as an ascending melody can be used to build excitement, modulating keys higher and higher can be used the same way.  The frequency of modulations can also be used to indicate such - increasingly frequent modulations can make the piece sound a bit chaotic but also make things seem out-of-control with energy.  The same can be done descending as a calming method.  If the modulations follow an easily-identified pattern, such as in a rosalia, they will not sound chaotic but mellow - it allows repetition while still creating movement.&lt;br /&gt;
&lt;br /&gt;
Modulations can also be used to make a piece sound disjointed, similar to playing in scales with an ambiguous tonality.  Or they can allow the piece to use lots of harmonic and melodic repetition without becoming increasingly boring.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Homework ==&lt;br /&gt;
Choose a major key as your starting key.  List all possible major keys you can modulate to, and order them in terms of those closely related to those least-closely related.  Do the same for all possible natural minor and harmonic minor keys.  Choose another major key and repeat the exercise.&lt;br /&gt;
&lt;br /&gt;
Repeat the above for a natural minor key, then a harmonic minor key.&lt;br /&gt;
&lt;br /&gt;
Compose chord progressions for each modulation technique above.  Start with closely related, then loosely related, then distantly related destination keys.  Notice how some techniques work better for some modulations than others - in fact, some won't work at all.&lt;br /&gt;
&lt;br /&gt;
== Q &amp;amp; A ==&lt;br /&gt;
&lt;br /&gt;
== Related Lessons ==&lt;br /&gt;
* [[Circle of Fifths]]&lt;br /&gt;
* [[Non-Diatonic Chords]]&lt;br /&gt;
* [[Modes]]&lt;br /&gt;
* [[Exotic Scales]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
{{Advanced Lesson Crumbs|2}}&lt;br /&gt;
&lt;br /&gt;
[[Category:Guitar]]&lt;br /&gt;
[[Category:Lessons]]&lt;br /&gt;
[[Category:Advanced Lessons]]&lt;br /&gt;
[[Category:Modulation]]&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=Modulation&amp;diff=8764</id>
		<title>Modulation</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=Modulation&amp;diff=8764"/>
				<updated>2019-08-03T01:46:04Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: /* Common Modulations */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{Top-Level Crumbs|1}}&lt;br /&gt;
{{Lesson Crumbs|3}}&lt;br /&gt;
{{Advanced Lesson Crumbs|2}}&lt;br /&gt;
&lt;br /&gt;
'''Modulation''' is a the practice of changing keys inside of a composition.  This can be done for a variety of reasons, but its basic purpose is to contrast or create tension against the current (and possibly even prior) key(s).  Typical modulations are found when themes or sections change.  They can also be used to seemingly add energy to a prior theme/section.  In terms of complete pieces, they help create structure and balance.&lt;br /&gt;
&lt;br /&gt;
== PreReqs ==&lt;br /&gt;
* [[Music Theory - Diatonic Chord Progressions]]&lt;br /&gt;
* [[Circle of Fifths]]&lt;br /&gt;
&lt;br /&gt;
== Notation ==&lt;br /&gt;
In terms of traditional musical notation or guitar-specific tablature, modulations aren't specifically notated.  The non-diatonic notes for a certain key simply appear.  For traditional notation, the key signature may change; however, this is typically reserved for the start of new section.  Rather, you'd see more {{s}}, {{b}}, and {{natural}} signs appear next to notes.  For guitar tab, there is no key signature - you would simply see notes used that were not used before that point in the song.  Knowing that there is a key modulation is not necessary for the performance of particular piece; it is only necessary for understanding it in terms of theory.&lt;br /&gt;
&lt;br /&gt;
In terms of harmonic analysis, modulations alter the roman numerals used to mark chords.  For example, while C is the I chord of C Major, it is the III chord of A Minor.  The key must be specified for this analysis to make sense, and sometimes there is overlap.  For instance you may see:&lt;br /&gt;
&lt;br /&gt;
 '''Chords     -'''     C    F    G    C    Em   Am   D    G&lt;br /&gt;
 '''Analysis 1 -'''  C: I    IV   V    I    iii  vi&lt;br /&gt;
 '''Analysis 2 -'''                      G: vi   ii   V    I&lt;br /&gt;
&lt;br /&gt;
You can see the &amp;quot;C:&amp;quot; and &amp;quot;G:&amp;quot; in the respective analysis lines indicating the key, with the following roman numerals outlining the member chord from that key.  In this case there is overlap, where we may interpret the Em and Am chords as belonging to either key.  In other cases where the point of modulation is unambiguous, you may see this condensed to a single line:&lt;br /&gt;
&lt;br /&gt;
 '''Chords   -'''     C      F      D      G&lt;br /&gt;
 '''Analysis -'''  C: I      IV  G: V      I&lt;br /&gt;
&lt;br /&gt;
When discussing modulations ''outside of notation'', we can use an arrow, such as &amp;quot;=&amp;gt;&amp;quot; or &amp;quot;-&amp;gt;&amp;quot; to indicate the modulation.  For example, &amp;quot;C -&amp;gt; Am&amp;quot; (C Major to A Minor) or &amp;quot;C =&amp;gt; G&amp;quot; (C Major to G Major).&lt;br /&gt;
&lt;br /&gt;
If we want to make such modulations generic to any key by using roman numerals, this can get a bit more tricky.  For example, if we want to discuss a modulation from a major key to a minor key whose tonic note is the 6th note of the major key, we could say &amp;quot;I -&amp;gt; vi&amp;quot;.  The uppercase &amp;quot;I&amp;quot; and lowercase &amp;quot;vi&amp;quot; indicate that the original key is major, but the new key is minor, and the &amp;quot;vi&amp;quot; also indicates the new key's tonic note is the 6th's note of the original major key.  But what if the tonic note of the new key is non-diatonic to the original key?  Then we have to use a {{b}} or {{s}} to indicate that.  So moving from C -&amp;gt; A{{b}}m could be generically written as &amp;quot;I -&amp;gt; {{b}}vi&amp;quot;.  Cm -&amp;gt; A would be written &amp;quot;i -&amp;gt; {{s}}VI&amp;quot; - the 6th note of C Minor is A{{b}}, but we sharp it to get A.&lt;br /&gt;
&lt;br /&gt;
We must use &amp;quot;I&amp;quot; or &amp;quot;i&amp;quot; to indicate the original key.  &amp;quot;IV -&amp;gt; V&amp;quot; makes no sense - we are moving from the 4th note of ''what'' key?  We are also bound to the common heptatonic major and natural minor scales.  If the source or destination keys use other scales, they must be written out fully - &amp;quot;A modulation from lydian to the harmonic minor key built on its 4th note&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
== Common Modulations ==&lt;br /&gt;
Modulations usually take place between highly-related keys (those with the most common notes).  See the table below.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| Key 2 Type&amp;lt;br&amp;gt;and number&amp;lt;br&amp;gt;of common&amp;lt;br&amp;gt;notes&lt;br /&gt;
|-&lt;br /&gt;
! Key 1 Type&lt;br /&gt;
! Key 2 Root's&amp;lt;br&amp;gt;relation to&amp;lt;br&amp;gt;Key 1 Root&lt;br /&gt;
! Major !! Minor !! Harmonic&amp;lt;br&amp;gt;Minor&lt;br /&gt;
|-&lt;br /&gt;
!rowspan=&amp;quot;13&amp;quot;| Major&lt;br /&gt;
|-&lt;br /&gt;
| '''U''' ||  || 4 || '''5'''&lt;br /&gt;
|-&lt;br /&gt;
| m2 || 2 || 3 || 3&lt;br /&gt;
|-&lt;br /&gt;
| '''M2''' || 5 || '''6''' || '''5'''&lt;br /&gt;
|-&lt;br /&gt;
| m3 || 4 || 2 || 3&lt;br /&gt;
|-&lt;br /&gt;
| '''M3''' || 3 || '''6''' || '''5'''&lt;br /&gt;
|-&lt;br /&gt;
| '''P4''' || '''6''' || 3 || 3&lt;br /&gt;
|-&lt;br /&gt;
| tt || 2 || 4 || 4&lt;br /&gt;
|-&lt;br /&gt;
| '''P5''' || '''6''' || 5 || 3&lt;br /&gt;
|-&lt;br /&gt;
| m6 || 3 || 2 || 3&lt;br /&gt;
|-&lt;br /&gt;
| '''M6''' || 4 || '''7''' || '''6'''&lt;br /&gt;
|-&lt;br /&gt;
| m7 || 5 || 2 || 4&lt;br /&gt;
|-&lt;br /&gt;
| '''M7''' || 2 || 5 || 4&lt;br /&gt;
|}&lt;br /&gt;
|&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| Key 2 Type&amp;lt;br&amp;gt;and number&amp;lt;br&amp;gt;of common&amp;lt;br&amp;gt;notes&lt;br /&gt;
|-&lt;br /&gt;
! Key 1 Type&lt;br /&gt;
! Key 2 Root's&amp;lt;br&amp;gt;relation to&amp;lt;br&amp;gt;Key 1 Root&lt;br /&gt;
! Major !! Minor !! Harmonic&amp;lt;br&amp;gt;Minor&lt;br /&gt;
|-&lt;br /&gt;
!rowspan=&amp;quot;13&amp;quot;| Minor&lt;br /&gt;
|-&lt;br /&gt;
| '''U'''  || 4 ||   || '''6'''&lt;br /&gt;
|-                &lt;br /&gt;
| m2 || 5 || 2 || 4&lt;br /&gt;
|-                &lt;br /&gt;
| '''M2''' || 2 || 5 || 4&lt;br /&gt;
|-&lt;br /&gt;
| '''m3''' || '''7''' || 4 || '''5'''&lt;br /&gt;
|-                &lt;br /&gt;
| M3 || 2 || 3 || 3&lt;br /&gt;
|-                &lt;br /&gt;
| '''P4''' || 5 || '''6''' || '''5'''&lt;br /&gt;
|-                &lt;br /&gt;
| tt || 4 || 2 || 3&lt;br /&gt;
|-                &lt;br /&gt;
| '''P5''' || 3 || '''6''' || '''5'''&lt;br /&gt;
|-                &lt;br /&gt;
| '''m6''' || '''6''' || 3 || 3&lt;br /&gt;
|-                &lt;br /&gt;
| M6 || 2 || 4 || 4&lt;br /&gt;
|-                &lt;br /&gt;
| '''m7''' || '''6''' || 5 || 3&lt;br /&gt;
|-                &lt;br /&gt;
| M7 || 3 || 2 || 3&lt;br /&gt;
|}&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| Key 2 Type&amp;lt;br&amp;gt;and number&amp;lt;br&amp;gt;of common&amp;lt;br&amp;gt;notes&lt;br /&gt;
|-&lt;br /&gt;
! Key 1 Type&lt;br /&gt;
! Key 2 Root's&amp;lt;br&amp;gt;relation to&amp;lt;br&amp;gt;Key 1 Root&lt;br /&gt;
! Major !! Minor !! Harmonic&amp;lt;br&amp;gt;Minor&lt;br /&gt;
|-&lt;br /&gt;
!rowspan=&amp;quot;13&amp;quot;| Harmonic Minor&lt;br /&gt;
|-&lt;br /&gt;
| '''U''' || 4 || '''6''' ||  &lt;br /&gt;
|-&lt;br /&gt;
| m2 || 4 || 3 || 3&lt;br /&gt;
|-&lt;br /&gt;
| '''M2''' || 4 || 3 || 3&lt;br /&gt;
|-&lt;br /&gt;
| '''m3''' || '''6''' || 4 || 4&lt;br /&gt;
|-&lt;br /&gt;
| M3 || 3 || 3 || 4&lt;br /&gt;
|-&lt;br /&gt;
| '''P4''' || 3 || '''5''' || 4&lt;br /&gt;
|-&lt;br /&gt;
| tt || 4 || 3 || 4&lt;br /&gt;
|-&lt;br /&gt;
| '''P5''' || 3 || '''5''' || 4&lt;br /&gt;
|-&lt;br /&gt;
| '''m6''' || '''5''' || 3 || 4&lt;br /&gt;
|-&lt;br /&gt;
| M6 || 3 || 4 || 4&lt;br /&gt;
|-&lt;br /&gt;
| m7 || '''5''' || 4 || 3&lt;br /&gt;
|-&lt;br /&gt;
| '''M7''' || 3 || 3 || 3&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
This means the most highly-related keys are the relative major/minor keys, which have the exact same set of notes but different roots (C Major and A Minor).  For any major key, the most related major keys are those whose root is the 4th or 5th note of the original key.  The most related minor keys (other than the relative minor) are those based on the 2nd and 3nd notes in the major key.  Similarly, for a minor key, its most related minor keys are based on its 4th and 5th notes, while its most related major keys are based on the 6th and 7th notes (inverse of 2nd and 3rd).&lt;br /&gt;
&lt;br /&gt;
Harmonic minor's raised 7th causes it to be less related to other keys of all variations covered above; however, it basically shares the same relationships to major and minor keys as its natural minor variation.  The most related major keys are based on the 6th and {{f}}7th notes.  The most related minor keys are based on the 4th and 5th.  Interestingly, almost all modulations to other harmonic minor keys are equally inter-related.&lt;br /&gt;
&lt;br /&gt;
=== Examples ===&lt;br /&gt;
* '''I -&amp;gt; IV''' - (C -&amp;gt; F, F -&amp;gt; Bb, G -&amp;gt; C)&lt;br /&gt;
* '''I -&amp;gt; V''' - (G -&amp;gt; D, C -&amp;gt; G, A -&amp;gt; E)&lt;br /&gt;
* '''i -&amp;gt; III''' - (Am -&amp;gt; C, Em -&amp;gt; G, B{{f}}m -&amp;gt; D)&lt;br /&gt;
* '''i -&amp;gt; {{s}}iv''' - (Ahm -&amp;gt; D{{s}}hm)&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Modulation Methods ==&lt;br /&gt;
=== Common Chord ===&lt;br /&gt;
Uses a chord  that is diatonic to both the source and destination keys to transition between them.  In the below example, we modulate from C to G using 2 common chords.&lt;br /&gt;
&lt;br /&gt;
    C    F    G    C    Em   Am   D/A  G&lt;br /&gt;
 C: I    IV   V    I    iii  vi&lt;br /&gt;
                     G: vi   ii   V/ii I&lt;br /&gt;
 E--0----1----3----0----0----0----2----3--&lt;br /&gt;
 B--1----1----3----1----0----1----3----3--&lt;br /&gt;
 G--0----2----0----0----0----2----2----0--&lt;br /&gt;
 D--2----3----0----2----2----2----0----0--&lt;br /&gt;
 A--3----3----2----3----2----0----0----2--&lt;br /&gt;
 E-------1----3---------0--------------3--&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== Enharmonic Chord ====&lt;br /&gt;
Even if two keys do not have the same chords in way of naming conventions, they may have chords that are enharmonically equivalent.  For example, the keys of C{{s}} and C{{f}} have no chords in common by name.  C{{s}} has only {{s}} chords and C{{f}} has only {{f}} chords.  Yet, E{{f}}m and D{{s}}m are enharmonic, as are G{{b}} and F{{s}}.&lt;br /&gt;
&lt;br /&gt;
     C#   D#m  G#   Cb   D#m&lt;br /&gt;
                         Ebm  Fb   Gb   Cb&lt;br /&gt;
 C#: I    ii   V    I    ii&lt;br /&gt;
                     Cb: iii  IV   V    I&lt;br /&gt;
 E---4----6----4----4----6----0----2----2--&lt;br /&gt;
 B---6----7----4----6----7----0----2----4--&lt;br /&gt;
 G---6----8----5----6----8----1----3----4--&lt;br /&gt;
 D---6----8----6----6----8----2----4----4--&lt;br /&gt;
 A---4----6----6----4----6----2----4----2--&lt;br /&gt;
 E-------------4--------------0----2-------&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Common Tone ===&lt;br /&gt;
A note common to the source and destination key is sustained during the transition.  For example, a C -&amp;gt; E modulation could sustain the E in the I chord of C while moving to the IV chord of E, which also contains E.&lt;br /&gt;
&lt;br /&gt;
    C    F    G    C         A    B7   E&lt;br /&gt;
 C: I    IV   V    I      E: IV   V7   I&lt;br /&gt;
 E--0----1----3----0----0----0----2----0--&lt;br /&gt;
 B--1----1----3----1---(x)---2----0----0--&lt;br /&gt;
 G--0----2----0----0---(x)---2----2----1--&lt;br /&gt;
 D--2----3----0----2---(x)---2----1----2--&lt;br /&gt;
 A--3----3----2----3---(x)---0----2----2--&lt;br /&gt;
 E-------1----3------------------------0--&lt;br /&gt;
&lt;br /&gt;
Unlike the common chord examples, we move directly between chords that are not diatonic to both keys - C Major does not contain the A chord, and E Major lacks the C chord.  Yet the common E note between them bridges the gap particularly well, without creating a stark contrast between keys.&lt;br /&gt;
&lt;br /&gt;
While this example has somewhat-related keys, this modulation method can link virtually any two keys, as it's basically guaranteed that any two keys will share at least one common note.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Chromatic ===&lt;br /&gt;
Useful for modulating between two keys that are not closely related, chromatic modulation uses a chromatic line to bridge the keys.  In other words, for the chords chosen, one voice can move up or down 2 or more half-steps.  This necessarily implies the transition will occur over at least 3 chords.  For the strongest effect, the chromatic line should lead into the root of the new key.  &lt;br /&gt;
&lt;br /&gt;
For example, consider a modulation from C Major to A Harmonic Minor.  C Major has a G note, while A Harmonic Minor has G{{s}} and A.  This allows us to create a G - G{{s}} - A chromatic line through the following progression:  G - E - A.  That's (''G'' B D) - (E ''G{{s}}'' B) - (''A'' C E).  If we follow good [[Voice Leading|voice leading]], we can keep the G, G{{s}}, and A notes in the same voice, thus getting the chromatic line.  G is the V chord of C Major.  E is the V chord of A Harmonic Minor.  The progression could be written as:&lt;br /&gt;
&lt;br /&gt;
    C    F    G    E    Am        C    F    G    E    Am&lt;br /&gt;
 C: I    IV   V                C: I    IV   V &lt;br /&gt;
              Ahm: V    i                   Ahm: V    i&lt;br /&gt;
 E--0----1----3----0----0--    E-------------------------&lt;br /&gt;
 B--1----1----0----0----1--    B-------------------------&lt;br /&gt;
 G--0----2--**0----1----2**    G--0----2--**0----1----2**&lt;br /&gt;
 D--2----3----0----2----2--    D--2----3----0----2----2--&lt;br /&gt;
 A--3----3----2----2----0--    A--3----3----2----2----0--&lt;br /&gt;
 E-------1----3----0-------    E-------1----3----0-------&lt;br /&gt;
&lt;br /&gt;
&amp;lt;small&amp;gt;''Notice the chromatic line on the G string.''&amp;lt;/small&amp;gt;&lt;br /&gt;
&lt;br /&gt;
Here's another example, modulating from C to G, using a chromatic run on the high E string.  Notice how seamless this sounds, especially with the chromatic line as the highest-pitched voice (soprano).&lt;br /&gt;
&lt;br /&gt;
      C    F    D    G&lt;br /&gt;
   C: I    IV   &lt;br /&gt;
             G: V    I&lt;br /&gt;
 E--**0----1----2----3**&lt;br /&gt;
 B----1----1----3----3--&lt;br /&gt;
 G----0----2----2----0--&lt;br /&gt;
 D----2----3----0----0--&lt;br /&gt;
 A----3--------------2--&lt;br /&gt;
 E-------------------3--&lt;br /&gt;
&lt;br /&gt;
Depending on the keys used, it may be more difficult to achieve the chromatic line with only the diatonic chords of the two keys.  In these cases, we can resort to using a [[Borrowing Chords/Notes#Secondary Dominant|secondary dominant]] or some other non-diatonic chord.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Phrase ===&lt;br /&gt;
A phrase modulation avoids any transition whatsoever, occurring abruptly between two virtually independent phrases.  The first phrase in the original key will end on a cadence, finding resolution and ending.  The next phrase begins in the new key, with no harmonic or melodic bridge to ease the transition.  This modulation is commonly between closely-related keys, preventing a completely disjointed feel.  However, the transition is typically quite noticeable, which is the point of this modulation method.&lt;br /&gt;
&lt;br /&gt;
    A           E    A       D              Em&lt;br /&gt;
  A:I           V    I     D:I              ii&lt;br /&gt;
 E-------------------------|-------------------&lt;br /&gt;
 B-------------------------|-------------------&lt;br /&gt;
 G-------------------------|-------2--0--------&lt;br /&gt;
 D-----------0--2----------|-0-----------4--2--&lt;br /&gt;
 A--0--2--4----------0-----|-------------------&lt;br /&gt;
 E-------------------------|-------------------&lt;br /&gt;
    A  B  C# D  E    A       D     A  G  F# E&lt;br /&gt;
&lt;br /&gt;
Notice how we end the key of A with a strong authentic cadence; but immediately use a phrase with G instead of G{{s}}, to differentiate between the keys of A and D Major.  We also use an E in the first measure, but Em in the second.  This emphasizes the modulation, with separation between phrases, even though the 2 keys share 6 of their 7 notes.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Sequential/Rosalia ===&lt;br /&gt;
A phrase or progression ending in a cadence can be transposed up or down to a different key and repeated, once or several times.  Here the harmonic function of the sequence of chords is less important than the effect of the sequential motion.  The transpositions may follow the diatonic notes of the original key, or may move completely chromatically.  The sequence can repeat enough times to return to the original key, or be used to arrive at a new key.&lt;br /&gt;
&lt;br /&gt;
For example, consider the following progression: &lt;br /&gt;
&lt;br /&gt;
     Cm       Bb          Bbm      Ab          Abm      Gb     Ebm   Abm&lt;br /&gt;
 Cm: i        VII    Bbm: i        VII   Abm:  i        VII    v     i&lt;br /&gt;
 E---8--11-10-6-----------6--9--8--4-----------4--7--6--2---------2--4--&lt;br /&gt;
 B-------------------------------------------------------------4--------&lt;br /&gt;
 G----------------------------------------------------------------------&lt;br /&gt;
 D----------------------------------------------------------------------&lt;br /&gt;
 A----------------------------------------------------------------------&lt;br /&gt;
 E----------------------------------------------------------------------&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Chain ===&lt;br /&gt;
Chain Modulation uses multiple modulations to bridge two distantly related keys.  Unlike a rosalia above, a chain modulation is not confined to repeating a sequence - each modulation in the chain can have independent durations, melodies, harmonic progressions, etc.&lt;br /&gt;
&lt;br /&gt;
For example, consider a modulation from C Major to E Major.  These keys only share 3 notes in common, and are separated on the circle of fifths by 4 movements.  They share no diatonic chords.  Instead of trying to modulate directly between them, we can use a chain modulation.  We could follow the circle of fifths, going major to major key until we reach E (C -&amp;gt; G -&amp;gt; D -&amp;gt; A -&amp;gt; E).  Or we could shorten that by jumping every other 5th (C -&amp;gt; D -&amp;gt; E).  C Major and D Major share the diatonic G Major chord.  D Major and E Major share the diatonic A Major chord.  This allows two common chord modulations to easily get from C Major to E Major without any disruptive transitions.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Parallel Key ===&lt;br /&gt;
Parallel keys have the same root but different whole-half step patterns.  For example, C Major and C Minor are parallel keys.  Knowledge of [[Modes|modes]] offer us more parallel keys.  Modulation between parallel keys is typically not as closely related as usual.  For example, major/minor parallel keys only share 4 notes.  However, because they retain the same tonal center, the change is not disruptive.&lt;br /&gt;
&lt;br /&gt;
[[Modes#Pitch Axis Theory|Pitch Axis Theory]] (also see [http://en.wikipedia.org/wiki/Pitch_axis_theory Wikipedia]) is an extreme example of this.  It uses chord progressions that all feature a common note - often this note is the root of every chord in the progression.  The underlying chords are not diatonic to any one key.  Instead, the scale used for melody/lead will change to conform with each chord.&lt;br /&gt;
&lt;br /&gt;
    A          Am         Adim       A+&lt;br /&gt;
 A: I      Am: i     Awh: io    Awt: I+&lt;br /&gt;
 E--0----------0---------------------1--&lt;br /&gt;
 B--2----------1----------1----------2--&lt;br /&gt;
 G--2----------2----------2----------2--&lt;br /&gt;
 D--2----------2----------1----------3--&lt;br /&gt;
 A--0----------0----------0----------0--&lt;br /&gt;
 E--------------------------------------&lt;br /&gt;
&lt;br /&gt;
Note, we have not covered [[Exotic Scales|exotic scales]], such as the whole-half or whote-tone scales yet, which are referenced above as &amp;quot;Awh&amp;quot; and &amp;quot;Awt&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Why/When to Modulate? ==&lt;br /&gt;
Modulation can be used for a variety of purposes.  It is generally used as a means to add contrast to different sections or themes in a song.  The altered tonality adds to the change in harmonic progressions or melody.  It can highlight how much contrast between themes or sections there is depending on how related the chosen keys you modulate to/from.&lt;br /&gt;
&lt;br /&gt;
Just as an ascending melody can be used to build excitement, modulating keys higher and higher can be used the same way.  The frequency of modulations can also be used to indicate such - increasingly frequent modulations can make the piece sound a bit chaotic but also make things seem out-of-control with energy.  The same can be done descending as a calming method.  If the modulations follow an easily-identified pattern, such as in a rosalia, they will not sound chaotic but mellow - it allows repetition while still creating movement.&lt;br /&gt;
&lt;br /&gt;
Modulations can also be used to make a piece sound disjointed, similar to playing in scales with an ambiguous tonality.  Or they can allow the piece to use lots of harmonic and melodic repetition without becoming increasingly boring.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Homework ==&lt;br /&gt;
Choose a major key as your starting key.  List all possible major keys you can modulate to, and order them in terms of those closely related to those least-closely related.  Do the same for all possible natural minor and harmonic minor keys.  Choose another major key and repeat the exercise.&lt;br /&gt;
&lt;br /&gt;
Repeat the above for a natural minor key, then a harmonic minor key.&lt;br /&gt;
&lt;br /&gt;
Compose chord progressions for each modulation technique above.  Start with closely related, then loosely related, then distantly related destination keys.  Notice how some techniques work better for some modulations than others - in fact, some won't work at all.&lt;br /&gt;
&lt;br /&gt;
== Q &amp;amp; A ==&lt;br /&gt;
&lt;br /&gt;
== Related Lessons ==&lt;br /&gt;
* [[Circle of Fifths]]&lt;br /&gt;
* [[Non-Diatonic Chords]]&lt;br /&gt;
* [[Modes]]&lt;br /&gt;
* [[Exotic Scales]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
{{Advanced Lesson Crumbs|2}}&lt;br /&gt;
&lt;br /&gt;
[[Category:Guitar]]&lt;br /&gt;
[[Category:Lessons]]&lt;br /&gt;
[[Category:Advanced Lessons]]&lt;br /&gt;
[[Category:Modulation]]&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=Modulation&amp;diff=8763</id>
		<title>Modulation</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=Modulation&amp;diff=8763"/>
				<updated>2019-08-03T01:45:12Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: /* Common Modulations */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{Top-Level Crumbs|1}}&lt;br /&gt;
{{Lesson Crumbs|3}}&lt;br /&gt;
{{Advanced Lesson Crumbs|2}}&lt;br /&gt;
&lt;br /&gt;
'''Modulation''' is a the practice of changing keys inside of a composition.  This can be done for a variety of reasons, but its basic purpose is to contrast or create tension against the current (and possibly even prior) key(s).  Typical modulations are found when themes or sections change.  They can also be used to seemingly add energy to a prior theme/section.  In terms of complete pieces, they help create structure and balance.&lt;br /&gt;
&lt;br /&gt;
== PreReqs ==&lt;br /&gt;
* [[Music Theory - Diatonic Chord Progressions]]&lt;br /&gt;
* [[Circle of Fifths]]&lt;br /&gt;
&lt;br /&gt;
== Notation ==&lt;br /&gt;
In terms of traditional musical notation or guitar-specific tablature, modulations aren't specifically notated.  The non-diatonic notes for a certain key simply appear.  For traditional notation, the key signature may change; however, this is typically reserved for the start of new section.  Rather, you'd see more {{s}}, {{b}}, and {{natural}} signs appear next to notes.  For guitar tab, there is no key signature - you would simply see notes used that were not used before that point in the song.  Knowing that there is a key modulation is not necessary for the performance of particular piece; it is only necessary for understanding it in terms of theory.&lt;br /&gt;
&lt;br /&gt;
In terms of harmonic analysis, modulations alter the roman numerals used to mark chords.  For example, while C is the I chord of C Major, it is the III chord of A Minor.  The key must be specified for this analysis to make sense, and sometimes there is overlap.  For instance you may see:&lt;br /&gt;
&lt;br /&gt;
 '''Chords     -'''     C    F    G    C    Em   Am   D    G&lt;br /&gt;
 '''Analysis 1 -'''  C: I    IV   V    I    iii  vi&lt;br /&gt;
 '''Analysis 2 -'''                      G: vi   ii   V    I&lt;br /&gt;
&lt;br /&gt;
You can see the &amp;quot;C:&amp;quot; and &amp;quot;G:&amp;quot; in the respective analysis lines indicating the key, with the following roman numerals outlining the member chord from that key.  In this case there is overlap, where we may interpret the Em and Am chords as belonging to either key.  In other cases where the point of modulation is unambiguous, you may see this condensed to a single line:&lt;br /&gt;
&lt;br /&gt;
 '''Chords   -'''     C      F      D      G&lt;br /&gt;
 '''Analysis -'''  C: I      IV  G: V      I&lt;br /&gt;
&lt;br /&gt;
When discussing modulations ''outside of notation'', we can use an arrow, such as &amp;quot;=&amp;gt;&amp;quot; or &amp;quot;-&amp;gt;&amp;quot; to indicate the modulation.  For example, &amp;quot;C -&amp;gt; Am&amp;quot; (C Major to A Minor) or &amp;quot;C =&amp;gt; G&amp;quot; (C Major to G Major).&lt;br /&gt;
&lt;br /&gt;
If we want to make such modulations generic to any key by using roman numerals, this can get a bit more tricky.  For example, if we want to discuss a modulation from a major key to a minor key whose tonic note is the 6th note of the major key, we could say &amp;quot;I -&amp;gt; vi&amp;quot;.  The uppercase &amp;quot;I&amp;quot; and lowercase &amp;quot;vi&amp;quot; indicate that the original key is major, but the new key is minor, and the &amp;quot;vi&amp;quot; also indicates the new key's tonic note is the 6th's note of the original major key.  But what if the tonic note of the new key is non-diatonic to the original key?  Then we have to use a {{b}} or {{s}} to indicate that.  So moving from C -&amp;gt; A{{b}}m could be generically written as &amp;quot;I -&amp;gt; {{b}}vi&amp;quot;.  Cm -&amp;gt; A would be written &amp;quot;i -&amp;gt; {{s}}VI&amp;quot; - the 6th note of C Minor is A{{b}}, but we sharp it to get A.&lt;br /&gt;
&lt;br /&gt;
We must use &amp;quot;I&amp;quot; or &amp;quot;i&amp;quot; to indicate the original key.  &amp;quot;IV -&amp;gt; V&amp;quot; makes no sense - we are moving from the 4th note of ''what'' key?  We are also bound to the common heptatonic major and natural minor scales.  If the source or destination keys use other scales, they must be written out fully - &amp;quot;A modulation from lydian to the harmonic minor key built on its 4th note&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
== Common Modulations ==&lt;br /&gt;
Modulations usually take place between highly-related keys (those with the most common notes).  See the table below.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
|&lt;br /&gt;
|&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| Key 2 Type&amp;lt;br&amp;gt;and number&amp;lt;br&amp;gt;of common&amp;lt;br&amp;gt;notes&lt;br /&gt;
|-&lt;br /&gt;
! Key 1 Type&lt;br /&gt;
! Key 2 Root's&amp;lt;br&amp;gt;relation to&amp;lt;br&amp;gt;Key 1 Root&lt;br /&gt;
! Major !! Minor !! Harmonic&amp;lt;br&amp;gt;Minor&lt;br /&gt;
|-&lt;br /&gt;
!rowspan=&amp;quot;13&amp;quot;| Major&lt;br /&gt;
|-&lt;br /&gt;
| '''U''' ||  || 4 || '''5'''&lt;br /&gt;
|-&lt;br /&gt;
| m2 || 2 || 3 || 3&lt;br /&gt;
|-&lt;br /&gt;
| '''M2''' || 5 || '''6''' || '''5'''&lt;br /&gt;
|-&lt;br /&gt;
| m3 || 4 || 2 || 3&lt;br /&gt;
|-&lt;br /&gt;
| '''M3''' || 3 || '''6''' || '''5'''&lt;br /&gt;
|-&lt;br /&gt;
| '''P4''' || '''6''' || 3 || 3&lt;br /&gt;
|-&lt;br /&gt;
| tt || 2 || 4 || 4&lt;br /&gt;
|-&lt;br /&gt;
| '''P5''' || '''6''' || 5 || 3&lt;br /&gt;
|-&lt;br /&gt;
| m6 || 3 || 2 || 3&lt;br /&gt;
|-&lt;br /&gt;
| '''M6''' || 4 || '''7''' || '''6'''&lt;br /&gt;
|-&lt;br /&gt;
| m7 || 5 || 2 || 4&lt;br /&gt;
|-&lt;br /&gt;
| '''M7''' || 2 || 5 || 4&lt;br /&gt;
|}&lt;br /&gt;
|&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| Key 2 Type&amp;lt;br&amp;gt;and number&amp;lt;br&amp;gt;of common&amp;lt;br&amp;gt;notes&lt;br /&gt;
|-&lt;br /&gt;
! Key 1 Type&lt;br /&gt;
! Key 2 Root's&amp;lt;br&amp;gt;relation to&amp;lt;br&amp;gt;Key 1 Root&lt;br /&gt;
! Major !! Minor !! Harmonic&amp;lt;br&amp;gt;Minor&lt;br /&gt;
|-&lt;br /&gt;
!rowspan=&amp;quot;13&amp;quot;| Minor&lt;br /&gt;
|-&lt;br /&gt;
| '''U'''  || 4 ||   || '''6'''&lt;br /&gt;
|-                &lt;br /&gt;
| m2 || 5 || 2 || 4&lt;br /&gt;
|-                &lt;br /&gt;
| '''M2''' || 2 || 5 || 4&lt;br /&gt;
|-&lt;br /&gt;
| '''m3''' || '''7''' || 4 || '''5'''&lt;br /&gt;
|-                &lt;br /&gt;
| M3 || 2 || 3 || 3&lt;br /&gt;
|-                &lt;br /&gt;
| '''P4''' || 5 || '''6''' || '''5'''&lt;br /&gt;
|-                &lt;br /&gt;
| tt || 4 || 2 || 3&lt;br /&gt;
|-                &lt;br /&gt;
| '''P5''' || 3 || '''6''' || '''5'''&lt;br /&gt;
|-                &lt;br /&gt;
| '''m6''' || '''6''' || 3 || 3&lt;br /&gt;
|-                &lt;br /&gt;
| M6 || 2 || 4 || 4&lt;br /&gt;
|-                &lt;br /&gt;
| '''m7''' || '''6''' || 5 || 3&lt;br /&gt;
|-                &lt;br /&gt;
| M7 || 3 || 2 || 3&lt;br /&gt;
|}&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| Key 2 Type&amp;lt;br&amp;gt;and number&amp;lt;br&amp;gt;of common&amp;lt;br&amp;gt;notes&lt;br /&gt;
|-&lt;br /&gt;
! Key 1 Type&lt;br /&gt;
! Key 2 Root's&amp;lt;br&amp;gt;relation to&amp;lt;br&amp;gt;Key 1 Root&lt;br /&gt;
! Major !! Minor !! Harmonic&amp;lt;br&amp;gt;Minor&lt;br /&gt;
|-&lt;br /&gt;
!rowspan=&amp;quot;13&amp;quot;| Harmonic Minor&lt;br /&gt;
|-&lt;br /&gt;
| '''U''' || 4 || '''6''' ||  &lt;br /&gt;
|-&lt;br /&gt;
| m2 || 4 || 3 || 3&lt;br /&gt;
|-&lt;br /&gt;
| '''M2''' || 4 || 3 || 3&lt;br /&gt;
|-&lt;br /&gt;
| '''m3''' || '''6''' || 4 || 4&lt;br /&gt;
|-&lt;br /&gt;
| M3 || 3 || 3 || 4&lt;br /&gt;
|-&lt;br /&gt;
| '''P4''' || 3 || '''5''' || 4&lt;br /&gt;
|-&lt;br /&gt;
| tt || 4 || 3 || 4&lt;br /&gt;
|-&lt;br /&gt;
| '''P5''' || 3 || '''5''' || 4&lt;br /&gt;
|-&lt;br /&gt;
| '''m6''' || '''5''' || 3 || 4&lt;br /&gt;
|-&lt;br /&gt;
| M6 || 3 || 4 || 4&lt;br /&gt;
|-&lt;br /&gt;
| m7 || '''5''' || 4 || 3&lt;br /&gt;
|-&lt;br /&gt;
| '''M7''' || 3 || 3 || 3&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
This means the most highly-related keys are the relative major/minor keys, which have the exact same set of notes but different roots (C Major and A Minor).  For any major key, the most related major keys are those whose root is the 4th or 5th note of the original key.  The most related minor keys (other than the relative minor) are those based on the 2nd and 3nd notes in the major key.  Similarly, for a minor key, its most related minor keys are based on its 4th and 5th notes, while its most related major keys are based on the 6th and 7th notes (inverse of 2nd and 3rd).&lt;br /&gt;
&lt;br /&gt;
Harmonic minor's raised 7th causes it to be less related to other keys of all variations covered above; however, it basically shares the same relationships to major and minor keys as its natural minor variation.  The most related major keys are based on the 6th and {{f}}7th notes.  The most related minor keys are based on the 4th and 5th.  Interestingly, almost all modulations to other harmonic minor keys are equally inter-related.&lt;br /&gt;
&lt;br /&gt;
=== Examples ===&lt;br /&gt;
* '''I -&amp;gt; IV''' - (C -&amp;gt; F, F -&amp;gt; Bb, G -&amp;gt; C)&lt;br /&gt;
* '''I -&amp;gt; V''' - (G -&amp;gt; D, C -&amp;gt; G, A -&amp;gt; E)&lt;br /&gt;
* '''i -&amp;gt; III''' - (Am -&amp;gt; C, Em -&amp;gt; G, B{{f}}m -&amp;gt; D)&lt;br /&gt;
* '''i -&amp;gt; {{s}}iv''' - (Ahm -&amp;gt; D{{s}}hm)&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Modulation Methods ==&lt;br /&gt;
=== Common Chord ===&lt;br /&gt;
Uses a chord  that is diatonic to both the source and destination keys to transition between them.  In the below example, we modulate from C to G using 2 common chords.&lt;br /&gt;
&lt;br /&gt;
    C    F    G    C    Em   Am   D/A  G&lt;br /&gt;
 C: I    IV   V    I    iii  vi&lt;br /&gt;
                     G: vi   ii   V/ii I&lt;br /&gt;
 E--0----1----3----0----0----0----2----3--&lt;br /&gt;
 B--1----1----3----1----0----1----3----3--&lt;br /&gt;
 G--0----2----0----0----0----2----2----0--&lt;br /&gt;
 D--2----3----0----2----2----2----0----0--&lt;br /&gt;
 A--3----3----2----3----2----0----0----2--&lt;br /&gt;
 E-------1----3---------0--------------3--&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== Enharmonic Chord ====&lt;br /&gt;
Even if two keys do not have the same chords in way of naming conventions, they may have chords that are enharmonically equivalent.  For example, the keys of C{{s}} and C{{f}} have no chords in common by name.  C{{s}} has only {{s}} chords and C{{f}} has only {{f}} chords.  Yet, E{{f}}m and D{{s}}m are enharmonic, as are G{{b}} and F{{s}}.&lt;br /&gt;
&lt;br /&gt;
     C#   D#m  G#   Cb   D#m&lt;br /&gt;
                         Ebm  Fb   Gb   Cb&lt;br /&gt;
 C#: I    ii   V    I    ii&lt;br /&gt;
                     Cb: iii  IV   V    I&lt;br /&gt;
 E---4----6----4----4----6----0----2----2--&lt;br /&gt;
 B---6----7----4----6----7----0----2----4--&lt;br /&gt;
 G---6----8----5----6----8----1----3----4--&lt;br /&gt;
 D---6----8----6----6----8----2----4----4--&lt;br /&gt;
 A---4----6----6----4----6----2----4----2--&lt;br /&gt;
 E-------------4--------------0----2-------&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Common Tone ===&lt;br /&gt;
A note common to the source and destination key is sustained during the transition.  For example, a C -&amp;gt; E modulation could sustain the E in the I chord of C while moving to the IV chord of E, which also contains E.&lt;br /&gt;
&lt;br /&gt;
    C    F    G    C         A    B7   E&lt;br /&gt;
 C: I    IV   V    I      E: IV   V7   I&lt;br /&gt;
 E--0----1----3----0----0----0----2----0--&lt;br /&gt;
 B--1----1----3----1---(x)---2----0----0--&lt;br /&gt;
 G--0----2----0----0---(x)---2----2----1--&lt;br /&gt;
 D--2----3----0----2---(x)---2----1----2--&lt;br /&gt;
 A--3----3----2----3---(x)---0----2----2--&lt;br /&gt;
 E-------1----3------------------------0--&lt;br /&gt;
&lt;br /&gt;
Unlike the common chord examples, we move directly between chords that are not diatonic to both keys - C Major does not contain the A chord, and E Major lacks the C chord.  Yet the common E note between them bridges the gap particularly well, without creating a stark contrast between keys.&lt;br /&gt;
&lt;br /&gt;
While this example has somewhat-related keys, this modulation method can link virtually any two keys, as it's basically guaranteed that any two keys will share at least one common note.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Chromatic ===&lt;br /&gt;
Useful for modulating between two keys that are not closely related, chromatic modulation uses a chromatic line to bridge the keys.  In other words, for the chords chosen, one voice can move up or down 2 or more half-steps.  This necessarily implies the transition will occur over at least 3 chords.  For the strongest effect, the chromatic line should lead into the root of the new key.  &lt;br /&gt;
&lt;br /&gt;
For example, consider a modulation from C Major to A Harmonic Minor.  C Major has a G note, while A Harmonic Minor has G{{s}} and A.  This allows us to create a G - G{{s}} - A chromatic line through the following progression:  G - E - A.  That's (''G'' B D) - (E ''G{{s}}'' B) - (''A'' C E).  If we follow good [[Voice Leading|voice leading]], we can keep the G, G{{s}}, and A notes in the same voice, thus getting the chromatic line.  G is the V chord of C Major.  E is the V chord of A Harmonic Minor.  The progression could be written as:&lt;br /&gt;
&lt;br /&gt;
    C    F    G    E    Am        C    F    G    E    Am&lt;br /&gt;
 C: I    IV   V                C: I    IV   V &lt;br /&gt;
              Ahm: V    i                   Ahm: V    i&lt;br /&gt;
 E--0----1----3----0----0--    E-------------------------&lt;br /&gt;
 B--1----1----0----0----1--    B-------------------------&lt;br /&gt;
 G--0----2--**0----1----2**    G--0----2--**0----1----2**&lt;br /&gt;
 D--2----3----0----2----2--    D--2----3----0----2----2--&lt;br /&gt;
 A--3----3----2----2----0--    A--3----3----2----2----0--&lt;br /&gt;
 E-------1----3----0-------    E-------1----3----0-------&lt;br /&gt;
&lt;br /&gt;
&amp;lt;small&amp;gt;''Notice the chromatic line on the G string.''&amp;lt;/small&amp;gt;&lt;br /&gt;
&lt;br /&gt;
Here's another example, modulating from C to G, using a chromatic run on the high E string.  Notice how seamless this sounds, especially with the chromatic line as the highest-pitched voice (soprano).&lt;br /&gt;
&lt;br /&gt;
      C    F    D    G&lt;br /&gt;
   C: I    IV   &lt;br /&gt;
             G: V    I&lt;br /&gt;
 E--**0----1----2----3**&lt;br /&gt;
 B----1----1----3----3--&lt;br /&gt;
 G----0----2----2----0--&lt;br /&gt;
 D----2----3----0----0--&lt;br /&gt;
 A----3--------------2--&lt;br /&gt;
 E-------------------3--&lt;br /&gt;
&lt;br /&gt;
Depending on the keys used, it may be more difficult to achieve the chromatic line with only the diatonic chords of the two keys.  In these cases, we can resort to using a [[Borrowing Chords/Notes#Secondary Dominant|secondary dominant]] or some other non-diatonic chord.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Phrase ===&lt;br /&gt;
A phrase modulation avoids any transition whatsoever, occurring abruptly between two virtually independent phrases.  The first phrase in the original key will end on a cadence, finding resolution and ending.  The next phrase begins in the new key, with no harmonic or melodic bridge to ease the transition.  This modulation is commonly between closely-related keys, preventing a completely disjointed feel.  However, the transition is typically quite noticeable, which is the point of this modulation method.&lt;br /&gt;
&lt;br /&gt;
    A           E    A       D              Em&lt;br /&gt;
  A:I           V    I     D:I              ii&lt;br /&gt;
 E-------------------------|-------------------&lt;br /&gt;
 B-------------------------|-------------------&lt;br /&gt;
 G-------------------------|-------2--0--------&lt;br /&gt;
 D-----------0--2----------|-0-----------4--2--&lt;br /&gt;
 A--0--2--4----------0-----|-------------------&lt;br /&gt;
 E-------------------------|-------------------&lt;br /&gt;
    A  B  C# D  E    A       D     A  G  F# E&lt;br /&gt;
&lt;br /&gt;
Notice how we end the key of A with a strong authentic cadence; but immediately use a phrase with G instead of G{{s}}, to differentiate between the keys of A and D Major.  We also use an E in the first measure, but Em in the second.  This emphasizes the modulation, with separation between phrases, even though the 2 keys share 6 of their 7 notes.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Sequential/Rosalia ===&lt;br /&gt;
A phrase or progression ending in a cadence can be transposed up or down to a different key and repeated, once or several times.  Here the harmonic function of the sequence of chords is less important than the effect of the sequential motion.  The transpositions may follow the diatonic notes of the original key, or may move completely chromatically.  The sequence can repeat enough times to return to the original key, or be used to arrive at a new key.&lt;br /&gt;
&lt;br /&gt;
For example, consider the following progression: &lt;br /&gt;
&lt;br /&gt;
     Cm       Bb          Bbm      Ab          Abm      Gb     Ebm   Abm&lt;br /&gt;
 Cm: i        VII    Bbm: i        VII   Abm:  i        VII    v     i&lt;br /&gt;
 E---8--11-10-6-----------6--9--8--4-----------4--7--6--2---------2--4--&lt;br /&gt;
 B-------------------------------------------------------------4--------&lt;br /&gt;
 G----------------------------------------------------------------------&lt;br /&gt;
 D----------------------------------------------------------------------&lt;br /&gt;
 A----------------------------------------------------------------------&lt;br /&gt;
 E----------------------------------------------------------------------&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Chain ===&lt;br /&gt;
Chain Modulation uses multiple modulations to bridge two distantly related keys.  Unlike a rosalia above, a chain modulation is not confined to repeating a sequence - each modulation in the chain can have independent durations, melodies, harmonic progressions, etc.&lt;br /&gt;
&lt;br /&gt;
For example, consider a modulation from C Major to E Major.  These keys only share 3 notes in common, and are separated on the circle of fifths by 4 movements.  They share no diatonic chords.  Instead of trying to modulate directly between them, we can use a chain modulation.  We could follow the circle of fifths, going major to major key until we reach E (C -&amp;gt; G -&amp;gt; D -&amp;gt; A -&amp;gt; E).  Or we could shorten that by jumping every other 5th (C -&amp;gt; D -&amp;gt; E).  C Major and D Major share the diatonic G Major chord.  D Major and E Major share the diatonic A Major chord.  This allows two common chord modulations to easily get from C Major to E Major without any disruptive transitions.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Parallel Key ===&lt;br /&gt;
Parallel keys have the same root but different whole-half step patterns.  For example, C Major and C Minor are parallel keys.  Knowledge of [[Modes|modes]] offer us more parallel keys.  Modulation between parallel keys is typically not as closely related as usual.  For example, major/minor parallel keys only share 4 notes.  However, because they retain the same tonal center, the change is not disruptive.&lt;br /&gt;
&lt;br /&gt;
[[Modes#Pitch Axis Theory|Pitch Axis Theory]] (also see [http://en.wikipedia.org/wiki/Pitch_axis_theory Wikipedia]) is an extreme example of this.  It uses chord progressions that all feature a common note - often this note is the root of every chord in the progression.  The underlying chords are not diatonic to any one key.  Instead, the scale used for melody/lead will change to conform with each chord.&lt;br /&gt;
&lt;br /&gt;
    A          Am         Adim       A+&lt;br /&gt;
 A: I      Am: i     Awh: io    Awt: I+&lt;br /&gt;
 E--0----------0---------------------1--&lt;br /&gt;
 B--2----------1----------1----------2--&lt;br /&gt;
 G--2----------2----------2----------2--&lt;br /&gt;
 D--2----------2----------1----------3--&lt;br /&gt;
 A--0----------0----------0----------0--&lt;br /&gt;
 E--------------------------------------&lt;br /&gt;
&lt;br /&gt;
Note, we have not covered [[Exotic Scales|exotic scales]], such as the whole-half or whote-tone scales yet, which are referenced above as &amp;quot;Awh&amp;quot; and &amp;quot;Awt&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Why/When to Modulate? ==&lt;br /&gt;
Modulation can be used for a variety of purposes.  It is generally used as a means to add contrast to different sections or themes in a song.  The altered tonality adds to the change in harmonic progressions or melody.  It can highlight how much contrast between themes or sections there is depending on how related the chosen keys you modulate to/from.&lt;br /&gt;
&lt;br /&gt;
Just as an ascending melody can be used to build excitement, modulating keys higher and higher can be used the same way.  The frequency of modulations can also be used to indicate such - increasingly frequent modulations can make the piece sound a bit chaotic but also make things seem out-of-control with energy.  The same can be done descending as a calming method.  If the modulations follow an easily-identified pattern, such as in a rosalia, they will not sound chaotic but mellow - it allows repetition while still creating movement.&lt;br /&gt;
&lt;br /&gt;
Modulations can also be used to make a piece sound disjointed, similar to playing in scales with an ambiguous tonality.  Or they can allow the piece to use lots of harmonic and melodic repetition without becoming increasingly boring.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Homework ==&lt;br /&gt;
Choose a major key as your starting key.  List all possible major keys you can modulate to, and order them in terms of those closely related to those least-closely related.  Do the same for all possible natural minor and harmonic minor keys.  Choose another major key and repeat the exercise.&lt;br /&gt;
&lt;br /&gt;
Repeat the above for a natural minor key, then a harmonic minor key.&lt;br /&gt;
&lt;br /&gt;
Compose chord progressions for each modulation technique above.  Start with closely related, then loosely related, then distantly related destination keys.  Notice how some techniques work better for some modulations than others - in fact, some won't work at all.&lt;br /&gt;
&lt;br /&gt;
== Q &amp;amp; A ==&lt;br /&gt;
&lt;br /&gt;
== Related Lessons ==&lt;br /&gt;
* [[Circle of Fifths]]&lt;br /&gt;
* [[Non-Diatonic Chords]]&lt;br /&gt;
* [[Modes]]&lt;br /&gt;
* [[Exotic Scales]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
{{Advanced Lesson Crumbs|2}}&lt;br /&gt;
&lt;br /&gt;
[[Category:Guitar]]&lt;br /&gt;
[[Category:Lessons]]&lt;br /&gt;
[[Category:Advanced Lessons]]&lt;br /&gt;
[[Category:Modulation]]&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=Modulation&amp;diff=8762</id>
		<title>Modulation</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=Modulation&amp;diff=8762"/>
				<updated>2019-08-03T01:42:46Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: /* Common Modulations */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{Top-Level Crumbs|1}}&lt;br /&gt;
{{Lesson Crumbs|3}}&lt;br /&gt;
{{Advanced Lesson Crumbs|2}}&lt;br /&gt;
&lt;br /&gt;
'''Modulation''' is a the practice of changing keys inside of a composition.  This can be done for a variety of reasons, but its basic purpose is to contrast or create tension against the current (and possibly even prior) key(s).  Typical modulations are found when themes or sections change.  They can also be used to seemingly add energy to a prior theme/section.  In terms of complete pieces, they help create structure and balance.&lt;br /&gt;
&lt;br /&gt;
== PreReqs ==&lt;br /&gt;
* [[Music Theory - Diatonic Chord Progressions]]&lt;br /&gt;
* [[Circle of Fifths]]&lt;br /&gt;
&lt;br /&gt;
== Notation ==&lt;br /&gt;
In terms of traditional musical notation or guitar-specific tablature, modulations aren't specifically notated.  The non-diatonic notes for a certain key simply appear.  For traditional notation, the key signature may change; however, this is typically reserved for the start of new section.  Rather, you'd see more {{s}}, {{b}}, and {{natural}} signs appear next to notes.  For guitar tab, there is no key signature - you would simply see notes used that were not used before that point in the song.  Knowing that there is a key modulation is not necessary for the performance of particular piece; it is only necessary for understanding it in terms of theory.&lt;br /&gt;
&lt;br /&gt;
In terms of harmonic analysis, modulations alter the roman numerals used to mark chords.  For example, while C is the I chord of C Major, it is the III chord of A Minor.  The key must be specified for this analysis to make sense, and sometimes there is overlap.  For instance you may see:&lt;br /&gt;
&lt;br /&gt;
 '''Chords     -'''     C    F    G    C    Em   Am   D    G&lt;br /&gt;
 '''Analysis 1 -'''  C: I    IV   V    I    iii  vi&lt;br /&gt;
 '''Analysis 2 -'''                      G: vi   ii   V    I&lt;br /&gt;
&lt;br /&gt;
You can see the &amp;quot;C:&amp;quot; and &amp;quot;G:&amp;quot; in the respective analysis lines indicating the key, with the following roman numerals outlining the member chord from that key.  In this case there is overlap, where we may interpret the Em and Am chords as belonging to either key.  In other cases where the point of modulation is unambiguous, you may see this condensed to a single line:&lt;br /&gt;
&lt;br /&gt;
 '''Chords   -'''     C      F      D      G&lt;br /&gt;
 '''Analysis -'''  C: I      IV  G: V      I&lt;br /&gt;
&lt;br /&gt;
When discussing modulations ''outside of notation'', we can use an arrow, such as &amp;quot;=&amp;gt;&amp;quot; or &amp;quot;-&amp;gt;&amp;quot; to indicate the modulation.  For example, &amp;quot;C -&amp;gt; Am&amp;quot; (C Major to A Minor) or &amp;quot;C =&amp;gt; G&amp;quot; (C Major to G Major).&lt;br /&gt;
&lt;br /&gt;
If we want to make such modulations generic to any key by using roman numerals, this can get a bit more tricky.  For example, if we want to discuss a modulation from a major key to a minor key whose tonic note is the 6th note of the major key, we could say &amp;quot;I -&amp;gt; vi&amp;quot;.  The uppercase &amp;quot;I&amp;quot; and lowercase &amp;quot;vi&amp;quot; indicate that the original key is major, but the new key is minor, and the &amp;quot;vi&amp;quot; also indicates the new key's tonic note is the 6th's note of the original major key.  But what if the tonic note of the new key is non-diatonic to the original key?  Then we have to use a {{b}} or {{s}} to indicate that.  So moving from C -&amp;gt; A{{b}}m could be generically written as &amp;quot;I -&amp;gt; {{b}}vi&amp;quot;.  Cm -&amp;gt; A would be written &amp;quot;i -&amp;gt; {{s}}VI&amp;quot; - the 6th note of C Minor is A{{b}}, but we sharp it to get A.&lt;br /&gt;
&lt;br /&gt;
We must use &amp;quot;I&amp;quot; or &amp;quot;i&amp;quot; to indicate the original key.  &amp;quot;IV -&amp;gt; V&amp;quot; makes no sense - we are moving from the 4th note of ''what'' key?  We are also bound to the common heptatonic major and natural minor scales.  If the source or destination keys use other scales, they must be written out fully - &amp;quot;A modulation from lydian to the harmonic minor key built on its 4th note&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
== Common Modulations ==&lt;br /&gt;
Modulations usually take place between highly-related keys (those with the most common notes).  See the table below.&lt;br /&gt;
&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| Key 2 Type&amp;lt;br&amp;gt;and number&amp;lt;br&amp;gt;of common&amp;lt;br&amp;gt;notes&lt;br /&gt;
|-&lt;br /&gt;
! Key 1 Type&lt;br /&gt;
! Key 2 Root's&amp;lt;br&amp;gt;relation to&amp;lt;br&amp;gt;Key 1 Root&lt;br /&gt;
! Major !! Minor !! Harmonic&amp;lt;br&amp;gt;Minor&lt;br /&gt;
|-&lt;br /&gt;
!rowspan=&amp;quot;13&amp;quot;| Major&lt;br /&gt;
|-&lt;br /&gt;
| '''U''' ||  || 4 || '''5'''&lt;br /&gt;
|-&lt;br /&gt;
| m2 || 2 || 3 || 3&lt;br /&gt;
|-&lt;br /&gt;
| '''M2''' || 5 || '''6''' || '''5'''&lt;br /&gt;
|-&lt;br /&gt;
| m3 || 4 || 2 || 3&lt;br /&gt;
|-&lt;br /&gt;
| '''M3''' || 3 || '''6''' || '''5'''&lt;br /&gt;
|-&lt;br /&gt;
| '''P4''' || '''6''' || 3 || 3&lt;br /&gt;
|-&lt;br /&gt;
| tt || 2 || 4 || 4&lt;br /&gt;
|-&lt;br /&gt;
| '''P5''' || '''6''' || 5 || 3&lt;br /&gt;
|-&lt;br /&gt;
| m6 || 3 || 2 || 3&lt;br /&gt;
|-&lt;br /&gt;
| '''M6''' || 4 || '''7''' || '''6'''&lt;br /&gt;
|-&lt;br /&gt;
| m7 || 5 || 2 || 4&lt;br /&gt;
|-&lt;br /&gt;
| '''M7''' || 2 || 5 || 4&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| Key 2 Type&amp;lt;br&amp;gt;and number&amp;lt;br&amp;gt;of common&amp;lt;br&amp;gt;notes&lt;br /&gt;
|-&lt;br /&gt;
! Key 1 Type&lt;br /&gt;
! Key 2 Root's&amp;lt;br&amp;gt;relation to&amp;lt;br&amp;gt;Key 1 Root&lt;br /&gt;
! Major !! Minor !! Harmonic&amp;lt;br&amp;gt;Minor&lt;br /&gt;
|-&lt;br /&gt;
!rowspan=&amp;quot;13&amp;quot;| Minor&lt;br /&gt;
|-&lt;br /&gt;
| '''U'''  || 4 ||   || '''6'''&lt;br /&gt;
|-                &lt;br /&gt;
| m2 || 5 || 2 || 4&lt;br /&gt;
|-                &lt;br /&gt;
| '''M2''' || 2 || 5 || 4&lt;br /&gt;
|-&lt;br /&gt;
| '''m3''' || '''7''' || 4 || '''5'''&lt;br /&gt;
|-                &lt;br /&gt;
| M3 || 2 || 3 || 3&lt;br /&gt;
|-                &lt;br /&gt;
| '''P4''' || 5 || '''6''' || '''5'''&lt;br /&gt;
|-                &lt;br /&gt;
| tt || 4 || 2 || 3&lt;br /&gt;
|-                &lt;br /&gt;
| '''P5''' || 3 || '''6''' || '''5'''&lt;br /&gt;
|-                &lt;br /&gt;
| '''m6''' || '''6''' || 3 || 3&lt;br /&gt;
|-                &lt;br /&gt;
| M6 || 2 || 4 || 4&lt;br /&gt;
|-                &lt;br /&gt;
| '''m7''' || '''6''' || 5 || 3&lt;br /&gt;
|-                &lt;br /&gt;
| M7 || 3 || 2 || 3&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| Key 2 Type&amp;lt;br&amp;gt;and number&amp;lt;br&amp;gt;of common&amp;lt;br&amp;gt;notes&lt;br /&gt;
|-&lt;br /&gt;
! Key 1 Type&lt;br /&gt;
! Key 2 Root's&amp;lt;br&amp;gt;relation to&amp;lt;br&amp;gt;Key 1 Root&lt;br /&gt;
! Major !! Minor !! Harmonic&amp;lt;br&amp;gt;Minor&lt;br /&gt;
|-&lt;br /&gt;
!rowspan=&amp;quot;13&amp;quot;| Harmonic Minor&lt;br /&gt;
|-&lt;br /&gt;
| '''U''' || 4 || '''6''' ||  &lt;br /&gt;
|-&lt;br /&gt;
| m2 || 4 || 3 || 3&lt;br /&gt;
|-&lt;br /&gt;
| '''M2''' || 4 || 3 || 3&lt;br /&gt;
|-&lt;br /&gt;
| '''m3''' || '''6''' || 4 || 4&lt;br /&gt;
|-&lt;br /&gt;
| M3 || 3 || 3 || 4&lt;br /&gt;
|-&lt;br /&gt;
| '''P4''' || 3 || '''5''' || 4&lt;br /&gt;
|-&lt;br /&gt;
| tt || 4 || 3 || 4&lt;br /&gt;
|-&lt;br /&gt;
| '''P5''' || 3 || '''5''' || 4&lt;br /&gt;
|-&lt;br /&gt;
| '''m6''' || '''5''' || 3 || 4&lt;br /&gt;
|-&lt;br /&gt;
| M6 || 3 || 4 || 4&lt;br /&gt;
|-&lt;br /&gt;
| m7 || '''5''' || 4 || 3&lt;br /&gt;
|-&lt;br /&gt;
| '''M7''' || 3 || 3 || 3&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
This means the most highly-related keys are the relative major/minor keys, which have the exact same set of notes but different roots (C Major and A Minor).  For any major key, the most related major keys are those whose root is the 4th or 5th note of the original key.  The most related minor keys (other than the relative minor) are those based on the 2nd and 3nd notes in the major key.  Similarly, for a minor key, its most related minor keys are based on its 4th and 5th notes, while its most related major keys are based on the 6th and 7th notes (inverse of 2nd and 3rd).&lt;br /&gt;
&lt;br /&gt;
Harmonic minor's raised 7th causes it to be less related to other keys of all variations covered above; however, it basically shares the same relationships to major and minor keys as its natural minor variation.  The most related major keys are based on the 6th and {{f}}7th notes.  The most related minor keys are based on the 4th and 5th.  Interestingly, almost all modulations to other harmonic minor keys are equally inter-related.&lt;br /&gt;
&lt;br /&gt;
=== Examples ===&lt;br /&gt;
* '''I -&amp;gt; IV''' - (C -&amp;gt; F, F -&amp;gt; Bb, G -&amp;gt; C)&lt;br /&gt;
* '''I -&amp;gt; V''' - (G -&amp;gt; D, C -&amp;gt; G, A -&amp;gt; E)&lt;br /&gt;
* '''i -&amp;gt; III''' - (Am -&amp;gt; C, Em -&amp;gt; G, B{{f}}m -&amp;gt; D)&lt;br /&gt;
* '''i -&amp;gt; {{s}}iv''' - (Ahm -&amp;gt; D{{s}}hm)&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Modulation Methods ==&lt;br /&gt;
=== Common Chord ===&lt;br /&gt;
Uses a chord  that is diatonic to both the source and destination keys to transition between them.  In the below example, we modulate from C to G using 2 common chords.&lt;br /&gt;
&lt;br /&gt;
    C    F    G    C    Em   Am   D/A  G&lt;br /&gt;
 C: I    IV   V    I    iii  vi&lt;br /&gt;
                     G: vi   ii   V/ii I&lt;br /&gt;
 E--0----1----3----0----0----0----2----3--&lt;br /&gt;
 B--1----1----3----1----0----1----3----3--&lt;br /&gt;
 G--0----2----0----0----0----2----2----0--&lt;br /&gt;
 D--2----3----0----2----2----2----0----0--&lt;br /&gt;
 A--3----3----2----3----2----0----0----2--&lt;br /&gt;
 E-------1----3---------0--------------3--&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== Enharmonic Chord ====&lt;br /&gt;
Even if two keys do not have the same chords in way of naming conventions, they may have chords that are enharmonically equivalent.  For example, the keys of C{{s}} and C{{f}} have no chords in common by name.  C{{s}} has only {{s}} chords and C{{f}} has only {{f}} chords.  Yet, E{{f}}m and D{{s}}m are enharmonic, as are G{{b}} and F{{s}}.&lt;br /&gt;
&lt;br /&gt;
     C#   D#m  G#   Cb   D#m&lt;br /&gt;
                         Ebm  Fb   Gb   Cb&lt;br /&gt;
 C#: I    ii   V    I    ii&lt;br /&gt;
                     Cb: iii  IV   V    I&lt;br /&gt;
 E---4----6----4----4----6----0----2----2--&lt;br /&gt;
 B---6----7----4----6----7----0----2----4--&lt;br /&gt;
 G---6----8----5----6----8----1----3----4--&lt;br /&gt;
 D---6----8----6----6----8----2----4----4--&lt;br /&gt;
 A---4----6----6----4----6----2----4----2--&lt;br /&gt;
 E-------------4--------------0----2-------&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Common Tone ===&lt;br /&gt;
A note common to the source and destination key is sustained during the transition.  For example, a C -&amp;gt; E modulation could sustain the E in the I chord of C while moving to the IV chord of E, which also contains E.&lt;br /&gt;
&lt;br /&gt;
    C    F    G    C         A    B7   E&lt;br /&gt;
 C: I    IV   V    I      E: IV   V7   I&lt;br /&gt;
 E--0----1----3----0----0----0----2----0--&lt;br /&gt;
 B--1----1----3----1---(x)---2----0----0--&lt;br /&gt;
 G--0----2----0----0---(x)---2----2----1--&lt;br /&gt;
 D--2----3----0----2---(x)---2----1----2--&lt;br /&gt;
 A--3----3----2----3---(x)---0----2----2--&lt;br /&gt;
 E-------1----3------------------------0--&lt;br /&gt;
&lt;br /&gt;
Unlike the common chord examples, we move directly between chords that are not diatonic to both keys - C Major does not contain the A chord, and E Major lacks the C chord.  Yet the common E note between them bridges the gap particularly well, without creating a stark contrast between keys.&lt;br /&gt;
&lt;br /&gt;
While this example has somewhat-related keys, this modulation method can link virtually any two keys, as it's basically guaranteed that any two keys will share at least one common note.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Chromatic ===&lt;br /&gt;
Useful for modulating between two keys that are not closely related, chromatic modulation uses a chromatic line to bridge the keys.  In other words, for the chords chosen, one voice can move up or down 2 or more half-steps.  This necessarily implies the transition will occur over at least 3 chords.  For the strongest effect, the chromatic line should lead into the root of the new key.  &lt;br /&gt;
&lt;br /&gt;
For example, consider a modulation from C Major to A Harmonic Minor.  C Major has a G note, while A Harmonic Minor has G{{s}} and A.  This allows us to create a G - G{{s}} - A chromatic line through the following progression:  G - E - A.  That's (''G'' B D) - (E ''G{{s}}'' B) - (''A'' C E).  If we follow good [[Voice Leading|voice leading]], we can keep the G, G{{s}}, and A notes in the same voice, thus getting the chromatic line.  G is the V chord of C Major.  E is the V chord of A Harmonic Minor.  The progression could be written as:&lt;br /&gt;
&lt;br /&gt;
    C    F    G    E    Am        C    F    G    E    Am&lt;br /&gt;
 C: I    IV   V                C: I    IV   V &lt;br /&gt;
              Ahm: V    i                   Ahm: V    i&lt;br /&gt;
 E--0----1----3----0----0--    E-------------------------&lt;br /&gt;
 B--1----1----0----0----1--    B-------------------------&lt;br /&gt;
 G--0----2--**0----1----2**    G--0----2--**0----1----2**&lt;br /&gt;
 D--2----3----0----2----2--    D--2----3----0----2----2--&lt;br /&gt;
 A--3----3----2----2----0--    A--3----3----2----2----0--&lt;br /&gt;
 E-------1----3----0-------    E-------1----3----0-------&lt;br /&gt;
&lt;br /&gt;
&amp;lt;small&amp;gt;''Notice the chromatic line on the G string.''&amp;lt;/small&amp;gt;&lt;br /&gt;
&lt;br /&gt;
Here's another example, modulating from C to G, using a chromatic run on the high E string.  Notice how seamless this sounds, especially with the chromatic line as the highest-pitched voice (soprano).&lt;br /&gt;
&lt;br /&gt;
      C    F    D    G&lt;br /&gt;
   C: I    IV   &lt;br /&gt;
             G: V    I&lt;br /&gt;
 E--**0----1----2----3**&lt;br /&gt;
 B----1----1----3----3--&lt;br /&gt;
 G----0----2----2----0--&lt;br /&gt;
 D----2----3----0----0--&lt;br /&gt;
 A----3--------------2--&lt;br /&gt;
 E-------------------3--&lt;br /&gt;
&lt;br /&gt;
Depending on the keys used, it may be more difficult to achieve the chromatic line with only the diatonic chords of the two keys.  In these cases, we can resort to using a [[Borrowing Chords/Notes#Secondary Dominant|secondary dominant]] or some other non-diatonic chord.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Phrase ===&lt;br /&gt;
A phrase modulation avoids any transition whatsoever, occurring abruptly between two virtually independent phrases.  The first phrase in the original key will end on a cadence, finding resolution and ending.  The next phrase begins in the new key, with no harmonic or melodic bridge to ease the transition.  This modulation is commonly between closely-related keys, preventing a completely disjointed feel.  However, the transition is typically quite noticeable, which is the point of this modulation method.&lt;br /&gt;
&lt;br /&gt;
    A           E    A       D              Em&lt;br /&gt;
  A:I           V    I     D:I              ii&lt;br /&gt;
 E-------------------------|-------------------&lt;br /&gt;
 B-------------------------|-------------------&lt;br /&gt;
 G-------------------------|-------2--0--------&lt;br /&gt;
 D-----------0--2----------|-0-----------4--2--&lt;br /&gt;
 A--0--2--4----------0-----|-------------------&lt;br /&gt;
 E-------------------------|-------------------&lt;br /&gt;
    A  B  C# D  E    A       D     A  G  F# E&lt;br /&gt;
&lt;br /&gt;
Notice how we end the key of A with a strong authentic cadence; but immediately use a phrase with G instead of G{{s}}, to differentiate between the keys of A and D Major.  We also use an E in the first measure, but Em in the second.  This emphasizes the modulation, with separation between phrases, even though the 2 keys share 6 of their 7 notes.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Sequential/Rosalia ===&lt;br /&gt;
A phrase or progression ending in a cadence can be transposed up or down to a different key and repeated, once or several times.  Here the harmonic function of the sequence of chords is less important than the effect of the sequential motion.  The transpositions may follow the diatonic notes of the original key, or may move completely chromatically.  The sequence can repeat enough times to return to the original key, or be used to arrive at a new key.&lt;br /&gt;
&lt;br /&gt;
For example, consider the following progression: &lt;br /&gt;
&lt;br /&gt;
     Cm       Bb          Bbm      Ab          Abm      Gb     Ebm   Abm&lt;br /&gt;
 Cm: i        VII    Bbm: i        VII   Abm:  i        VII    v     i&lt;br /&gt;
 E---8--11-10-6-----------6--9--8--4-----------4--7--6--2---------2--4--&lt;br /&gt;
 B-------------------------------------------------------------4--------&lt;br /&gt;
 G----------------------------------------------------------------------&lt;br /&gt;
 D----------------------------------------------------------------------&lt;br /&gt;
 A----------------------------------------------------------------------&lt;br /&gt;
 E----------------------------------------------------------------------&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Chain ===&lt;br /&gt;
Chain Modulation uses multiple modulations to bridge two distantly related keys.  Unlike a rosalia above, a chain modulation is not confined to repeating a sequence - each modulation in the chain can have independent durations, melodies, harmonic progressions, etc.&lt;br /&gt;
&lt;br /&gt;
For example, consider a modulation from C Major to E Major.  These keys only share 3 notes in common, and are separated on the circle of fifths by 4 movements.  They share no diatonic chords.  Instead of trying to modulate directly between them, we can use a chain modulation.  We could follow the circle of fifths, going major to major key until we reach E (C -&amp;gt; G -&amp;gt; D -&amp;gt; A -&amp;gt; E).  Or we could shorten that by jumping every other 5th (C -&amp;gt; D -&amp;gt; E).  C Major and D Major share the diatonic G Major chord.  D Major and E Major share the diatonic A Major chord.  This allows two common chord modulations to easily get from C Major to E Major without any disruptive transitions.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Parallel Key ===&lt;br /&gt;
Parallel keys have the same root but different whole-half step patterns.  For example, C Major and C Minor are parallel keys.  Knowledge of [[Modes|modes]] offer us more parallel keys.  Modulation between parallel keys is typically not as closely related as usual.  For example, major/minor parallel keys only share 4 notes.  However, because they retain the same tonal center, the change is not disruptive.&lt;br /&gt;
&lt;br /&gt;
[[Modes#Pitch Axis Theory|Pitch Axis Theory]] (also see [http://en.wikipedia.org/wiki/Pitch_axis_theory Wikipedia]) is an extreme example of this.  It uses chord progressions that all feature a common note - often this note is the root of every chord in the progression.  The underlying chords are not diatonic to any one key.  Instead, the scale used for melody/lead will change to conform with each chord.&lt;br /&gt;
&lt;br /&gt;
    A          Am         Adim       A+&lt;br /&gt;
 A: I      Am: i     Awh: io    Awt: I+&lt;br /&gt;
 E--0----------0---------------------1--&lt;br /&gt;
 B--2----------1----------1----------2--&lt;br /&gt;
 G--2----------2----------2----------2--&lt;br /&gt;
 D--2----------2----------1----------3--&lt;br /&gt;
 A--0----------0----------0----------0--&lt;br /&gt;
 E--------------------------------------&lt;br /&gt;
&lt;br /&gt;
Note, we have not covered [[Exotic Scales|exotic scales]], such as the whole-half or whote-tone scales yet, which are referenced above as &amp;quot;Awh&amp;quot; and &amp;quot;Awt&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Why/When to Modulate? ==&lt;br /&gt;
Modulation can be used for a variety of purposes.  It is generally used as a means to add contrast to different sections or themes in a song.  The altered tonality adds to the change in harmonic progressions or melody.  It can highlight how much contrast between themes or sections there is depending on how related the chosen keys you modulate to/from.&lt;br /&gt;
&lt;br /&gt;
Just as an ascending melody can be used to build excitement, modulating keys higher and higher can be used the same way.  The frequency of modulations can also be used to indicate such - increasingly frequent modulations can make the piece sound a bit chaotic but also make things seem out-of-control with energy.  The same can be done descending as a calming method.  If the modulations follow an easily-identified pattern, such as in a rosalia, they will not sound chaotic but mellow - it allows repetition while still creating movement.&lt;br /&gt;
&lt;br /&gt;
Modulations can also be used to make a piece sound disjointed, similar to playing in scales with an ambiguous tonality.  Or they can allow the piece to use lots of harmonic and melodic repetition without becoming increasingly boring.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Homework ==&lt;br /&gt;
Choose a major key as your starting key.  List all possible major keys you can modulate to, and order them in terms of those closely related to those least-closely related.  Do the same for all possible natural minor and harmonic minor keys.  Choose another major key and repeat the exercise.&lt;br /&gt;
&lt;br /&gt;
Repeat the above for a natural minor key, then a harmonic minor key.&lt;br /&gt;
&lt;br /&gt;
Compose chord progressions for each modulation technique above.  Start with closely related, then loosely related, then distantly related destination keys.  Notice how some techniques work better for some modulations than others - in fact, some won't work at all.&lt;br /&gt;
&lt;br /&gt;
== Q &amp;amp; A ==&lt;br /&gt;
&lt;br /&gt;
== Related Lessons ==&lt;br /&gt;
* [[Circle of Fifths]]&lt;br /&gt;
* [[Non-Diatonic Chords]]&lt;br /&gt;
* [[Modes]]&lt;br /&gt;
* [[Exotic Scales]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
{{Advanced Lesson Crumbs|2}}&lt;br /&gt;
&lt;br /&gt;
[[Category:Guitar]]&lt;br /&gt;
[[Category:Lessons]]&lt;br /&gt;
[[Category:Advanced Lessons]]&lt;br /&gt;
[[Category:Modulation]]&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=Tapping_Exercises&amp;diff=8761</id>
		<title>Tapping Exercises</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=Tapping_Exercises&amp;diff=8761"/>
				<updated>2019-03-09T06:44:58Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: /* Root Position */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{Top-Level Crumbs|2}}&lt;br /&gt;
{{Exercise Crumbs|2}}&lt;br /&gt;
{{Technique Exercises Crumbs|2}}&lt;br /&gt;
&lt;br /&gt;
All exercises without a specified string should be practiced on all strings.&lt;br /&gt;
&lt;br /&gt;
== Simple Tapping Exercises ==&lt;br /&gt;
=== Major Arpeggios ===&lt;br /&gt;
Start on string 1 and repeat on all strings&lt;br /&gt;
&lt;br /&gt;
=== Root Position ===&lt;br /&gt;
                                   x4 |&lt;br /&gt;
  -------6:4------- -------6:4------- |&lt;br /&gt;
 -t12p5-h9-t12p5-h9-t12p5-h9-t12p5-h9-|-t12-&lt;br /&gt;
&lt;br /&gt;
                                   x4 |&lt;br /&gt;
  -------6:4------- -------6:4------- |&lt;br /&gt;
 -t12p9-p5-t12p9-p5-t12p9-p5-t12p9-p5-|-t12-&lt;br /&gt;
&lt;br /&gt;
  -------6:4------- -------6:4------- -------6:4------- -------6:4-------&lt;br /&gt;
 -t12p5-h9-t12p5-h9-t12p5-h9-t12p5-h9-t10p3-h7-t10p3-h7-t10p3-h7-t10p3-h7- x4&lt;br /&gt;
&lt;br /&gt;
  --------6:4------- -------6:4------- -------6:4------- -------6:4-------&lt;br /&gt;
 -t12-p9-p5-t12p9-p5-t12p9-p5-t12p9-p5-t10p7-h3-t10p7-h3-t10p7-h3-t10p7-h3- x4&lt;br /&gt;
&lt;br /&gt;
==== 1st Inversion ====&lt;br /&gt;
                                   x4 |&lt;br /&gt;
  -------6:4------- -------6:4------- |&lt;br /&gt;
 -t13p5-h8-t13p5-h8-t13p5-h8-t13p5-h8-|-t13-&lt;br /&gt;
&lt;br /&gt;
                                   x4 |&lt;br /&gt;
  -------6:4------- -------6:4------- |&lt;br /&gt;
 -t13p8-p5-t13p8-p5-t13p8-p5-t13p8-p5-|-t13-&lt;br /&gt;
&lt;br /&gt;
  -------6:4------- -------6:4------- -------6:4------- -------6:4-------&lt;br /&gt;
 -t13p5-h8-t13p5-h8-t13p5-h8-t13p5-h8-t11p3-h6-t11p3-h6-t11p3-h6-t11p3-h6- x4&lt;br /&gt;
&lt;br /&gt;
  -------6:4------- -------6:4------- -------6:4------- -------6:4-------&lt;br /&gt;
 -t13p8-p5-t13p8-p5-t13p8-p5-t13p8-p5-t11p6-h3-t11p6-h3-t11p6-h3-t11p6-h3- x4&lt;br /&gt;
&lt;br /&gt;
==== 2nd Inversion ====&lt;br /&gt;
                                   x4 |&lt;br /&gt;
  -------6:4------- -------6:4------- |&lt;br /&gt;
 -t13p4-h9-t13p4-h9-t13p4-h9-t13p4-h9-|-t13-&lt;br /&gt;
&lt;br /&gt;
                                   x4 |&lt;br /&gt;
  -------6:4------- -------6:4------- |&lt;br /&gt;
 -t13p9-p4-t13p9-p4-t13p9-p4-t13p9-p4-|-t13-&lt;br /&gt;
&lt;br /&gt;
  -------6:4------- -------6:4------- -------6:4------- -------6:4-------&lt;br /&gt;
 -t13p4-h9-t13p4-h9-t13p4-h9-t13p4-h9-t11p2-h8-t11p2-h8-t11p2-h8-t11p2-h8- x4&lt;br /&gt;
&lt;br /&gt;
  -------6:4------- -------6:4------- -------6:4------- -------6:4-------&lt;br /&gt;
 -t13p9-p4-t13p9-p4-t13p9-p4-t13p9-p4-t11p8-h2-t11p8-h2-t11p8-h2-t11p8-h2- x4&lt;br /&gt;
&lt;br /&gt;
=== Minor Arpeggios ===&lt;br /&gt;
==== Root Position ====&lt;br /&gt;
  -------6:4------- -------6:4-------&lt;br /&gt;
 -t12p5-h8-t12p5-h8-t12p5-h8-t12p5-h8-t12- x4&lt;br /&gt;
&lt;br /&gt;
 -t12p8-p5-t12p8-p5-t12p8-p5-t12p8-p5-t12- x4&lt;br /&gt;
&lt;br /&gt;
 -t12p5-h8-t12p5-h8-t12p5-h8-t12p5-h8-t10p3-h6-t10p3-h6-t10p3-h6-t10p3-h6- x4&lt;br /&gt;
&lt;br /&gt;
 -t12p8-p5-t12p8-p5-t12p8-p5-t12p8-p5-t10p6-h3-t10p6-h3-t10p6-h3-t10p6-h3- x4&lt;br /&gt;
&lt;br /&gt;
==== 1st Inversion ====&lt;br /&gt;
  -------6:4------- -------6:4-------&lt;br /&gt;
 -t13p4-h8-t13p4-h8-t13p4-h8-t13p4-h8-t13- x4&lt;br /&gt;
&lt;br /&gt;
 -t13p8-p4-t13p8-p4-t13p8-p4-t13p8-p4-t13- x4&lt;br /&gt;
&lt;br /&gt;
 -t13p4-h8-t13p4-h8-t13p4-h8-t13p4-h8-t11p2-h6-t11p2-h6-t11p2-h6-t11p2-h6- x4&lt;br /&gt;
&lt;br /&gt;
 -t13p8-p4-t13p8-p4-t13p8-p4-t13p8-p4-t11p6-h2-t11p6-h2-t11p6-h2-t11p6-h2- x4&lt;br /&gt;
&lt;br /&gt;
==== 2nd Inversion ====&lt;br /&gt;
  -------6:4------- -------6:4-------&lt;br /&gt;
 -t12p4-h9-t12p4-h9-t12p4-h9-t12p4-h9-t12- x4&lt;br /&gt;
&lt;br /&gt;
 -t12p9-p4-t12p9-p4-t12p9-p4-t12p9-p4-t12- x4&lt;br /&gt;
&lt;br /&gt;
 -t12p4-h9-t12p4-h9-t12p4-h9-t12p4-h9-t10p2-h7-t10p2-h7-t10p2-h7-t10p2-h7- x4&lt;br /&gt;
&lt;br /&gt;
 -t12p9-p4-t12p9-p4-t12p9-p4-t12p9-p4-t10p7-h2-t10p7-h2-t10p7-h2-t10p7-h2- x4&lt;br /&gt;
&lt;br /&gt;
== Advanced Patterns ==&lt;br /&gt;
===Major===&lt;br /&gt;
====Root Position====&lt;br /&gt;
  -------6:4------- -------6:4------- -------6:4------- -------6:4-------&lt;br /&gt;
 -t12p9-t12p9-p5-h9-t12p9-t12p9-p5-h9-t12p9-t12p9-p5-h9-t12p9-t12p9-p5-h9- x4&lt;br /&gt;
&lt;br /&gt;
  -------6:4------- -------6:4------- -------6:4------- -------6:4-------&lt;br /&gt;
 -t12p9-p5-t12p5-p9-t12p5-t12p9-t12p5-t12p9-p5-t12p5-h9-t12p5-t12p9-t12p5- x4&lt;br /&gt;
&lt;br /&gt;
====1st Inversion====&lt;br /&gt;
  -------6:4------- -------6:4------- -------6:4------- -------6:4-------&lt;br /&gt;
 -t12p7-t12p7-p3-h7-t12p7-t12p7-p3-h7-t12p7-t12p7-p3-h7-t12p7-t12p7-p3-h7- x4&lt;br /&gt;
&lt;br /&gt;
  -------6:4------- -------6:4------- -------6:4------- -------6:4-------&lt;br /&gt;
 -t12p7-p3-t12p3-p7-t12p3-t12p7-t12p3-t12p7-p3-t12p3-h7-t12p3-t12p7-t12p3- x4&lt;br /&gt;
&lt;br /&gt;
====2nd Inversion====&lt;br /&gt;
  -------6:4------- -------6:4------- -------6:4------- -------6:4-------&lt;br /&gt;
 -t12p8-t12p8-p3-h8-t12p8-t12p8-p3-h8-t12p8-t12p8-p3-h8-t12p8-t12p8-p3-h8- x4&lt;br /&gt;
&lt;br /&gt;
  -------6:4------- -------6:4------- -------6:4------- -------6:4-------&lt;br /&gt;
 -t12p8-p3-t12p3-p8-t12p3-t12p8-t12p3-t12p8-p3-t12p3-h8-t12p3-t12p8-t12p3- x4&lt;br /&gt;
&lt;br /&gt;
===Minor===&lt;br /&gt;
====Root Position====&lt;br /&gt;
  -------6:4------- -------6:4------- -------6:4------- -------6:4-------&lt;br /&gt;
 -t12p8-t12p8-p5-h8-t12p8-t12p8-p5-h8-t12p8-t12p8-p5-h8-t12p8-t12p8-p5-h8- x4&lt;br /&gt;
&lt;br /&gt;
  -------6:4------- -------6:4------- -------6:4------- -------6:4-------&lt;br /&gt;
 -t12p8-p5-t12p5-p8-t12p5-t12p8-t12p5-t12p8-p5-t12p5-h8-t12p5-t12p8-t12p5- x4&lt;br /&gt;
&lt;br /&gt;
====1st Inversion====&lt;br /&gt;
  -------6:4------- -------6:4------- -------6:4------- -------6:4-------&lt;br /&gt;
 -t12p7-t12p7-p3-h7-t12p7-t12p7-p3-h7-t12p7-t12p7-p3-h7-t12p7-t12p7-p3-h7- x4&lt;br /&gt;
&lt;br /&gt;
  -------6:4------- -------6:4------- -------6:4------- -------6:4-------&lt;br /&gt;
 -t12p7-p3-t12p3-p7-t12p3-t12p7-t12p3-t12p7-p3-t12p3-h7-t12p3-t12p7-t12p3- x4&lt;br /&gt;
&lt;br /&gt;
====2nd Inversion====&lt;br /&gt;
  -------6:4------- -------6:4------- -------6:4------- -------6:4-------&lt;br /&gt;
 -t12p9-t12p9-p4-h9-t12p9-t12p9-p4-h9-t12p9-t12p9-p4-h9-t12p9-t12p9-p4-h9- x4&lt;br /&gt;
&lt;br /&gt;
  -------6:4------- -------6:4------- -------6:4------- -------6:4-------&lt;br /&gt;
 -t12p9-p4-t12p4-p9-t12p4-t12p9-t12p4-t12p9-p4-t12p4-h9-t12p4-t12p9-t12p4- x4&lt;br /&gt;
&lt;br /&gt;
== Moving Taps ==&lt;br /&gt;
 -t12p5-h7-t14p5-h7-t16p5-h7-t17p5-h7-t16p5-h7-t14p5-h7- x4&lt;br /&gt;
&lt;br /&gt;
== Trills ==&lt;br /&gt;
&lt;br /&gt;
== 2-3 Octave Arpeggios ==&lt;br /&gt;
&lt;br /&gt;
== 2 Hand Tapping ==&lt;br /&gt;
&lt;br /&gt;
[[Category:Guitar]]&lt;br /&gt;
[[Category:Exercises]]&lt;br /&gt;
[[Category:Technique]]&lt;br /&gt;
[[Category:Arpeggios]]&lt;br /&gt;
[[Category:Tapping]]&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=Legato_Exercises&amp;diff=8760</id>
		<title>Legato Exercises</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=Legato_Exercises&amp;diff=8760"/>
				<updated>2019-03-09T06:35:16Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: /* 2 Hammer-ons per String */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{Top-Level Crumbs|2}}&lt;br /&gt;
{{Exercise Crumbs|2}}&lt;br /&gt;
{{Technique Exercises Crumbs|1}}&lt;br /&gt;
&lt;br /&gt;
==Basic Exercises==&lt;br /&gt;
&lt;br /&gt;
Start on string 1 and repeat on all strings&lt;br /&gt;
&lt;br /&gt;
===Open String Hammer-ons===&lt;br /&gt;
&lt;br /&gt;
 --0-h1----0-h2----0-h3----0-h4-- x8&lt;br /&gt;
      i       m       r       p&lt;br /&gt;
&lt;br /&gt;
 --0-h9----0-h10---0-h11---0-h12-- x8&lt;br /&gt;
      i       m       r       p&lt;br /&gt;
&lt;br /&gt;
       x8|      x8|      x8|      x8|&lt;br /&gt;
 --0-h1--|--0-h2--|--0-h3--|--0-h4--|&lt;br /&gt;
      i        m        r        p&lt;br /&gt;
&lt;br /&gt;
       x8|      x8|      x8|      x8|&lt;br /&gt;
 --0-h9--|--0-h10-|--0-h11-|--0-h12-|&lt;br /&gt;
      i        m        r        p&lt;br /&gt;
&lt;br /&gt;
===Fretted Note Hammer-ons===&lt;br /&gt;
&lt;br /&gt;
 --1-h2--1-h3--1-h4-- x8&lt;br /&gt;
   i  m  i  r  i  p&lt;br /&gt;
&lt;br /&gt;
      x8|    x8|    x8|    x8|    x8|    x8|&lt;br /&gt;
 --1-h2-|-1-h3-|-1-h4-|-2-h3-|-2-h4-|-3-h4-|&lt;br /&gt;
   i  m   i  r   i  p   m  r   m  p   r  p&lt;br /&gt;
&lt;br /&gt;
===2 Hammer-ons per String===&lt;br /&gt;
         x8|       x8|       x8|&lt;br /&gt;
 --5-h6-h8-|-5-h7-h8-|-5-h7-h9-|&lt;br /&gt;
   i  m  p   i  r  p   i  m  p  &lt;br /&gt;
&lt;br /&gt;
                  x8|                x8|                 x8|&lt;br /&gt;
 -----------5-h6-h8-|----------5-h7-h8-|----------5-h7-h9--|&lt;br /&gt;
 --5-h6-h8----------|-5-h7-h8----------|-5-h7-h9-----------|&lt;br /&gt;
   i  m  p  i  m  p   i  r  p  i  r  p   i  m  p  i  m  p&lt;br /&gt;
&lt;br /&gt;
===Hammer-on from Nothing===&lt;br /&gt;
 --h1--(x)--h2--(x)--h3--(x)--h4-- x16&lt;br /&gt;
    i        m        r        p&lt;br /&gt;
&lt;br /&gt;
                  x8|                 x8|                 x8|&lt;br /&gt;
 ----------h5-h6-h8-|----------h5-h7-h8-|----------h5-h7-h9-|&lt;br /&gt;
 -h5-h6-h8----------|-h5-h7-h8----------|-h5-h7-h9----------|&lt;br /&gt;
   i  m  p  i  m  p    i  r  p  i  r  p    i  m  p  i  m  p&lt;br /&gt;
&lt;br /&gt;
===Open String Pull-offs===&lt;br /&gt;
 --4-p0----3-p0----2-p0----1-p0-- x16&lt;br /&gt;
   p       r       m       i&lt;br /&gt;
&lt;br /&gt;
===Fretted Pull-offs===&lt;br /&gt;
 --4-p1----3-p1----2-p1--&lt;br /&gt;
   p  i    r  i    m  i&lt;br /&gt;
&lt;br /&gt;
 --4-p1----3-p1----2-p1----4-p2----3-p2----4-p3--&lt;br /&gt;
   p  i    r  i    m  i    p  m    r  m    p  r&lt;br /&gt;
&lt;br /&gt;
===2 Pull-offs per String===&lt;br /&gt;
 --8-p6-p5--8-p6-p5--8-p7-p5--8-p7-p5--9-p7-p5--9-p7-p5&lt;br /&gt;
   p  m  i  p  m  i  p  r  i  p  r  i  p  m  i  p  m  i&lt;br /&gt;
&lt;br /&gt;
 --8-p6-p5-----------8-p7-p5-----------9-p7-p5---------&lt;br /&gt;
 -----------8-p6-p5-----------8-p7-p5-----------9-p7-p5&lt;br /&gt;
   p  m  i  p  m  i  p  r  i  p  r  i  p  m  i  p  m  i&lt;br /&gt;
&lt;br /&gt;
=== Legato Sliding===&lt;br /&gt;
   1    2   3    4  | 1    2   3    4 &lt;br /&gt;
 --4--/(5)--5--\(4)-|-4--/(6)--6--\(4)-|-4--/(7)--7--\(4)-|-4--/(8)--8--\(4)--&lt;br /&gt;
&lt;br /&gt;
or&lt;br /&gt;
&lt;br /&gt;
 --4--s(5)--5--s(4)-|-4--s(6)--6--s(4)-|-4--s(7)--7--s(4)-|-4--s(8)--8--s(4)--&lt;br /&gt;
&lt;br /&gt;
== Muting ==&lt;br /&gt;
                                        x12&lt;br /&gt;
 E--(mute with right middle finger)-----&lt;br /&gt;
 B--(mute with left-hand index finger)--&lt;br /&gt;
 G---h6---h7---h9---p7---p6---h7---h9---&lt;br /&gt;
 D--(mute with right-hand palm)---------&lt;br /&gt;
 A--(mute with right-hand palm)---------&lt;br /&gt;
 E--(mute with right-hand palm)---------&lt;br /&gt;
&lt;br /&gt;
== Advanced Exercises ==&lt;br /&gt;
Think you've mastered the above techniques separately?  Let's try them together.&lt;br /&gt;
&lt;br /&gt;
=== Single String Hammer-on/Pull-offs ===&lt;br /&gt;
 --h6-h7-h9-p7-p6-h7-h9-p7---p6-h8-h9-p8-p6-h8-h9-p8---p6-h8-h10-p8-p6-h8-h10-p8-p6---&lt;br /&gt;
    i  m  p  m  i  m  p  m    i  r  p  r  i  r  p  r    i  m  p   m  i  m  p  m   i&lt;br /&gt;
&lt;br /&gt;
This is straight step-wise motion up and down on a single string using all hammer-on and pull-offs for all three common 3 note per string patterns (half-whole, whole-half, and whole-whole).  All notes should be equal volume and duration - use a metronome.  Practice on other strings/positions.&lt;br /&gt;
&lt;br /&gt;
=== 2 String Hammer-on/Pull-offs ===&lt;br /&gt;
 -----------h6-h7-h9-p7-p6----------------h6-h7-h9-p7-p6-----------&lt;br /&gt;
 --h6-h7-h9----------------h9-p7-p6-h7-h9----------------h9-p7-p6--&lt;br /&gt;
    i  m  p  i  m  p  m  i  p  m  i  m  p  i  m  p  m  i  p  m  i&lt;br /&gt;
&lt;br /&gt;
 -----------h6-h8-h9-p8-p6----------------h6-h8-h9-p8-p6-----------&lt;br /&gt;
 --h6-h8-h9----------------h9-p8-p6-h8-h9----------------h9-p8-p6--&lt;br /&gt;
    i  r  p  i  r  p  r  i  p  r  i  r  p  i  r  p  r  i  p  r  i&lt;br /&gt;
&lt;br /&gt;
 ------------h6-h8-h10-p8-p6------------------h6-h8-h10-p8-p6-----------&lt;br /&gt;
 --h6-h8-h10-----------------h10-p8-p6-h8-h10-----------------h10-p8-p6--&lt;br /&gt;
    i  m  p   i  m  p   m  i  p   m  i  m  p   i  m  p   m  i  p  m  i&lt;br /&gt;
&lt;br /&gt;
 -----------h6-h8-h9-p8-p6----------------h6-h8-h9-p8-p6-----------&lt;br /&gt;
 --h6-h7-h9----------------h9-p7-p6-h7-h9----------------h9-p7-p6--&lt;br /&gt;
    i  m  p  i  r  p  r  i  p  m  i  m  p  i  r  p  r  i  p  m  i&lt;br /&gt;
&lt;br /&gt;
 -----------h6-h8-h10-p8-p6----------------h6-h8-h10-p8-p6-----------&lt;br /&gt;
 --h6-h8-h9-----------------h9-p8-p6-h8-h9-----------------h9-p8-p6--&lt;br /&gt;
    i  r  p  i  m  p   m  i  p  r  i  r  p  i  m  p   m  i  p  r  i&lt;br /&gt;
&lt;br /&gt;
=== Stamina Training ===&lt;br /&gt;
                                                              x40&lt;br /&gt;
 --6-|:h7--h9--p6--h9--p7--p6--h9--p6--h7--p6--h9--p7--h9--p6--:|&lt;br /&gt;
   i    m   p   i   p   m   i   p   i  m   i   p   m   p   i&lt;br /&gt;
&lt;br /&gt;
                                                              x40&lt;br /&gt;
 --6-|:h8--h9--p6--h9--p8--p6--h9--p6--h8--p6--h9--p8--h9--p6--:|&lt;br /&gt;
   i    r   p   i   p   r   i   p   i  r   i   p   r   p   i&lt;br /&gt;
&lt;br /&gt;
                                                              x40&lt;br /&gt;
 --6-|:h7--h8--p6--h8--p7--p6--h8--p6--h7--p6--h8--p7--h8--p6--:|&lt;br /&gt;
   i    m   r   i   r   m   i   r   i  m   i   r   m   r   i&lt;br /&gt;
&lt;br /&gt;
=== Legato Runs ===&lt;br /&gt;
 E-------------------------------------------------------------------------------------------------|&lt;br /&gt;
 B-------------------------------------------------------------------------------------------------|&lt;br /&gt;
 G-------------------------------------------------------------------------------------h9--h10-h12-|&lt;br /&gt;
 D-------------------------------------------------h7--h9--h10-------------h9--h10-h12-------------|&lt;br /&gt;
 A-------------h5--h7--h8--------------h7--h8--h10-------------h8--h10-h12-------------------------|&lt;br /&gt;
 E-h5--h7--h8--------------h7--h8--h10-------------------------------------------------------------|&lt;br /&gt;
 &lt;br /&gt;
 E-------------------------------------------------------------h13-h15-h17-------------h15-h17-h19-|/20--&lt;br /&gt;
 B-------------------------h12-h13-h15-------------h13-h15-h17-------------h15-h17-h18-------------|&lt;br /&gt;
 G-------------h10-h12-h14-------------h12-h14-h16-------------------------------------------------|&lt;br /&gt;
 D-h10-h12-h14-------------------------------------------------------------------------------------|&lt;br /&gt;
 A-------------------------------------------------------------------------------------------------|&lt;br /&gt;
 E-------------------------------------------------------------------------------------------------|&lt;br /&gt;
&lt;br /&gt;
 E-h19-p17-p15-------------h17-p15-p13-------------------------------------------------------------|&lt;br /&gt;
 B-------------h18-p17-p15-------------h17-p15-p13-------------h15-p13-p12-------------------------|&lt;br /&gt;
 G-------------------------------------------------h16-p14-p12-------------h14-p12-p10-------------|&lt;br /&gt;
 D-------------------------------------------------------------------------------------h14-p12-p10-|&lt;br /&gt;
 A-------------------------------------------------------------------------------------------------|&lt;br /&gt;
 E-------------------------------------------------------------------------------------------------|&lt;br /&gt;
 &lt;br /&gt;
 E-------------------------------------------------------------------------------------------------|&lt;br /&gt;
 B-------------------------------------------------------------------------------------------------|&lt;br /&gt;
 G-h12-p10-p9--------------------------------------------------------------------------------------|&lt;br /&gt;
 D-------------h12-p10-p9--------------h10-p9--p7--------------------------------------------------|&lt;br /&gt;
 A-------------------------h12-p10-p8--------------h10-p8--p7--------------h8--p7--p5--------------|&lt;br /&gt;
 E-------------------------------------------------------------h10-p8--p7--------------h8--p7--p5--|&lt;br /&gt;
&lt;br /&gt;
=== Single-String Hammer-on/Pull-off/Slides ===&lt;br /&gt;
 --3--h5--h7-/(8)--p7--p5-\(3)--h5--h7-/(8)--p7--p5-\(3)--&lt;br /&gt;
   i   m   p   p   r    i   i    m   p   p    r   i   i&lt;br /&gt;
 &lt;br /&gt;
 --4--h6--h7-/(9)--p7--p6-\(4)--h6--h7-/(9)--p7--p6-\(4)--&lt;br /&gt;
   i   r   p   p    m   i   i    r   p   p    m   i   i&lt;br /&gt;
 &lt;br /&gt;
 --4--h5--h7-/(9)--p7--p5-\(4)--h5--h7-/(9)--p7--p5-\(4)--&lt;br /&gt;
   i   m   p   p    m   i   i    m   p   p    m   i   i&lt;br /&gt;
 &lt;br /&gt;
 --3--h5--h7-/(9)--p7--p5-\(3)--h5--h7-/(9)--p7--p5-\(3)--&lt;br /&gt;
   i   m   p   p    m   i   i    m   p   p    m   i   i&lt;br /&gt;
&lt;br /&gt;
 --2--h4--h6--/(7)--p4--h6--h7--/(9)--p6--h7--h9-/(11)--p7--h9-h11-/(13)--p9-h11-h13-/(14)--&lt;br /&gt;
   i   m   p    p    i   r   p    p    i   m   p    p    i   m   p    p    i   m   p    p   &lt;br /&gt;
 &lt;br /&gt;
 -14-p13-p11--\(9)-h13-p11--p9--\(7)-h11--p9--p7--\(6)--h9--p7--p6--\(4)--h7--p6--p4--\(2)--&lt;br /&gt;
   p   r   i    i    p   m   i    i   p    m   i    i    p   m   i    i    p   r   i    i&lt;br /&gt;
&lt;br /&gt;
=== Open String Exercises ===&lt;br /&gt;
Make sure to start slow on this exercise and give all notes equal duration.&lt;br /&gt;
&lt;br /&gt;
 Index and Pinky&lt;br /&gt;
    |-h8--p4--p0--h8--p4--p0--h4--h8|-p0--h4--h8--p4--h8--p0--h8--p4|...&lt;br /&gt;
 &lt;br /&gt;
 ...|-h8--p0--h4--h8--p4--p0--h4--h8|-p4--p0--h8--p0--h4--p0--h8--p0|&lt;br /&gt;
&lt;br /&gt;
 Index and Ring/Pinky&lt;br /&gt;
    |-h7--p4--p0--h7--p4--p0--h4--h7|-p0--h4--h7--p4--h7--p0--h7--p4|...&lt;br /&gt;
 &lt;br /&gt;
 ...|-h7--p0--h4--h7--p4--p0--h4--h7|-p4--p0--h7--p0--h4--p0--h7--p0|&lt;br /&gt;
&lt;br /&gt;
 Index and Ring/Middle or Middle and Pinky&lt;br /&gt;
    |-h6--p4--p0--h6--p4--p0--h4--h6|-p0--h4--h6--p4--h6--p0--h6--p4|...&lt;br /&gt;
 &lt;br /&gt;
 ...|-h6--p0--h4--h6--p4--p0--h4--h6|-p4--p0--h6--p0--h4--p0--h6--p0|&lt;br /&gt;
&lt;br /&gt;
 Index and Middle, Middle and Ring, or Ring and Pinky&lt;br /&gt;
    |-h5--p4--p0--h5--p4--p0--h4--h5|-p0--h4--h5--p4--h5--p0--h5--p4|...&lt;br /&gt;
 &lt;br /&gt;
 ...|-h5--p0--h4--h5--p4--p0--h4--h5|-p4--p0--h5--p0--h4--p0--h5--p0|&lt;br /&gt;
&lt;br /&gt;
[[Category:Guitar]]&lt;br /&gt;
[[Category:Technique]]&lt;br /&gt;
[[Category:Exercises]]&lt;br /&gt;
[[Category:Legato]]&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=Legato_Exercises&amp;diff=8759</id>
		<title>Legato Exercises</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=Legato_Exercises&amp;diff=8759"/>
				<updated>2019-03-09T06:34:14Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{Top-Level Crumbs|2}}&lt;br /&gt;
{{Exercise Crumbs|2}}&lt;br /&gt;
{{Technique Exercises Crumbs|1}}&lt;br /&gt;
&lt;br /&gt;
==Basic Exercises==&lt;br /&gt;
&lt;br /&gt;
Start on string 1 and repeat on all strings&lt;br /&gt;
&lt;br /&gt;
===Open String Hammer-ons===&lt;br /&gt;
&lt;br /&gt;
 --0-h1----0-h2----0-h3----0-h4-- x8&lt;br /&gt;
      i       m       r       p&lt;br /&gt;
&lt;br /&gt;
 --0-h9----0-h10---0-h11---0-h12-- x8&lt;br /&gt;
      i       m       r       p&lt;br /&gt;
&lt;br /&gt;
       x8|      x8|      x8|      x8|&lt;br /&gt;
 --0-h1--|--0-h2--|--0-h3--|--0-h4--|&lt;br /&gt;
      i        m        r        p&lt;br /&gt;
&lt;br /&gt;
       x8|      x8|      x8|      x8|&lt;br /&gt;
 --0-h9--|--0-h10-|--0-h11-|--0-h12-|&lt;br /&gt;
      i        m        r        p&lt;br /&gt;
&lt;br /&gt;
===Fretted Note Hammer-ons===&lt;br /&gt;
&lt;br /&gt;
 --1-h2--1-h3--1-h4-- x8&lt;br /&gt;
   i  m  i  r  i  p&lt;br /&gt;
&lt;br /&gt;
      x8|    x8|    x8|    x8|    x8|    x8|&lt;br /&gt;
 --1-h2-|-1-h3-|-1-h4-|-2-h3-|-2-h4-|-3-h4-|&lt;br /&gt;
   i  m   i  r   i  p   m  r   m  p   r  p&lt;br /&gt;
&lt;br /&gt;
===2 Hammer-ons per String===&lt;br /&gt;
         x8|       x8|       x8|       x8|       x8|&lt;br /&gt;
 --5-h6-h8-|-5-h7-h8-|-5-h7-h8-|-5-h7-h9-|-5-h7-h9-|&lt;br /&gt;
   i  m  p   i  r  p   i  r  p   i  m  p   i  m  p&lt;br /&gt;
&lt;br /&gt;
                  x8|                x8|                 x8|&lt;br /&gt;
 -----------5-h6-h8-|----------5-h7-h8-|----------5-h7-h9--|&lt;br /&gt;
 --5-h6-h8----------|-5-h7-h8----------|-5-h7-h9-----------|&lt;br /&gt;
   i  m  p  i  m  p   i  r  p  i  r  p   i  m  p  i  m  p&lt;br /&gt;
&lt;br /&gt;
===Hammer-on from Nothing===&lt;br /&gt;
 --h1--(x)--h2--(x)--h3--(x)--h4-- x16&lt;br /&gt;
    i        m        r        p&lt;br /&gt;
&lt;br /&gt;
                  x8|                 x8|                 x8|&lt;br /&gt;
 ----------h5-h6-h8-|----------h5-h7-h8-|----------h5-h7-h9-|&lt;br /&gt;
 -h5-h6-h8----------|-h5-h7-h8----------|-h5-h7-h9----------|&lt;br /&gt;
   i  m  p  i  m  p    i  r  p  i  r  p    i  m  p  i  m  p&lt;br /&gt;
&lt;br /&gt;
===Open String Pull-offs===&lt;br /&gt;
 --4-p0----3-p0----2-p0----1-p0-- x16&lt;br /&gt;
   p       r       m       i&lt;br /&gt;
&lt;br /&gt;
===Fretted Pull-offs===&lt;br /&gt;
 --4-p1----3-p1----2-p1--&lt;br /&gt;
   p  i    r  i    m  i&lt;br /&gt;
&lt;br /&gt;
 --4-p1----3-p1----2-p1----4-p2----3-p2----4-p3--&lt;br /&gt;
   p  i    r  i    m  i    p  m    r  m    p  r&lt;br /&gt;
&lt;br /&gt;
===2 Pull-offs per String===&lt;br /&gt;
 --8-p6-p5--8-p6-p5--8-p7-p5--8-p7-p5--9-p7-p5--9-p7-p5&lt;br /&gt;
   p  m  i  p  m  i  p  r  i  p  r  i  p  m  i  p  m  i&lt;br /&gt;
&lt;br /&gt;
 --8-p6-p5-----------8-p7-p5-----------9-p7-p5---------&lt;br /&gt;
 -----------8-p6-p5-----------8-p7-p5-----------9-p7-p5&lt;br /&gt;
   p  m  i  p  m  i  p  r  i  p  r  i  p  m  i  p  m  i&lt;br /&gt;
&lt;br /&gt;
=== Legato Sliding===&lt;br /&gt;
   1    2   3    4  | 1    2   3    4 &lt;br /&gt;
 --4--/(5)--5--\(4)-|-4--/(6)--6--\(4)-|-4--/(7)--7--\(4)-|-4--/(8)--8--\(4)--&lt;br /&gt;
&lt;br /&gt;
or&lt;br /&gt;
&lt;br /&gt;
 --4--s(5)--5--s(4)-|-4--s(6)--6--s(4)-|-4--s(7)--7--s(4)-|-4--s(8)--8--s(4)--&lt;br /&gt;
&lt;br /&gt;
== Muting ==&lt;br /&gt;
                                        x12&lt;br /&gt;
 E--(mute with right middle finger)-----&lt;br /&gt;
 B--(mute with left-hand index finger)--&lt;br /&gt;
 G---h6---h7---h9---p7---p6---h7---h9---&lt;br /&gt;
 D--(mute with right-hand palm)---------&lt;br /&gt;
 A--(mute with right-hand palm)---------&lt;br /&gt;
 E--(mute with right-hand palm)---------&lt;br /&gt;
&lt;br /&gt;
== Advanced Exercises ==&lt;br /&gt;
Think you've mastered the above techniques separately?  Let's try them together.&lt;br /&gt;
&lt;br /&gt;
=== Single String Hammer-on/Pull-offs ===&lt;br /&gt;
 --h6-h7-h9-p7-p6-h7-h9-p7---p6-h8-h9-p8-p6-h8-h9-p8---p6-h8-h10-p8-p6-h8-h10-p8-p6---&lt;br /&gt;
    i  m  p  m  i  m  p  m    i  r  p  r  i  r  p  r    i  m  p   m  i  m  p  m   i&lt;br /&gt;
&lt;br /&gt;
This is straight step-wise motion up and down on a single string using all hammer-on and pull-offs for all three common 3 note per string patterns (half-whole, whole-half, and whole-whole).  All notes should be equal volume and duration - use a metronome.  Practice on other strings/positions.&lt;br /&gt;
&lt;br /&gt;
=== 2 String Hammer-on/Pull-offs ===&lt;br /&gt;
 -----------h6-h7-h9-p7-p6----------------h6-h7-h9-p7-p6-----------&lt;br /&gt;
 --h6-h7-h9----------------h9-p7-p6-h7-h9----------------h9-p7-p6--&lt;br /&gt;
    i  m  p  i  m  p  m  i  p  m  i  m  p  i  m  p  m  i  p  m  i&lt;br /&gt;
&lt;br /&gt;
 -----------h6-h8-h9-p8-p6----------------h6-h8-h9-p8-p6-----------&lt;br /&gt;
 --h6-h8-h9----------------h9-p8-p6-h8-h9----------------h9-p8-p6--&lt;br /&gt;
    i  r  p  i  r  p  r  i  p  r  i  r  p  i  r  p  r  i  p  r  i&lt;br /&gt;
&lt;br /&gt;
 ------------h6-h8-h10-p8-p6------------------h6-h8-h10-p8-p6-----------&lt;br /&gt;
 --h6-h8-h10-----------------h10-p8-p6-h8-h10-----------------h10-p8-p6--&lt;br /&gt;
    i  m  p   i  m  p   m  i  p   m  i  m  p   i  m  p   m  i  p  m  i&lt;br /&gt;
&lt;br /&gt;
 -----------h6-h8-h9-p8-p6----------------h6-h8-h9-p8-p6-----------&lt;br /&gt;
 --h6-h7-h9----------------h9-p7-p6-h7-h9----------------h9-p7-p6--&lt;br /&gt;
    i  m  p  i  r  p  r  i  p  m  i  m  p  i  r  p  r  i  p  m  i&lt;br /&gt;
&lt;br /&gt;
 -----------h6-h8-h10-p8-p6----------------h6-h8-h10-p8-p6-----------&lt;br /&gt;
 --h6-h8-h9-----------------h9-p8-p6-h8-h9-----------------h9-p8-p6--&lt;br /&gt;
    i  r  p  i  m  p   m  i  p  r  i  r  p  i  m  p   m  i  p  r  i&lt;br /&gt;
&lt;br /&gt;
=== Stamina Training ===&lt;br /&gt;
                                                              x40&lt;br /&gt;
 --6-|:h7--h9--p6--h9--p7--p6--h9--p6--h7--p6--h9--p7--h9--p6--:|&lt;br /&gt;
   i    m   p   i   p   m   i   p   i  m   i   p   m   p   i&lt;br /&gt;
&lt;br /&gt;
                                                              x40&lt;br /&gt;
 --6-|:h8--h9--p6--h9--p8--p6--h9--p6--h8--p6--h9--p8--h9--p6--:|&lt;br /&gt;
   i    r   p   i   p   r   i   p   i  r   i   p   r   p   i&lt;br /&gt;
&lt;br /&gt;
                                                              x40&lt;br /&gt;
 --6-|:h7--h8--p6--h8--p7--p6--h8--p6--h7--p6--h8--p7--h8--p6--:|&lt;br /&gt;
   i    m   r   i   r   m   i   r   i  m   i   r   m   r   i&lt;br /&gt;
&lt;br /&gt;
=== Legato Runs ===&lt;br /&gt;
 E-------------------------------------------------------------------------------------------------|&lt;br /&gt;
 B-------------------------------------------------------------------------------------------------|&lt;br /&gt;
 G-------------------------------------------------------------------------------------h9--h10-h12-|&lt;br /&gt;
 D-------------------------------------------------h7--h9--h10-------------h9--h10-h12-------------|&lt;br /&gt;
 A-------------h5--h7--h8--------------h7--h8--h10-------------h8--h10-h12-------------------------|&lt;br /&gt;
 E-h5--h7--h8--------------h7--h8--h10-------------------------------------------------------------|&lt;br /&gt;
 &lt;br /&gt;
 E-------------------------------------------------------------h13-h15-h17-------------h15-h17-h19-|/20--&lt;br /&gt;
 B-------------------------h12-h13-h15-------------h13-h15-h17-------------h15-h17-h18-------------|&lt;br /&gt;
 G-------------h10-h12-h14-------------h12-h14-h16-------------------------------------------------|&lt;br /&gt;
 D-h10-h12-h14-------------------------------------------------------------------------------------|&lt;br /&gt;
 A-------------------------------------------------------------------------------------------------|&lt;br /&gt;
 E-------------------------------------------------------------------------------------------------|&lt;br /&gt;
&lt;br /&gt;
 E-h19-p17-p15-------------h17-p15-p13-------------------------------------------------------------|&lt;br /&gt;
 B-------------h18-p17-p15-------------h17-p15-p13-------------h15-p13-p12-------------------------|&lt;br /&gt;
 G-------------------------------------------------h16-p14-p12-------------h14-p12-p10-------------|&lt;br /&gt;
 D-------------------------------------------------------------------------------------h14-p12-p10-|&lt;br /&gt;
 A-------------------------------------------------------------------------------------------------|&lt;br /&gt;
 E-------------------------------------------------------------------------------------------------|&lt;br /&gt;
 &lt;br /&gt;
 E-------------------------------------------------------------------------------------------------|&lt;br /&gt;
 B-------------------------------------------------------------------------------------------------|&lt;br /&gt;
 G-h12-p10-p9--------------------------------------------------------------------------------------|&lt;br /&gt;
 D-------------h12-p10-p9--------------h10-p9--p7--------------------------------------------------|&lt;br /&gt;
 A-------------------------h12-p10-p8--------------h10-p8--p7--------------h8--p7--p5--------------|&lt;br /&gt;
 E-------------------------------------------------------------h10-p8--p7--------------h8--p7--p5--|&lt;br /&gt;
&lt;br /&gt;
=== Single-String Hammer-on/Pull-off/Slides ===&lt;br /&gt;
 --3--h5--h7-/(8)--p7--p5-\(3)--h5--h7-/(8)--p7--p5-\(3)--&lt;br /&gt;
   i   m   p   p   r    i   i    m   p   p    r   i   i&lt;br /&gt;
 &lt;br /&gt;
 --4--h6--h7-/(9)--p7--p6-\(4)--h6--h7-/(9)--p7--p6-\(4)--&lt;br /&gt;
   i   r   p   p    m   i   i    r   p   p    m   i   i&lt;br /&gt;
 &lt;br /&gt;
 --4--h5--h7-/(9)--p7--p5-\(4)--h5--h7-/(9)--p7--p5-\(4)--&lt;br /&gt;
   i   m   p   p    m   i   i    m   p   p    m   i   i&lt;br /&gt;
 &lt;br /&gt;
 --3--h5--h7-/(9)--p7--p5-\(3)--h5--h7-/(9)--p7--p5-\(3)--&lt;br /&gt;
   i   m   p   p    m   i   i    m   p   p    m   i   i&lt;br /&gt;
&lt;br /&gt;
 --2--h4--h6--/(7)--p4--h6--h7--/(9)--p6--h7--h9-/(11)--p7--h9-h11-/(13)--p9-h11-h13-/(14)--&lt;br /&gt;
   i   m   p    p    i   r   p    p    i   m   p    p    i   m   p    p    i   m   p    p   &lt;br /&gt;
 &lt;br /&gt;
 -14-p13-p11--\(9)-h13-p11--p9--\(7)-h11--p9--p7--\(6)--h9--p7--p6--\(4)--h7--p6--p4--\(2)--&lt;br /&gt;
   p   r   i    i    p   m   i    i   p    m   i    i    p   m   i    i    p   r   i    i&lt;br /&gt;
&lt;br /&gt;
=== Open String Exercises ===&lt;br /&gt;
Make sure to start slow on this exercise and give all notes equal duration.&lt;br /&gt;
&lt;br /&gt;
 Index and Pinky&lt;br /&gt;
    |-h8--p4--p0--h8--p4--p0--h4--h8|-p0--h4--h8--p4--h8--p0--h8--p4|...&lt;br /&gt;
 &lt;br /&gt;
 ...|-h8--p0--h4--h8--p4--p0--h4--h8|-p4--p0--h8--p0--h4--p0--h8--p0|&lt;br /&gt;
&lt;br /&gt;
 Index and Ring/Pinky&lt;br /&gt;
    |-h7--p4--p0--h7--p4--p0--h4--h7|-p0--h4--h7--p4--h7--p0--h7--p4|...&lt;br /&gt;
 &lt;br /&gt;
 ...|-h7--p0--h4--h7--p4--p0--h4--h7|-p4--p0--h7--p0--h4--p0--h7--p0|&lt;br /&gt;
&lt;br /&gt;
 Index and Ring/Middle or Middle and Pinky&lt;br /&gt;
    |-h6--p4--p0--h6--p4--p0--h4--h6|-p0--h4--h6--p4--h6--p0--h6--p4|...&lt;br /&gt;
 &lt;br /&gt;
 ...|-h6--p0--h4--h6--p4--p0--h4--h6|-p4--p0--h6--p0--h4--p0--h6--p0|&lt;br /&gt;
&lt;br /&gt;
 Index and Middle, Middle and Ring, or Ring and Pinky&lt;br /&gt;
    |-h5--p4--p0--h5--p4--p0--h4--h5|-p0--h4--h5--p4--h5--p0--h5--p4|...&lt;br /&gt;
 &lt;br /&gt;
 ...|-h5--p0--h4--h5--p4--p0--h4--h5|-p4--p0--h5--p0--h4--p0--h5--p0|&lt;br /&gt;
&lt;br /&gt;
[[Category:Guitar]]&lt;br /&gt;
[[Category:Technique]]&lt;br /&gt;
[[Category:Exercises]]&lt;br /&gt;
[[Category:Legato]]&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=Legato_Exercises&amp;diff=8758</id>
		<title>Legato Exercises</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=Legato_Exercises&amp;diff=8758"/>
				<updated>2019-03-09T06:18:52Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: /* Fretted Note Hammer-ons */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{Top-Level Crumbs|2}}&lt;br /&gt;
{{Exercise Crumbs|2}}&lt;br /&gt;
{{Technique Exercises Crumbs|1}}&lt;br /&gt;
&lt;br /&gt;
==Basic Exercises==&lt;br /&gt;
===Open String Hammer-ons===&lt;br /&gt;
&lt;br /&gt;
 --0-h1----0-h2----0-h3----0-h4-- x8&lt;br /&gt;
      i       m       r       p&lt;br /&gt;
&lt;br /&gt;
 --0-h9----0-h10---0-h11---0-h12-- x8&lt;br /&gt;
      i       m       r       p&lt;br /&gt;
&lt;br /&gt;
       x8|      x8|      x8|      x8|&lt;br /&gt;
 --0-h1--|--0-h2--|--0-h3--|--0-h4--|&lt;br /&gt;
      i        m        r        p&lt;br /&gt;
&lt;br /&gt;
       x8|      x8|      x8|      x8|&lt;br /&gt;
 --0-h9--|--0-h10-|--0-h11-|--0-h12-|&lt;br /&gt;
      i        m        r        p&lt;br /&gt;
&lt;br /&gt;
===Fretted Note Hammer-ons===&lt;br /&gt;
&lt;br /&gt;
 Start on string 1 and repeat on all strings&lt;br /&gt;
 --1-h2----1-h3----1-h4-- x8&lt;br /&gt;
   i  m    i  r    i  p&lt;br /&gt;
&lt;br /&gt;
       x8|      x8|      x8|      x8|      x8|      x8|&lt;br /&gt;
 --1-h2--|--1-h3--|--1-h4--|--2-h3--|--2-h4--|--3-h4--|&lt;br /&gt;
   i  m     i  r     i  p     m  r     m  p     r  p&lt;br /&gt;
&lt;br /&gt;
===2 Hammer-ons per String===&lt;br /&gt;
 --5-h6-h8--5-h6-h8--5-h7-h8--5-h7-h8--5-h7-h9--5-h7-h9&lt;br /&gt;
   i  m  p  i  m  p  i  r  p  i  r  p  i  m  p  i  m  p&lt;br /&gt;
&lt;br /&gt;
 -----------5-h6-h8-----------5-h7-h8-----------5-h7-h9&lt;br /&gt;
 --5-h6-h8-----------5-h7-h8-----------5-h7-h9---------&lt;br /&gt;
   i  m  p  i  m  p  i  r  p  i  r  p  i  m  p  i  m  p&lt;br /&gt;
&lt;br /&gt;
===Hammer-on from Nothing===&lt;br /&gt;
 --h1--(x)--h2--(x)--h3--(x)--h4--&lt;br /&gt;
    i        m        r        p&lt;br /&gt;
&lt;br /&gt;
 ----------h5-h6-h8----------h5-h7-h8----------h5-h7-h9&lt;br /&gt;
 -h5-h6-h8----------h5-h7-h8----------h5-h7-h9---------&lt;br /&gt;
   i  m  p  i  m  p  i  r  p  i  r  p  i  m  p  i  m  p&lt;br /&gt;
&lt;br /&gt;
===Open String Pull-offs===&lt;br /&gt;
 --4-p0----3-p0----2-p0----1-p0--&lt;br /&gt;
   p       r       m       i&lt;br /&gt;
&lt;br /&gt;
===Fretted Pull-offs===&lt;br /&gt;
 --4-p1----3-p1----2-p1--&lt;br /&gt;
   p  i    r  i    m  i&lt;br /&gt;
&lt;br /&gt;
 --4-p1----3-p1----2-p1----4-p2----3-p2----4-p3--&lt;br /&gt;
   p  i    r  i    m  i    p  m    r  m    p  r&lt;br /&gt;
&lt;br /&gt;
===2 Pull-offs per String===&lt;br /&gt;
 --8-p6-p5--8-p6-p5--8-p7-p5--8-p7-p5--9-p7-p5--9-p7-p5&lt;br /&gt;
   p  m  i  p  m  i  p  r  i  p  r  i  p  m  i  p  m  i&lt;br /&gt;
&lt;br /&gt;
 --8-p6-p5-----------8-p7-p5-----------9-p7-p5---------&lt;br /&gt;
 -----------8-p6-p5-----------8-p7-p5-----------9-p7-p5&lt;br /&gt;
   p  m  i  p  m  i  p  r  i  p  r  i  p  m  i  p  m  i&lt;br /&gt;
&lt;br /&gt;
=== Legato Sliding===&lt;br /&gt;
   1    2   3    4  | 1    2   3    4 &lt;br /&gt;
 --4--/(5)--5--\(4)-|-4--/(6)--6--\(4)-|-4--/(7)--7--\(4)-|-4--/(8)--8--\(4)--&lt;br /&gt;
&lt;br /&gt;
or&lt;br /&gt;
&lt;br /&gt;
 --4--s(5)--5--s(4)-|-4--s(6)--6--s(4)-|-4--s(7)--7--s(4)-|-4--s(8)--8--s(4)--&lt;br /&gt;
&lt;br /&gt;
== Muting ==&lt;br /&gt;
                                        x12&lt;br /&gt;
 E--(mute with right middle finger)-----&lt;br /&gt;
 B--(mute with left-hand index finger)--&lt;br /&gt;
 G---h6---h7---h9---p7---p6---h7---h9---&lt;br /&gt;
 D--(mute with right-hand palm)---------&lt;br /&gt;
 A--(mute with right-hand palm)---------&lt;br /&gt;
 E--(mute with right-hand palm)---------&lt;br /&gt;
&lt;br /&gt;
== Advanced Exercises ==&lt;br /&gt;
Think you've mastered the above techniques separately?  Let's try them together.&lt;br /&gt;
&lt;br /&gt;
=== Single String Hammer-on/Pull-offs ===&lt;br /&gt;
 --h6-h7-h9-p7-p6-h7-h9-p7---p6-h8-h9-p8-p6-h8-h9-p8---p6-h8-h10-p8-p6-h8-h10-p8-p6---&lt;br /&gt;
    i  m  p  m  i  m  p  m    i  r  p  r  i  r  p  r    i  m  p   m  i  m  p  m   i&lt;br /&gt;
&lt;br /&gt;
This is straight step-wise motion up and down on a single string using all hammer-on and pull-offs for all three common 3 note per string patterns (half-whole, whole-half, and whole-whole).  All notes should be equal volume and duration - use a metronome.  Practice on other strings/positions.&lt;br /&gt;
&lt;br /&gt;
=== 2 String Hammer-on/Pull-offs ===&lt;br /&gt;
 -----------h6-h7-h9-p7-p6----------------h6-h7-h9-p7-p6-----------&lt;br /&gt;
 --h6-h7-h9----------------h9-p7-p6-h7-h9----------------h9-p7-p6--&lt;br /&gt;
    i  m  p  i  m  p  m  i  p  m  i  m  p  i  m  p  m  i  p  m  i&lt;br /&gt;
&lt;br /&gt;
 -----------h6-h8-h9-p8-p6----------------h6-h8-h9-p8-p6-----------&lt;br /&gt;
 --h6-h8-h9----------------h9-p8-p6-h8-h9----------------h9-p8-p6--&lt;br /&gt;
    i  r  p  i  r  p  r  i  p  r  i  r  p  i  r  p  r  i  p  r  i&lt;br /&gt;
&lt;br /&gt;
 ------------h6-h8-h10-p8-p6------------------h6-h8-h10-p8-p6-----------&lt;br /&gt;
 --h6-h8-h10-----------------h10-p8-p6-h8-h10-----------------h10-p8-p6--&lt;br /&gt;
    i  m  p   i  m  p   m  i  p   m  i  m  p   i  m  p   m  i  p  m  i&lt;br /&gt;
&lt;br /&gt;
 -----------h6-h8-h9-p8-p6----------------h6-h8-h9-p8-p6-----------&lt;br /&gt;
 --h6-h7-h9----------------h9-p7-p6-h7-h9----------------h9-p7-p6--&lt;br /&gt;
    i  m  p  i  r  p  r  i  p  m  i  m  p  i  r  p  r  i  p  m  i&lt;br /&gt;
&lt;br /&gt;
 -----------h6-h8-h10-p8-p6----------------h6-h8-h10-p8-p6-----------&lt;br /&gt;
 --h6-h8-h9-----------------h9-p8-p6-h8-h9-----------------h9-p8-p6--&lt;br /&gt;
    i  r  p  i  m  p   m  i  p  r  i  r  p  i  m  p   m  i  p  r  i&lt;br /&gt;
&lt;br /&gt;
=== Stamina Training ===&lt;br /&gt;
                                                              x40&lt;br /&gt;
 --6-|:h7--h9--p6--h9--p7--p6--h9--p6--h7--p6--h9--p7--h9--p6--:|&lt;br /&gt;
   i    m   p   i   p   m   i   p   i  m   i   p   m   p   i&lt;br /&gt;
&lt;br /&gt;
                                                              x40&lt;br /&gt;
 --6-|:h8--h9--p6--h9--p8--p6--h9--p6--h8--p6--h9--p8--h9--p6--:|&lt;br /&gt;
   i    r   p   i   p   r   i   p   i  r   i   p   r   p   i&lt;br /&gt;
&lt;br /&gt;
                                                              x40&lt;br /&gt;
 --6-|:h7--h8--p6--h8--p7--p6--h8--p6--h7--p6--h8--p7--h8--p6--:|&lt;br /&gt;
   i    m   r   i   r   m   i   r   i  m   i   r   m   r   i&lt;br /&gt;
&lt;br /&gt;
=== Legato Runs ===&lt;br /&gt;
 E-------------------------------------------------------------------------------------------------|&lt;br /&gt;
 B-------------------------------------------------------------------------------------------------|&lt;br /&gt;
 G-------------------------------------------------------------------------------------h9--h10-h12-|&lt;br /&gt;
 D-------------------------------------------------h7--h9--h10-------------h9--h10-h12-------------|&lt;br /&gt;
 A-------------h5--h7--h8--------------h7--h8--h10-------------h8--h10-h12-------------------------|&lt;br /&gt;
 E-h5--h7--h8--------------h7--h8--h10-------------------------------------------------------------|&lt;br /&gt;
 &lt;br /&gt;
 E-------------------------------------------------------------h13-h15-h17-------------h15-h17-h19-|/20--&lt;br /&gt;
 B-------------------------h12-h13-h15-------------h13-h15-h17-------------h15-h17-h18-------------|&lt;br /&gt;
 G-------------h10-h12-h14-------------h12-h14-h16-------------------------------------------------|&lt;br /&gt;
 D-h10-h12-h14-------------------------------------------------------------------------------------|&lt;br /&gt;
 A-------------------------------------------------------------------------------------------------|&lt;br /&gt;
 E-------------------------------------------------------------------------------------------------|&lt;br /&gt;
&lt;br /&gt;
 E-h19-p17-p15-------------h17-p15-p13-------------------------------------------------------------|&lt;br /&gt;
 B-------------h18-p17-p15-------------h17-p15-p13-------------h15-p13-p12-------------------------|&lt;br /&gt;
 G-------------------------------------------------h16-p14-p12-------------h14-p12-p10-------------|&lt;br /&gt;
 D-------------------------------------------------------------------------------------h14-p12-p10-|&lt;br /&gt;
 A-------------------------------------------------------------------------------------------------|&lt;br /&gt;
 E-------------------------------------------------------------------------------------------------|&lt;br /&gt;
 &lt;br /&gt;
 E-------------------------------------------------------------------------------------------------|&lt;br /&gt;
 B-------------------------------------------------------------------------------------------------|&lt;br /&gt;
 G-h12-p10-p9--------------------------------------------------------------------------------------|&lt;br /&gt;
 D-------------h12-p10-p9--------------h10-p9--p7--------------------------------------------------|&lt;br /&gt;
 A-------------------------h12-p10-p8--------------h10-p8--p7--------------h8--p7--p5--------------|&lt;br /&gt;
 E-------------------------------------------------------------h10-p8--p7--------------h8--p7--p5--|&lt;br /&gt;
&lt;br /&gt;
=== Single-String Hammer-on/Pull-off/Slides ===&lt;br /&gt;
 --3--h5--h7-/(8)--p7--p5-\(3)--h5--h7-/(8)--p7--p5-\(3)--&lt;br /&gt;
   i   m   p   p   r    i   i    m   p   p    r   i   i&lt;br /&gt;
 &lt;br /&gt;
 --4--h6--h7-/(9)--p7--p6-\(4)--h6--h7-/(9)--p7--p6-\(4)--&lt;br /&gt;
   i   r   p   p    m   i   i    r   p   p    m   i   i&lt;br /&gt;
 &lt;br /&gt;
 --4--h5--h7-/(9)--p7--p5-\(4)--h5--h7-/(9)--p7--p5-\(4)--&lt;br /&gt;
   i   m   p   p    m   i   i    m   p   p    m   i   i&lt;br /&gt;
 &lt;br /&gt;
 --3--h5--h7-/(9)--p7--p5-\(3)--h5--h7-/(9)--p7--p5-\(3)--&lt;br /&gt;
   i   m   p   p    m   i   i    m   p   p    m   i   i&lt;br /&gt;
&lt;br /&gt;
 --2--h4--h6--/(7)--p4--h6--h7--/(9)--p6--h7--h9-/(11)--p7--h9-h11-/(13)--p9-h11-h13-/(14)--&lt;br /&gt;
   i   m   p    p    i   r   p    p    i   m   p    p    i   m   p    p    i   m   p    p   &lt;br /&gt;
 &lt;br /&gt;
 -14-p13-p11--\(9)-h13-p11--p9--\(7)-h11--p9--p7--\(6)--h9--p7--p6--\(4)--h7--p6--p4--\(2)--&lt;br /&gt;
   p   r   i    i    p   m   i    i   p    m   i    i    p   m   i    i    p   r   i    i&lt;br /&gt;
&lt;br /&gt;
=== Open String Exercises ===&lt;br /&gt;
Make sure to start slow on this exercise and give all notes equal duration.&lt;br /&gt;
&lt;br /&gt;
 Index and Pinky&lt;br /&gt;
    |-h8--p4--p0--h8--p4--p0--h4--h8|-p0--h4--h8--p4--h8--p0--h8--p4|...&lt;br /&gt;
 &lt;br /&gt;
 ...|-h8--p0--h4--h8--p4--p0--h4--h8|-p4--p0--h8--p0--h4--p0--h8--p0|&lt;br /&gt;
&lt;br /&gt;
 Index and Ring/Pinky&lt;br /&gt;
    |-h7--p4--p0--h7--p4--p0--h4--h7|-p0--h4--h7--p4--h7--p0--h7--p4|...&lt;br /&gt;
 &lt;br /&gt;
 ...|-h7--p0--h4--h7--p4--p0--h4--h7|-p4--p0--h7--p0--h4--p0--h7--p0|&lt;br /&gt;
&lt;br /&gt;
 Index and Ring/Middle or Middle and Pinky&lt;br /&gt;
    |-h6--p4--p0--h6--p4--p0--h4--h6|-p0--h4--h6--p4--h6--p0--h6--p4|...&lt;br /&gt;
 &lt;br /&gt;
 ...|-h6--p0--h4--h6--p4--p0--h4--h6|-p4--p0--h6--p0--h4--p0--h6--p0|&lt;br /&gt;
&lt;br /&gt;
 Index and Middle, Middle and Ring, or Ring and Pinky&lt;br /&gt;
    |-h5--p4--p0--h5--p4--p0--h4--h5|-p0--h4--h5--p4--h5--p0--h5--p4|...&lt;br /&gt;
 &lt;br /&gt;
 ...|-h5--p0--h4--h5--p4--p0--h4--h5|-p4--p0--h5--p0--h4--p0--h5--p0|&lt;br /&gt;
&lt;br /&gt;
[[Category:Guitar]]&lt;br /&gt;
[[Category:Technique]]&lt;br /&gt;
[[Category:Exercises]]&lt;br /&gt;
[[Category:Legato]]&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=Legato_Exercises&amp;diff=8757</id>
		<title>Legato Exercises</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=Legato_Exercises&amp;diff=8757"/>
				<updated>2019-03-09T06:14:31Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: x8&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{Top-Level Crumbs|2}}&lt;br /&gt;
{{Exercise Crumbs|2}}&lt;br /&gt;
{{Technique Exercises Crumbs|1}}&lt;br /&gt;
&lt;br /&gt;
==Basic Exercises==&lt;br /&gt;
===Open String Hammer-ons===&lt;br /&gt;
&lt;br /&gt;
 --0-h1----0-h2----0-h3----0-h4-- x8&lt;br /&gt;
      i       m       r       p&lt;br /&gt;
&lt;br /&gt;
 --0-h9----0-h10---0-h11---0-h12-- x8&lt;br /&gt;
      i       m       r       p&lt;br /&gt;
&lt;br /&gt;
       x8|      x8|      x8|      x8|&lt;br /&gt;
 --0-h1--|--0-h2--|--0-h3--|--0-h4--|&lt;br /&gt;
      i        m        r        p&lt;br /&gt;
&lt;br /&gt;
       x8|      x8|      x8|      x8|&lt;br /&gt;
 --0-h9--|--0-h10-|--0-h11-|--0-h12-|&lt;br /&gt;
      i        m        r        p&lt;br /&gt;
&lt;br /&gt;
===Fretted Note Hammer-ons===&lt;br /&gt;
 --1-h2----1-h3----1-h4--&lt;br /&gt;
   i  m    i  r    i  p&lt;br /&gt;
&lt;br /&gt;
 --1-h2----1-h3----1-h4----2-h3----2-h4----3-h4--&lt;br /&gt;
   i  m    i  r    i  p    m  r    m  p    r  p&lt;br /&gt;
&lt;br /&gt;
===2 Hammer-ons per String===&lt;br /&gt;
 --5-h6-h8--5-h6-h8--5-h7-h8--5-h7-h8--5-h7-h9--5-h7-h9&lt;br /&gt;
   i  m  p  i  m  p  i  r  p  i  r  p  i  m  p  i  m  p&lt;br /&gt;
&lt;br /&gt;
 -----------5-h6-h8-----------5-h7-h8-----------5-h7-h9&lt;br /&gt;
 --5-h6-h8-----------5-h7-h8-----------5-h7-h9---------&lt;br /&gt;
   i  m  p  i  m  p  i  r  p  i  r  p  i  m  p  i  m  p&lt;br /&gt;
&lt;br /&gt;
===Hammer-on from Nothing===&lt;br /&gt;
 --h1--(x)--h2--(x)--h3--(x)--h4--&lt;br /&gt;
    i        m        r        p&lt;br /&gt;
&lt;br /&gt;
 ----------h5-h6-h8----------h5-h7-h8----------h5-h7-h9&lt;br /&gt;
 -h5-h6-h8----------h5-h7-h8----------h5-h7-h9---------&lt;br /&gt;
   i  m  p  i  m  p  i  r  p  i  r  p  i  m  p  i  m  p&lt;br /&gt;
&lt;br /&gt;
===Open String Pull-offs===&lt;br /&gt;
 --4-p0----3-p0----2-p0----1-p0--&lt;br /&gt;
   p       r       m       i&lt;br /&gt;
&lt;br /&gt;
===Fretted Pull-offs===&lt;br /&gt;
 --4-p1----3-p1----2-p1--&lt;br /&gt;
   p  i    r  i    m  i&lt;br /&gt;
&lt;br /&gt;
 --4-p1----3-p1----2-p1----4-p2----3-p2----4-p3--&lt;br /&gt;
   p  i    r  i    m  i    p  m    r  m    p  r&lt;br /&gt;
&lt;br /&gt;
===2 Pull-offs per String===&lt;br /&gt;
 --8-p6-p5--8-p6-p5--8-p7-p5--8-p7-p5--9-p7-p5--9-p7-p5&lt;br /&gt;
   p  m  i  p  m  i  p  r  i  p  r  i  p  m  i  p  m  i&lt;br /&gt;
&lt;br /&gt;
 --8-p6-p5-----------8-p7-p5-----------9-p7-p5---------&lt;br /&gt;
 -----------8-p6-p5-----------8-p7-p5-----------9-p7-p5&lt;br /&gt;
   p  m  i  p  m  i  p  r  i  p  r  i  p  m  i  p  m  i&lt;br /&gt;
&lt;br /&gt;
=== Legato Sliding===&lt;br /&gt;
   1    2   3    4  | 1    2   3    4 &lt;br /&gt;
 --4--/(5)--5--\(4)-|-4--/(6)--6--\(4)-|-4--/(7)--7--\(4)-|-4--/(8)--8--\(4)--&lt;br /&gt;
&lt;br /&gt;
or&lt;br /&gt;
&lt;br /&gt;
 --4--s(5)--5--s(4)-|-4--s(6)--6--s(4)-|-4--s(7)--7--s(4)-|-4--s(8)--8--s(4)--&lt;br /&gt;
&lt;br /&gt;
== Muting ==&lt;br /&gt;
                                        x12&lt;br /&gt;
 E--(mute with right middle finger)-----&lt;br /&gt;
 B--(mute with left-hand index finger)--&lt;br /&gt;
 G---h6---h7---h9---p7---p6---h7---h9---&lt;br /&gt;
 D--(mute with right-hand palm)---------&lt;br /&gt;
 A--(mute with right-hand palm)---------&lt;br /&gt;
 E--(mute with right-hand palm)---------&lt;br /&gt;
&lt;br /&gt;
== Advanced Exercises ==&lt;br /&gt;
Think you've mastered the above techniques separately?  Let's try them together.&lt;br /&gt;
&lt;br /&gt;
=== Single String Hammer-on/Pull-offs ===&lt;br /&gt;
 --h6-h7-h9-p7-p6-h7-h9-p7---p6-h8-h9-p8-p6-h8-h9-p8---p6-h8-h10-p8-p6-h8-h10-p8-p6---&lt;br /&gt;
    i  m  p  m  i  m  p  m    i  r  p  r  i  r  p  r    i  m  p   m  i  m  p  m   i&lt;br /&gt;
&lt;br /&gt;
This is straight step-wise motion up and down on a single string using all hammer-on and pull-offs for all three common 3 note per string patterns (half-whole, whole-half, and whole-whole).  All notes should be equal volume and duration - use a metronome.  Practice on other strings/positions.&lt;br /&gt;
&lt;br /&gt;
=== 2 String Hammer-on/Pull-offs ===&lt;br /&gt;
 -----------h6-h7-h9-p7-p6----------------h6-h7-h9-p7-p6-----------&lt;br /&gt;
 --h6-h7-h9----------------h9-p7-p6-h7-h9----------------h9-p7-p6--&lt;br /&gt;
    i  m  p  i  m  p  m  i  p  m  i  m  p  i  m  p  m  i  p  m  i&lt;br /&gt;
&lt;br /&gt;
 -----------h6-h8-h9-p8-p6----------------h6-h8-h9-p8-p6-----------&lt;br /&gt;
 --h6-h8-h9----------------h9-p8-p6-h8-h9----------------h9-p8-p6--&lt;br /&gt;
    i  r  p  i  r  p  r  i  p  r  i  r  p  i  r  p  r  i  p  r  i&lt;br /&gt;
&lt;br /&gt;
 ------------h6-h8-h10-p8-p6------------------h6-h8-h10-p8-p6-----------&lt;br /&gt;
 --h6-h8-h10-----------------h10-p8-p6-h8-h10-----------------h10-p8-p6--&lt;br /&gt;
    i  m  p   i  m  p   m  i  p   m  i  m  p   i  m  p   m  i  p  m  i&lt;br /&gt;
&lt;br /&gt;
 -----------h6-h8-h9-p8-p6----------------h6-h8-h9-p8-p6-----------&lt;br /&gt;
 --h6-h7-h9----------------h9-p7-p6-h7-h9----------------h9-p7-p6--&lt;br /&gt;
    i  m  p  i  r  p  r  i  p  m  i  m  p  i  r  p  r  i  p  m  i&lt;br /&gt;
&lt;br /&gt;
 -----------h6-h8-h10-p8-p6----------------h6-h8-h10-p8-p6-----------&lt;br /&gt;
 --h6-h8-h9-----------------h9-p8-p6-h8-h9-----------------h9-p8-p6--&lt;br /&gt;
    i  r  p  i  m  p   m  i  p  r  i  r  p  i  m  p   m  i  p  r  i&lt;br /&gt;
&lt;br /&gt;
=== Stamina Training ===&lt;br /&gt;
                                                              x40&lt;br /&gt;
 --6-|:h7--h9--p6--h9--p7--p6--h9--p6--h7--p6--h9--p7--h9--p6--:|&lt;br /&gt;
   i    m   p   i   p   m   i   p   i  m   i   p   m   p   i&lt;br /&gt;
&lt;br /&gt;
                                                              x40&lt;br /&gt;
 --6-|:h8--h9--p6--h9--p8--p6--h9--p6--h8--p6--h9--p8--h9--p6--:|&lt;br /&gt;
   i    r   p   i   p   r   i   p   i  r   i   p   r   p   i&lt;br /&gt;
&lt;br /&gt;
                                                              x40&lt;br /&gt;
 --6-|:h7--h8--p6--h8--p7--p6--h8--p6--h7--p6--h8--p7--h8--p6--:|&lt;br /&gt;
   i    m   r   i   r   m   i   r   i  m   i   r   m   r   i&lt;br /&gt;
&lt;br /&gt;
=== Legato Runs ===&lt;br /&gt;
 E-------------------------------------------------------------------------------------------------|&lt;br /&gt;
 B-------------------------------------------------------------------------------------------------|&lt;br /&gt;
 G-------------------------------------------------------------------------------------h9--h10-h12-|&lt;br /&gt;
 D-------------------------------------------------h7--h9--h10-------------h9--h10-h12-------------|&lt;br /&gt;
 A-------------h5--h7--h8--------------h7--h8--h10-------------h8--h10-h12-------------------------|&lt;br /&gt;
 E-h5--h7--h8--------------h7--h8--h10-------------------------------------------------------------|&lt;br /&gt;
 &lt;br /&gt;
 E-------------------------------------------------------------h13-h15-h17-------------h15-h17-h19-|/20--&lt;br /&gt;
 B-------------------------h12-h13-h15-------------h13-h15-h17-------------h15-h17-h18-------------|&lt;br /&gt;
 G-------------h10-h12-h14-------------h12-h14-h16-------------------------------------------------|&lt;br /&gt;
 D-h10-h12-h14-------------------------------------------------------------------------------------|&lt;br /&gt;
 A-------------------------------------------------------------------------------------------------|&lt;br /&gt;
 E-------------------------------------------------------------------------------------------------|&lt;br /&gt;
&lt;br /&gt;
 E-h19-p17-p15-------------h17-p15-p13-------------------------------------------------------------|&lt;br /&gt;
 B-------------h18-p17-p15-------------h17-p15-p13-------------h15-p13-p12-------------------------|&lt;br /&gt;
 G-------------------------------------------------h16-p14-p12-------------h14-p12-p10-------------|&lt;br /&gt;
 D-------------------------------------------------------------------------------------h14-p12-p10-|&lt;br /&gt;
 A-------------------------------------------------------------------------------------------------|&lt;br /&gt;
 E-------------------------------------------------------------------------------------------------|&lt;br /&gt;
 &lt;br /&gt;
 E-------------------------------------------------------------------------------------------------|&lt;br /&gt;
 B-------------------------------------------------------------------------------------------------|&lt;br /&gt;
 G-h12-p10-p9--------------------------------------------------------------------------------------|&lt;br /&gt;
 D-------------h12-p10-p9--------------h10-p9--p7--------------------------------------------------|&lt;br /&gt;
 A-------------------------h12-p10-p8--------------h10-p8--p7--------------h8--p7--p5--------------|&lt;br /&gt;
 E-------------------------------------------------------------h10-p8--p7--------------h8--p7--p5--|&lt;br /&gt;
&lt;br /&gt;
=== Single-String Hammer-on/Pull-off/Slides ===&lt;br /&gt;
 --3--h5--h7-/(8)--p7--p5-\(3)--h5--h7-/(8)--p7--p5-\(3)--&lt;br /&gt;
   i   m   p   p   r    i   i    m   p   p    r   i   i&lt;br /&gt;
 &lt;br /&gt;
 --4--h6--h7-/(9)--p7--p6-\(4)--h6--h7-/(9)--p7--p6-\(4)--&lt;br /&gt;
   i   r   p   p    m   i   i    r   p   p    m   i   i&lt;br /&gt;
 &lt;br /&gt;
 --4--h5--h7-/(9)--p7--p5-\(4)--h5--h7-/(9)--p7--p5-\(4)--&lt;br /&gt;
   i   m   p   p    m   i   i    m   p   p    m   i   i&lt;br /&gt;
 &lt;br /&gt;
 --3--h5--h7-/(9)--p7--p5-\(3)--h5--h7-/(9)--p7--p5-\(3)--&lt;br /&gt;
   i   m   p   p    m   i   i    m   p   p    m   i   i&lt;br /&gt;
&lt;br /&gt;
 --2--h4--h6--/(7)--p4--h6--h7--/(9)--p6--h7--h9-/(11)--p7--h9-h11-/(13)--p9-h11-h13-/(14)--&lt;br /&gt;
   i   m   p    p    i   r   p    p    i   m   p    p    i   m   p    p    i   m   p    p   &lt;br /&gt;
 &lt;br /&gt;
 -14-p13-p11--\(9)-h13-p11--p9--\(7)-h11--p9--p7--\(6)--h9--p7--p6--\(4)--h7--p6--p4--\(2)--&lt;br /&gt;
   p   r   i    i    p   m   i    i   p    m   i    i    p   m   i    i    p   r   i    i&lt;br /&gt;
&lt;br /&gt;
=== Open String Exercises ===&lt;br /&gt;
Make sure to start slow on this exercise and give all notes equal duration.&lt;br /&gt;
&lt;br /&gt;
 Index and Pinky&lt;br /&gt;
    |-h8--p4--p0--h8--p4--p0--h4--h8|-p0--h4--h8--p4--h8--p0--h8--p4|...&lt;br /&gt;
 &lt;br /&gt;
 ...|-h8--p0--h4--h8--p4--p0--h4--h8|-p4--p0--h8--p0--h4--p0--h8--p0|&lt;br /&gt;
&lt;br /&gt;
 Index and Ring/Pinky&lt;br /&gt;
    |-h7--p4--p0--h7--p4--p0--h4--h7|-p0--h4--h7--p4--h7--p0--h7--p4|...&lt;br /&gt;
 &lt;br /&gt;
 ...|-h7--p0--h4--h7--p4--p0--h4--h7|-p4--p0--h7--p0--h4--p0--h7--p0|&lt;br /&gt;
&lt;br /&gt;
 Index and Ring/Middle or Middle and Pinky&lt;br /&gt;
    |-h6--p4--p0--h6--p4--p0--h4--h6|-p0--h4--h6--p4--h6--p0--h6--p4|...&lt;br /&gt;
 &lt;br /&gt;
 ...|-h6--p0--h4--h6--p4--p0--h4--h6|-p4--p0--h6--p0--h4--p0--h6--p0|&lt;br /&gt;
&lt;br /&gt;
 Index and Middle, Middle and Ring, or Ring and Pinky&lt;br /&gt;
    |-h5--p4--p0--h5--p4--p0--h4--h5|-p0--h4--h5--p4--h5--p0--h5--p4|...&lt;br /&gt;
 &lt;br /&gt;
 ...|-h5--p0--h4--h5--p4--p0--h4--h5|-p4--p0--h5--p0--h4--p0--h5--p0|&lt;br /&gt;
&lt;br /&gt;
[[Category:Guitar]]&lt;br /&gt;
[[Category:Technique]]&lt;br /&gt;
[[Category:Exercises]]&lt;br /&gt;
[[Category:Legato]]&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=Legato_Exercises&amp;diff=8756</id>
		<title>Legato Exercises</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=Legato_Exercises&amp;diff=8756"/>
				<updated>2019-03-09T06:02:08Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: /* Open String Hammer-ons */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{Top-Level Crumbs|2}}&lt;br /&gt;
{{Exercise Crumbs|2}}&lt;br /&gt;
{{Technique Exercises Crumbs|1}}&lt;br /&gt;
&lt;br /&gt;
==Basic Exercises==&lt;br /&gt;
===Open String Hammer-ons===&lt;br /&gt;
&lt;br /&gt;
 --0-h1----0-h2----0-h3----0-h4--&lt;br /&gt;
      i       m       r       p&lt;br /&gt;
&lt;br /&gt;
 --0-h9----0-h10---0-h11---0-h12--&lt;br /&gt;
      i       m       r       p&lt;br /&gt;
&lt;br /&gt;
       x8|      x8|      x8|      x8|&lt;br /&gt;
 --0-h1--|--0-h2--|--0-h3--|--0-h4--|&lt;br /&gt;
      i        m        r        p&lt;br /&gt;
&lt;br /&gt;
       x8|      x8|      x8|      x8|&lt;br /&gt;
 --0-h9--|--0-h10-|--0-h11-|--0-h12-|&lt;br /&gt;
      i        m        r        p&lt;br /&gt;
&lt;br /&gt;
===Fretted Note Hammer-ons===&lt;br /&gt;
 --1-h2----1-h3----1-h4--&lt;br /&gt;
   i  m    i  r    i  p&lt;br /&gt;
&lt;br /&gt;
 --1-h2----1-h3----1-h4----2-h3----2-h4----3-h4--&lt;br /&gt;
   i  m    i  r    i  p    m  r    m  p    r  p&lt;br /&gt;
&lt;br /&gt;
===2 Hammer-ons per String===&lt;br /&gt;
 --5-h6-h8--5-h6-h8--5-h7-h8--5-h7-h8--5-h7-h9--5-h7-h9&lt;br /&gt;
   i  m  p  i  m  p  i  r  p  i  r  p  i  m  p  i  m  p&lt;br /&gt;
&lt;br /&gt;
 -----------5-h6-h8-----------5-h7-h8-----------5-h7-h9&lt;br /&gt;
 --5-h6-h8-----------5-h7-h8-----------5-h7-h9---------&lt;br /&gt;
   i  m  p  i  m  p  i  r  p  i  r  p  i  m  p  i  m  p&lt;br /&gt;
&lt;br /&gt;
===Hammer-on from Nothing===&lt;br /&gt;
 --h1--(x)--h2--(x)--h3--(x)--h4--&lt;br /&gt;
    i        m        r        p&lt;br /&gt;
&lt;br /&gt;
 ----------h5-h6-h8----------h5-h7-h8----------h5-h7-h9&lt;br /&gt;
 -h5-h6-h8----------h5-h7-h8----------h5-h7-h9---------&lt;br /&gt;
   i  m  p  i  m  p  i  r  p  i  r  p  i  m  p  i  m  p&lt;br /&gt;
&lt;br /&gt;
===Open String Pull-offs===&lt;br /&gt;
 --4-p0----3-p0----2-p0----1-p0--&lt;br /&gt;
   p       r       m       i&lt;br /&gt;
&lt;br /&gt;
===Fretted Pull-offs===&lt;br /&gt;
 --4-p1----3-p1----2-p1--&lt;br /&gt;
   p  i    r  i    m  i&lt;br /&gt;
&lt;br /&gt;
 --4-p1----3-p1----2-p1----4-p2----3-p2----4-p3--&lt;br /&gt;
   p  i    r  i    m  i    p  m    r  m    p  r&lt;br /&gt;
&lt;br /&gt;
===2 Pull-offs per String===&lt;br /&gt;
 --8-p6-p5--8-p6-p5--8-p7-p5--8-p7-p5--9-p7-p5--9-p7-p5&lt;br /&gt;
   p  m  i  p  m  i  p  r  i  p  r  i  p  m  i  p  m  i&lt;br /&gt;
&lt;br /&gt;
 --8-p6-p5-----------8-p7-p5-----------9-p7-p5---------&lt;br /&gt;
 -----------8-p6-p5-----------8-p7-p5-----------9-p7-p5&lt;br /&gt;
   p  m  i  p  m  i  p  r  i  p  r  i  p  m  i  p  m  i&lt;br /&gt;
&lt;br /&gt;
=== Legato Sliding===&lt;br /&gt;
   1    2   3    4  | 1    2   3    4 &lt;br /&gt;
 --4--/(5)--5--\(4)-|-4--/(6)--6--\(4)-|-4--/(7)--7--\(4)-|-4--/(8)--8--\(4)--&lt;br /&gt;
&lt;br /&gt;
or&lt;br /&gt;
&lt;br /&gt;
 --4--s(5)--5--s(4)-|-4--s(6)--6--s(4)-|-4--s(7)--7--s(4)-|-4--s(8)--8--s(4)--&lt;br /&gt;
&lt;br /&gt;
== Muting ==&lt;br /&gt;
                                        x12&lt;br /&gt;
 E--(mute with right middle finger)-----&lt;br /&gt;
 B--(mute with left-hand index finger)--&lt;br /&gt;
 G---h6---h7---h9---p7---p6---h7---h9---&lt;br /&gt;
 D--(mute with right-hand palm)---------&lt;br /&gt;
 A--(mute with right-hand palm)---------&lt;br /&gt;
 E--(mute with right-hand palm)---------&lt;br /&gt;
&lt;br /&gt;
== Advanced Exercises ==&lt;br /&gt;
Think you've mastered the above techniques separately?  Let's try them together.&lt;br /&gt;
&lt;br /&gt;
=== Single String Hammer-on/Pull-offs ===&lt;br /&gt;
 --h6-h7-h9-p7-p6-h7-h9-p7---p6-h8-h9-p8-p6-h8-h9-p8---p6-h8-h10-p8-p6-h8-h10-p8-p6---&lt;br /&gt;
    i  m  p  m  i  m  p  m    i  r  p  r  i  r  p  r    i  m  p   m  i  m  p  m   i&lt;br /&gt;
&lt;br /&gt;
This is straight step-wise motion up and down on a single string using all hammer-on and pull-offs for all three common 3 note per string patterns (half-whole, whole-half, and whole-whole).  All notes should be equal volume and duration - use a metronome.  Practice on other strings/positions.&lt;br /&gt;
&lt;br /&gt;
=== 2 String Hammer-on/Pull-offs ===&lt;br /&gt;
 -----------h6-h7-h9-p7-p6----------------h6-h7-h9-p7-p6-----------&lt;br /&gt;
 --h6-h7-h9----------------h9-p7-p6-h7-h9----------------h9-p7-p6--&lt;br /&gt;
    i  m  p  i  m  p  m  i  p  m  i  m  p  i  m  p  m  i  p  m  i&lt;br /&gt;
&lt;br /&gt;
 -----------h6-h8-h9-p8-p6----------------h6-h8-h9-p8-p6-----------&lt;br /&gt;
 --h6-h8-h9----------------h9-p8-p6-h8-h9----------------h9-p8-p6--&lt;br /&gt;
    i  r  p  i  r  p  r  i  p  r  i  r  p  i  r  p  r  i  p  r  i&lt;br /&gt;
&lt;br /&gt;
 ------------h6-h8-h10-p8-p6------------------h6-h8-h10-p8-p6-----------&lt;br /&gt;
 --h6-h8-h10-----------------h10-p8-p6-h8-h10-----------------h10-p8-p6--&lt;br /&gt;
    i  m  p   i  m  p   m  i  p   m  i  m  p   i  m  p   m  i  p  m  i&lt;br /&gt;
&lt;br /&gt;
 -----------h6-h8-h9-p8-p6----------------h6-h8-h9-p8-p6-----------&lt;br /&gt;
 --h6-h7-h9----------------h9-p7-p6-h7-h9----------------h9-p7-p6--&lt;br /&gt;
    i  m  p  i  r  p  r  i  p  m  i  m  p  i  r  p  r  i  p  m  i&lt;br /&gt;
&lt;br /&gt;
 -----------h6-h8-h10-p8-p6----------------h6-h8-h10-p8-p6-----------&lt;br /&gt;
 --h6-h8-h9-----------------h9-p8-p6-h8-h9-----------------h9-p8-p6--&lt;br /&gt;
    i  r  p  i  m  p   m  i  p  r  i  r  p  i  m  p   m  i  p  r  i&lt;br /&gt;
&lt;br /&gt;
=== Stamina Training ===&lt;br /&gt;
                                                              x40&lt;br /&gt;
 --6-|:h7--h9--p6--h9--p7--p6--h9--p6--h7--p6--h9--p7--h9--p6--:|&lt;br /&gt;
   i    m   p   i   p   m   i   p   i  m   i   p   m   p   i&lt;br /&gt;
&lt;br /&gt;
                                                              x40&lt;br /&gt;
 --6-|:h8--h9--p6--h9--p8--p6--h9--p6--h8--p6--h9--p8--h9--p6--:|&lt;br /&gt;
   i    r   p   i   p   r   i   p   i  r   i   p   r   p   i&lt;br /&gt;
&lt;br /&gt;
                                                              x40&lt;br /&gt;
 --6-|:h7--h8--p6--h8--p7--p6--h8--p6--h7--p6--h8--p7--h8--p6--:|&lt;br /&gt;
   i    m   r   i   r   m   i   r   i  m   i   r   m   r   i&lt;br /&gt;
&lt;br /&gt;
=== Legato Runs ===&lt;br /&gt;
 E-------------------------------------------------------------------------------------------------|&lt;br /&gt;
 B-------------------------------------------------------------------------------------------------|&lt;br /&gt;
 G-------------------------------------------------------------------------------------h9--h10-h12-|&lt;br /&gt;
 D-------------------------------------------------h7--h9--h10-------------h9--h10-h12-------------|&lt;br /&gt;
 A-------------h5--h7--h8--------------h7--h8--h10-------------h8--h10-h12-------------------------|&lt;br /&gt;
 E-h5--h7--h8--------------h7--h8--h10-------------------------------------------------------------|&lt;br /&gt;
 &lt;br /&gt;
 E-------------------------------------------------------------h13-h15-h17-------------h15-h17-h19-|/20--&lt;br /&gt;
 B-------------------------h12-h13-h15-------------h13-h15-h17-------------h15-h17-h18-------------|&lt;br /&gt;
 G-------------h10-h12-h14-------------h12-h14-h16-------------------------------------------------|&lt;br /&gt;
 D-h10-h12-h14-------------------------------------------------------------------------------------|&lt;br /&gt;
 A-------------------------------------------------------------------------------------------------|&lt;br /&gt;
 E-------------------------------------------------------------------------------------------------|&lt;br /&gt;
&lt;br /&gt;
 E-h19-p17-p15-------------h17-p15-p13-------------------------------------------------------------|&lt;br /&gt;
 B-------------h18-p17-p15-------------h17-p15-p13-------------h15-p13-p12-------------------------|&lt;br /&gt;
 G-------------------------------------------------h16-p14-p12-------------h14-p12-p10-------------|&lt;br /&gt;
 D-------------------------------------------------------------------------------------h14-p12-p10-|&lt;br /&gt;
 A-------------------------------------------------------------------------------------------------|&lt;br /&gt;
 E-------------------------------------------------------------------------------------------------|&lt;br /&gt;
 &lt;br /&gt;
 E-------------------------------------------------------------------------------------------------|&lt;br /&gt;
 B-------------------------------------------------------------------------------------------------|&lt;br /&gt;
 G-h12-p10-p9--------------------------------------------------------------------------------------|&lt;br /&gt;
 D-------------h12-p10-p9--------------h10-p9--p7--------------------------------------------------|&lt;br /&gt;
 A-------------------------h12-p10-p8--------------h10-p8--p7--------------h8--p7--p5--------------|&lt;br /&gt;
 E-------------------------------------------------------------h10-p8--p7--------------h8--p7--p5--|&lt;br /&gt;
&lt;br /&gt;
=== Single-String Hammer-on/Pull-off/Slides ===&lt;br /&gt;
 --3--h5--h7-/(8)--p7--p5-\(3)--h5--h7-/(8)--p7--p5-\(3)--&lt;br /&gt;
   i   m   p   p   r    i   i    m   p   p    r   i   i&lt;br /&gt;
 &lt;br /&gt;
 --4--h6--h7-/(9)--p7--p6-\(4)--h6--h7-/(9)--p7--p6-\(4)--&lt;br /&gt;
   i   r   p   p    m   i   i    r   p   p    m   i   i&lt;br /&gt;
 &lt;br /&gt;
 --4--h5--h7-/(9)--p7--p5-\(4)--h5--h7-/(9)--p7--p5-\(4)--&lt;br /&gt;
   i   m   p   p    m   i   i    m   p   p    m   i   i&lt;br /&gt;
 &lt;br /&gt;
 --3--h5--h7-/(9)--p7--p5-\(3)--h5--h7-/(9)--p7--p5-\(3)--&lt;br /&gt;
   i   m   p   p    m   i   i    m   p   p    m   i   i&lt;br /&gt;
&lt;br /&gt;
 --2--h4--h6--/(7)--p4--h6--h7--/(9)--p6--h7--h9-/(11)--p7--h9-h11-/(13)--p9-h11-h13-/(14)--&lt;br /&gt;
   i   m   p    p    i   r   p    p    i   m   p    p    i   m   p    p    i   m   p    p   &lt;br /&gt;
 &lt;br /&gt;
 -14-p13-p11--\(9)-h13-p11--p9--\(7)-h11--p9--p7--\(6)--h9--p7--p6--\(4)--h7--p6--p4--\(2)--&lt;br /&gt;
   p   r   i    i    p   m   i    i   p    m   i    i    p   m   i    i    p   r   i    i&lt;br /&gt;
&lt;br /&gt;
=== Open String Exercises ===&lt;br /&gt;
Make sure to start slow on this exercise and give all notes equal duration.&lt;br /&gt;
&lt;br /&gt;
 Index and Pinky&lt;br /&gt;
    |-h8--p4--p0--h8--p4--p0--h4--h8|-p0--h4--h8--p4--h8--p0--h8--p4|...&lt;br /&gt;
 &lt;br /&gt;
 ...|-h8--p0--h4--h8--p4--p0--h4--h8|-p4--p0--h8--p0--h4--p0--h8--p0|&lt;br /&gt;
&lt;br /&gt;
 Index and Ring/Pinky&lt;br /&gt;
    |-h7--p4--p0--h7--p4--p0--h4--h7|-p0--h4--h7--p4--h7--p0--h7--p4|...&lt;br /&gt;
 &lt;br /&gt;
 ...|-h7--p0--h4--h7--p4--p0--h4--h7|-p4--p0--h7--p0--h4--p0--h7--p0|&lt;br /&gt;
&lt;br /&gt;
 Index and Ring/Middle or Middle and Pinky&lt;br /&gt;
    |-h6--p4--p0--h6--p4--p0--h4--h6|-p0--h4--h6--p4--h6--p0--h6--p4|...&lt;br /&gt;
 &lt;br /&gt;
 ...|-h6--p0--h4--h6--p4--p0--h4--h6|-p4--p0--h6--p0--h4--p0--h6--p0|&lt;br /&gt;
&lt;br /&gt;
 Index and Middle, Middle and Ring, or Ring and Pinky&lt;br /&gt;
    |-h5--p4--p0--h5--p4--p0--h4--h5|-p0--h4--h5--p4--h5--p0--h5--p4|...&lt;br /&gt;
 &lt;br /&gt;
 ...|-h5--p0--h4--h5--p4--p0--h4--h5|-p4--p0--h5--p0--h4--p0--h5--p0|&lt;br /&gt;
&lt;br /&gt;
[[Category:Guitar]]&lt;br /&gt;
[[Category:Technique]]&lt;br /&gt;
[[Category:Exercises]]&lt;br /&gt;
[[Category:Legato]]&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=Warm-Up_Exercises&amp;diff=8755</id>
		<title>Warm-Up Exercises</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=Warm-Up_Exercises&amp;diff=8755"/>
				<updated>2017-07-09T18:47:16Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{Top-Level Crumbs|5}}&lt;br /&gt;
{{Gig Prep Crumbs|5}}&lt;br /&gt;
&lt;br /&gt;
&amp;lt;span style=&amp;quot;font-size:1.4em&amp;quot;&amp;gt;{{loud|ALWAYS WARM UP!!!!}}&amp;lt;/span&amp;gt;&lt;br /&gt;
&lt;br /&gt;
I am not a doctor.  See [[MAB_Wiki:General_disclaimer|Disclaimers]].  Any medical advice below should be reinforced by your own research and advice from a professional.&lt;br /&gt;
&lt;br /&gt;
Warming up helps improve your playing and avoid injury.  '''Be sure to warm-up both your fretting and picking hands.'''  Your fretting hand needs to be stretched so that some uncomfortable chord shapes or finger-stretches don't push you into injury or cramping.  This includes your wrist, which needs to angle in difficult positions as well as your fingers.  Your fretting hand wrist and elbow need to be loosened up as well.  All the muscles and ligaments involved in playing guitar (there are a ''lot'' in your hands) need to be given a gradual introduction to the workload you are about to put on them, to make sure they have good blood flow and nothing is out of place.  When you start playing a gig or even recording, trying to hit that difficult lick can be a jarring shock to the biomechanics involved if they weren't warmed up.&lt;br /&gt;
&lt;br /&gt;
The main thing to remember for warm-ups is to go slow.  Ease your hands into the workload required for playing guitar.  Your warm-up exercises should hit all the muscle groups you use during playing.  You want to introduce all of them to a very mild difficulty, not a severe strain out the gate.  If anything produces a sharp pain, back off and try to ease through it slowly.  If it doesn't get better and in fact gets worse, you may already have an injury you need to get treated.  Trying to push through the pain can often result in a catastrophic injury that prevents you from ever playing guitar again...or even worse.&lt;br /&gt;
&lt;br /&gt;
Failure to warm-up can cause early onset of [[Injury|Carpal Tunnel or tendinitis]].&lt;br /&gt;
&lt;br /&gt;
== Cardio ==&lt;br /&gt;
It helps to do several minutes of cardiovascular activity before playing.  Running in place or jumping jacks or simply pacing around the room quickly will get the heart working and force blood flow to all the muscles in the body.  Restricted blood flow to muscles results not only in weakness and difficulty to control but the build-up of acids and other toxic byproducts.&lt;br /&gt;
&lt;br /&gt;
== Stretching ==&lt;br /&gt;
'''Stretching is crucial to reducing &amp;lt;u&amp;gt;Repetitive Stress Disorder&amp;lt;/u&amp;gt; (RST) and &amp;lt;u&amp;gt;Carpal Tunnel Syndrome&amp;lt;/u&amp;gt; (CTS).'''  It improves flexibility of muscles and tendons, reducing their pressure on nerves and blood vessels.  It improves blood flow, serving to remove toxins and metabolic byproducts from muscles.  It also produces fluid that serves to lubricate joints.&lt;br /&gt;
&lt;br /&gt;
'''While stretching is a good part of a warm up, it will have a more powerful impact ''after'' a playing session.'''  The small, repetitive movements required by intense guitar playing will aggravate and tighten the muscles and tendons of the hands and wrist, putting pressure on the nerves in the wrist, causing Carpal Tunnel Syndrome.  ''I recommend a light stretching before a session, perhaps even integrated into your cardio routine, and thorough stretching afterwards, particularly focused on the forearm and finger muscles.''&lt;br /&gt;
&lt;br /&gt;
All stretches should be done carefully - forcing a stretch too quickly or overextending the muscle can itself result in injury.  Any pain associated with stretching should be mild and spread throughout the muscle, not sharp and confined to a joint or nerve.  Slowly increase tension until the muscle feels slight (but not sharp or intolerable) pain and hold for 20-30 seconds, then release.&lt;br /&gt;
&lt;br /&gt;
&amp;lt;youtube&amp;gt;Z0vD5zoaBs4&amp;lt;/youtube&amp;gt;&lt;br /&gt;
&lt;br /&gt;
=== Fingers ===&lt;br /&gt;
I like to spread the fingers of each hand and touch my palms and fingers together, then raise my elbows/lower my hands so my palms can no longer touch.  When done correctly, you should feel each finger muscle get stretched - you should feel it between your fingers as well as through your palms and wrists all the way into your forearms.  Then I rotate my wrists, so that my fingers point towards me.  Then I turn my wrists in the opposite direction so they point away from.&lt;br /&gt;
&lt;br /&gt;
=== Forearms ===&lt;br /&gt;
After giving all my fingers a good stretch as such, I pull my hands away from each other and ball them into a tight fist.  Then I rotate each wrist in a circular motion to loosen them up as well as stretching my forearms on the other side.  Then I hold my forearms straight up and try to point my fists at each other - this should stretch the forearm muscles thoroughly.  Then rotate your fists to point away from your body, then towards your body.&lt;br /&gt;
&lt;br /&gt;
''This next one is crucial.''  Place one arm straight out ahead of you, fingers straight but touching together, palm facing downward.  Use your other hand to lift your fingers and pull them back towards your body, so your palm is now facing away from your body.  Repeat this exercise, but this time start with the palm facing up, and pull the fingers downward so the palm is again facing away from you.&lt;br /&gt;
&lt;br /&gt;
=== Shoulders ===&lt;br /&gt;
Next, be sure to stretch your shoulders.  Grab above your elbow with the opposite hand and try to pull your elbow towards your rib cage below your armpit.  This will stretch the shoulder and shoulder-blade muscles.  You can also grab your opposing forearm behind your back and try to pull.  Once complete, be sure to make large circular movements with your shoulders.&lt;br /&gt;
&lt;br /&gt;
=== Neck ===&lt;br /&gt;
Finally, stretch your neck.  Try to hold your shoulders back and push your head back, like you are trying to retract your chin into your neck.  Now turn your neck as far left and right as possible, back and forth.  As you turn back and forth, slowly start tilting your head backwards, so you are looking upwards.  Next, try to push your shoulders lower, while tilting your neck left and right.  Don't tilt the neck too hard - try to lower the shoulders more until you can your lats get a good stretch.&lt;br /&gt;
&lt;br /&gt;
== Injury ==&lt;br /&gt;
see [[Injury]]&lt;br /&gt;
&lt;br /&gt;
== Petrucci Chords ==&lt;br /&gt;
Again, be sure to go slow and back off if you feel any sharp pain.&lt;br /&gt;
see [[Advanced Technique Exercises#Petrucci Chords]]&lt;br /&gt;
&lt;br /&gt;
== Chromatic Scale ==&lt;br /&gt;
see [[Chromatic Scale Exercises]]&lt;br /&gt;
&lt;br /&gt;
== Scales ==&lt;br /&gt;
Practicing various ascending and descending scales (be sure to play through the transitions from ascending to descending and descending to ascending) is always a good idea, especially the scales and positions you are likely to perform.  You can find a giant reference of all the common scales at [[Ref: Common Scales]], and full scale maps across the entire fretboard for the major and minor scales at [[Ref: Scale Fret Maps for all Major/Natural Minor Keys w/ CAGED breakdown]].&lt;br /&gt;
&lt;br /&gt;
For lots of exercises, see [[Common Scale Exercises]].&lt;br /&gt;
&lt;br /&gt;
''Note: these exercises are better for warming up the right hand than the left.  I'd rather perform the Petrucci Chords or Chromatic Scale exercises for the left-hand, as those have a more consistent emphasis on all the left-hand fingers.''&lt;br /&gt;
&lt;br /&gt;
== Arpeggios ==&lt;br /&gt;
Just like scales, arpeggios are good exercise - focus on the ones you'll tend to use.  Or at least the ones that give you fingers a good work out.  There is reference for all the [[Ref: CAGED Chord Charts|CAGED major and minor]] triads.  It should be somewhat simple to alter these to fit other chord types, which are referenced at [[Ref: Mega List of Chord Fingerings/Voicings]].  For example, adding the minor 7th of dominant major/minor chords.&lt;br /&gt;
&lt;br /&gt;
== Rhythm ==&lt;br /&gt;
The best way to warm-up for rhythm is to play to a metronome or a good drummer.  The first thing to get down is consistency, so all your notes fall on the beats and have equal duration.  Metallica used to warm up by simply chugging palm mutes on the open low E string for a good 5-10 minutes.  It seems simple until you try it.&lt;br /&gt;
&lt;br /&gt;
     1  n  2  n  3  n  4  n  1  n  2  n  3  n  4  n  x100&lt;br /&gt;
     pm pm pm pm pm pm pm pm pm pm pm pm pm pm pm pm&lt;br /&gt;
 E-|:0--0--0--0--0--0--0--0-|0--0--0--0--0--0--0--0-:|&lt;br /&gt;
&lt;br /&gt;
Practice on at least 4 different speeds, with an extreme slow and a fast speed that is close to your maximum.  Practice with all downstrokes, all upstrokes, and strict alternate picking.  Obviously, the straight down or upstroke exercises will require a slower speed than the alternate picking.  Also try different strings.&lt;br /&gt;
&lt;br /&gt;
This same exercise works for strummed chords, although you'll likely need to reduce the relative speeds.  Start by keeping the left hand constant, holding the same chord throughout.&lt;br /&gt;
&lt;br /&gt;
Playing the same note or chord over and over is easy to get a consistent rhythm.  Trying to keep that rhythm with runs or riffs or chord changes is another story.  Once you establish a good right hand using the above exercise, you have to lock it in.  Don't ever let your right hand ''wait'' to catch up with the left.  If the left hand is slow to fret the notes, play them uncleanly.  Throwing off your rhythm might sound ok playing in the bedroom but becomes painfully obvious in a band or recording context.  Even playing solo, hearing it played back that inconsistent rhythm sounds pretty terrible.  Unclean playing is also noticeably bad, but sounds less amateur.  And its easy to get in the habit of sacrificing rhythm to attain synchronicity, which then becomes difficult to break.  The other way around is going to be more noticeable to you and annoying and forces you to make the left hand sync to the right hand.&lt;br /&gt;
&lt;br /&gt;
The kind of playing to get a good warm-up for rhythm will depend on the individual and the type of playing you perform.  If you are a rhythm player, it may make sense to alternate between two strings or power chords or full chord changes.  If you are a lead player, playing various scales ascending and descending, as well as arpeggios or advanced techniques like tapping and sweeps makes more sense.&lt;br /&gt;
&lt;br /&gt;
The key thing is when you're jamming or playing along to your favorite song or trying to record a part, you may notice some riffs or chord changes or rhythms that seem impossible to nail.  Make a mental or written log of these things, identify the specific parts of the licks or riffs or changes are giving you trouble, and try to break down ''why'' it's difficult.  This will let you develop your own exercises that consist nearly entirely of such.  It's helpful to alternate between sections of these parts and just chugging on single notes or a static chords like above.&lt;br /&gt;
&lt;br /&gt;
Another thing to practice is throwing in accents.  Start by putting accents on the beats:&lt;br /&gt;
&lt;br /&gt;
     1  n  2  n  3  n  4  n  1  n  2  n  3  n  4  n &lt;br /&gt;
     &amp;gt;     &amp;gt;     &amp;gt;     &amp;gt;     &amp;gt;     &amp;gt;     &amp;gt;     &amp;gt;  &lt;br /&gt;
 E-|:0--0--0--0--0--0--0--0-|0--0--0--0--0--0--0--0-:|&lt;br /&gt;
&lt;br /&gt;
     1  tr lt 2  tr lt 3  tr lt 4  tr lt&lt;br /&gt;
     &amp;gt;        &amp;gt;        &amp;gt;        &amp;gt;&lt;br /&gt;
 E-|:0--0--0--0--0--0--0--0--0--0--0--0--:|&lt;br /&gt;
 &lt;br /&gt;
 tr lt = trip let; so 1  trip  let  2  trip  let ... etc.&lt;br /&gt;
&lt;br /&gt;
     1  u  n  u  2  u  n  u  3  u  n  u  4  u  n  u&lt;br /&gt;
     &amp;gt;           &amp;gt;           &amp;gt;           &amp;gt;&lt;br /&gt;
 E-|:0--0--0--0--0--0--0--0--0--0--0--0--0--0--0--0-:|&lt;br /&gt;
&lt;br /&gt;
     1 t l n t l 2 t l n t l 3 t l n t l 4 t l n t l&lt;br /&gt;
     &amp;gt;           &amp;gt;           &amp;gt;           &amp;gt;&lt;br /&gt;
 E-|:0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-:|&lt;br /&gt;
 &lt;br /&gt;
 t l = trip let; so 1  trip  let  and  trip  let ... etc.&lt;br /&gt;
 It may be easier to just say  1  n  uh  and  n  uh  2  n  uh  and  n  uh ... etc.&lt;br /&gt;
&lt;br /&gt;
The faster the tempo, the harder it is to work those accents in.  But they really help you keep a consistent rhythm - you know every 2, 3, 4, or 6 notes you should be making an accented downstroke on the beat.  It's easy to hear when and in which direction your rhythm is falling off and make the correction.  A consistent rhythm demands control and accents demand more control than static dynamics.  That makes this a great warm-up.&lt;br /&gt;
&lt;br /&gt;
Then you try trickier accent patterns, where accents alternate between downstrokes and upstrokes.&lt;br /&gt;
&lt;br /&gt;
     1  n  2  n  3  n  4  n  1  n  2  n  3  n  4  n &lt;br /&gt;
     &amp;gt;        &amp;gt;        &amp;gt;     &amp;gt;        &amp;gt;        &amp;gt;&lt;br /&gt;
 E-|:0--0--0--0--0--0--0--0-|0--0--0--0--0--0--0--0-:|&lt;br /&gt;
&lt;br /&gt;
     1  n  2  n  3  n  4  n  1  n  2  n  3  n  4  n &lt;br /&gt;
     &amp;gt;        &amp;gt;        &amp;gt;        &amp;gt;        &amp;gt;     &amp;gt;&lt;br /&gt;
 E-|:0--0--0--0--0--0--0--0-|0--0--0--0--0--0--0--0-:|&lt;br /&gt;
&lt;br /&gt;
     1  n  2  n  3  n  4  n  1  n  2  n  3  n  4  n &lt;br /&gt;
     &amp;gt;        &amp;gt;        &amp;gt;        &amp;gt;     &amp;gt;     &amp;gt;     &amp;gt;&lt;br /&gt;
 E-|:0--0--0--0--0--0--0--0-|0--0--0--0--0--0--0--0-:|&lt;br /&gt;
&lt;br /&gt;
     1  n  2  n  3  n  4  n  1  n  2  n  3  n  4  n &lt;br /&gt;
     &amp;gt;  &amp;gt;     &amp;gt;  &amp;gt;     &amp;gt;     &amp;gt;  &amp;gt;     &amp;gt;  &amp;gt;     &amp;gt;&lt;br /&gt;
 E-|:0--0--0--0--0--0--0--0-|0--0--0--0--0--0--0--0-:|&lt;br /&gt;
&lt;br /&gt;
== Finger-Stretching ==&lt;br /&gt;
see [[Advanced Technique Exercises#Finger-Stretching]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
{{Gig Prep Crumbs|5}}&lt;br /&gt;
&lt;br /&gt;
[[Category:Guitar]]&lt;br /&gt;
[[Category:Exercises]]&lt;br /&gt;
[[Category:Warming Up]]&lt;br /&gt;
[[Category:Injury]]&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=Main_Page&amp;diff=8754</id>
		<title>Main Page</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=Main_Page&amp;diff=8754"/>
				<updated>2017-07-09T18:32:23Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{DISPLAYTITLE:Welcome}}&lt;br /&gt;
&lt;br /&gt;
{{Top-Level Crumbs}}&lt;br /&gt;
&lt;br /&gt;
Hello, and welcome to '''MeAmBobbo's Guitar and Recording Wiki''' (MAB Wiki). This site is designed to educate and train aspiring as well as accomplished guitarists, so that they can master the instrument.  The main content consists of guitar [[Contents#Lessons|lessons]], [[Contents#Exercises|exercises]], and [[Contents#Reference|quick reference material]].  However, it also provide general knowledge, guides, and reference materials for [[Contents#Gear and Setup|gear]] and [[Contents#DAW/Recording|home recording systems]] (DAW software).  Additionally, it covers lots of generalized musical knowledge, including theory (covered in the lessons), [[Contents#Musical Skills|musical skills]], and the [[Contents#Sound|nature of sound]].  There's a ''lot'' of content here, and I hope it continues expanding!&lt;br /&gt;
&lt;br /&gt;
=== Why this Wiki? ===&lt;br /&gt;
I started this effort as a simple way to provide guitar lessons to friends/family trying to learn the instrument.  Then I thought, why not try to document everything I have learned about music?  But then I wondered how far I could take this...this site could expand much larger than me.  So I made it a wiki - I can lay the groundwork, and brighter and more experienced fellow travelers can grow the content until it touches every boundary of the guitar universe.&lt;br /&gt;
&lt;br /&gt;
I am open to everyone's opinions on the quest for ''understanding music, learning how to play the guitar, and finding the perfect tone'' - I want this site to be for the '''guitarist''', not for me.  I am keeping this site as open as possible, and I have nothing to promote or gain other than donations, which I only mention on a few of the introductory pages.&lt;br /&gt;
&lt;br /&gt;
I also didn't want to require stringent referencing or have users wary of posting due to stringent editing guidelines.  This site isn't a free-for-all - please read the [[Site Conventions]] before editing, but expect much more lax standards than Wikipedia.&lt;br /&gt;
&lt;br /&gt;
=== Getting Started ===&lt;br /&gt;
Please see the [[Introduction]] for info about me, who these lessons are designed for, and common conventions used throughout this site.  [[Contents|Here is the '''Table of Contents''']] for all pages on this site.  It links to every page on this site, including lessons, techniques, styles, exercises, gear advice, scale/chord reference, and more.&lt;br /&gt;
&lt;br /&gt;
Here are the breadcrumbs for the main areas of this site:&lt;br /&gt;
{{Top-Level Crumbs|0}}&lt;br /&gt;
&lt;br /&gt;
I encourage editing if you find typos and inaccuracies, as well as adding exercises, practice songs, techniques, and advice, (as well as fleshing out existing content) but please read the [[Site Policies]] and [[Site Conventions]] before doing so.  Also check out [[Wiki Templates]] for easier editing.  Have fun and get your learn on, and if you find yourself appreciating this site, please [[Donate|''consider donating'']] to keep this site ad free and online.&lt;br /&gt;
&lt;br /&gt;
I purposefully tried to use as much text on this site as possible to make it easy to copy/paste and easily shared over the web, but it obviously should not be sold or have ownership claimed over it.  Again, please see the [[Site Policies]] to make sure you do so in a respectful and legal manner.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[[Category:Wiki]]&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=Main_Page&amp;diff=8753</id>
		<title>Main Page</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=Main_Page&amp;diff=8753"/>
				<updated>2017-07-09T18:24:27Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{DISPLAYTITLE:Welcome}}&lt;br /&gt;
&lt;br /&gt;
Hello, and welcome to '''MeAmBobbo's Guitar and Recording Wiki''' (MAB Wiki). This site is designed to educate and train aspiring as well as accomplished guitarists, so that they can master the instrument.  The main content consists of guitar [[Contents#Lessons|lessons]], [[Contents#Exercises|exercises]], and [[Contents#Reference|quick reference material]].  However, it also provide general knowledge, guides, and reference materials for [[Contents#Gear and Setup|gear]] and [[Contents#DAW/Recording|home recording systems]] (DAW software).  Additionally, it covers lots of generalized musical knowledge, including theory (covered in the lessons), [[Contents#Musical Skills|musical skills]], and the [[Contents#Sound|nature of sound]].  There's a ''lot'' of content here, and I hope it continues expanding!&lt;br /&gt;
&lt;br /&gt;
{{Top-Level Crumbs}}&lt;br /&gt;
&lt;br /&gt;
=== Why this Wiki? ===&lt;br /&gt;
I started this effort as a simple way to provide guitar lessons to friends/family trying to learn the instrument.  Then I thought, why not try to document everything I have learned about music?  But then I wondered how far I could take this...this site could expand much larger than me.  So I made it a wiki - I can lay the groundwork, and brighter and more experienced fellow travelers can grow the content until it touches every boundary of the guitar universe.&lt;br /&gt;
&lt;br /&gt;
I am open to everyone's opinions on the quest for ''understanding music, learning how to play the guitar, and finding the perfect tone'' - I want this site to be for the '''guitarist''', not for me.  I am keeping this site as open as possible, and I have nothing to promote or gain other than donations, which I only mention on a few of the introductory pages.&lt;br /&gt;
&lt;br /&gt;
I also didn't want to require stringent referencing or have users wary of posting due to stringent editing guidelines.  This site isn't a free-for-all - please read the [[Site Conventions]] before editing, but expect much more lax standards than Wikipedia.&lt;br /&gt;
&lt;br /&gt;
=== Getting Started ===&lt;br /&gt;
Please see the [[Introduction]] for info about me, who these lessons are designed for, and common conventions used throughout this site.  [[Contents|Here is the '''Table of Contents''']] for all pages on this site.  It links to every page on this site, including lessons, techniques, styles, exercises, gear advice, scale/chord reference, and more.&lt;br /&gt;
&lt;br /&gt;
Here are the breadcrumbs for the main areas of this site:&lt;br /&gt;
{{Top-Level Crumbs|0}}&lt;br /&gt;
&lt;br /&gt;
I encourage editing if you find typos and inaccuracies, as well as adding exercises, practice songs, techniques, and advice, (as well as fleshing out existing content) but please read the [[Site Policies]] and [[Site Conventions]] before doing so.  Also check out [[Wiki Templates]] for easier editing.  Have fun and get your learn on, and if you find yourself appreciating this site, please [[Donate|''consider donating'']] to keep this site ad free and online.&lt;br /&gt;
&lt;br /&gt;
I purposefully tried to use as much text on this site as possible to make it easy to copy/paste and easily shared over the web, but it obviously should not be sold or have ownership claimed over it.  Again, please see the [[Site Policies]] to make sure you do so in a respectful and legal manner.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[[Category:Wiki]]&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=Main_Page&amp;diff=8752</id>
		<title>Main Page</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=Main_Page&amp;diff=8752"/>
				<updated>2017-07-09T18:23:56Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: /* Site News */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{DISPLAYTITLE:Welcome}}&lt;br /&gt;
&lt;br /&gt;
{{Top-Level Crumbs}}&lt;br /&gt;
&lt;br /&gt;
Hello, and welcome to '''MeAmBobbo's Guitar and Recording Wiki''' (MAB Wiki). This site is designed to educate and train aspiring as well as accomplished guitarists, so that they can master the instrument.  The main content consists of guitar [[Contents#Lessons|lessons]], [[Contents#Exercises|exercises]], and [[Contents#Reference|quick reference material]].  However, it also provide general knowledge, guides, and reference materials for [[Contents#Gear and Setup|gear]] and [[Contents#DAW/Recording|home recording systems]] (DAW software).  Additionally, it covers lots of generalized musical knowledge, including theory (covered in the lessons), [[Contents#Musical Skills|musical skills]], and the [[Contents#Sound|nature of sound]].  There's a ''lot'' of content here, and I hope it continues expanding!&lt;br /&gt;
&lt;br /&gt;
=== Why this Wiki? ===&lt;br /&gt;
I started this effort as a simple way to provide guitar lessons to friends/family trying to learn the instrument.  Then I thought, why not try to document everything I have learned about music?  But then I wondered how far I could take this...this site could expand much larger than me.  So I made it a wiki - I can lay the groundwork, and brighter and more experienced fellow travelers can grow the content until it touches every boundary of the guitar universe.&lt;br /&gt;
&lt;br /&gt;
I am open to everyone's opinions on the quest for ''understanding music, learning how to play the guitar, and finding the perfect tone'' - I want this site to be for the '''guitarist''', not for me.  I am keeping this site as open as possible, and I have nothing to promote or gain other than donations, which I only mention on a few of the introductory pages.&lt;br /&gt;
&lt;br /&gt;
I also didn't want to require stringent referencing or have users wary of posting due to stringent editing guidelines.  This site isn't a free-for-all - please read the [[Site Conventions]] before editing, but expect much more lax standards than Wikipedia.&lt;br /&gt;
&lt;br /&gt;
=== Getting Started ===&lt;br /&gt;
Please see the [[Introduction]] for info about me, who these lessons are designed for, and common conventions used throughout this site.  [[Contents|Here is the '''Table of Contents''']] for all pages on this site.  It links to every page on this site, including lessons, techniques, styles, exercises, gear advice, scale/chord reference, and more.&lt;br /&gt;
&lt;br /&gt;
Here are the breadcrumbs for the main areas of this site:&lt;br /&gt;
{{Top-Level Crumbs|0}}&lt;br /&gt;
&lt;br /&gt;
I encourage editing if you find typos and inaccuracies, as well as adding exercises, practice songs, techniques, and advice, (as well as fleshing out existing content) but please read the [[Site Policies]] and [[Site Conventions]] before doing so.  Also check out [[Wiki Templates]] for easier editing.  Have fun and get your learn on, and if you find yourself appreciating this site, please [[Donate|''consider donating'']] to keep this site ad free and online.&lt;br /&gt;
&lt;br /&gt;
I purposefully tried to use as much text on this site as possible to make it easy to copy/paste and easily shared over the web, but it obviously should not be sold or have ownership claimed over it.  Again, please see the [[Site Policies]] to make sure you do so in a respectful and legal manner.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[[Category:Wiki]]&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=Main_Page&amp;diff=8751</id>
		<title>Main Page</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=Main_Page&amp;diff=8751"/>
				<updated>2017-07-03T15:56:54Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{DISPLAYTITLE:Welcome}}&lt;br /&gt;
&lt;br /&gt;
{{Top-Level Crumbs}}&lt;br /&gt;
&lt;br /&gt;
Hello, and welcome to '''MeAmBobbo's Guitar and Recording Wiki''' (MAB Wiki). This site is designed to educate and train aspiring as well as accomplished guitarists, so that they can master the instrument.  The main content consists of guitar [[Contents#Lessons|lessons]], [[Contents#Exercises|exercises]], and [[Contents#Reference|quick reference material]].  However, it also provide general knowledge, guides, and reference materials for [[Contents#Gear and Setup|gear]] and [[Contents#DAW/Recording|home recording systems]] (DAW software).  Additionally, it covers lots of generalized musical knowledge, including theory (covered in the lessons), [[Contents#Musical Skills|musical skills]], and the [[Contents#Sound|nature of sound]].  There's a ''lot'' of content here, and I hope it continues expanding!&lt;br /&gt;
&lt;br /&gt;
=== Why this Wiki? ===&lt;br /&gt;
I started this effort as a simple way to provide guitar lessons to friends/family trying to learn the instrument.  Then I thought, why not try to document everything I have learned about music?  But then I wondered how far I could take this...this site could expand much larger than me.  So I made it a wiki - I can lay the groundwork, and brighter and more experienced fellow travelers can grow the content until it touches every boundary of the guitar universe.&lt;br /&gt;
&lt;br /&gt;
I am open to everyone's opinions on the quest for ''understanding music, learning how to play the guitar, and finding the perfect tone'' - I want this site to be for the '''guitarist''', not for me.  I am keeping this site as open as possible, and I have nothing to promote or gain other than donations, which I only mention on a few of the introductory pages.&lt;br /&gt;
&lt;br /&gt;
I also didn't want to require stringent referencing or have users wary of posting due to stringent editing guidelines.  This site isn't a free-for-all - please read the [[Site Conventions]] before editing, but expect much more lax standards than Wikipedia.&lt;br /&gt;
&lt;br /&gt;
=== Getting Started ===&lt;br /&gt;
Please see the [[Introduction]] for info about me, who these lessons are designed for, and common conventions used throughout this site.  [[Contents|Here is the '''Table of Contents''']] for all pages on this site.  It links to every page on this site, including lessons, techniques, styles, exercises, gear advice, scale/chord reference, and more.&lt;br /&gt;
&lt;br /&gt;
Here are the breadcrumbs for the main areas of this site:&lt;br /&gt;
{{Top-Level Crumbs|0}}&lt;br /&gt;
&lt;br /&gt;
I encourage editing if you find typos and inaccuracies, as well as adding exercises, practice songs, techniques, and advice, (as well as fleshing out existing content) but please read the [[Site Policies]] and [[Site Conventions]] before doing so.  Also check out [[Wiki Templates]] for easier editing.  Have fun and get your learn on, and if you find yourself appreciating this site, please [[Donate|''consider donating'']] to keep this site ad free and online.&lt;br /&gt;
&lt;br /&gt;
I purposefully tried to use as much text on this site as possible to make it easy to copy/paste and easily shared over the web, but it obviously should not be sold or have ownership claimed over it.  Again, please see the [[Site Policies]] to make sure you do so in a respectful and legal manner.&lt;br /&gt;
&lt;br /&gt;
==Site News==&lt;br /&gt;
=== Mobile Front End Installed ===&lt;br /&gt;
Using the mobileFrontend extension for MediaWiki.  This makes the mobile page look a little cleaner and easier to read, with each main section of a page collapsed by default, just like Wikipedia.&lt;br /&gt;
&lt;br /&gt;
=== Pod HD/Kemper Guides Updates ===&lt;br /&gt;
The [[Line 6 Pod HD Guide|Pod HD]] and [[Kemper Profiling Amp Guide|Kemper Profiling Amp]] guides are fully fleshed out.  The Pod HD guide is a straight port from the old location - new look and feel, same content; however, I did add a MIDI page.&lt;br /&gt;
&lt;br /&gt;
=== Added Google Fonts ===&lt;br /&gt;
I've added some cool fonts I found on [http://www.google.com/fonts/ Google Fonts], particularly:&lt;br /&gt;
* &amp;lt;span class=&amp;quot;h5&amp;quot;&amp;gt;Cinzel Decorative&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;span style=&amp;quot;font-family:'Abel'&amp;quot;&amp;gt;Abel&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;span style=&amp;quot;font-family:'Titillium Web'&amp;quot;&amp;gt;Titillium Web&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;span style=&amp;quot;font-family:'Quattrocento Sans'&amp;quot;&amp;gt;Quattrocento Sans&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;span style=&amp;quot;font-family:'Architects Daughter'; font-style:italic&amp;quot;&amp;gt;Architects Daughter&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;span style=&amp;quot;font-family:'Bangers'&amp;quot;&amp;gt;Bangers&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;pre style=&amp;quot;display:table-cell&amp;quot;&amp;gt;PT Mono&amp;lt;/pre&amp;gt;&lt;br /&gt;
&lt;br /&gt;
=== Added bootstrapskin CSS skin. ===&lt;br /&gt;
Wow, this is just the &amp;lt;span class=&amp;quot;cursive&amp;quot;&amp;gt;perfect CSS&amp;lt;/span&amp;gt; for this site.  Check it out on the [http://bootstrapskin.co.uk bootstrapskin site].  Big thanks to Lee and his team for this awesome product.&lt;br /&gt;
&lt;br /&gt;
=== Let's get Started ===&lt;br /&gt;
Mar. 19, 2014 - Development begins...&lt;br /&gt;
&lt;br /&gt;
[[Category:Wiki]]&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=Main_Page&amp;diff=8750</id>
		<title>Main Page</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=Main_Page&amp;diff=8750"/>
				<updated>2017-07-03T15:56:30Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{DISPLAYTITLE:hi}}&lt;br /&gt;
&lt;br /&gt;
{{Top-Level Crumbs}}&lt;br /&gt;
&lt;br /&gt;
Hello, and welcome to '''MeAmBobbo's Guitar and Recording Wiki''' (MAB Wiki). This site is designed to educate and train aspiring as well as accomplished guitarists, so that they can master the instrument.  The main content consists of guitar [[Contents#Lessons|lessons]], [[Contents#Exercises|exercises]], and [[Contents#Reference|quick reference material]].  However, it also provide general knowledge, guides, and reference materials for [[Contents#Gear and Setup|gear]] and [[Contents#DAW/Recording|home recording systems]] (DAW software).  Additionally, it covers lots of generalized musical knowledge, including theory (covered in the lessons), [[Contents#Musical Skills|musical skills]], and the [[Contents#Sound|nature of sound]].  There's a ''lot'' of content here, and I hope it continues expanding!&lt;br /&gt;
&lt;br /&gt;
=== Why this Wiki? ===&lt;br /&gt;
I started this effort as a simple way to provide guitar lessons to friends/family trying to learn the instrument.  Then I thought, why not try to document everything I have learned about music?  But then I wondered how far I could take this...this site could expand much larger than me.  So I made it a wiki - I can lay the groundwork, and brighter and more experienced fellow travelers can grow the content until it touches every boundary of the guitar universe.&lt;br /&gt;
&lt;br /&gt;
I am open to everyone's opinions on the quest for ''understanding music, learning how to play the guitar, and finding the perfect tone'' - I want this site to be for the '''guitarist''', not for me.  I am keeping this site as open as possible, and I have nothing to promote or gain other than donations, which I only mention on a few of the introductory pages.&lt;br /&gt;
&lt;br /&gt;
I also didn't want to require stringent referencing or have users wary of posting due to stringent editing guidelines.  This site isn't a free-for-all - please read the [[Site Conventions]] before editing, but expect much more lax standards than Wikipedia.&lt;br /&gt;
&lt;br /&gt;
=== Getting Started ===&lt;br /&gt;
Please see the [[Introduction]] for info about me, who these lessons are designed for, and common conventions used throughout this site.  [[Contents|Here is the '''Table of Contents''']] for all pages on this site.  It links to every page on this site, including lessons, techniques, styles, exercises, gear advice, scale/chord reference, and more.&lt;br /&gt;
&lt;br /&gt;
Here are the breadcrumbs for the main areas of this site:&lt;br /&gt;
{{Top-Level Crumbs|0}}&lt;br /&gt;
&lt;br /&gt;
I encourage editing if you find typos and inaccuracies, as well as adding exercises, practice songs, techniques, and advice, (as well as fleshing out existing content) but please read the [[Site Policies]] and [[Site Conventions]] before doing so.  Also check out [[Wiki Templates]] for easier editing.  Have fun and get your learn on, and if you find yourself appreciating this site, please [[Donate|''consider donating'']] to keep this site ad free and online.&lt;br /&gt;
&lt;br /&gt;
I purposefully tried to use as much text on this site as possible to make it easy to copy/paste and easily shared over the web, but it obviously should not be sold or have ownership claimed over it.  Again, please see the [[Site Policies]] to make sure you do so in a respectful and legal manner.&lt;br /&gt;
&lt;br /&gt;
==Site News==&lt;br /&gt;
=== Mobile Front End Installed ===&lt;br /&gt;
Using the mobileFrontend extension for MediaWiki.  This makes the mobile page look a little cleaner and easier to read, with each main section of a page collapsed by default, just like Wikipedia.&lt;br /&gt;
&lt;br /&gt;
=== Pod HD/Kemper Guides Updates ===&lt;br /&gt;
The [[Line 6 Pod HD Guide|Pod HD]] and [[Kemper Profiling Amp Guide|Kemper Profiling Amp]] guides are fully fleshed out.  The Pod HD guide is a straight port from the old location - new look and feel, same content; however, I did add a MIDI page.&lt;br /&gt;
&lt;br /&gt;
=== Added Google Fonts ===&lt;br /&gt;
I've added some cool fonts I found on [http://www.google.com/fonts/ Google Fonts], particularly:&lt;br /&gt;
* &amp;lt;span class=&amp;quot;h5&amp;quot;&amp;gt;Cinzel Decorative&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;span style=&amp;quot;font-family:'Abel'&amp;quot;&amp;gt;Abel&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;span style=&amp;quot;font-family:'Titillium Web'&amp;quot;&amp;gt;Titillium Web&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;span style=&amp;quot;font-family:'Quattrocento Sans'&amp;quot;&amp;gt;Quattrocento Sans&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;span style=&amp;quot;font-family:'Architects Daughter'; font-style:italic&amp;quot;&amp;gt;Architects Daughter&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;span style=&amp;quot;font-family:'Bangers'&amp;quot;&amp;gt;Bangers&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;pre style=&amp;quot;display:table-cell&amp;quot;&amp;gt;PT Mono&amp;lt;/pre&amp;gt;&lt;br /&gt;
&lt;br /&gt;
=== Added bootstrapskin CSS skin. ===&lt;br /&gt;
Wow, this is just the &amp;lt;span class=&amp;quot;cursive&amp;quot;&amp;gt;perfect CSS&amp;lt;/span&amp;gt; for this site.  Check it out on the [http://bootstrapskin.co.uk bootstrapskin site].  Big thanks to Lee and his team for this awesome product.&lt;br /&gt;
&lt;br /&gt;
=== Let's get Started ===&lt;br /&gt;
Mar. 19, 2014 - Development begins...&lt;br /&gt;
&lt;br /&gt;
[[Category:Wiki]]&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=Main_Page&amp;diff=8749</id>
		<title>Main Page</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=Main_Page&amp;diff=8749"/>
				<updated>2017-06-28T05:27:57Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{DISPLAYTITLE:\,,/ (&amp;gt;_&amp;lt;) \,,/}}&lt;br /&gt;
&lt;br /&gt;
{{Top-Level Crumbs}}&lt;br /&gt;
&lt;br /&gt;
Hello, and welcome to '''MeAmBobbo's Guitar and Recording Wiki''' (MAB Wiki). This site is designed to educate and train aspiring as well as accomplished guitarists, so that they can master the instrument.  The main content consists of guitar [[Contents#Lessons|lessons]], [[Contents#Exercises|exercises]], and [[Contents#Reference|quick reference material]].  However, it also provide general knowledge, guides, and reference materials for [[Contents#Gear and Setup|gear]] and [[Contents#DAW/Recording|home recording systems]] (DAW software).  Additionally, it covers lots of generalized musical knowledge, including theory (covered in the lessons), [[Contents#Musical Skills|musical skills]], and the [[Contents#Sound|nature of sound]].  There's a ''lot'' of content here, and I hope it continues expanding!&lt;br /&gt;
&lt;br /&gt;
=== Why this Wiki? ===&lt;br /&gt;
I started this effort as a simple way to provide guitar lessons to friends/family trying to learn the instrument.  Then I thought, why not try to document everything I have learned about music?  But then I wondered how far I could take this...this site could expand much larger than me.  So I made it a wiki - I can lay the groundwork, and brighter and more experienced fellow travelers can grow the content until it touches every boundary of the guitar universe.&lt;br /&gt;
&lt;br /&gt;
I am open to everyone's opinions on the quest for ''understanding music, learning how to play the guitar, and finding the perfect tone'' - I want this site to be for the '''guitarist''', not for me.  I am keeping this site as open as possible, and I have nothing to promote or gain other than donations, which I only mention on a few of the introductory pages.&lt;br /&gt;
&lt;br /&gt;
I also didn't want to require stringent referencing or have users wary of posting due to stringent editing guidelines.  This site isn't a free-for-all - please read the [[Site Conventions]] before editing, but expect much more lax standards than Wikipedia.&lt;br /&gt;
&lt;br /&gt;
=== Getting Started ===&lt;br /&gt;
Please see the [[Introduction]] for info about me, who these lessons are designed for, and common conventions used throughout this site.  [[Contents|Here is the '''Table of Contents''']] for all pages on this site.  It links to every page on this site, including lessons, techniques, styles, exercises, gear advice, scale/chord reference, and more.&lt;br /&gt;
&lt;br /&gt;
Here are the breadcrumbs for the main areas of this site:&lt;br /&gt;
{{Top-Level Crumbs|0}}&lt;br /&gt;
&lt;br /&gt;
I encourage editing if you find typos and inaccuracies, as well as adding exercises, practice songs, techniques, and advice, (as well as fleshing out existing content) but please read the [[Site Policies]] and [[Site Conventions]] before doing so.  Also check out [[Wiki Templates]] for easier editing.  Have fun and get your learn on, and if you find yourself appreciating this site, please [[Donate|''consider donating'']] to keep this site ad free and online.&lt;br /&gt;
&lt;br /&gt;
I purposefully tried to use as much text on this site as possible to make it easy to copy/paste and easily shared over the web, but it obviously should not be sold or have ownership claimed over it.  Again, please see the [[Site Policies]] to make sure you do so in a respectful and legal manner.&lt;br /&gt;
&lt;br /&gt;
==Site News==&lt;br /&gt;
=== Mobile Front End Installed ===&lt;br /&gt;
Using the mobileFrontend extension for MediaWiki.  This makes the mobile page look a little cleaner and easier to read, with each main section of a page collapsed by default, just like Wikipedia.&lt;br /&gt;
&lt;br /&gt;
=== Pod HD/Kemper Guides Updates ===&lt;br /&gt;
The [[Line 6 Pod HD Guide|Pod HD]] and [[Kemper Profiling Amp Guide|Kemper Profiling Amp]] guides are fully fleshed out.  The Pod HD guide is a straight port from the old location - new look and feel, same content; however, I did add a MIDI page.&lt;br /&gt;
&lt;br /&gt;
=== Added Google Fonts ===&lt;br /&gt;
I've added some cool fonts I found on [http://www.google.com/fonts/ Google Fonts], particularly:&lt;br /&gt;
* &amp;lt;span class=&amp;quot;h5&amp;quot;&amp;gt;Cinzel Decorative&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;span style=&amp;quot;font-family:'Abel'&amp;quot;&amp;gt;Abel&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;span style=&amp;quot;font-family:'Titillium Web'&amp;quot;&amp;gt;Titillium Web&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;span style=&amp;quot;font-family:'Quattrocento Sans'&amp;quot;&amp;gt;Quattrocento Sans&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;span style=&amp;quot;font-family:'Architects Daughter'; font-style:italic&amp;quot;&amp;gt;Architects Daughter&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;span style=&amp;quot;font-family:'Bangers'&amp;quot;&amp;gt;Bangers&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;pre style=&amp;quot;display:table-cell&amp;quot;&amp;gt;PT Mono&amp;lt;/pre&amp;gt;&lt;br /&gt;
&lt;br /&gt;
=== Added bootstrapskin CSS skin. ===&lt;br /&gt;
Wow, this is just the &amp;lt;span class=&amp;quot;cursive&amp;quot;&amp;gt;perfect CSS&amp;lt;/span&amp;gt; for this site.  Check it out on the [http://bootstrapskin.co.uk bootstrapskin site].  Big thanks to Lee and his team for this awesome product.&lt;br /&gt;
&lt;br /&gt;
=== Let's get Started ===&lt;br /&gt;
Mar. 19, 2014 - Development begins...&lt;br /&gt;
&lt;br /&gt;
[[Category:Wiki]]&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=Main_Page&amp;diff=8748</id>
		<title>Main Page</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=Main_Page&amp;diff=8748"/>
				<updated>2017-06-28T05:27:22Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{DISPLAYTITLE:_}}&lt;br /&gt;
&lt;br /&gt;
{{Top-Level Crumbs}}&lt;br /&gt;
&lt;br /&gt;
Hello, and welcome to '''MeAmBobbo's Guitar and Recording Wiki''' (MAB Wiki). This site is designed to educate and train aspiring as well as accomplished guitarists, so that they can master the instrument.  The main content consists of guitar [[Contents#Lessons|lessons]], [[Contents#Exercises|exercises]], and [[Contents#Reference|quick reference material]].  However, it also provide general knowledge, guides, and reference materials for [[Contents#Gear and Setup|gear]] and [[Contents#DAW/Recording|home recording systems]] (DAW software).  Additionally, it covers lots of generalized musical knowledge, including theory (covered in the lessons), [[Contents#Musical Skills|musical skills]], and the [[Contents#Sound|nature of sound]].  There's a ''lot'' of content here, and I hope it continues expanding!&lt;br /&gt;
&lt;br /&gt;
=== Why this Wiki? ===&lt;br /&gt;
I started this effort as a simple way to provide guitar lessons to friends/family trying to learn the instrument.  Then I thought, why not try to document everything I have learned about music?  But then I wondered how far I could take this...this site could expand much larger than me.  So I made it a wiki - I can lay the groundwork, and brighter and more experienced fellow travelers can grow the content until it touches every boundary of the guitar universe.&lt;br /&gt;
&lt;br /&gt;
I am open to everyone's opinions on the quest for ''understanding music, learning how to play the guitar, and finding the perfect tone'' - I want this site to be for the '''guitarist''', not for me.  I am keeping this site as open as possible, and I have nothing to promote or gain other than donations, which I only mention on a few of the introductory pages.&lt;br /&gt;
&lt;br /&gt;
I also didn't want to require stringent referencing or have users wary of posting due to stringent editing guidelines.  This site isn't a free-for-all - please read the [[Site Conventions]] before editing, but expect much more lax standards than Wikipedia.&lt;br /&gt;
&lt;br /&gt;
=== Getting Started ===&lt;br /&gt;
Please see the [[Introduction]] for info about me, who these lessons are designed for, and common conventions used throughout this site.  [[Contents|Here is the '''Table of Contents''']] for all pages on this site.  It links to every page on this site, including lessons, techniques, styles, exercises, gear advice, scale/chord reference, and more.&lt;br /&gt;
&lt;br /&gt;
Here are the breadcrumbs for the main areas of this site:&lt;br /&gt;
{{Top-Level Crumbs|0}}&lt;br /&gt;
&lt;br /&gt;
I encourage editing if you find typos and inaccuracies, as well as adding exercises, practice songs, techniques, and advice, (as well as fleshing out existing content) but please read the [[Site Policies]] and [[Site Conventions]] before doing so.  Also check out [[Wiki Templates]] for easier editing.  Have fun and get your learn on, and if you find yourself appreciating this site, please [[Donate|''consider donating'']] to keep this site ad free and online.&lt;br /&gt;
&lt;br /&gt;
I purposefully tried to use as much text on this site as possible to make it easy to copy/paste and easily shared over the web, but it obviously should not be sold or have ownership claimed over it.  Again, please see the [[Site Policies]] to make sure you do so in a respectful and legal manner.&lt;br /&gt;
&lt;br /&gt;
==Site News==&lt;br /&gt;
=== Mobile Front End Installed ===&lt;br /&gt;
Using the mobileFrontend extension for MediaWiki.  This makes the mobile page look a little cleaner and easier to read, with each main section of a page collapsed by default, just like Wikipedia.&lt;br /&gt;
&lt;br /&gt;
=== Pod HD/Kemper Guides Updates ===&lt;br /&gt;
The [[Line 6 Pod HD Guide|Pod HD]] and [[Kemper Profiling Amp Guide|Kemper Profiling Amp]] guides are fully fleshed out.  The Pod HD guide is a straight port from the old location - new look and feel, same content; however, I did add a MIDI page.&lt;br /&gt;
&lt;br /&gt;
=== Added Google Fonts ===&lt;br /&gt;
I've added some cool fonts I found on [http://www.google.com/fonts/ Google Fonts], particularly:&lt;br /&gt;
* &amp;lt;span class=&amp;quot;h5&amp;quot;&amp;gt;Cinzel Decorative&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;span style=&amp;quot;font-family:'Abel'&amp;quot;&amp;gt;Abel&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;span style=&amp;quot;font-family:'Titillium Web'&amp;quot;&amp;gt;Titillium Web&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;span style=&amp;quot;font-family:'Quattrocento Sans'&amp;quot;&amp;gt;Quattrocento Sans&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;span style=&amp;quot;font-family:'Architects Daughter'; font-style:italic&amp;quot;&amp;gt;Architects Daughter&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;span style=&amp;quot;font-family:'Bangers'&amp;quot;&amp;gt;Bangers&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;pre style=&amp;quot;display:table-cell&amp;quot;&amp;gt;PT Mono&amp;lt;/pre&amp;gt;&lt;br /&gt;
&lt;br /&gt;
=== Added bootstrapskin CSS skin. ===&lt;br /&gt;
Wow, this is just the &amp;lt;span class=&amp;quot;cursive&amp;quot;&amp;gt;perfect CSS&amp;lt;/span&amp;gt; for this site.  Check it out on the [http://bootstrapskin.co.uk bootstrapskin site].  Big thanks to Lee and his team for this awesome product.&lt;br /&gt;
&lt;br /&gt;
=== Let's get Started ===&lt;br /&gt;
Mar. 19, 2014 - Development begins...&lt;br /&gt;
&lt;br /&gt;
[[Category:Wiki]]&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=Main_Page&amp;diff=8747</id>
		<title>Main Page</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=Main_Page&amp;diff=8747"/>
				<updated>2017-06-28T05:27:08Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{DISPLAYTITLE: }}&lt;br /&gt;
&lt;br /&gt;
{{Top-Level Crumbs}}&lt;br /&gt;
&lt;br /&gt;
Hello, and welcome to '''MeAmBobbo's Guitar and Recording Wiki''' (MAB Wiki). This site is designed to educate and train aspiring as well as accomplished guitarists, so that they can master the instrument.  The main content consists of guitar [[Contents#Lessons|lessons]], [[Contents#Exercises|exercises]], and [[Contents#Reference|quick reference material]].  However, it also provide general knowledge, guides, and reference materials for [[Contents#Gear and Setup|gear]] and [[Contents#DAW/Recording|home recording systems]] (DAW software).  Additionally, it covers lots of generalized musical knowledge, including theory (covered in the lessons), [[Contents#Musical Skills|musical skills]], and the [[Contents#Sound|nature of sound]].  There's a ''lot'' of content here, and I hope it continues expanding!&lt;br /&gt;
&lt;br /&gt;
=== Why this Wiki? ===&lt;br /&gt;
I started this effort as a simple way to provide guitar lessons to friends/family trying to learn the instrument.  Then I thought, why not try to document everything I have learned about music?  But then I wondered how far I could take this...this site could expand much larger than me.  So I made it a wiki - I can lay the groundwork, and brighter and more experienced fellow travelers can grow the content until it touches every boundary of the guitar universe.&lt;br /&gt;
&lt;br /&gt;
I am open to everyone's opinions on the quest for ''understanding music, learning how to play the guitar, and finding the perfect tone'' - I want this site to be for the '''guitarist''', not for me.  I am keeping this site as open as possible, and I have nothing to promote or gain other than donations, which I only mention on a few of the introductory pages.&lt;br /&gt;
&lt;br /&gt;
I also didn't want to require stringent referencing or have users wary of posting due to stringent editing guidelines.  This site isn't a free-for-all - please read the [[Site Conventions]] before editing, but expect much more lax standards than Wikipedia.&lt;br /&gt;
&lt;br /&gt;
=== Getting Started ===&lt;br /&gt;
Please see the [[Introduction]] for info about me, who these lessons are designed for, and common conventions used throughout this site.  [[Contents|Here is the '''Table of Contents''']] for all pages on this site.  It links to every page on this site, including lessons, techniques, styles, exercises, gear advice, scale/chord reference, and more.&lt;br /&gt;
&lt;br /&gt;
Here are the breadcrumbs for the main areas of this site:&lt;br /&gt;
{{Top-Level Crumbs|0}}&lt;br /&gt;
&lt;br /&gt;
I encourage editing if you find typos and inaccuracies, as well as adding exercises, practice songs, techniques, and advice, (as well as fleshing out existing content) but please read the [[Site Policies]] and [[Site Conventions]] before doing so.  Also check out [[Wiki Templates]] for easier editing.  Have fun and get your learn on, and if you find yourself appreciating this site, please [[Donate|''consider donating'']] to keep this site ad free and online.&lt;br /&gt;
&lt;br /&gt;
I purposefully tried to use as much text on this site as possible to make it easy to copy/paste and easily shared over the web, but it obviously should not be sold or have ownership claimed over it.  Again, please see the [[Site Policies]] to make sure you do so in a respectful and legal manner.&lt;br /&gt;
&lt;br /&gt;
==Site News==&lt;br /&gt;
=== Mobile Front End Installed ===&lt;br /&gt;
Using the mobileFrontend extension for MediaWiki.  This makes the mobile page look a little cleaner and easier to read, with each main section of a page collapsed by default, just like Wikipedia.&lt;br /&gt;
&lt;br /&gt;
=== Pod HD/Kemper Guides Updates ===&lt;br /&gt;
The [[Line 6 Pod HD Guide|Pod HD]] and [[Kemper Profiling Amp Guide|Kemper Profiling Amp]] guides are fully fleshed out.  The Pod HD guide is a straight port from the old location - new look and feel, same content; however, I did add a MIDI page.&lt;br /&gt;
&lt;br /&gt;
=== Added Google Fonts ===&lt;br /&gt;
I've added some cool fonts I found on [http://www.google.com/fonts/ Google Fonts], particularly:&lt;br /&gt;
* &amp;lt;span class=&amp;quot;h5&amp;quot;&amp;gt;Cinzel Decorative&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;span style=&amp;quot;font-family:'Abel'&amp;quot;&amp;gt;Abel&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;span style=&amp;quot;font-family:'Titillium Web'&amp;quot;&amp;gt;Titillium Web&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;span style=&amp;quot;font-family:'Quattrocento Sans'&amp;quot;&amp;gt;Quattrocento Sans&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;span style=&amp;quot;font-family:'Architects Daughter'; font-style:italic&amp;quot;&amp;gt;Architects Daughter&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;span style=&amp;quot;font-family:'Bangers'&amp;quot;&amp;gt;Bangers&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;pre style=&amp;quot;display:table-cell&amp;quot;&amp;gt;PT Mono&amp;lt;/pre&amp;gt;&lt;br /&gt;
&lt;br /&gt;
=== Added bootstrapskin CSS skin. ===&lt;br /&gt;
Wow, this is just the &amp;lt;span class=&amp;quot;cursive&amp;quot;&amp;gt;perfect CSS&amp;lt;/span&amp;gt; for this site.  Check it out on the [http://bootstrapskin.co.uk bootstrapskin site].  Big thanks to Lee and his team for this awesome product.&lt;br /&gt;
&lt;br /&gt;
=== Let's get Started ===&lt;br /&gt;
Mar. 19, 2014 - Development begins...&lt;br /&gt;
&lt;br /&gt;
[[Category:Wiki]]&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=Main_Page&amp;diff=8746</id>
		<title>Main Page</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=Main_Page&amp;diff=8746"/>
				<updated>2017-06-28T05:26:54Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{DISPLAYTITLE:}}&lt;br /&gt;
&lt;br /&gt;
{{Top-Level Crumbs}}&lt;br /&gt;
&lt;br /&gt;
Hello, and welcome to '''MeAmBobbo's Guitar and Recording Wiki''' (MAB Wiki). This site is designed to educate and train aspiring as well as accomplished guitarists, so that they can master the instrument.  The main content consists of guitar [[Contents#Lessons|lessons]], [[Contents#Exercises|exercises]], and [[Contents#Reference|quick reference material]].  However, it also provide general knowledge, guides, and reference materials for [[Contents#Gear and Setup|gear]] and [[Contents#DAW/Recording|home recording systems]] (DAW software).  Additionally, it covers lots of generalized musical knowledge, including theory (covered in the lessons), [[Contents#Musical Skills|musical skills]], and the [[Contents#Sound|nature of sound]].  There's a ''lot'' of content here, and I hope it continues expanding!&lt;br /&gt;
&lt;br /&gt;
=== Why this Wiki? ===&lt;br /&gt;
I started this effort as a simple way to provide guitar lessons to friends/family trying to learn the instrument.  Then I thought, why not try to document everything I have learned about music?  But then I wondered how far I could take this...this site could expand much larger than me.  So I made it a wiki - I can lay the groundwork, and brighter and more experienced fellow travelers can grow the content until it touches every boundary of the guitar universe.&lt;br /&gt;
&lt;br /&gt;
I am open to everyone's opinions on the quest for ''understanding music, learning how to play the guitar, and finding the perfect tone'' - I want this site to be for the '''guitarist''', not for me.  I am keeping this site as open as possible, and I have nothing to promote or gain other than donations, which I only mention on a few of the introductory pages.&lt;br /&gt;
&lt;br /&gt;
I also didn't want to require stringent referencing or have users wary of posting due to stringent editing guidelines.  This site isn't a free-for-all - please read the [[Site Conventions]] before editing, but expect much more lax standards than Wikipedia.&lt;br /&gt;
&lt;br /&gt;
=== Getting Started ===&lt;br /&gt;
Please see the [[Introduction]] for info about me, who these lessons are designed for, and common conventions used throughout this site.  [[Contents|Here is the '''Table of Contents''']] for all pages on this site.  It links to every page on this site, including lessons, techniques, styles, exercises, gear advice, scale/chord reference, and more.&lt;br /&gt;
&lt;br /&gt;
Here are the breadcrumbs for the main areas of this site:&lt;br /&gt;
{{Top-Level Crumbs|0}}&lt;br /&gt;
&lt;br /&gt;
I encourage editing if you find typos and inaccuracies, as well as adding exercises, practice songs, techniques, and advice, (as well as fleshing out existing content) but please read the [[Site Policies]] and [[Site Conventions]] before doing so.  Also check out [[Wiki Templates]] for easier editing.  Have fun and get your learn on, and if you find yourself appreciating this site, please [[Donate|''consider donating'']] to keep this site ad free and online.&lt;br /&gt;
&lt;br /&gt;
I purposefully tried to use as much text on this site as possible to make it easy to copy/paste and easily shared over the web, but it obviously should not be sold or have ownership claimed over it.  Again, please see the [[Site Policies]] to make sure you do so in a respectful and legal manner.&lt;br /&gt;
&lt;br /&gt;
==Site News==&lt;br /&gt;
=== Mobile Front End Installed ===&lt;br /&gt;
Using the mobileFrontend extension for MediaWiki.  This makes the mobile page look a little cleaner and easier to read, with each main section of a page collapsed by default, just like Wikipedia.&lt;br /&gt;
&lt;br /&gt;
=== Pod HD/Kemper Guides Updates ===&lt;br /&gt;
The [[Line 6 Pod HD Guide|Pod HD]] and [[Kemper Profiling Amp Guide|Kemper Profiling Amp]] guides are fully fleshed out.  The Pod HD guide is a straight port from the old location - new look and feel, same content; however, I did add a MIDI page.&lt;br /&gt;
&lt;br /&gt;
=== Added Google Fonts ===&lt;br /&gt;
I've added some cool fonts I found on [http://www.google.com/fonts/ Google Fonts], particularly:&lt;br /&gt;
* &amp;lt;span class=&amp;quot;h5&amp;quot;&amp;gt;Cinzel Decorative&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;span style=&amp;quot;font-family:'Abel'&amp;quot;&amp;gt;Abel&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;span style=&amp;quot;font-family:'Titillium Web'&amp;quot;&amp;gt;Titillium Web&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;span style=&amp;quot;font-family:'Quattrocento Sans'&amp;quot;&amp;gt;Quattrocento Sans&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;span style=&amp;quot;font-family:'Architects Daughter'; font-style:italic&amp;quot;&amp;gt;Architects Daughter&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;span style=&amp;quot;font-family:'Bangers'&amp;quot;&amp;gt;Bangers&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;pre style=&amp;quot;display:table-cell&amp;quot;&amp;gt;PT Mono&amp;lt;/pre&amp;gt;&lt;br /&gt;
&lt;br /&gt;
=== Added bootstrapskin CSS skin. ===&lt;br /&gt;
Wow, this is just the &amp;lt;span class=&amp;quot;cursive&amp;quot;&amp;gt;perfect CSS&amp;lt;/span&amp;gt; for this site.  Check it out on the [http://bootstrapskin.co.uk bootstrapskin site].  Big thanks to Lee and his team for this awesome product.&lt;br /&gt;
&lt;br /&gt;
=== Let's get Started ===&lt;br /&gt;
Mar. 19, 2014 - Development begins...&lt;br /&gt;
&lt;br /&gt;
[[Category:Wiki]]&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=Main_Page&amp;diff=8745</id>
		<title>Main Page</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=Main_Page&amp;diff=8745"/>
				<updated>2017-06-28T05:26:24Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{DISPLAYTITLE:Welcome}}&lt;br /&gt;
&lt;br /&gt;
{{Top-Level Crumbs}}&lt;br /&gt;
&lt;br /&gt;
Hello, and welcome to '''MeAmBobbo's Guitar and Recording Wiki''' (MAB Wiki). This site is designed to educate and train aspiring as well as accomplished guitarists, so that they can master the instrument.  The main content consists of guitar [[Contents#Lessons|lessons]], [[Contents#Exercises|exercises]], and [[Contents#Reference|quick reference material]].  However, it also provide general knowledge, guides, and reference materials for [[Contents#Gear and Setup|gear]] and [[Contents#DAW/Recording|home recording systems]] (DAW software).  Additionally, it covers lots of generalized musical knowledge, including theory (covered in the lessons), [[Contents#Musical Skills|musical skills]], and the [[Contents#Sound|nature of sound]].  There's a ''lot'' of content here, and I hope it continues expanding!&lt;br /&gt;
&lt;br /&gt;
=== Why this Wiki? ===&lt;br /&gt;
I started this effort as a simple way to provide guitar lessons to friends/family trying to learn the instrument.  Then I thought, why not try to document everything I have learned about music?  But then I wondered how far I could take this...this site could expand much larger than me.  So I made it a wiki - I can lay the groundwork, and brighter and more experienced fellow travelers can grow the content until it touches every boundary of the guitar universe.&lt;br /&gt;
&lt;br /&gt;
I am open to everyone's opinions on the quest for ''understanding music, learning how to play the guitar, and finding the perfect tone'' - I want this site to be for the '''guitarist''', not for me.  I am keeping this site as open as possible, and I have nothing to promote or gain other than donations, which I only mention on a few of the introductory pages.&lt;br /&gt;
&lt;br /&gt;
I also didn't want to require stringent referencing or have users wary of posting due to stringent editing guidelines.  This site isn't a free-for-all - please read the [[Site Conventions]] before editing, but expect much more lax standards than Wikipedia.&lt;br /&gt;
&lt;br /&gt;
=== Getting Started ===&lt;br /&gt;
Please see the [[Introduction]] for info about me, who these lessons are designed for, and common conventions used throughout this site.  [[Contents|Here is the '''Table of Contents''']] for all pages on this site.  It links to every page on this site, including lessons, techniques, styles, exercises, gear advice, scale/chord reference, and more.&lt;br /&gt;
&lt;br /&gt;
Here are the breadcrumbs for the main areas of this site:&lt;br /&gt;
{{Top-Level Crumbs|0}}&lt;br /&gt;
&lt;br /&gt;
I encourage editing if you find typos and inaccuracies, as well as adding exercises, practice songs, techniques, and advice, (as well as fleshing out existing content) but please read the [[Site Policies]] and [[Site Conventions]] before doing so.  Also check out [[Wiki Templates]] for easier editing.  Have fun and get your learn on, and if you find yourself appreciating this site, please [[Donate|''consider donating'']] to keep this site ad free and online.&lt;br /&gt;
&lt;br /&gt;
I purposefully tried to use as much text on this site as possible to make it easy to copy/paste and easily shared over the web, but it obviously should not be sold or have ownership claimed over it.  Again, please see the [[Site Policies]] to make sure you do so in a respectful and legal manner.&lt;br /&gt;
&lt;br /&gt;
==Site News==&lt;br /&gt;
=== Mobile Front End Installed ===&lt;br /&gt;
Using the mobileFrontend extension for MediaWiki.  This makes the mobile page look a little cleaner and easier to read, with each main section of a page collapsed by default, just like Wikipedia.&lt;br /&gt;
&lt;br /&gt;
=== Pod HD/Kemper Guides Updates ===&lt;br /&gt;
The [[Line 6 Pod HD Guide|Pod HD]] and [[Kemper Profiling Amp Guide|Kemper Profiling Amp]] guides are fully fleshed out.  The Pod HD guide is a straight port from the old location - new look and feel, same content; however, I did add a MIDI page.&lt;br /&gt;
&lt;br /&gt;
=== Added Google Fonts ===&lt;br /&gt;
I've added some cool fonts I found on [http://www.google.com/fonts/ Google Fonts], particularly:&lt;br /&gt;
* &amp;lt;span class=&amp;quot;h5&amp;quot;&amp;gt;Cinzel Decorative&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;span style=&amp;quot;font-family:'Abel'&amp;quot;&amp;gt;Abel&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;span style=&amp;quot;font-family:'Titillium Web'&amp;quot;&amp;gt;Titillium Web&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;span style=&amp;quot;font-family:'Quattrocento Sans'&amp;quot;&amp;gt;Quattrocento Sans&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;span style=&amp;quot;font-family:'Architects Daughter'; font-style:italic&amp;quot;&amp;gt;Architects Daughter&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;span style=&amp;quot;font-family:'Bangers'&amp;quot;&amp;gt;Bangers&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;pre style=&amp;quot;display:table-cell&amp;quot;&amp;gt;PT Mono&amp;lt;/pre&amp;gt;&lt;br /&gt;
&lt;br /&gt;
=== Added bootstrapskin CSS skin. ===&lt;br /&gt;
Wow, this is just the &amp;lt;span class=&amp;quot;cursive&amp;quot;&amp;gt;perfect CSS&amp;lt;/span&amp;gt; for this site.  Check it out on the [http://bootstrapskin.co.uk bootstrapskin site].  Big thanks to Lee and his team for this awesome product.&lt;br /&gt;
&lt;br /&gt;
=== Let's get Started ===&lt;br /&gt;
Mar. 19, 2014 - Development begins...&lt;br /&gt;
&lt;br /&gt;
[[Category:Wiki]]&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=Main_Page&amp;diff=8744</id>
		<title>Main Page</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=Main_Page&amp;diff=8744"/>
				<updated>2017-06-28T05:25:03Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;__NOTITLE__&lt;br /&gt;
&lt;br /&gt;
{{Top-Level Crumbs}}&lt;br /&gt;
&lt;br /&gt;
Hello, and welcome to '''MeAmBobbo's Guitar and Recording Wiki''' (MAB Wiki). This site is designed to educate and train aspiring as well as accomplished guitarists, so that they can master the instrument.  The main content consists of guitar [[Contents#Lessons|lessons]], [[Contents#Exercises|exercises]], and [[Contents#Reference|quick reference material]].  However, it also provide general knowledge, guides, and reference materials for [[Contents#Gear and Setup|gear]] and [[Contents#DAW/Recording|home recording systems]] (DAW software).  Additionally, it covers lots of generalized musical knowledge, including theory (covered in the lessons), [[Contents#Musical Skills|musical skills]], and the [[Contents#Sound|nature of sound]].  There's a ''lot'' of content here, and I hope it continues expanding!&lt;br /&gt;
&lt;br /&gt;
=== Why this Wiki? ===&lt;br /&gt;
I started this effort as a simple way to provide guitar lessons to friends/family trying to learn the instrument.  Then I thought, why not try to document everything I have learned about music?  But then I wondered how far I could take this...this site could expand much larger than me.  So I made it a wiki - I can lay the groundwork, and brighter and more experienced fellow travelers can grow the content until it touches every boundary of the guitar universe.&lt;br /&gt;
&lt;br /&gt;
I am open to everyone's opinions on the quest for ''understanding music, learning how to play the guitar, and finding the perfect tone'' - I want this site to be for the '''guitarist''', not for me.  I am keeping this site as open as possible, and I have nothing to promote or gain other than donations, which I only mention on a few of the introductory pages.&lt;br /&gt;
&lt;br /&gt;
I also didn't want to require stringent referencing or have users wary of posting due to stringent editing guidelines.  This site isn't a free-for-all - please read the [[Site Conventions]] before editing, but expect much more lax standards than Wikipedia.&lt;br /&gt;
&lt;br /&gt;
=== Getting Started ===&lt;br /&gt;
Please see the [[Introduction]] for info about me, who these lessons are designed for, and common conventions used throughout this site.  [[Contents|Here is the '''Table of Contents''']] for all pages on this site.  It links to every page on this site, including lessons, techniques, styles, exercises, gear advice, scale/chord reference, and more.&lt;br /&gt;
&lt;br /&gt;
Here are the breadcrumbs for the main areas of this site:&lt;br /&gt;
{{Top-Level Crumbs|0}}&lt;br /&gt;
&lt;br /&gt;
I encourage editing if you find typos and inaccuracies, as well as adding exercises, practice songs, techniques, and advice, (as well as fleshing out existing content) but please read the [[Site Policies]] and [[Site Conventions]] before doing so.  Also check out [[Wiki Templates]] for easier editing.  Have fun and get your learn on, and if you find yourself appreciating this site, please [[Donate|''consider donating'']] to keep this site ad free and online.&lt;br /&gt;
&lt;br /&gt;
I purposefully tried to use as much text on this site as possible to make it easy to copy/paste and easily shared over the web, but it obviously should not be sold or have ownership claimed over it.  Again, please see the [[Site Policies]] to make sure you do so in a respectful and legal manner.&lt;br /&gt;
&lt;br /&gt;
==Site News==&lt;br /&gt;
=== Mobile Front End Installed ===&lt;br /&gt;
Using the mobileFrontend extension for MediaWiki.  This makes the mobile page look a little cleaner and easier to read, with each main section of a page collapsed by default, just like Wikipedia.&lt;br /&gt;
&lt;br /&gt;
=== Pod HD/Kemper Guides Updates ===&lt;br /&gt;
The [[Line 6 Pod HD Guide|Pod HD]] and [[Kemper Profiling Amp Guide|Kemper Profiling Amp]] guides are fully fleshed out.  The Pod HD guide is a straight port from the old location - new look and feel, same content; however, I did add a MIDI page.&lt;br /&gt;
&lt;br /&gt;
=== Added Google Fonts ===&lt;br /&gt;
I've added some cool fonts I found on [http://www.google.com/fonts/ Google Fonts], particularly:&lt;br /&gt;
* &amp;lt;span class=&amp;quot;h5&amp;quot;&amp;gt;Cinzel Decorative&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;span style=&amp;quot;font-family:'Abel'&amp;quot;&amp;gt;Abel&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;span style=&amp;quot;font-family:'Titillium Web'&amp;quot;&amp;gt;Titillium Web&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;span style=&amp;quot;font-family:'Quattrocento Sans'&amp;quot;&amp;gt;Quattrocento Sans&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;span style=&amp;quot;font-family:'Architects Daughter'; font-style:italic&amp;quot;&amp;gt;Architects Daughter&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;span style=&amp;quot;font-family:'Bangers'&amp;quot;&amp;gt;Bangers&amp;lt;/span&amp;gt;&lt;br /&gt;
* &amp;lt;pre style=&amp;quot;display:table-cell&amp;quot;&amp;gt;PT Mono&amp;lt;/pre&amp;gt;&lt;br /&gt;
&lt;br /&gt;
=== Added bootstrapskin CSS skin. ===&lt;br /&gt;
Wow, this is just the &amp;lt;span class=&amp;quot;cursive&amp;quot;&amp;gt;perfect CSS&amp;lt;/span&amp;gt; for this site.  Check it out on the [http://bootstrapskin.co.uk bootstrapskin site].  Big thanks to Lee and his team for this awesome product.&lt;br /&gt;
&lt;br /&gt;
=== Let's get Started ===&lt;br /&gt;
Mar. 19, 2014 - Development begins...&lt;br /&gt;
&lt;br /&gt;
[[Category:Wiki]]&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=Kemper_KPA_External_Control&amp;diff=8743</id>
		<title>Kemper KPA External Control</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=Kemper_KPA_External_Control&amp;diff=8743"/>
				<updated>2017-03-12T06:10:45Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: /* Morphing */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{Top-Level Crumbs|4}}&lt;br /&gt;
{{User Guide Crumbs|2}}&lt;br /&gt;
{{Kemper Guide Crumbs|6}}&lt;br /&gt;
The KPA has extensive, intuitive support for external controllers, and some products are made specifically for control of the KPA.  The three main types of control are analog expression pedals/footswitches, MIDI, and the Kemper Remote.&lt;br /&gt;
&lt;br /&gt;
== Expression Pedals ==&lt;br /&gt;
{{Crumbs|blue|1&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
&lt;br /&gt;
The KPA has 2 stereo jacks on the back of the unit that can be connected to expression pedals or footswitches.  ''Expression pedals should be stereo and connected with a stereo cable.''  Footswitches can be mono or stereo.  Additionally, up to 4 expression pedals can be connected to the Kemper Remote.&lt;br /&gt;
&lt;br /&gt;
=== System Menu Settings ===&lt;br /&gt;
Pages 5-10 cover how expression pedals behave.  Pedals 1 and 2 cover the two inputs on the back of the KPA, while Pedals 3-6 refer to inputs on the official Kemper remote.  The setup done here is simply mapping the pedal's anolog input to that appropriate MIDI CC # (1 for wah wah, 7 for volume, 4 for pitch, and 73 for monitor volume).&lt;br /&gt;
&lt;br /&gt;
Note: if you only have one expression pedal, you can still use it to control wah, volume, and pitch with some additional [[#MIDI Assignments and Settings|MIDI setup below]].  You should set it to CC# 1 (Wah Wah).  The KPA is actually very smart about this, and you don't really ever need more than one expression pedal, unless you like to have dedicated pedals, or have your wah/pitch with a spring in it to push it back to heel position, or do some crazy stuff where you jump between pedals.&lt;br /&gt;
&lt;br /&gt;
'''Pedal Type''' refers to the '''polarity''' of the expression pedal - type 1 is the normal type (Roland), while type 2 is reversed (Yamaha).&lt;br /&gt;
&lt;br /&gt;
This is also where you would come to '''calibrate''' a new pedal, or after updating your KPA's firmware/OS.  You simply press the button then do a full sweep.  ''Be sure to calibrate any pedal that you add to the KPA or after you update the KPA's firmware/OS.''&lt;br /&gt;
&lt;br /&gt;
==== MIDI Assignments and Settings ====&lt;br /&gt;
Page 14 has some checkbox settings for allowing an expression pedal that was set to Wah Wah on pages 5-10 or MIDI CC 1 to also control volume or pitch-shifting, when not being used for a wah wah effect.  It also has settings for sending the KPA's MIDI clock to external devices and setting the MIDI global channel (omni by default).  And you can also see the current MIDI CC values for 4 of the most likely used CC's, controlling modulation, pitch, volume, and monitor volume.&lt;br /&gt;
&lt;br /&gt;
'''Note, if you link a wah pedal to volume, when you disable a wah effect on a rig, the pedal will ''not'' begin to control volume until you put it fully in the toe position''' - ''this prevents a jump in volume if your wah pedal is not in toe position when you turn it off''.  Similarly, if wah is linked to pitch, when you disable wah/enable pitch, the pedal will ''not'' begin to affect the pitch until it is brought fully to the ''heel'' position, again to prevent the pitch jumping on the transition.&lt;br /&gt;
&lt;br /&gt;
=== Rig Menu Volume Pedal Settings ===&lt;br /&gt;
Page 5 of the Rig menu has some settings specific to using an expression pedal for volume control.&lt;br /&gt;
&lt;br /&gt;
* '''Lock Vol. Pedal''' - this setting will lock the current volume pedal settings below to apply to all rigs&lt;br /&gt;
* '''Wah Pedal to Vol.''' - this is a rig-level override of the System Menu page 14 pedal linking option above&lt;br /&gt;
* '''Location''' - this refers to a volume pedal's placement in the signal chain.  Since a dedicated volume pedal doesn't require an effect slot like wah wah or pitch (whammy), you use this parameter to set where it should affect the signal.&lt;br /&gt;
* '''Range''' - this refers to whether the volume pedal should boost when moving from heel position to toe position (when set to right of center) or cut when moving from toe to heel position (when set left of center)&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Analog Footswitches ==&lt;br /&gt;
{{Crumbs|blue|2&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
The Kemper also supports analog mono and stereo momentary footswitches.  They are set up the similarly to expression pedals on pages 5-6 of the System menu.  The difference is instead of being mapped to wah wah, volume, pitch, and monitor volume, it can be assigned to enable/disable any of the sections or blocks in the signal chain, as well switch to tuner, tap in the tap tempo, and switch to the previous or next rig.  In the case of a stereo/dual footswitch, each one can be independently assigned to different parameters.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Using a MIDI Footcontroller ==&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
For more on MIDI foot controllers in general, see [[Foot Controllers]].  MIDI foot controllers typically feature a number of footswitches and often have multiple expression pedals.  Depending on their nature, they may support some features in the MIDI spec or not.  They are typically programmable to some nature, but often within predefined boundaries.  Some can be programmed directly from the footswitches, while others require being connected to a PC editor.  Below are the settings on the Kemper as well as the ways you'll have to program your controller to work with the Kemper.&lt;br /&gt;
&lt;br /&gt;
=== System Menu Settings ===&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
{{Crumbs|orange|1&lt;br /&gt;
|Kemper KPA External Control#System Menu Settings|System Menu&lt;br /&gt;
|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010&lt;br /&gt;
|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers&lt;br /&gt;
|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference&lt;br /&gt;
}}&lt;br /&gt;
&lt;br /&gt;
While in Browser mode, page 12 allows you to assign the current rig to a MIDI Program Change number, as well as view all the MIDI assignments.  Note, these are only for Browser mode, not performance mode, where more than MIDI bank of 128 rigs each can be assigned.&lt;br /&gt;
&lt;br /&gt;
While in Performance mode, page 13 allows assigning external devices to the MIDI Out and Thru ports, as well as giving them device names, and specifying which channels the Kemper should use to communicate with them.&lt;br /&gt;
&lt;br /&gt;
=== Behringer FCB1010 ===&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
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|Kemper KPA External Control#System Menu Settings|System Menu&lt;br /&gt;
|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010&lt;br /&gt;
|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers&lt;br /&gt;
|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference&lt;br /&gt;
}}&lt;br /&gt;
A popular foot controller for the Kemper is the [http://www.music-group.com/Categories/Behringer/Accessories/Footswitches-and-Remote-Controls/FCB1010/p/P0089 Behringer FCB1010].  Its layout lines up fairly closely with the KPA's performance slots, has two expression pedals, and can be found for a relatively cheap price.&lt;br /&gt;
&lt;br /&gt;
The FCB1010 can also easily be modified to use alternative firmware.  There are 4 possible firmwares you can use:&lt;br /&gt;
&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
! !! Factory !! [http://www.ossandust.be/ UnO] !! [http://www.uno4kemper.com/ UnO4Kemper] !! [http://www.eurekasound.com/eurekaprom Eureka]&lt;br /&gt;
|-&lt;br /&gt;
! Advantages&lt;br /&gt;
|&lt;br /&gt;
* Can be programmed from PC&lt;br /&gt;
* No additional cost&lt;br /&gt;
|&lt;br /&gt;
* Fixes bugs and removes restrictions found in factory FW&lt;br /&gt;
* Can be programmed from PC&lt;br /&gt;
* Can save programmed settings on PC&lt;br /&gt;
|&lt;br /&gt;
* Makes the FCB plug n play with KPA&lt;br /&gt;
* Supports 2-way communication to sync effect states&lt;br /&gt;
* Simple to program directly from FCB1010&lt;br /&gt;
* Supports accessing all 625 performances on the KPA&lt;br /&gt;
|&lt;br /&gt;
* Can access all 625 performance rigs&lt;br /&gt;
* Multiple &amp;quot;scene&amp;quot; paradigms easily switched to change behavior&lt;br /&gt;
* Very configurable/powerful&lt;br /&gt;
|-&lt;br /&gt;
! Disadvantages&lt;br /&gt;
|&lt;br /&gt;
* Contains a number of bugs, particularly early version&lt;br /&gt;
* Can only reference a max of 100 rigs&lt;br /&gt;
* Numerous restrictions&lt;br /&gt;
* Missing features&lt;br /&gt;
|&lt;br /&gt;
* Still limited to max of 100 rigs to select from&lt;br /&gt;
* No 2-way communication to display correct LED states matching KPA effects&lt;br /&gt;
|&lt;br /&gt;
* Cannot be updated as KPA OS is updated, have to buy a new chip&lt;br /&gt;
* No advanced programming, such as firing multiple CC's from one button press&lt;br /&gt;
* Footswitch and expression pedal assignment is global, not per rig&lt;br /&gt;
* Expression pedals can only be assigned to CC1 and CC7&lt;br /&gt;
|&lt;br /&gt;
* Can be kind of confusing to program&lt;br /&gt;
* Have to switch scenes to be able to access all 625 performance rigs as well as toggle effects&lt;br /&gt;
* Cannot save configuration to PC and share&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== UnO4Kemper ====&lt;br /&gt;
[http://www.uno4kemper.com/ The UnO4Kemper firmware] is an unofficial firmware for the FCB1010 made by a 3rd party author.  It comes on an EPROM chip that can be switched out for the factory chip after opening the FCB1010 up.&lt;br /&gt;
&lt;br /&gt;
This firmware will instantly turn your FCB1010 into a dedicated Kemper controller.  The main advantage of this chip is it is as plug and play as you will find to get a working pedalboard for the Kemper, other than the official Kemper Remote.  The bad part is that it makes the FCB1010 only work with the Kemper and you cannot do advanced customization of how the controller operates (such as assigning multiple effects to toggle on a single button).  Also, if Kemper updates the KPA software to add new features, there is no method to update your current UnO4Kemper chip to support those features - you will have to purchase a new chip once the UnO4Kemper firmware is updated to support the feature.&lt;br /&gt;
&lt;br /&gt;
The full list of features is found in [http://www.uno4kemper.com/UnOforKemper_manual.pdf the manual].  &lt;br /&gt;
* Bank (Performance) Up/Down&lt;br /&gt;
* One row of buttons is used for rig selection and the other for toggling effects on/off&lt;br /&gt;
* The rows' functions can be swapped.&lt;br /&gt;
* Available effects/functions are A-D, X, Mod, Delay, Reverb, change rotary speaker effect speed, tap tempo, and display tuner&lt;br /&gt;
* Each effect toggle footswitch can be assigned to any 1 of those effects/functions.&lt;br /&gt;
* One expression pedal controls CC 1 (wah wah) and the other CC 7 (volume).  These can be swapped.&lt;br /&gt;
* Expression pedals can each be configured to use 1 out of 5 possible sweep curves.&lt;br /&gt;
* 2-way communication with KPA using 2nd MIDI cable.  Keeps footswitch LEDs in sync with KPA effects when switching rigs.&lt;br /&gt;
* Can display KPA tuner on FCB1010&lt;br /&gt;
* Can use KPA Beat Scanner function for tempo&lt;br /&gt;
* Force KPA to enter Browse Mode or Performance Mode&lt;br /&gt;
&lt;br /&gt;
=== Other MIDI Foot Controllers ===&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
{{Crumbs|orange|3&lt;br /&gt;
|Kemper KPA External Control#System Menu Settings|System Menu&lt;br /&gt;
|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010&lt;br /&gt;
|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers&lt;br /&gt;
|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference&lt;br /&gt;
}}&lt;br /&gt;
As you'll see below, the KPA provides extensive MIDI capabilities; basically any MIDI controller can get something out of it, while expensive, powerful controllers can do just about anything you can do by touching the KPA's buttons and knobs.  How far you want to take your amount of control depends on what you want to do.&lt;br /&gt;
&lt;br /&gt;
While I do not want to take up a lot of space discussing the capabilities and quirks of numerous footcontrollers, [http://www.wikpa.org/Using_Specific_MIDI_Controllers wikpa.org does a good job on this subject].&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== MIDI Programming Reference ===&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
{{Crumbs|orange|4&lt;br /&gt;
|Kemper KPA External Control#System Menu Settings|System Menu&lt;br /&gt;
|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010&lt;br /&gt;
|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers&lt;br /&gt;
|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference&lt;br /&gt;
}}&lt;br /&gt;
This section contains reference material for controlling the KPA by MIDI PC (Program Change), CC (Continuous Control), NRPN (Non-registered Parameter Numbers), or SysEx (System Exclusive) messages.  These go from least to most complicated, and similarly most to least supported.&lt;br /&gt;
&lt;br /&gt;
==== MIDI Program Change ====&lt;br /&gt;
Up to 128 rigs can be assigned PC numbers in Browse Mode from a page in the system menu - you can also see all the rigs assigned to PC's here.&lt;br /&gt;
&lt;br /&gt;
In Performance Mode, each performance/slot is automatically assigned a PC number based on the order of performances, and slots within each performance.  Even disabled slots are assigned a PC #.  Notice this only allows about 25 of the 125 performances (or 128 of the 625 slots) available.  If you need to access more, you can use a MIDI bank select command before the program change, which is implemented as MIDI CC #0 for the most significant byte (MSB) and #32 for the least significant byte (LSB).  While bank selects typically use 2 MIDI bytes, the KPA only requires a range of 0-4 to access all slots via PC.  It will ignore any CC #0 bank select MSB messages.  CC 32 can be used by itself to change which rigs the KPA accesses via PC.  Sending a value of 0 over CC 32 accesses the first 128 slots (performance 1 slot 1 - performance 26 slot 3), CC 32 value 1 accesses the next 128 (performance 26 slot 4 - performance 52 slot 1), etc. up to a max of CC 32 value 4, which will put PC access beyond the available 625 rigs.&lt;br /&gt;
&lt;br /&gt;
Note - it is recommended to use CC's 48-49 (or 47) for selecting performances, then using CC's 50-54 to select which slot to load.  This aligns both with the KPA's performance/slot organization and with footcontrollers that typically feature bank up/down switches as well as a row of switches to change patches/rigs.  There's no need to use complicated math to try to figure out which PC or bank select index is required to load a particular performance/slot.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== MIDI Continuous Control ====&lt;br /&gt;
The KPA responds to a number of MIDI CC messages.  These are enough for generic MIDI foot controllers to perform normal functionality.  You can change cycle through rigs in Browse mode, and bank up/down and select any of the 5 rigs assigned to the slots in Performance mode.  You can turn on/off any of the 8 effects, tap tempo, display the tuner, and switch the rotary speaker effect's speed.  In addition to the expression pedal functions above of controlling wah wah, pitch, volume, and monitor volume, one could be used to control delay/reverb mix and feedback/time, as well as amplifier gain.&lt;br /&gt;
&lt;br /&gt;
{| class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
! CC # !! Valid Values !! What it controls&lt;br /&gt;
|-&lt;br /&gt;
| 0 || N/A || Bank Select MSB - ignored&lt;br /&gt;
|-&lt;br /&gt;
| 1 || x || Wah Wah position on any enabled wah wah effect. Volume if &amp;quot;wah to volume&amp;quot; linking is checked and all wah wah effects are disabled or not present on current rig.  Pitch if &amp;quot;wah to pitch&amp;quot; linking is checked and all wah wah effects are disabled or not present on current rig.&lt;br /&gt;
|-&lt;br /&gt;
| 4 || x || Pitch position for Pedal Pitch or Pedal Vinyl Stop effects&lt;br /&gt;
|-&lt;br /&gt;
| 6 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|-&lt;br /&gt;
| 7 || x || Volume - controls the volume of the rig as specified per rig in the Rig Menu page 5.&lt;br /&gt;
|-&lt;br /&gt;
| 11 || x || Morph - controls any parameters set to be controlled by morphing.&lt;br /&gt;
|-&lt;br /&gt;
| 16 || Any || Toggles all stomps on/off&lt;br /&gt;
|-&lt;br /&gt;
| 17 || 0/1 || 0: Stomp A Off; 1: Stomp A On &lt;br /&gt;
|-&lt;br /&gt;
| 18 || 0/1 || 0: Stomp B Off; 1: Stomp B On &lt;br /&gt;
|-&lt;br /&gt;
| 19 || 0/1 || 0: Stomp C Off; 1: Stomp C On &lt;br /&gt;
|-&lt;br /&gt;
| 20 || 0/1 || 0: Stomp D Off; 1: Stomp D On &lt;br /&gt;
|-&lt;br /&gt;
| 22 || 0/1 || 0: Effect X Off; 1: Effect X On &lt;br /&gt;
|-&lt;br /&gt;
| 24 || 0/1 || 0: Effect Mod Off; 1: Effect Mod On &lt;br /&gt;
|-&lt;br /&gt;
| 26 || 0/1 || 0: Delay Off; 1: Delay On &lt;br /&gt;
|-&lt;br /&gt;
| 27 || 0/1 || 0: Delay Off (with tail); 1: Delay On &lt;br /&gt;
|-&lt;br /&gt;
| 28 || 0/1 || 0: Reverb Off; 1: Reverb On &lt;br /&gt;
|-&lt;br /&gt;
| 29 || 0/1 || 0: Reverb Off (with tail); 1: Reverb On &lt;br /&gt;
|-&lt;br /&gt;
| 30 || 1/0 || Sets Tempo Tap If your floorboard supports separate events on “pressing” and “releasing” a button, send 1 when “pressed” and 0 when “released”. If the floorboard can only send one event, use value 0. When value 1 has been sent and no value 0 for 3 seconds, the Beat Scanner1 is being activated. &lt;br /&gt;
|-&lt;br /&gt;
| 31 || 1/0 || 1: Show Tuner; 0: Hide Tuner &lt;br /&gt;
|-&lt;br /&gt;
| 32 || [0,4] || Bank Select LSB - changes which set of 128 performance slots are available via PC messages in Performance Mode.  &lt;br /&gt;
* Bank 0 - performance 1 slot 1 - performance 26 slot 3&lt;br /&gt;
* Bank 1 - performance 26 slot 4 - performance 52 slot 1&lt;br /&gt;
* Bank 2 - performance 52 slot 2 - performance 77 slot 4&lt;br /&gt;
* Bank 3 - performance 77 slot 5 - performance 103 slot 2&lt;br /&gt;
* Bank 4 - performance 103 slot 3 - performance 125 slot 5&lt;br /&gt;
|-&lt;br /&gt;
| 33 || 0/1 || 0: Rotary Speaker slow; 1: Rotary Speaker fast &lt;br /&gt;
|-&lt;br /&gt;
| 34 || 0/1 || 0: Delay Feedback Infinity Off; 1: Delay Feedback Infinity On&lt;br /&gt;
|-&lt;br /&gt;
| 35 || 0/1 || 0: Delay Hold Off; 1: Delay Hold On&lt;br /&gt;
|-&lt;br /&gt;
| 38 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|-&lt;br /&gt;
| 47 || [0,124]  || (Performance Mode only) Directly select a performance index. The performance will be loaded when a slot selection is sent (CC50-54). If no slot is selected, the performance index selection is disabled after a few seconds.  When disabled, the KPA sends the current performance index and slot back to the device.  This can be used to keep the MIDI controller and KPA in sync.&lt;br /&gt;
|-&lt;br /&gt;
| 48 || 1/0 &lt;br /&gt;
| Performance Mode: Increases performance index. Value triggers two different modes:&lt;br /&gt;
* Value 0, increase performance n to n+1 (bank up)*&lt;br /&gt;
* Value 1 initially increases performance by 1, after a timeout the Kemper Profiler starts to scroll performances upwards. Value 0 stops scrolling. &lt;br /&gt;
Browse Mode only: Value 0 selects the next Rig (current filter/sort applies), similar to “Rig Right” &lt;br /&gt;
|-&lt;br /&gt;
| 49 || 1/0 &lt;br /&gt;
| Performance Mode: Decreases performance index. Value triggers two different modes: &lt;br /&gt;
* Value 0, increase performance n to n-1 (bank down)*&lt;br /&gt;
* Value 1 initially decreases performance index by 1, after a timeout the Kemper Profiler starts to scroll performances downwards. Value 0 stops scrolling.&lt;br /&gt;
Browse Mode only: Value 0 selects the previous Rig (current filter/sort applies), similar to “Rig Left” &lt;br /&gt;
|- &lt;br /&gt;
| 50 || 1 || (Performance Mode only) Select Slot 1 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 51 || 1 || (Performance Mode only) Select Slot 2 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 52 || 1 || (Performance Mode only) Select Slot 3 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 53 || 1 || (Performance Mode only) Select Slot 4 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 54 || 1 || (Performance Mode only) Select Slot 5 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 68 || x || Sets Delay Mix to x &lt;br /&gt;
|-&lt;br /&gt;
| 69 || x || Sets Delay Feedback to x &lt;br /&gt;
|-&lt;br /&gt;
| 70 || x || Sets Reverb Mix to x &lt;br /&gt;
|-&lt;br /&gt;
| 71 || x || Sets Reverb Time to x &lt;br /&gt;
|-&lt;br /&gt;
| 72 || x ||Sets Amplifier Gain to x &lt;br /&gt;
|-&lt;br /&gt;
| 73 || x ||Sets Monitor Volume to x &lt;br /&gt;
|-&lt;br /&gt;
| 98 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|-&lt;br /&gt;
| 99 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|-&lt;br /&gt;
| 119 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
''* Changing the Performance may or may not load a slot instantly depending on the [[Kemper KPA Performing Live#MIDI|Perf. Load System Menu setting]].''&lt;br /&gt;
&lt;br /&gt;
Most foot controllers support some form of programming what each footswitch will send, and if the footswitch should toggle its value.  For example, if you assign FS1 to turn Stomp A on/off, you should be able to set FS1 to light up after pressing it (and it sends a 1 (on) value, indicating you've turned it on.  Now if you press it again, the light turns off, and it sends a 0 (off) value.&lt;br /&gt;
&lt;br /&gt;
This brings up a curious issue.  If you change rigs where Stomp A is on when the rig is loaded, how does the MIDI footcontroller know what state to set FS1?  The footcontroller itself must store a set of rigs containing the default on/off state of each footswitch, matching the corresponding rigs in the KPA.&lt;br /&gt;
&lt;br /&gt;
MIDI CC is the most widely supported part of the MIDI protocol by various MIDI footcontrollers; however, you will notice that there are hundreds of parameters for dozens of effects, as well as the amp, cab, input, output, and tonestack blocks that are not able to be controlled via CC, given the list above.  MIDI CC supports 7-bits for the CC channel number and 7-bits for the value, meaning a maximum of 128 parameters can be controlled with only 0-127 distinct values to communicate.  The MIDI specification gives 2 ways to deal with this: NPRN and Sysex.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== MIDI NRPN ====&lt;br /&gt;
[https://en.wikipedia.org/wiki/NRPN NRPN (Non-registered Parameter Numbers)] uses a set of 4 different CC messages to exponentially increase both the size of possible addresses and values that a device can send/receive.  '''Since each CC message can carry a value from 0-128, NRPN addresses and values each have a range of 128 x 128, which is 16,384.'''  The exact specification is below:&lt;br /&gt;
# '''CC 99''': Value is the Most significant Byte (MSB) of the desired address&lt;br /&gt;
# '''CC 98''': Value is the Least Significant Byte (LSB) of the desired address&lt;br /&gt;
# '''CC 06''': Value is the Most Significant Byte (MSB) of the desired value&lt;br /&gt;
# '''CC 38''': Value is the Least Significant Byte (LSB) of the desired value&lt;br /&gt;
&lt;br /&gt;
While the NRPN spec allows CC 38 to be optional, the KPA ''requires'' it.  The 4 CC's named above must be received in order, and the NRPN message is processed as soon as CC 38 is received.  ''Once an address has been selected via CC's 99 and 98, multiple values can be sent without sending 99/98 each time to reselect the address - only 06/38 needs to be sent.''  That is useful to know if you want to program NRPN to &amp;quot;move&amp;quot; a single parameter over time.&lt;br /&gt;
&lt;br /&gt;
Some footcontrollers support NRPN 14-bit addressing but not 14-bit values via CC's 06 and 38.  The KPA allows CC 119 to send the value in this case.  So the footcontroller can be programmed to send an NRPN as follows:&lt;br /&gt;
# '''CC 99''': address MSB&lt;br /&gt;
# '''CC 98''': address LSB&lt;br /&gt;
# '''CC 119''': 7-bit value&lt;br /&gt;
The 7-bit value is mapped to the appropriate 14-bit value - 128 becomes 16,384, 64 becomes 8,192, while 0 remains 0.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
|-style=&amp;quot;vertical-align:top;&amp;quot;&lt;br /&gt;
|&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
|+ NRPN Address - Parameter Mapping&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| Address&lt;br /&gt;
!rowspan=&amp;quot;2&amp;quot;| Type&lt;br /&gt;
!rowspan=&amp;quot;2&amp;quot;| Parameter&lt;br /&gt;
|-&lt;br /&gt;
! MSB !! LSB&lt;br /&gt;
|-&lt;br /&gt;
| 4 || 0 || Rig || Tempo&lt;br /&gt;
|-&lt;br /&gt;
| 4 || 1 || Rig || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 4 || 2 || Rig || Tempo Enable&lt;br /&gt;
|-&lt;br /&gt;
| 9 || 3 || Input || Noise Gate Intensity&lt;br /&gt;
|-&lt;br /&gt;
| 9 || 4 || Input || Clean Sense&lt;br /&gt;
|-&lt;br /&gt;
| 9 || 5 || Input || Distortion Sense&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 2 || Amplifier || On/Off&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 4 || Amplifier || Gain&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 6 || Amplifier || Definition&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 7 || Amplifier || Clarity&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 8 || Amplifier || Power Sagging&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 9 || Amplifier || Pick&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 10 || Amplifier || Compressor&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 11 || Amplifier || Tube Shape&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 12 || Amplifier || Tube Bias&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 15 || Amplifier || Direct Mix&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 2 || EQ || On/Off&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 4 || EQ || Bass&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 5 || EQ || Mids&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 6 || EQ || Treble&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 7 || EQ || Presence&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 2 || Cabinet || On/Off&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 3 || Cabinet || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 4 || Cabinet || High Shift&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 5 || Cabinet || Low Shift&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 6 || Cabinet || Character&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 0 || Stomp A || Type (see other table)&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 3 || Stomp A || On/Off&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 4 || Stomp A || Mix&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 6 || Stomp A || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 7 || Stomp A || Stereo&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 8 || Stomp A (Wah) || Wah Manual&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 9 || Stomp A (Wah) || Wah Peak&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 10 || Stomp A (Wah) || Wah Range&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 12 || Stomp A (Wah) || Wah Pedal Mode&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 13 || Stomp A (Wah) || Wah Touch Attack&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 14 || Stomp A (Wah) || Wah Touch Release&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 15 || Stomp A (Wah) || Wah Touch Boost&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 16 || Stomp A (Dist/Shaper) || Distortion/Shaper Drive&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 17 || Stomp A (Dist/Shaper) || Distortion/Booster Tone&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 18 || Stomp A (Comp) || Compressor/Gate Intensity&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 19 || Stomp A (Comp) || Compressor Attack&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 20 || Stomp A (Mod) || Modulation Rate&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 21 || Stomp A (Mod) || Modulation Depth&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 22 || Stomp A (Mod) || Modulation Feedback&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 23 || Stomp A (Mod) || Modulation Crossover&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 24 || Stomp A (Mod) || Modulation HyperChorus Amount&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 25 || Stomp A (Mod) || Modulation Manual&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 26 || Stomp A (Mod) || Modulation Phase Peak Spread&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 27 || Stomp A (Mod) || Modulation Stages&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 30 || Stomp A (Rot) || Rotary Speed (slow/fast)&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 31 || Stomp A (Rot) || Rotary Distance&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 32 || Stomp A (Rot) || Rotary Balance&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 33 || Stomp A (Comp) || Compressor Squash&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 34 || Stomp A (EQ) || Graphic EQ Band 1&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 35 || Stomp A (EQ) || Graphic EQ Band 2&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 36 || Stomp A (EQ) || Graphic EQ Band 3&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 37 || Stomp A (EQ) || Graphic EQ Band 4&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 38 || Stomp A (EQ) || Graphic EQ Band 5&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 39 || Stomp A (EQ) || Graphic EQ Band 6&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 40 || Stomp A (EQ) || Graphic EQ Band 7&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 41 || Stomp A (EQ) || Graphic EQ Band 8&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 42 || Stomp A (EQ) || Parametric EQ Low Gain&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 43 || Stomp A (EQ) || Parametric EQ Low Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 44 || Stomp A (EQ) || Parametric EQ High Gain&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 45 || Stomp A (EQ) || Parametric EQ High Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 46 || Stomp A (EQ) || Parametric EQ Peak Gain&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 47 || Stomp A (EQ) || Parametric EQ Peak Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 48 || Stomp A (EQ) || Parametric EQ Peak Q&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 49 || Stomp A (EQ) || Parametric EQ Peak 2 Gain&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 50 || Stomp A (EQ) || Parametric EQ Peak 2 Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 51 || Stomp A (EQ) || Parametric EQ Peak 2 Q&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 52 || Stomp A (Wah) || Wah Peak Range&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 53 || Stomp A || Ducking&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 55 || Stomp A (Pitch) || Voice Mix&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 56 || Stomp A (Pitch) || Voice 1 Pitch&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 57 || Stomp A (Pitch) || Voice 2 Pitch&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 58 || Stomp A (Pitch) || Detune&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 60 || Stomp A (Pitch) || Smooth Chords&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 61 || Stomp A (Pitch) || Pure Tuning&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 64 || Stomp A (Pitch) || Key&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 65 || Stomp A (Pitch) || Freeze Formants &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 66 || Stomp A (Pitch) || Formant Offset &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 67 || Stomp A (Delay) || Low Cut &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 68 || Stomp A (Delay) || High Cut &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 69 || Stomp A (Delay) || Delay Mix &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 70 || Stomp A (Delay) || Delay Mix Pre/Post &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 71 || Stomp A (Delay) || Delay Time 1 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 72 || Stomp A (Delay) || Delay Time 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 73 || Stomp A (Delay) || Delay Ratio 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 74 || Stomp A (Delay) || Delay Ratio 3 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 75 || Stomp A (Delay) || Delay Ratio 4 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 76 || Stomp A (Delay) || Delay Note Value 1 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 77 || Stomp A (Delay) || Delay Note Value 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 78 || Stomp A (Delay) || Delay Note Value 3 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 79 || Stomp A (Delay) || Delay Note Value 4 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 80 || Stomp A (Delay) || To Tempo &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 81 || Stomp A (Delay) || Delay Volume 1 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 82 || Stomp A (Delay) || Delay Volume 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 83 || Stomp A (Delay) || Delay Volume 3 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 84 || Stomp A (Delay) || Delay Volume 4 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 85 || Stomp A (Delay) || Delay Panorama 1 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 86 || Stomp A (Delay) || Delay Panorama 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 87 || Stomp A (Delay) || Delay Panorama 3 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 88 || Stomp A (Delay) || Delay Panorama 4 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 89 || Stomp A (Delay) || Voice3 Pitch &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 90 || Stomp A (Delay) || Voice4 Pitch &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 91 || Stomp A (Delay) || Voice3 Interval &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 92 || Stomp A (Delay) || Voice4 Interval &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 93 || Stomp A (Delay) || Feedback &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 94 || Stomp A (Delay) || Infinity Feedback &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 95 || Stomp A (Delay) || Infinity &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 96 || Stomp A (Delay) || Feedback2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 97 || Stomp A (Delay) || Feedback Sync Switch &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 98 || Stomp A (Delay) || Delay Low Cut &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 99 || Stomp A (Delay) || Delay High Cut &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 100 || Stomp A (Delay) || Delay Filter Intensity &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 101 || Stomp A (Delay) || Delay Modulation &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 102 || Stomp A (Delay) || Delay Chorus &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 103 || Stomp A (Delay) || Flutter Intensity &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 104 || Stomp A (Delay) || Flutter Shape &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 105 || Stomp A (Delay) || Grit &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 106 || Stomp A (Delay) || Reverse Mix &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 107 || Stomp A (Delay) || Swell &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 108 || Stomp A (Delay) || Smear &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 109 || Stomp A (Delay) || Ducking Pre/Post &lt;br /&gt;
|-&lt;br /&gt;
| 51 || * || Stomp B || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 52 || * || Stomp C || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 53 || * || Stomp D || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 56 || * || Effect X || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 58 || * || Effect Mod || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 74 || * || Delay (4.0+) || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 0 || Delay (Deprecated in 4.0) || Type (see below)&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 2 || Delay (Deprecated in 4.0) || On/Off (cuts tails)&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 3 || Delay (Deprecated in 4.0) || Mix&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 4 || Delay (Deprecated in 4.0) || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 5 || Delay (Deprecated in 4.0) || Time&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 6 || Delay (Deprecated in 4.0) || Ratio&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 7 || Delay (Deprecated in 4.0) || Clock Left&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 8 || Delay (Deprecated in 4.0) || Clock Right&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 9 || Delay (Deprecated in 4.0) || Feedback&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 10 || Delay (Deprecated in 4.0) || Bandwidth&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 11 || Delay (Deprecated in 4.0) || Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 12 || Delay (Deprecated in 4.0) || Modulation&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 13 || Delay (Deprecated in 4.0) || On/Off (keeps tails)&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 14 || Delay (Deprecated in 4.0) || Ducking&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 0 || Reverb || Type (see below)&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 2 || Reverb || On/Off (cuts tails)&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 3 || Reverb || Mix&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 4 || Reverb || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 5 || Reverb || Del/Rev Balance&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 6 || Reverb || Time&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 7 || Reverb || Damping&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 8 || Reverb || Bandwidth&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 9 || Reverb || Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 10 || Reverb || Pre-Delay&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 11 || Reverb || On/Off (keeps tails)&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 12 || Reverb || Ducking&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 0 || System/Global || Main Output Volume&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 1 || System/Global || Headphone Output Volume&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 2 || System/Global || Monitor Output Volume&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 3 || System/Global || Direct Output Volume&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 11 || System/Global || SPDIF Input Enable&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 12 || System/Global || Main Output EQ Bass&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 13 || System/Global || Main Output EQ Mids&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 14 || System/Global || Main Output EQ Treble&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 15 || System/Global || Main Output EQ Presence&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 17 || System/Global || Monitor Output EQ Bass&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 18 || System/Global || Monitor Output EQ Mids&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 19 || System/Global || Monitor Output EQ Treble&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 20 || System/Global || Monitor Output EQ Presence&lt;br /&gt;
|}&lt;br /&gt;
|&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
|+ Value to Effect Type Mapping&lt;br /&gt;
|-&lt;br /&gt;
! Value !! Effect Type&lt;br /&gt;
|-&lt;br /&gt;
| 0 || Null/Empty&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| Wah Wah&lt;br /&gt;
|-&lt;br /&gt;
| 1 || Wah Wah&lt;br /&gt;
|-&lt;br /&gt;
| 2 || Wah Low Pass&lt;br /&gt;
|-&lt;br /&gt;
| 3 || Wah High Pass&lt;br /&gt;
|-&lt;br /&gt;
| 4 || Wah Vowel Filter&lt;br /&gt;
|-&lt;br /&gt;
|    6 || Wah Phaser&lt;br /&gt;
|-&lt;br /&gt;
|    7 || Wah Flanger&lt;br /&gt;
|-&lt;br /&gt;
|    8 || Wah Rate Reducer&lt;br /&gt;
|-&lt;br /&gt;
|    9 || Wah Ring Modulator&lt;br /&gt;
|-&lt;br /&gt;
|    10 || Wah Freq Shifter&lt;br /&gt;
|-&lt;br /&gt;
|    12 || Wah Formant Shift&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| Shapers&lt;br /&gt;
|-&lt;br /&gt;
|    17 || Bit Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    18 || Recti Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    19 || Soft Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    20 || Hard Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    21 || Wave Shaper&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| Distortion&lt;br /&gt;
|-&lt;br /&gt;
|    33 || Green Scream&lt;br /&gt;
|-&lt;br /&gt;
|    34 || Plus DS&lt;br /&gt;
|-&lt;br /&gt;
|    35 || One DS&lt;br /&gt;
|-&lt;br /&gt;
|    36 || Muffin&lt;br /&gt;
|-&lt;br /&gt;
|    37 || Mouse&lt;br /&gt;
|-&lt;br /&gt;
|    38 || Fuzz DS&lt;br /&gt;
|-&lt;br /&gt;
|    39 || Metal DS&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| Boosters&lt;br /&gt;
|-&lt;br /&gt;
|    113 || Treble Booster&lt;br /&gt;
|-&lt;br /&gt;
|    114 || Lead Booster&lt;br /&gt;
|-&lt;br /&gt;
|    115 || Pure Booster&lt;br /&gt;
|-&lt;br /&gt;
|    116 || Wah Pedal Booster&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| EQs&lt;br /&gt;
|-&lt;br /&gt;
|    97 || Graphic Equalizer&lt;br /&gt;
|-&lt;br /&gt;
|    98 || Studio Equalizer&lt;br /&gt;
|-&lt;br /&gt;
|    99 || Metal Equalizer&lt;br /&gt;
|-&lt;br /&gt;
|    101 || Stereo Widener&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| Dynamics&lt;br /&gt;
|-&lt;br /&gt;
|    49 || Compressor&lt;br /&gt;
|-&lt;br /&gt;
|    57 || Gate 2:1&lt;br /&gt;
|-&lt;br /&gt;
|    58 || Gate 4:1&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| Modulation&lt;br /&gt;
|-&lt;br /&gt;
|    65 || Vintage Chorus&lt;br /&gt;
|-&lt;br /&gt;
|    66 || Hyper Chorus&lt;br /&gt;
|-&lt;br /&gt;
|    67 || Air Chorus&lt;br /&gt;
|-&lt;br /&gt;
|    71 || Micro Pitch|-&lt;br /&gt;
|-&lt;br /&gt;
|    68 || Vibrato&lt;br /&gt;
|-&lt;br /&gt;
|    69 || Rotary Speaker&lt;br /&gt;
|-&lt;br /&gt;
|    70 || Tremolo&lt;br /&gt;
|-&lt;br /&gt;
|    81 || Phaser&lt;br /&gt;
|-&lt;br /&gt;
|    82 || Phaser Vibe&lt;br /&gt;
|-&lt;br /&gt;
|    83 || Phaser Oneway&lt;br /&gt;
|-&lt;br /&gt;
|    89 || Flanger&lt;br /&gt;
|-&lt;br /&gt;
|    91 || Flanger Oneway&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| Loops&lt;br /&gt;
|-&lt;br /&gt;
|    121 || Loop Mono&lt;br /&gt;
|-&lt;br /&gt;
|    122 || Loop Stereo&lt;br /&gt;
|-&lt;br /&gt;
|    123 || Loop Distortion&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| Pitch&lt;br /&gt;
|-&lt;br /&gt;
|    129 || Transpose&lt;br /&gt;
|-&lt;br /&gt;
|    11 || Pedal Pitch&lt;br /&gt;
|-&lt;br /&gt;
| 130 || Chromatic Pitch&lt;br /&gt;
|-&lt;br /&gt;
| 131 || Harmonic Pitch&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| Delay&lt;br /&gt;
|-&lt;br /&gt;
| ? || Single Delay&lt;br /&gt;
|-&lt;br /&gt;
| ? || Dual Delay&lt;br /&gt;
|-&lt;br /&gt;
| ? || TwoTap Delay&lt;br /&gt;
|-&lt;br /&gt;
| ? || Serial TwoTap Delay&lt;br /&gt;
|-&lt;br /&gt;
| ? || Rhythm Delay&lt;br /&gt;
|-&lt;br /&gt;
| ? || Quad Delay&lt;br /&gt;
|-&lt;br /&gt;
| ? || Legacy Delay&lt;br /&gt;
|-&lt;br /&gt;
| ? || Crystal Delay&lt;br /&gt;
|-&lt;br /&gt;
| ? || Loop Pitch Delay&lt;br /&gt;
|-&lt;br /&gt;
| ? || Freq Shifter Delay&lt;br /&gt;
|-&lt;br /&gt;
| ? || Dual Chromatic Delay&lt;br /&gt;
|-&lt;br /&gt;
| ? || Dual Harmonic Delay&lt;br /&gt;
|-&lt;br /&gt;
| ? || Dual Crystal Delay&lt;br /&gt;
|-&lt;br /&gt;
| ? || Dual Loop Pitch Delay&lt;br /&gt;
|-&lt;br /&gt;
| ? || Melody Chromatic Delay&lt;br /&gt;
|-&lt;br /&gt;
| ? || Melody Harmonic Delay&lt;br /&gt;
|-&lt;br /&gt;
| ? || Quad Chromatic Delay&lt;br /&gt;
|-&lt;br /&gt;
| ? || Quad Harmonic Delay&lt;br /&gt;
|}&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== MIDI SysEx ====&lt;br /&gt;
MIDI also has the ability to send [https://en.wikipedia.org/wiki/MIDI#System_Exclusive_messages SysEx (System Exclusive)] messages.  SysEx messages are proprietary protocols that each manufacturer can create for each of their devices.  They use a common beginning and ending indicators, as well as manufacturer and device identifiers, so that devices that cannot interpret them know to ignore the message; and they can be incorporated into streams of MIDI messages between lots of devices in a MIDI ring without causing chaos.&lt;br /&gt;
&lt;br /&gt;
The SysEx common format is:&lt;br /&gt;
# 1 byte for SysEx Start (&amp;lt;code&amp;gt;0xF0&amp;lt;/code&amp;gt;)&lt;br /&gt;
# 3 bytes for Manufacturer ID (&amp;lt;code&amp;gt;0x002033&amp;lt;/code&amp;gt; for Kemper)&lt;br /&gt;
# 1 byte for product type (&amp;lt;code&amp;gt;0x02&amp;lt;/code&amp;gt; for Kemper Profiling Amp)&lt;br /&gt;
# 1 byte for device ID (&amp;lt;code&amp;gt;0x7F&amp;lt;/code&amp;gt; for Omni)&lt;br /&gt;
# x bytes for the message (this is the device-specific part)&lt;br /&gt;
# 1 byte for SysEx End (&amp;lt;code&amp;gt;0xF7&amp;lt;/code&amp;gt;)&lt;br /&gt;
&lt;br /&gt;
Example: &amp;lt;code&amp;gt;F0-00-20-33-02-7F-...-F7&amp;lt;/code&amp;gt;, where ... is variable.&lt;br /&gt;
&lt;br /&gt;
The Kemper MIDI SysEx protocol gets pretty intense, and I'll leave it to those interested to refer to the [http://www.kemper-amps.com/page/render/lang/en/p/170/id/27/cat/30/do/Kemper_Profiling_Amplifier___Downloads.html Kemper MIDI documentation].  For most users, SysEx will never be necessary.  Where this really comes in handy is for software programs that want to communicate with KPA via MIDI.  The big items that SysEx offer beyond NRPN above are string manipulation and requesting parameter values from the KPA.  These would allow a program to act as an editor, or an advanced floorboard to maintain two-way communication with the KPA, displaying the KPA's current values and keeping on/off states in sync.&lt;br /&gt;
&lt;br /&gt;
The x bytes above have a common scheme for Kemper SysEx messages, where the first byte is the function code.  This is followed by an instance code, which is always &amp;lt;code&amp;gt;0x00&amp;lt;/code&amp;gt;.  This is followed by the address, then the data.&lt;br /&gt;
&lt;br /&gt;
Depending on the function code, the address may be 2 bytes or 4 bytes, and the data can be variable length.  '''The 2 byte addresses use the NRPN addresses above.'''  I am not sure what the extended addresses referenced below are - the MIDI documentation does not list any.  Similarly, '''all 2 byte values use integer values of 0 - 16,384 for min to max''', although this may correspond to different display values on the KPA (for instance, a value of 0 might be &amp;quot;-5.0&amp;quot;, 8,192 might be &amp;quot;&amp;lt;0.0&amp;gt;&amp;quot;, and  16,384 would be &amp;quot;+5.0&amp;quot; - this depends on what the parameter actually is).  '''Strings use single byte characters encoded using [http://www.asciitable.com/ ASCII].'''&lt;br /&gt;
&lt;br /&gt;
I am not sure what the addresses for the string values are, but the documentation does say that the numeric settings' addresses overlap with the strings.  So, to get all the tags for an Amplifier profile, I would imagine you'd use the first address for Amplifier parameters listed in the NRPN reference above, and iterate +1 for all available tags.  ''However, from my research, this does not match how the tags are structured in the .kipr files when they are saved.''&lt;br /&gt;
&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
! Function Code !! Function !! Address Size !! Data Size !! Notes !! Example&lt;br /&gt;
|-&lt;br /&gt;
| 0x01 || Single Parameter Change || 2 bytes || 2 bytes || Same as doing an NRPN change || &lt;br /&gt;
&amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
01-00-4A-04-40-00-&lt;br /&gt;
F7    Addr  Data&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x02 || Multi Parameter Change || 2 bytes || 2n bytes || Address is the starting address; you can send as many pairs of data bytes as you want to change - each pair will write to the next address in sequence || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
02-00-4A-00-00-03-00-01-..-..-&lt;br /&gt;
F7    Addr  Data1 Data2 ...&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x03 || String Parameter Change || 2 bytes || n bytes + final 0x00 byte || Strings must have a final null (0x00) byte to terminate the string.  String data is 1 byte per character, encoded as ASCII.  String addresses overlap with parameter addresses. || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
03-00-00-01-48-65-6C-6C-6F-00-&lt;br /&gt;
F7          H  e  l  l  o&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x04 || BLOB Change || 2 bytes || 2 byte offset + 2 byte size + n byte data || Only a null (0x00) offset is currently supported.  Not sure what this would be used for except overwriting amp/cab profile data?&lt;br /&gt;
|-  &lt;br /&gt;
| 0x06 || Extended Parameter Change || 5 bytes || 2n bytes || Same as 0x02 but uses 5 bytes for address&lt;br /&gt;
|-&lt;br /&gt;
| 0x07 || Extended String Change || 5 bytes || n bytes + 0x00 End Byte || Same as 0x03 but uses 5 bytes for address&lt;br /&gt;
|-&lt;br /&gt;
| 0x41 || Single Parameter Request || 2 bytes || 0 bytes || returns the corresponding 0x01 SysEx message || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
41-00-4A-04-&lt;br /&gt;
F7    Addr&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x42 || Multiple Parameter Request || 2 bytes || 0 bytes || returns the corresponding 0x02 SysEx message.  May contain up to 128 values as byte pairs. || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
42-00-4A-00-&lt;br /&gt;
F7    Addr&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x43 || String Request || 2 bytes || 0 bytes || returns the corresponding 0x03 SysEx message || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
43-00-00-01-&lt;br /&gt;
F7    Addr&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x47 || Extended String Request || 5 bytes || 0 bytes || returns the corresponding 0x07 SysEx message, but may return the corresponding 0x03 message if the address is &amp;lt; 16,384 &lt;br /&gt;
|-&lt;br /&gt;
| 0x7C || Request Parameter as String || 2 bytes || 2 bytes || this returns an 0x3C response that otherwise matches the request, plus the string response after the 2 byte data portion.  The string response is the KPA's string representation of that parameter value.  For instance, Delay Volume value 8,192 is the midpoint value, which displays in the KPA as &amp;quot;&amp;lt;0.0&amp;gt;&amp;quot;. || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
7C-00-4A-04-40-00-&lt;br /&gt;
F7    Addr  Data&lt;br /&gt;
returns &lt;br /&gt;
F0-00-20-33-02-7F-&lt;br /&gt;
3C-00-4A-04-40-00-3C-30-2E-30-3E-00-&lt;br /&gt;
F7                &amp;lt;  0  .  0  &amp;gt;&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Kemper Remote ==&lt;br /&gt;
{{Crumbs|blue|4&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
The '''Kemper Remote''' is the official foot controller for the KPA.  It connects via the '''LAN port''' on the back of the KPA, supporting '''2-way communication''' as well as '''power over a single cable'''.  It features 14 footswitches (2 for bank/performance up/down, 5 for performance slots, 4 for toggling effects on/off, a tap tempo, a tuner, and a looper).  Up to 4 expression pedals can be connected directly to the Remote.&lt;br /&gt;
&lt;br /&gt;
Each effect footswitch can be assigned to toggle on/off up to 4 effects, and what each footswitch controls is saved per rig.&lt;br /&gt;
&lt;br /&gt;
Currently, the Remote is the only foot controller capable of accessing the KPA's looper although there are plans to incorporate access into general MIDI access.&lt;br /&gt;
&lt;br /&gt;
I don't actually have a Kemper Remote, so if I'm missing functionality that creates an advantage over other foot controllers, add it here please.&lt;br /&gt;
&lt;br /&gt;
== DAW ==&lt;br /&gt;
{{Crumbs|blue|5&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
DAWs can either directly or through plug-ins send the MIDI messages needed to have near full control of the Kemper.  They will not be limited strictly to CC's or NRPN - using SysEx, the full parameter list to the KPA is open.  Alternatively, you could simply send the CC values you want to control.  Volume is actually the least necessary parameter - you can more easily control the volume of tracks inside your DAW.  EQ perhaps as well.  Compression may also have better options in the DAW.  Delay, Reverb, and Mod effects is up to you.  Things like Gain or rig changes would be things you'd need to access this way.  With automated rig changing, you could set up all the changes necessary for a whole song, or even an entire setlist.&lt;br /&gt;
&lt;br /&gt;
== Morphing ==&lt;br /&gt;
OS 4.0 introduces '''Morphing''', a feature where any continuous parameter can be defined the following:&lt;br /&gt;
* a '''base value'''&lt;br /&gt;
* a '''morphed value'''&lt;br /&gt;
* a '''rise time*'''&lt;br /&gt;
* a '''descend time*'''&lt;br /&gt;
''* these affect triggering morphing from a footswitch''&lt;br /&gt;
&lt;br /&gt;
On pages 5-10 of the System Menu, expression pedals and footswitches can be assigned the morphing feature.  It can also be easily assigned to any effect button for the Kemper Remote.&lt;br /&gt;
&lt;br /&gt;
Multiple (any or all) continuous parameters, including those in the Amp and Cab blocks can be assigned a morph value.  While some view this feature as a multiple-parameter gimmick, if nothing else it allows continuous control over ''any'' continuous parameter, greatly expanding the out the box functionality of any expression pedal.  Morph values can be set higher or lower than the base value.  The expression pedal heel position corresponds to the base value, and the toe position the morphed value.&lt;br /&gt;
&lt;br /&gt;
The morphing procedure with a &amp;quot;morph&amp;quot; pedal connected is to rock the pedal towards the toe position before changing a value.  When you change the value, you'll see an &amp;quot;M&amp;quot; appear next to it, so you know this is the full morph value (toe position).  If not using a pedal, tap the Rig button.  It has a bottom LED and top LED - the LEDs switch when Rig is tapped.  The bottom is the base value, and the top is the morphed.  So press Rig until the bottom LED is on; set your base parameters; then press Rig so the top LED is on and set your morph parameters.  That's all there is to it.  The assigned morph pedals or switches will now control those parameters.&lt;br /&gt;
&lt;br /&gt;
Morph settings are saved per rig.  To erase a morph for a given parameter, either reset the morph value to match the base value, or sweep the base value through the range of the morph value (if base is 1.0 and morph is 4.0, sweeping the base value from &amp;lt; 1.0 to &amp;gt; 4.0 will clear the morph entirely).&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
{{Kemper Guide Crumbs|6}}&lt;br /&gt;
&lt;br /&gt;
[[Category:Guitar]]&lt;br /&gt;
[[Category:Gear]]&lt;br /&gt;
[[Category:Modelers]]&lt;br /&gt;
[[Category:Guides]]&lt;br /&gt;
[[Category:Kemper]]&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=Kemper_KPA_External_Control&amp;diff=8742</id>
		<title>Kemper KPA External Control</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=Kemper_KPA_External_Control&amp;diff=8742"/>
				<updated>2017-03-12T00:38:45Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: /* MIDI NRPN */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{Top-Level Crumbs|4}}&lt;br /&gt;
{{User Guide Crumbs|2}}&lt;br /&gt;
{{Kemper Guide Crumbs|6}}&lt;br /&gt;
The KPA has extensive, intuitive support for external controllers, and some products are made specifically for control of the KPA.  The three main types of control are analog expression pedals/footswitches, MIDI, and the Kemper Remote.&lt;br /&gt;
&lt;br /&gt;
== Expression Pedals ==&lt;br /&gt;
{{Crumbs|blue|1&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
&lt;br /&gt;
The KPA has 2 stereo jacks on the back of the unit that can be connected to expression pedals or footswitches.  ''Expression pedals should be stereo and connected with a stereo cable.''  Footswitches can be mono or stereo.  Additionally, up to 4 expression pedals can be connected to the Kemper Remote.&lt;br /&gt;
&lt;br /&gt;
=== System Menu Settings ===&lt;br /&gt;
Pages 5-10 cover how expression pedals behave.  Pedals 1 and 2 cover the two inputs on the back of the KPA, while Pedals 3-6 refer to inputs on the official Kemper remote.  The setup done here is simply mapping the pedal's anolog input to that appropriate MIDI CC # (1 for wah wah, 7 for volume, 4 for pitch, and 73 for monitor volume).&lt;br /&gt;
&lt;br /&gt;
Note: if you only have one expression pedal, you can still use it to control wah, volume, and pitch with some additional [[#MIDI Assignments and Settings|MIDI setup below]].  You should set it to CC# 1 (Wah Wah).  The KPA is actually very smart about this, and you don't really ever need more than one expression pedal, unless you like to have dedicated pedals, or have your wah/pitch with a spring in it to push it back to heel position, or do some crazy stuff where you jump between pedals.&lt;br /&gt;
&lt;br /&gt;
'''Pedal Type''' refers to the '''polarity''' of the expression pedal - type 1 is the normal type (Roland), while type 2 is reversed (Yamaha).&lt;br /&gt;
&lt;br /&gt;
This is also where you would come to '''calibrate''' a new pedal, or after updating your KPA's firmware/OS.  You simply press the button then do a full sweep.  ''Be sure to calibrate any pedal that you add to the KPA or after you update the KPA's firmware/OS.''&lt;br /&gt;
&lt;br /&gt;
==== MIDI Assignments and Settings ====&lt;br /&gt;
Page 14 has some checkbox settings for allowing an expression pedal that was set to Wah Wah on pages 5-10 or MIDI CC 1 to also control volume or pitch-shifting, when not being used for a wah wah effect.  It also has settings for sending the KPA's MIDI clock to external devices and setting the MIDI global channel (omni by default).  And you can also see the current MIDI CC values for 4 of the most likely used CC's, controlling modulation, pitch, volume, and monitor volume.&lt;br /&gt;
&lt;br /&gt;
'''Note, if you link a wah pedal to volume, when you disable a wah effect on a rig, the pedal will ''not'' begin to control volume until you put it fully in the toe position''' - ''this prevents a jump in volume if your wah pedal is not in toe position when you turn it off''.  Similarly, if wah is linked to pitch, when you disable wah/enable pitch, the pedal will ''not'' begin to affect the pitch until it is brought fully to the ''heel'' position, again to prevent the pitch jumping on the transition.&lt;br /&gt;
&lt;br /&gt;
=== Rig Menu Volume Pedal Settings ===&lt;br /&gt;
Page 5 of the Rig menu has some settings specific to using an expression pedal for volume control.&lt;br /&gt;
&lt;br /&gt;
* '''Lock Vol. Pedal''' - this setting will lock the current volume pedal settings below to apply to all rigs&lt;br /&gt;
* '''Wah Pedal to Vol.''' - this is a rig-level override of the System Menu page 14 pedal linking option above&lt;br /&gt;
* '''Location''' - this refers to a volume pedal's placement in the signal chain.  Since a dedicated volume pedal doesn't require an effect slot like wah wah or pitch (whammy), you use this parameter to set where it should affect the signal.&lt;br /&gt;
* '''Range''' - this refers to whether the volume pedal should boost when moving from heel position to toe position (when set to right of center) or cut when moving from toe to heel position (when set left of center)&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Analog Footswitches ==&lt;br /&gt;
{{Crumbs|blue|2&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
The Kemper also supports analog mono and stereo momentary footswitches.  They are set up the similarly to expression pedals on pages 5-6 of the System menu.  The difference is instead of being mapped to wah wah, volume, pitch, and monitor volume, it can be assigned to enable/disable any of the sections or blocks in the signal chain, as well switch to tuner, tap in the tap tempo, and switch to the previous or next rig.  In the case of a stereo/dual footswitch, each one can be independently assigned to different parameters.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Using a MIDI Footcontroller ==&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
For more on MIDI foot controllers in general, see [[Foot Controllers]].  MIDI foot controllers typically feature a number of footswitches and often have multiple expression pedals.  Depending on their nature, they may support some features in the MIDI spec or not.  They are typically programmable to some nature, but often within predefined boundaries.  Some can be programmed directly from the footswitches, while others require being connected to a PC editor.  Below are the settings on the Kemper as well as the ways you'll have to program your controller to work with the Kemper.&lt;br /&gt;
&lt;br /&gt;
=== System Menu Settings ===&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
{{Crumbs|orange|1&lt;br /&gt;
|Kemper KPA External Control#System Menu Settings|System Menu&lt;br /&gt;
|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010&lt;br /&gt;
|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers&lt;br /&gt;
|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference&lt;br /&gt;
}}&lt;br /&gt;
&lt;br /&gt;
While in Browser mode, page 12 allows you to assign the current rig to a MIDI Program Change number, as well as view all the MIDI assignments.  Note, these are only for Browser mode, not performance mode, where more than MIDI bank of 128 rigs each can be assigned.&lt;br /&gt;
&lt;br /&gt;
While in Performance mode, page 13 allows assigning external devices to the MIDI Out and Thru ports, as well as giving them device names, and specifying which channels the Kemper should use to communicate with them.&lt;br /&gt;
&lt;br /&gt;
=== Behringer FCB1010 ===&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
{{Crumbs|orange|2&lt;br /&gt;
|Kemper KPA External Control#System Menu Settings|System Menu&lt;br /&gt;
|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010&lt;br /&gt;
|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers&lt;br /&gt;
|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference&lt;br /&gt;
}}&lt;br /&gt;
A popular foot controller for the Kemper is the [http://www.music-group.com/Categories/Behringer/Accessories/Footswitches-and-Remote-Controls/FCB1010/p/P0089 Behringer FCB1010].  Its layout lines up fairly closely with the KPA's performance slots, has two expression pedals, and can be found for a relatively cheap price.&lt;br /&gt;
&lt;br /&gt;
The FCB1010 can also easily be modified to use alternative firmware.  There are 4 possible firmwares you can use:&lt;br /&gt;
&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
! !! Factory !! [http://www.ossandust.be/ UnO] !! [http://www.uno4kemper.com/ UnO4Kemper] !! [http://www.eurekasound.com/eurekaprom Eureka]&lt;br /&gt;
|-&lt;br /&gt;
! Advantages&lt;br /&gt;
|&lt;br /&gt;
* Can be programmed from PC&lt;br /&gt;
* No additional cost&lt;br /&gt;
|&lt;br /&gt;
* Fixes bugs and removes restrictions found in factory FW&lt;br /&gt;
* Can be programmed from PC&lt;br /&gt;
* Can save programmed settings on PC&lt;br /&gt;
|&lt;br /&gt;
* Makes the FCB plug n play with KPA&lt;br /&gt;
* Supports 2-way communication to sync effect states&lt;br /&gt;
* Simple to program directly from FCB1010&lt;br /&gt;
* Supports accessing all 625 performances on the KPA&lt;br /&gt;
|&lt;br /&gt;
* Can access all 625 performance rigs&lt;br /&gt;
* Multiple &amp;quot;scene&amp;quot; paradigms easily switched to change behavior&lt;br /&gt;
* Very configurable/powerful&lt;br /&gt;
|-&lt;br /&gt;
! Disadvantages&lt;br /&gt;
|&lt;br /&gt;
* Contains a number of bugs, particularly early version&lt;br /&gt;
* Can only reference a max of 100 rigs&lt;br /&gt;
* Numerous restrictions&lt;br /&gt;
* Missing features&lt;br /&gt;
|&lt;br /&gt;
* Still limited to max of 100 rigs to select from&lt;br /&gt;
* No 2-way communication to display correct LED states matching KPA effects&lt;br /&gt;
|&lt;br /&gt;
* Cannot be updated as KPA OS is updated, have to buy a new chip&lt;br /&gt;
* No advanced programming, such as firing multiple CC's from one button press&lt;br /&gt;
* Footswitch and expression pedal assignment is global, not per rig&lt;br /&gt;
* Expression pedals can only be assigned to CC1 and CC7&lt;br /&gt;
|&lt;br /&gt;
* Can be kind of confusing to program&lt;br /&gt;
* Have to switch scenes to be able to access all 625 performance rigs as well as toggle effects&lt;br /&gt;
* Cannot save configuration to PC and share&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== UnO4Kemper ====&lt;br /&gt;
[http://www.uno4kemper.com/ The UnO4Kemper firmware] is an unofficial firmware for the FCB1010 made by a 3rd party author.  It comes on an EPROM chip that can be switched out for the factory chip after opening the FCB1010 up.&lt;br /&gt;
&lt;br /&gt;
This firmware will instantly turn your FCB1010 into a dedicated Kemper controller.  The main advantage of this chip is it is as plug and play as you will find to get a working pedalboard for the Kemper, other than the official Kemper Remote.  The bad part is that it makes the FCB1010 only work with the Kemper and you cannot do advanced customization of how the controller operates (such as assigning multiple effects to toggle on a single button).  Also, if Kemper updates the KPA software to add new features, there is no method to update your current UnO4Kemper chip to support those features - you will have to purchase a new chip once the UnO4Kemper firmware is updated to support the feature.&lt;br /&gt;
&lt;br /&gt;
The full list of features is found in [http://www.uno4kemper.com/UnOforKemper_manual.pdf the manual].  &lt;br /&gt;
* Bank (Performance) Up/Down&lt;br /&gt;
* One row of buttons is used for rig selection and the other for toggling effects on/off&lt;br /&gt;
* The rows' functions can be swapped.&lt;br /&gt;
* Available effects/functions are A-D, X, Mod, Delay, Reverb, change rotary speaker effect speed, tap tempo, and display tuner&lt;br /&gt;
* Each effect toggle footswitch can be assigned to any 1 of those effects/functions.&lt;br /&gt;
* One expression pedal controls CC 1 (wah wah) and the other CC 7 (volume).  These can be swapped.&lt;br /&gt;
* Expression pedals can each be configured to use 1 out of 5 possible sweep curves.&lt;br /&gt;
* 2-way communication with KPA using 2nd MIDI cable.  Keeps footswitch LEDs in sync with KPA effects when switching rigs.&lt;br /&gt;
* Can display KPA tuner on FCB1010&lt;br /&gt;
* Can use KPA Beat Scanner function for tempo&lt;br /&gt;
* Force KPA to enter Browse Mode or Performance Mode&lt;br /&gt;
&lt;br /&gt;
=== Other MIDI Foot Controllers ===&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
{{Crumbs|orange|3&lt;br /&gt;
|Kemper KPA External Control#System Menu Settings|System Menu&lt;br /&gt;
|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010&lt;br /&gt;
|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers&lt;br /&gt;
|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference&lt;br /&gt;
}}&lt;br /&gt;
As you'll see below, the KPA provides extensive MIDI capabilities; basically any MIDI controller can get something out of it, while expensive, powerful controllers can do just about anything you can do by touching the KPA's buttons and knobs.  How far you want to take your amount of control depends on what you want to do.&lt;br /&gt;
&lt;br /&gt;
While I do not want to take up a lot of space discussing the capabilities and quirks of numerous footcontrollers, [http://www.wikpa.org/Using_Specific_MIDI_Controllers wikpa.org does a good job on this subject].&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== MIDI Programming Reference ===&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
{{Crumbs|orange|4&lt;br /&gt;
|Kemper KPA External Control#System Menu Settings|System Menu&lt;br /&gt;
|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010&lt;br /&gt;
|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers&lt;br /&gt;
|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference&lt;br /&gt;
}}&lt;br /&gt;
This section contains reference material for controlling the KPA by MIDI PC (Program Change), CC (Continuous Control), NRPN (Non-registered Parameter Numbers), or SysEx (System Exclusive) messages.  These go from least to most complicated, and similarly most to least supported.&lt;br /&gt;
&lt;br /&gt;
==== MIDI Program Change ====&lt;br /&gt;
Up to 128 rigs can be assigned PC numbers in Browse Mode from a page in the system menu - you can also see all the rigs assigned to PC's here.&lt;br /&gt;
&lt;br /&gt;
In Performance Mode, each performance/slot is automatically assigned a PC number based on the order of performances, and slots within each performance.  Even disabled slots are assigned a PC #.  Notice this only allows about 25 of the 125 performances (or 128 of the 625 slots) available.  If you need to access more, you can use a MIDI bank select command before the program change, which is implemented as MIDI CC #0 for the most significant byte (MSB) and #32 for the least significant byte (LSB).  While bank selects typically use 2 MIDI bytes, the KPA only requires a range of 0-4 to access all slots via PC.  It will ignore any CC #0 bank select MSB messages.  CC 32 can be used by itself to change which rigs the KPA accesses via PC.  Sending a value of 0 over CC 32 accesses the first 128 slots (performance 1 slot 1 - performance 26 slot 3), CC 32 value 1 accesses the next 128 (performance 26 slot 4 - performance 52 slot 1), etc. up to a max of CC 32 value 4, which will put PC access beyond the available 625 rigs.&lt;br /&gt;
&lt;br /&gt;
Note - it is recommended to use CC's 48-49 (or 47) for selecting performances, then using CC's 50-54 to select which slot to load.  This aligns both with the KPA's performance/slot organization and with footcontrollers that typically feature bank up/down switches as well as a row of switches to change patches/rigs.  There's no need to use complicated math to try to figure out which PC or bank select index is required to load a particular performance/slot.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== MIDI Continuous Control ====&lt;br /&gt;
The KPA responds to a number of MIDI CC messages.  These are enough for generic MIDI foot controllers to perform normal functionality.  You can change cycle through rigs in Browse mode, and bank up/down and select any of the 5 rigs assigned to the slots in Performance mode.  You can turn on/off any of the 8 effects, tap tempo, display the tuner, and switch the rotary speaker effect's speed.  In addition to the expression pedal functions above of controlling wah wah, pitch, volume, and monitor volume, one could be used to control delay/reverb mix and feedback/time, as well as amplifier gain.&lt;br /&gt;
&lt;br /&gt;
{| class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
! CC # !! Valid Values !! What it controls&lt;br /&gt;
|-&lt;br /&gt;
| 0 || N/A || Bank Select MSB - ignored&lt;br /&gt;
|-&lt;br /&gt;
| 1 || x || Wah Wah position on any enabled wah wah effect. Volume if &amp;quot;wah to volume&amp;quot; linking is checked and all wah wah effects are disabled or not present on current rig.  Pitch if &amp;quot;wah to pitch&amp;quot; linking is checked and all wah wah effects are disabled or not present on current rig.&lt;br /&gt;
|-&lt;br /&gt;
| 4 || x || Pitch position for Pedal Pitch or Pedal Vinyl Stop effects&lt;br /&gt;
|-&lt;br /&gt;
| 6 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|-&lt;br /&gt;
| 7 || x || Volume - controls the volume of the rig as specified per rig in the Rig Menu page 5.&lt;br /&gt;
|-&lt;br /&gt;
| 11 || x || Morph - controls any parameters set to be controlled by morphing.&lt;br /&gt;
|-&lt;br /&gt;
| 16 || Any || Toggles all stomps on/off&lt;br /&gt;
|-&lt;br /&gt;
| 17 || 0/1 || 0: Stomp A Off; 1: Stomp A On &lt;br /&gt;
|-&lt;br /&gt;
| 18 || 0/1 || 0: Stomp B Off; 1: Stomp B On &lt;br /&gt;
|-&lt;br /&gt;
| 19 || 0/1 || 0: Stomp C Off; 1: Stomp C On &lt;br /&gt;
|-&lt;br /&gt;
| 20 || 0/1 || 0: Stomp D Off; 1: Stomp D On &lt;br /&gt;
|-&lt;br /&gt;
| 22 || 0/1 || 0: Effect X Off; 1: Effect X On &lt;br /&gt;
|-&lt;br /&gt;
| 24 || 0/1 || 0: Effect Mod Off; 1: Effect Mod On &lt;br /&gt;
|-&lt;br /&gt;
| 26 || 0/1 || 0: Delay Off; 1: Delay On &lt;br /&gt;
|-&lt;br /&gt;
| 27 || 0/1 || 0: Delay Off (with tail); 1: Delay On &lt;br /&gt;
|-&lt;br /&gt;
| 28 || 0/1 || 0: Reverb Off; 1: Reverb On &lt;br /&gt;
|-&lt;br /&gt;
| 29 || 0/1 || 0: Reverb Off (with tail); 1: Reverb On &lt;br /&gt;
|-&lt;br /&gt;
| 30 || 1/0 || Sets Tempo Tap If your floorboard supports separate events on “pressing” and “releasing” a button, send 1 when “pressed” and 0 when “released”. If the floorboard can only send one event, use value 0. When value 1 has been sent and no value 0 for 3 seconds, the Beat Scanner1 is being activated. &lt;br /&gt;
|-&lt;br /&gt;
| 31 || 1/0 || 1: Show Tuner; 0: Hide Tuner &lt;br /&gt;
|-&lt;br /&gt;
| 32 || [0,4] || Bank Select LSB - changes which set of 128 performance slots are available via PC messages in Performance Mode.  &lt;br /&gt;
* Bank 0 - performance 1 slot 1 - performance 26 slot 3&lt;br /&gt;
* Bank 1 - performance 26 slot 4 - performance 52 slot 1&lt;br /&gt;
* Bank 2 - performance 52 slot 2 - performance 77 slot 4&lt;br /&gt;
* Bank 3 - performance 77 slot 5 - performance 103 slot 2&lt;br /&gt;
* Bank 4 - performance 103 slot 3 - performance 125 slot 5&lt;br /&gt;
|-&lt;br /&gt;
| 33 || 0/1 || 0: Rotary Speaker slow; 1: Rotary Speaker fast &lt;br /&gt;
|-&lt;br /&gt;
| 34 || 0/1 || 0: Delay Feedback Infinity Off; 1: Delay Feedback Infinity On&lt;br /&gt;
|-&lt;br /&gt;
| 35 || 0/1 || 0: Delay Hold Off; 1: Delay Hold On&lt;br /&gt;
|-&lt;br /&gt;
| 38 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|-&lt;br /&gt;
| 47 || [0,124]  || (Performance Mode only) Directly select a performance index. The performance will be loaded when a slot selection is sent (CC50-54). If no slot is selected, the performance index selection is disabled after a few seconds.  When disabled, the KPA sends the current performance index and slot back to the device.  This can be used to keep the MIDI controller and KPA in sync.&lt;br /&gt;
|-&lt;br /&gt;
| 48 || 1/0 &lt;br /&gt;
| Performance Mode: Increases performance index. Value triggers two different modes:&lt;br /&gt;
* Value 0, increase performance n to n+1 (bank up)*&lt;br /&gt;
* Value 1 initially increases performance by 1, after a timeout the Kemper Profiler starts to scroll performances upwards. Value 0 stops scrolling. &lt;br /&gt;
Browse Mode only: Value 0 selects the next Rig (current filter/sort applies), similar to “Rig Right” &lt;br /&gt;
|-&lt;br /&gt;
| 49 || 1/0 &lt;br /&gt;
| Performance Mode: Decreases performance index. Value triggers two different modes: &lt;br /&gt;
* Value 0, increase performance n to n-1 (bank down)*&lt;br /&gt;
* Value 1 initially decreases performance index by 1, after a timeout the Kemper Profiler starts to scroll performances downwards. Value 0 stops scrolling.&lt;br /&gt;
Browse Mode only: Value 0 selects the previous Rig (current filter/sort applies), similar to “Rig Left” &lt;br /&gt;
|- &lt;br /&gt;
| 50 || 1 || (Performance Mode only) Select Slot 1 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 51 || 1 || (Performance Mode only) Select Slot 2 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 52 || 1 || (Performance Mode only) Select Slot 3 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 53 || 1 || (Performance Mode only) Select Slot 4 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 54 || 1 || (Performance Mode only) Select Slot 5 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 68 || x || Sets Delay Mix to x &lt;br /&gt;
|-&lt;br /&gt;
| 69 || x || Sets Delay Feedback to x &lt;br /&gt;
|-&lt;br /&gt;
| 70 || x || Sets Reverb Mix to x &lt;br /&gt;
|-&lt;br /&gt;
| 71 || x || Sets Reverb Time to x &lt;br /&gt;
|-&lt;br /&gt;
| 72 || x ||Sets Amplifier Gain to x &lt;br /&gt;
|-&lt;br /&gt;
| 73 || x ||Sets Monitor Volume to x &lt;br /&gt;
|-&lt;br /&gt;
| 98 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|-&lt;br /&gt;
| 99 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|-&lt;br /&gt;
| 119 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
''* Changing the Performance may or may not load a slot instantly depending on the [[Kemper KPA Performing Live#MIDI|Perf. Load System Menu setting]].''&lt;br /&gt;
&lt;br /&gt;
Most foot controllers support some form of programming what each footswitch will send, and if the footswitch should toggle its value.  For example, if you assign FS1 to turn Stomp A on/off, you should be able to set FS1 to light up after pressing it (and it sends a 1 (on) value, indicating you've turned it on.  Now if you press it again, the light turns off, and it sends a 0 (off) value.&lt;br /&gt;
&lt;br /&gt;
This brings up a curious issue.  If you change rigs where Stomp A is on when the rig is loaded, how does the MIDI footcontroller know what state to set FS1?  The footcontroller itself must store a set of rigs containing the default on/off state of each footswitch, matching the corresponding rigs in the KPA.&lt;br /&gt;
&lt;br /&gt;
MIDI CC is the most widely supported part of the MIDI protocol by various MIDI footcontrollers; however, you will notice that there are hundreds of parameters for dozens of effects, as well as the amp, cab, input, output, and tonestack blocks that are not able to be controlled via CC, given the list above.  MIDI CC supports 7-bits for the CC channel number and 7-bits for the value, meaning a maximum of 128 parameters can be controlled with only 0-127 distinct values to communicate.  The MIDI specification gives 2 ways to deal with this: NPRN and Sysex.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== MIDI NRPN ====&lt;br /&gt;
[https://en.wikipedia.org/wiki/NRPN NRPN (Non-registered Parameter Numbers)] uses a set of 4 different CC messages to exponentially increase both the size of possible addresses and values that a device can send/receive.  '''Since each CC message can carry a value from 0-128, NRPN addresses and values each have a range of 128 x 128, which is 16,384.'''  The exact specification is below:&lt;br /&gt;
# '''CC 99''': Value is the Most significant Byte (MSB) of the desired address&lt;br /&gt;
# '''CC 98''': Value is the Least Significant Byte (LSB) of the desired address&lt;br /&gt;
# '''CC 06''': Value is the Most Significant Byte (MSB) of the desired value&lt;br /&gt;
# '''CC 38''': Value is the Least Significant Byte (LSB) of the desired value&lt;br /&gt;
&lt;br /&gt;
While the NRPN spec allows CC 38 to be optional, the KPA ''requires'' it.  The 4 CC's named above must be received in order, and the NRPN message is processed as soon as CC 38 is received.  ''Once an address has been selected via CC's 99 and 98, multiple values can be sent without sending 99/98 each time to reselect the address - only 06/38 needs to be sent.''  That is useful to know if you want to program NRPN to &amp;quot;move&amp;quot; a single parameter over time.&lt;br /&gt;
&lt;br /&gt;
Some footcontrollers support NRPN 14-bit addressing but not 14-bit values via CC's 06 and 38.  The KPA allows CC 119 to send the value in this case.  So the footcontroller can be programmed to send an NRPN as follows:&lt;br /&gt;
# '''CC 99''': address MSB&lt;br /&gt;
# '''CC 98''': address LSB&lt;br /&gt;
# '''CC 119''': 7-bit value&lt;br /&gt;
The 7-bit value is mapped to the appropriate 14-bit value - 128 becomes 16,384, 64 becomes 8,192, while 0 remains 0.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
|-style=&amp;quot;vertical-align:top;&amp;quot;&lt;br /&gt;
|&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
|+ NRPN Address - Parameter Mapping&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| Address&lt;br /&gt;
!rowspan=&amp;quot;2&amp;quot;| Type&lt;br /&gt;
!rowspan=&amp;quot;2&amp;quot;| Parameter&lt;br /&gt;
|-&lt;br /&gt;
! MSB !! LSB&lt;br /&gt;
|-&lt;br /&gt;
| 4 || 0 || Rig || Tempo&lt;br /&gt;
|-&lt;br /&gt;
| 4 || 1 || Rig || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 4 || 2 || Rig || Tempo Enable&lt;br /&gt;
|-&lt;br /&gt;
| 9 || 3 || Input || Noise Gate Intensity&lt;br /&gt;
|-&lt;br /&gt;
| 9 || 4 || Input || Clean Sense&lt;br /&gt;
|-&lt;br /&gt;
| 9 || 5 || Input || Distortion Sense&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 2 || Amplifier || On/Off&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 4 || Amplifier || Gain&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 6 || Amplifier || Definition&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 7 || Amplifier || Clarity&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 8 || Amplifier || Power Sagging&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 9 || Amplifier || Pick&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 10 || Amplifier || Compressor&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 11 || Amplifier || Tube Shape&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 12 || Amplifier || Tube Bias&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 15 || Amplifier || Direct Mix&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 2 || EQ || On/Off&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 4 || EQ || Bass&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 5 || EQ || Mids&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 6 || EQ || Treble&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 7 || EQ || Presence&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 2 || Cabinet || On/Off&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 3 || Cabinet || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 4 || Cabinet || High Shift&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 5 || Cabinet || Low Shift&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 6 || Cabinet || Character&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 0 || Stomp A || Type (see other table)&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 3 || Stomp A || On/Off&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 4 || Stomp A || Mix&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 6 || Stomp A || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 7 || Stomp A || Stereo&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 8 || Stomp A (Wah) || Wah Manual&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 9 || Stomp A (Wah) || Wah Peak&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 10 || Stomp A (Wah) || Wah Range&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 12 || Stomp A (Wah) || Wah Pedal Mode&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 13 || Stomp A (Wah) || Wah Touch Attack&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 14 || Stomp A (Wah) || Wah Touch Release&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 15 || Stomp A (Wah) || Wah Touch Boost&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 16 || Stomp A (Dist/Shaper) || Distortion/Shaper Drive&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 17 || Stomp A (Dist/Shaper) || Distortion/Booster Tone&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 18 || Stomp A (Comp) || Compressor/Gate Intensity&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 19 || Stomp A (Comp) || Compressor Attack&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 20 || Stomp A (Mod) || Modulation Rate&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 21 || Stomp A (Mod) || Modulation Depth&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 22 || Stomp A (Mod) || Modulation Feedback&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 23 || Stomp A (Mod) || Modulation Crossover&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 24 || Stomp A (Mod) || Modulation HyperChorus Amount&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 25 || Stomp A (Mod) || Modulation Manual&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 26 || Stomp A (Mod) || Modulation Phase Peak Spread&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 27 || Stomp A (Mod) || Modulation Stages&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 30 || Stomp A (Rot) || Rotary Speed (slow/fast)&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 31 || Stomp A (Rot) || Rotary Distance&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 32 || Stomp A (Rot) || Rotary Balance&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 33 || Stomp A (Comp) || Compressor Squash&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 34 || Stomp A (EQ) || Graphic EQ Band 1&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 35 || Stomp A (EQ) || Graphic EQ Band 2&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 36 || Stomp A (EQ) || Graphic EQ Band 3&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 37 || Stomp A (EQ) || Graphic EQ Band 4&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 38 || Stomp A (EQ) || Graphic EQ Band 5&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 39 || Stomp A (EQ) || Graphic EQ Band 6&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 40 || Stomp A (EQ) || Graphic EQ Band 7&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 41 || Stomp A (EQ) || Graphic EQ Band 8&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 42 || Stomp A (EQ) || Parametric EQ Low Gain&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 43 || Stomp A (EQ) || Parametric EQ Low Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 44 || Stomp A (EQ) || Parametric EQ High Gain&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 45 || Stomp A (EQ) || Parametric EQ High Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 46 || Stomp A (EQ) || Parametric EQ Peak Gain&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 47 || Stomp A (EQ) || Parametric EQ Peak Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 48 || Stomp A (EQ) || Parametric EQ Peak Q&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 49 || Stomp A (EQ) || Parametric EQ Peak 2 Gain&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 50 || Stomp A (EQ) || Parametric EQ Peak 2 Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 51 || Stomp A (EQ) || Parametric EQ Peak 2 Q&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 52 || Stomp A (Wah) || Wah Peak Range&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 53 || Stomp A || Ducking&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 55 || Stomp A (Pitch) || Voice Mix&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 56 || Stomp A (Pitch) || Voice 1 Pitch&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 57 || Stomp A (Pitch) || Voice 2 Pitch&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 58 || Stomp A (Pitch) || Detune&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 60 || Stomp A (Pitch) || Smooth Chords&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 61 || Stomp A (Pitch) || Pure Tuning&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 64 || Stomp A (Pitch) || Key&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 65 || Stomp A (Pitch) || Freeze Formants &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 66 || Stomp A (Pitch) || Formant Offset &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 67 || Stomp A (Delay) || Low Cut &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 68 || Stomp A (Delay) || High Cut &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 69 || Stomp A (Delay) || Delay Mix &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 70 || Stomp A (Delay) || Delay Mix Pre/Post &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 71 || Stomp A (Delay) || Delay Time 1 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 72 || Stomp A (Delay) || Delay Time 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 73 || Stomp A (Delay) || Delay Ratio 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 74 || Stomp A (Delay) || Delay Ratio 3 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 75 || Stomp A (Delay) || Delay Ratio 4 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 76 || Stomp A (Delay) || Delay Note Value 1 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 77 || Stomp A (Delay) || Delay Note Value 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 78 || Stomp A (Delay) || Delay Note Value 3 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 79 || Stomp A (Delay) || Delay Note Value 4 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 80 || Stomp A (Delay) || To Tempo &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 81 || Stomp A (Delay) || Delay Volume 1 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 82 || Stomp A (Delay) || Delay Volume 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 83 || Stomp A (Delay) || Delay Volume 3 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 84 || Stomp A (Delay) || Delay Volume 4 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 85 || Stomp A (Delay) || Delay Panorama 1 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 86 || Stomp A (Delay) || Delay Panorama 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 87 || Stomp A (Delay) || Delay Panorama 3 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 88 || Stomp A (Delay) || Delay Panorama 4 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 89 || Stomp A (Delay) || Voice3 Pitch &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 90 || Stomp A (Delay) || Voice4 Pitch &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 91 || Stomp A (Delay) || Voice3 Interval &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 92 || Stomp A (Delay) || Voice4 Interval &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 93 || Stomp A (Delay) || Feedback &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 94 || Stomp A (Delay) || Infinity Feedback &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 95 || Stomp A (Delay) || Infinity &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 96 || Stomp A (Delay) || Feedback2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 97 || Stomp A (Delay) || Feedback Sync Switch &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 98 || Stomp A (Delay) || Delay Low Cut &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 99 || Stomp A (Delay) || Delay High Cut &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 100 || Stomp A (Delay) || Delay Filter Intensity &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 101 || Stomp A (Delay) || Delay Modulation &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 102 || Stomp A (Delay) || Delay Chorus &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 103 || Stomp A (Delay) || Flutter Intensity &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 104 || Stomp A (Delay) || Flutter Shape &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 105 || Stomp A (Delay) || Grit &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 106 || Stomp A (Delay) || Reverse Mix &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 107 || Stomp A (Delay) || Swell &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 108 || Stomp A (Delay) || Smear &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 109 || Stomp A (Delay) || Ducking Pre/Post &lt;br /&gt;
|-&lt;br /&gt;
| 51 || * || Stomp B || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 52 || * || Stomp C || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 53 || * || Stomp D || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 56 || * || Effect X || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 58 || * || Effect Mod || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 74 || * || Delay (4.0+) || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 0 || Delay (Deprecated in 4.0) || Type (see below)&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 2 || Delay (Deprecated in 4.0) || On/Off (cuts tails)&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 3 || Delay (Deprecated in 4.0) || Mix&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 4 || Delay (Deprecated in 4.0) || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 5 || Delay (Deprecated in 4.0) || Time&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 6 || Delay (Deprecated in 4.0) || Ratio&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 7 || Delay (Deprecated in 4.0) || Clock Left&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 8 || Delay (Deprecated in 4.0) || Clock Right&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 9 || Delay (Deprecated in 4.0) || Feedback&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 10 || Delay (Deprecated in 4.0) || Bandwidth&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 11 || Delay (Deprecated in 4.0) || Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 12 || Delay (Deprecated in 4.0) || Modulation&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 13 || Delay (Deprecated in 4.0) || On/Off (keeps tails)&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 14 || Delay (Deprecated in 4.0) || Ducking&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 0 || Reverb || Type (see below)&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 2 || Reverb || On/Off (cuts tails)&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 3 || Reverb || Mix&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 4 || Reverb || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 5 || Reverb || Del/Rev Balance&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 6 || Reverb || Time&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 7 || Reverb || Damping&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 8 || Reverb || Bandwidth&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 9 || Reverb || Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 10 || Reverb || Pre-Delay&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 11 || Reverb || On/Off (keeps tails)&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 12 || Reverb || Ducking&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 0 || System/Global || Main Output Volume&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 1 || System/Global || Headphone Output Volume&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 2 || System/Global || Monitor Output Volume&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 3 || System/Global || Direct Output Volume&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 11 || System/Global || SPDIF Input Enable&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 12 || System/Global || Main Output EQ Bass&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 13 || System/Global || Main Output EQ Mids&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 14 || System/Global || Main Output EQ Treble&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 15 || System/Global || Main Output EQ Presence&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 17 || System/Global || Monitor Output EQ Bass&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 18 || System/Global || Monitor Output EQ Mids&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 19 || System/Global || Monitor Output EQ Treble&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 20 || System/Global || Monitor Output EQ Presence&lt;br /&gt;
|}&lt;br /&gt;
|&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
|+ Value to Effect Type Mapping&lt;br /&gt;
|-&lt;br /&gt;
! Value !! Effect Type&lt;br /&gt;
|-&lt;br /&gt;
| 0 || Null/Empty&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| Wah Wah&lt;br /&gt;
|-&lt;br /&gt;
| 1 || Wah Wah&lt;br /&gt;
|-&lt;br /&gt;
| 2 || Wah Low Pass&lt;br /&gt;
|-&lt;br /&gt;
| 3 || Wah High Pass&lt;br /&gt;
|-&lt;br /&gt;
| 4 || Wah Vowel Filter&lt;br /&gt;
|-&lt;br /&gt;
|    6 || Wah Phaser&lt;br /&gt;
|-&lt;br /&gt;
|    7 || Wah Flanger&lt;br /&gt;
|-&lt;br /&gt;
|    8 || Wah Rate Reducer&lt;br /&gt;
|-&lt;br /&gt;
|    9 || Wah Ring Modulator&lt;br /&gt;
|-&lt;br /&gt;
|    10 || Wah Freq Shifter&lt;br /&gt;
|-&lt;br /&gt;
|    12 || Wah Formant Shift&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| Shapers&lt;br /&gt;
|-&lt;br /&gt;
|    17 || Bit Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    18 || Recti Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    19 || Soft Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    20 || Hard Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    21 || Wave Shaper&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| Distortion&lt;br /&gt;
|-&lt;br /&gt;
|    33 || Green Scream&lt;br /&gt;
|-&lt;br /&gt;
|    34 || Plus DS&lt;br /&gt;
|-&lt;br /&gt;
|    35 || One DS&lt;br /&gt;
|-&lt;br /&gt;
|    36 || Muffin&lt;br /&gt;
|-&lt;br /&gt;
|    37 || Mouse&lt;br /&gt;
|-&lt;br /&gt;
|    38 || Fuzz DS&lt;br /&gt;
|-&lt;br /&gt;
|    39 || Metal DS&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| Boosters&lt;br /&gt;
|-&lt;br /&gt;
|    113 || Treble Booster&lt;br /&gt;
|-&lt;br /&gt;
|    114 || Lead Booster&lt;br /&gt;
|-&lt;br /&gt;
|    115 || Pure Booster&lt;br /&gt;
|-&lt;br /&gt;
|    116 || Wah Pedal Booster&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| EQs&lt;br /&gt;
|-&lt;br /&gt;
|    97 || Graphic Equalizer&lt;br /&gt;
|-&lt;br /&gt;
|    98 || Studio Equalizer&lt;br /&gt;
|-&lt;br /&gt;
|    99 || Metal Equalizer&lt;br /&gt;
|-&lt;br /&gt;
|    101 || Stereo Widener&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| Dynamics&lt;br /&gt;
|-&lt;br /&gt;
|    49 || Compressor&lt;br /&gt;
|-&lt;br /&gt;
|    57 || Gate 2:1&lt;br /&gt;
|-&lt;br /&gt;
|    58 || Gate 4:1&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| Modulation&lt;br /&gt;
|-&lt;br /&gt;
|    65 || Vintage Chorus&lt;br /&gt;
|-&lt;br /&gt;
|    66 || Hyper Chorus&lt;br /&gt;
|-&lt;br /&gt;
|    67 || Air Chorus&lt;br /&gt;
|-&lt;br /&gt;
|    71 || Micro Pitch|-&lt;br /&gt;
|-&lt;br /&gt;
|    68 || Vibrato&lt;br /&gt;
|-&lt;br /&gt;
|    69 || Rotary Speaker&lt;br /&gt;
|-&lt;br /&gt;
|    70 || Tremolo&lt;br /&gt;
|-&lt;br /&gt;
|    81 || Phaser&lt;br /&gt;
|-&lt;br /&gt;
|    82 || Phaser Vibe&lt;br /&gt;
|-&lt;br /&gt;
|    83 || Phaser Oneway&lt;br /&gt;
|-&lt;br /&gt;
|    89 || Flanger&lt;br /&gt;
|-&lt;br /&gt;
|    91 || Flanger Oneway&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| Loops&lt;br /&gt;
|-&lt;br /&gt;
|    121 || Loop Mono&lt;br /&gt;
|-&lt;br /&gt;
|    122 || Loop Stereo&lt;br /&gt;
|-&lt;br /&gt;
|    123 || Loop Distortion&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| Pitch&lt;br /&gt;
|-&lt;br /&gt;
|    129 || Transpose&lt;br /&gt;
|-&lt;br /&gt;
|    11 || Pedal Pitch&lt;br /&gt;
|-&lt;br /&gt;
| 130 || Chromatic Pitch&lt;br /&gt;
|-&lt;br /&gt;
| 131 || Harmonic Pitch&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| Delay&lt;br /&gt;
|-&lt;br /&gt;
| ? || Single Delay&lt;br /&gt;
|-&lt;br /&gt;
| ? || Dual Delay&lt;br /&gt;
|-&lt;br /&gt;
| ? || TwoTap Delay&lt;br /&gt;
|-&lt;br /&gt;
| ? || Serial TwoTap Delay&lt;br /&gt;
|-&lt;br /&gt;
| ? || Rhythm Delay&lt;br /&gt;
|-&lt;br /&gt;
| ? || Quad Delay&lt;br /&gt;
|-&lt;br /&gt;
| ? || Legacy Delay&lt;br /&gt;
|-&lt;br /&gt;
| ? || Crystal Delay&lt;br /&gt;
|-&lt;br /&gt;
| ? || Loop Pitch Delay&lt;br /&gt;
|-&lt;br /&gt;
| ? || Freq Shifter Delay&lt;br /&gt;
|-&lt;br /&gt;
| ? || Dual Chromatic Delay&lt;br /&gt;
|-&lt;br /&gt;
| ? || Dual Harmonic Delay&lt;br /&gt;
|-&lt;br /&gt;
| ? || Dual Crystal Delay&lt;br /&gt;
|-&lt;br /&gt;
| ? || Dual Loop Pitch Delay&lt;br /&gt;
|-&lt;br /&gt;
| ? || Melody Chromatic Delay&lt;br /&gt;
|-&lt;br /&gt;
| ? || Melody Harmonic Delay&lt;br /&gt;
|-&lt;br /&gt;
| ? || Quad Chromatic Delay&lt;br /&gt;
|-&lt;br /&gt;
| ? || Quad Harmonic Delay&lt;br /&gt;
|}&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== MIDI SysEx ====&lt;br /&gt;
MIDI also has the ability to send [https://en.wikipedia.org/wiki/MIDI#System_Exclusive_messages SysEx (System Exclusive)] messages.  SysEx messages are proprietary protocols that each manufacturer can create for each of their devices.  They use a common beginning and ending indicators, as well as manufacturer and device identifiers, so that devices that cannot interpret them know to ignore the message; and they can be incorporated into streams of MIDI messages between lots of devices in a MIDI ring without causing chaos.&lt;br /&gt;
&lt;br /&gt;
The SysEx common format is:&lt;br /&gt;
# 1 byte for SysEx Start (&amp;lt;code&amp;gt;0xF0&amp;lt;/code&amp;gt;)&lt;br /&gt;
# 3 bytes for Manufacturer ID (&amp;lt;code&amp;gt;0x002033&amp;lt;/code&amp;gt; for Kemper)&lt;br /&gt;
# 1 byte for product type (&amp;lt;code&amp;gt;0x02&amp;lt;/code&amp;gt; for Kemper Profiling Amp)&lt;br /&gt;
# 1 byte for device ID (&amp;lt;code&amp;gt;0x7F&amp;lt;/code&amp;gt; for Omni)&lt;br /&gt;
# x bytes for the message (this is the device-specific part)&lt;br /&gt;
# 1 byte for SysEx End (&amp;lt;code&amp;gt;0xF7&amp;lt;/code&amp;gt;)&lt;br /&gt;
&lt;br /&gt;
Example: &amp;lt;code&amp;gt;F0-00-20-33-02-7F-...-F7&amp;lt;/code&amp;gt;, where ... is variable.&lt;br /&gt;
&lt;br /&gt;
The Kemper MIDI SysEx protocol gets pretty intense, and I'll leave it to those interested to refer to the [http://www.kemper-amps.com/page/render/lang/en/p/170/id/27/cat/30/do/Kemper_Profiling_Amplifier___Downloads.html Kemper MIDI documentation].  For most users, SysEx will never be necessary.  Where this really comes in handy is for software programs that want to communicate with KPA via MIDI.  The big items that SysEx offer beyond NRPN above are string manipulation and requesting parameter values from the KPA.  These would allow a program to act as an editor, or an advanced floorboard to maintain two-way communication with the KPA, displaying the KPA's current values and keeping on/off states in sync.&lt;br /&gt;
&lt;br /&gt;
The x bytes above have a common scheme for Kemper SysEx messages, where the first byte is the function code.  This is followed by an instance code, which is always &amp;lt;code&amp;gt;0x00&amp;lt;/code&amp;gt;.  This is followed by the address, then the data.&lt;br /&gt;
&lt;br /&gt;
Depending on the function code, the address may be 2 bytes or 4 bytes, and the data can be variable length.  '''The 2 byte addresses use the NRPN addresses above.'''  I am not sure what the extended addresses referenced below are - the MIDI documentation does not list any.  Similarly, '''all 2 byte values use integer values of 0 - 16,384 for min to max''', although this may correspond to different display values on the KPA (for instance, a value of 0 might be &amp;quot;-5.0&amp;quot;, 8,192 might be &amp;quot;&amp;lt;0.0&amp;gt;&amp;quot;, and  16,384 would be &amp;quot;+5.0&amp;quot; - this depends on what the parameter actually is).  '''Strings use single byte characters encoded using [http://www.asciitable.com/ ASCII].'''&lt;br /&gt;
&lt;br /&gt;
I am not sure what the addresses for the string values are, but the documentation does say that the numeric settings' addresses overlap with the strings.  So, to get all the tags for an Amplifier profile, I would imagine you'd use the first address for Amplifier parameters listed in the NRPN reference above, and iterate +1 for all available tags.  ''However, from my research, this does not match how the tags are structured in the .kipr files when they are saved.''&lt;br /&gt;
&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
! Function Code !! Function !! Address Size !! Data Size !! Notes !! Example&lt;br /&gt;
|-&lt;br /&gt;
| 0x01 || Single Parameter Change || 2 bytes || 2 bytes || Same as doing an NRPN change || &lt;br /&gt;
&amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
01-00-4A-04-40-00-&lt;br /&gt;
F7    Addr  Data&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x02 || Multi Parameter Change || 2 bytes || 2n bytes || Address is the starting address; you can send as many pairs of data bytes as you want to change - each pair will write to the next address in sequence || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
02-00-4A-00-00-03-00-01-..-..-&lt;br /&gt;
F7    Addr  Data1 Data2 ...&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x03 || String Parameter Change || 2 bytes || n bytes + final 0x00 byte || Strings must have a final null (0x00) byte to terminate the string.  String data is 1 byte per character, encoded as ASCII.  String addresses overlap with parameter addresses. || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
03-00-00-01-48-65-6C-6C-6F-00-&lt;br /&gt;
F7          H  e  l  l  o&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x04 || BLOB Change || 2 bytes || 2 byte offset + 2 byte size + n byte data || Only a null (0x00) offset is currently supported.  Not sure what this would be used for except overwriting amp/cab profile data?&lt;br /&gt;
|-  &lt;br /&gt;
| 0x06 || Extended Parameter Change || 5 bytes || 2n bytes || Same as 0x02 but uses 5 bytes for address&lt;br /&gt;
|-&lt;br /&gt;
| 0x07 || Extended String Change || 5 bytes || n bytes + 0x00 End Byte || Same as 0x03 but uses 5 bytes for address&lt;br /&gt;
|-&lt;br /&gt;
| 0x41 || Single Parameter Request || 2 bytes || 0 bytes || returns the corresponding 0x01 SysEx message || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
41-00-4A-04-&lt;br /&gt;
F7    Addr&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x42 || Multiple Parameter Request || 2 bytes || 0 bytes || returns the corresponding 0x02 SysEx message.  May contain up to 128 values as byte pairs. || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
42-00-4A-00-&lt;br /&gt;
F7    Addr&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x43 || String Request || 2 bytes || 0 bytes || returns the corresponding 0x03 SysEx message || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
43-00-00-01-&lt;br /&gt;
F7    Addr&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x47 || Extended String Request || 5 bytes || 0 bytes || returns the corresponding 0x07 SysEx message, but may return the corresponding 0x03 message if the address is &amp;lt; 16,384 &lt;br /&gt;
|-&lt;br /&gt;
| 0x7C || Request Parameter as String || 2 bytes || 2 bytes || this returns an 0x3C response that otherwise matches the request, plus the string response after the 2 byte data portion.  The string response is the KPA's string representation of that parameter value.  For instance, Delay Volume value 8,192 is the midpoint value, which displays in the KPA as &amp;quot;&amp;lt;0.0&amp;gt;&amp;quot;. || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
7C-00-4A-04-40-00-&lt;br /&gt;
F7    Addr  Data&lt;br /&gt;
returns &lt;br /&gt;
F0-00-20-33-02-7F-&lt;br /&gt;
3C-00-4A-04-40-00-3C-30-2E-30-3E-00-&lt;br /&gt;
F7                &amp;lt;  0  .  0  &amp;gt;&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Kemper Remote ==&lt;br /&gt;
{{Crumbs|blue|4&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
The '''Kemper Remote''' is the official foot controller for the KPA.  It connects via the '''LAN port''' on the back of the KPA, supporting '''2-way communication''' as well as '''power over a single cable'''.  It features 14 footswitches (2 for bank/performance up/down, 5 for performance slots, 4 for toggling effects on/off, a tap tempo, a tuner, and a looper).  Up to 4 expression pedals can be connected directly to the Remote.&lt;br /&gt;
&lt;br /&gt;
Each effect footswitch can be assigned to toggle on/off up to 4 effects, and what each footswitch controls is saved per rig.&lt;br /&gt;
&lt;br /&gt;
Currently, the Remote is the only foot controller capable of accessing the KPA's looper although there are plans to incorporate access into general MIDI access.&lt;br /&gt;
&lt;br /&gt;
I don't actually have a Kemper Remote, so if I'm missing functionality that creates an advantage over other foot controllers, add it here please.&lt;br /&gt;
&lt;br /&gt;
== DAW ==&lt;br /&gt;
{{Crumbs|blue|5&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
DAWs can either directly or through plug-ins send the MIDI messages needed to have near full control of the Kemper.  They will not be limited strictly to CC's or NRPN - using SysEx, the full parameter list to the KPA is open.  Alternatively, you could simply send the CC values you want to control.  Volume is actually the least necessary parameter - you can more easily control the volume of tracks inside your DAW.  EQ perhaps as well.  Compression may also have better options in the DAW.  Delay, Reverb, and Mod effects is up to you.  Things like Gain or rig changes would be things you'd need to access this way.  With automated rig changing, you could set up all the changes necessary for a whole song, or even an entire setlist.&lt;br /&gt;
&lt;br /&gt;
== Morphing ==&lt;br /&gt;
OS 4.0 introduces '''Morphing''', a feature where any continuous parameter can be defined the following:&lt;br /&gt;
* a '''base value'''&lt;br /&gt;
* a '''morphed value'''&lt;br /&gt;
* a '''rise time*'''&lt;br /&gt;
* a '''descend time*'''&lt;br /&gt;
''* these affect triggering morphing from a footswitch''&lt;br /&gt;
&lt;br /&gt;
On pages 5-10 of the System Menu, expression pedals and footswitches can be assigned the morphing feature.  It can also be easily assigned to any effect button for the Kemper Remote.&lt;br /&gt;
&lt;br /&gt;
Multiple (any or all) continuous parameters, including those in the Amp and Cab blocks can be assigned a morph value.  While some view this feature as a multiple-parameter gimmick, if nothing else it allows continuous control over ''any'' continuous parameter, greatly expanding the out the box functionality of any expression pedal.  Morph values can be set higher or lower than the base value.  The expression pedal heel position corresponds to the base value, and the toe position the morphed value.&lt;br /&gt;
&lt;br /&gt;
The morphing procedure is to tap the Rig button.  It has a bottom LED and top LED - the LEDs switch when Rig is tapped.  The bottom is the base value, and the top is the morphed.  So press Rig until the bottom LED is on; set your base parameters; then press Rig so the top LED is on and set your morph parameters.  That's all there is to it.  The assigned morph pedals or switches will now control those parameters.&lt;br /&gt;
&lt;br /&gt;
Morph settings are saved per rig.  To erase a morph for a given parameter, either reset the morph value to match the base value, or sweep the base value through the range of the morph value (if base is 1.0 and morph is 4.0, sweeping the base value from &amp;lt; 1.0 to &amp;gt; 4.0 will clear the morph entirely).&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
{{Kemper Guide Crumbs|6}}&lt;br /&gt;
&lt;br /&gt;
[[Category:Guitar]]&lt;br /&gt;
[[Category:Gear]]&lt;br /&gt;
[[Category:Modelers]]&lt;br /&gt;
[[Category:Guides]]&lt;br /&gt;
[[Category:Kemper]]&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=Kemper_KPA_External_Control&amp;diff=8741</id>
		<title>Kemper KPA External Control</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=Kemper_KPA_External_Control&amp;diff=8741"/>
				<updated>2017-03-12T00:34:04Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: /* MIDI NRPN */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{Top-Level Crumbs|4}}&lt;br /&gt;
{{User Guide Crumbs|2}}&lt;br /&gt;
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The KPA has extensive, intuitive support for external controllers, and some products are made specifically for control of the KPA.  The three main types of control are analog expression pedals/footswitches, MIDI, and the Kemper Remote.&lt;br /&gt;
&lt;br /&gt;
== Expression Pedals ==&lt;br /&gt;
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|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
&lt;br /&gt;
The KPA has 2 stereo jacks on the back of the unit that can be connected to expression pedals or footswitches.  ''Expression pedals should be stereo and connected with a stereo cable.''  Footswitches can be mono or stereo.  Additionally, up to 4 expression pedals can be connected to the Kemper Remote.&lt;br /&gt;
&lt;br /&gt;
=== System Menu Settings ===&lt;br /&gt;
Pages 5-10 cover how expression pedals behave.  Pedals 1 and 2 cover the two inputs on the back of the KPA, while Pedals 3-6 refer to inputs on the official Kemper remote.  The setup done here is simply mapping the pedal's anolog input to that appropriate MIDI CC # (1 for wah wah, 7 for volume, 4 for pitch, and 73 for monitor volume).&lt;br /&gt;
&lt;br /&gt;
Note: if you only have one expression pedal, you can still use it to control wah, volume, and pitch with some additional [[#MIDI Assignments and Settings|MIDI setup below]].  You should set it to CC# 1 (Wah Wah).  The KPA is actually very smart about this, and you don't really ever need more than one expression pedal, unless you like to have dedicated pedals, or have your wah/pitch with a spring in it to push it back to heel position, or do some crazy stuff where you jump between pedals.&lt;br /&gt;
&lt;br /&gt;
'''Pedal Type''' refers to the '''polarity''' of the expression pedal - type 1 is the normal type (Roland), while type 2 is reversed (Yamaha).&lt;br /&gt;
&lt;br /&gt;
This is also where you would come to '''calibrate''' a new pedal, or after updating your KPA's firmware/OS.  You simply press the button then do a full sweep.  ''Be sure to calibrate any pedal that you add to the KPA or after you update the KPA's firmware/OS.''&lt;br /&gt;
&lt;br /&gt;
==== MIDI Assignments and Settings ====&lt;br /&gt;
Page 14 has some checkbox settings for allowing an expression pedal that was set to Wah Wah on pages 5-10 or MIDI CC 1 to also control volume or pitch-shifting, when not being used for a wah wah effect.  It also has settings for sending the KPA's MIDI clock to external devices and setting the MIDI global channel (omni by default).  And you can also see the current MIDI CC values for 4 of the most likely used CC's, controlling modulation, pitch, volume, and monitor volume.&lt;br /&gt;
&lt;br /&gt;
'''Note, if you link a wah pedal to volume, when you disable a wah effect on a rig, the pedal will ''not'' begin to control volume until you put it fully in the toe position''' - ''this prevents a jump in volume if your wah pedal is not in toe position when you turn it off''.  Similarly, if wah is linked to pitch, when you disable wah/enable pitch, the pedal will ''not'' begin to affect the pitch until it is brought fully to the ''heel'' position, again to prevent the pitch jumping on the transition.&lt;br /&gt;
&lt;br /&gt;
=== Rig Menu Volume Pedal Settings ===&lt;br /&gt;
Page 5 of the Rig menu has some settings specific to using an expression pedal for volume control.&lt;br /&gt;
&lt;br /&gt;
* '''Lock Vol. Pedal''' - this setting will lock the current volume pedal settings below to apply to all rigs&lt;br /&gt;
* '''Wah Pedal to Vol.''' - this is a rig-level override of the System Menu page 14 pedal linking option above&lt;br /&gt;
* '''Location''' - this refers to a volume pedal's placement in the signal chain.  Since a dedicated volume pedal doesn't require an effect slot like wah wah or pitch (whammy), you use this parameter to set where it should affect the signal.&lt;br /&gt;
* '''Range''' - this refers to whether the volume pedal should boost when moving from heel position to toe position (when set to right of center) or cut when moving from toe to heel position (when set left of center)&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
== Analog Footswitches ==&lt;br /&gt;
{{Crumbs|blue|2&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
The Kemper also supports analog mono and stereo momentary footswitches.  They are set up the similarly to expression pedals on pages 5-6 of the System menu.  The difference is instead of being mapped to wah wah, volume, pitch, and monitor volume, it can be assigned to enable/disable any of the sections or blocks in the signal chain, as well switch to tuner, tap in the tap tempo, and switch to the previous or next rig.  In the case of a stereo/dual footswitch, each one can be independently assigned to different parameters.&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
== Using a MIDI Footcontroller ==&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
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|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
For more on MIDI foot controllers in general, see [[Foot Controllers]].  MIDI foot controllers typically feature a number of footswitches and often have multiple expression pedals.  Depending on their nature, they may support some features in the MIDI spec or not.  They are typically programmable to some nature, but often within predefined boundaries.  Some can be programmed directly from the footswitches, while others require being connected to a PC editor.  Below are the settings on the Kemper as well as the ways you'll have to program your controller to work with the Kemper.&lt;br /&gt;
&lt;br /&gt;
=== System Menu Settings ===&lt;br /&gt;
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|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
{{Crumbs|orange|1&lt;br /&gt;
|Kemper KPA External Control#System Menu Settings|System Menu&lt;br /&gt;
|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010&lt;br /&gt;
|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers&lt;br /&gt;
|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference&lt;br /&gt;
}}&lt;br /&gt;
&lt;br /&gt;
While in Browser mode, page 12 allows you to assign the current rig to a MIDI Program Change number, as well as view all the MIDI assignments.  Note, these are only for Browser mode, not performance mode, where more than MIDI bank of 128 rigs each can be assigned.&lt;br /&gt;
&lt;br /&gt;
While in Performance mode, page 13 allows assigning external devices to the MIDI Out and Thru ports, as well as giving them device names, and specifying which channels the Kemper should use to communicate with them.&lt;br /&gt;
&lt;br /&gt;
=== Behringer FCB1010 ===&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
{{Crumbs|orange|2&lt;br /&gt;
|Kemper KPA External Control#System Menu Settings|System Menu&lt;br /&gt;
|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010&lt;br /&gt;
|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers&lt;br /&gt;
|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference&lt;br /&gt;
}}&lt;br /&gt;
A popular foot controller for the Kemper is the [http://www.music-group.com/Categories/Behringer/Accessories/Footswitches-and-Remote-Controls/FCB1010/p/P0089 Behringer FCB1010].  Its layout lines up fairly closely with the KPA's performance slots, has two expression pedals, and can be found for a relatively cheap price.&lt;br /&gt;
&lt;br /&gt;
The FCB1010 can also easily be modified to use alternative firmware.  There are 4 possible firmwares you can use:&lt;br /&gt;
&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
! !! Factory !! [http://www.ossandust.be/ UnO] !! [http://www.uno4kemper.com/ UnO4Kemper] !! [http://www.eurekasound.com/eurekaprom Eureka]&lt;br /&gt;
|-&lt;br /&gt;
! Advantages&lt;br /&gt;
|&lt;br /&gt;
* Can be programmed from PC&lt;br /&gt;
* No additional cost&lt;br /&gt;
|&lt;br /&gt;
* Fixes bugs and removes restrictions found in factory FW&lt;br /&gt;
* Can be programmed from PC&lt;br /&gt;
* Can save programmed settings on PC&lt;br /&gt;
|&lt;br /&gt;
* Makes the FCB plug n play with KPA&lt;br /&gt;
* Supports 2-way communication to sync effect states&lt;br /&gt;
* Simple to program directly from FCB1010&lt;br /&gt;
* Supports accessing all 625 performances on the KPA&lt;br /&gt;
|&lt;br /&gt;
* Can access all 625 performance rigs&lt;br /&gt;
* Multiple &amp;quot;scene&amp;quot; paradigms easily switched to change behavior&lt;br /&gt;
* Very configurable/powerful&lt;br /&gt;
|-&lt;br /&gt;
! Disadvantages&lt;br /&gt;
|&lt;br /&gt;
* Contains a number of bugs, particularly early version&lt;br /&gt;
* Can only reference a max of 100 rigs&lt;br /&gt;
* Numerous restrictions&lt;br /&gt;
* Missing features&lt;br /&gt;
|&lt;br /&gt;
* Still limited to max of 100 rigs to select from&lt;br /&gt;
* No 2-way communication to display correct LED states matching KPA effects&lt;br /&gt;
|&lt;br /&gt;
* Cannot be updated as KPA OS is updated, have to buy a new chip&lt;br /&gt;
* No advanced programming, such as firing multiple CC's from one button press&lt;br /&gt;
* Footswitch and expression pedal assignment is global, not per rig&lt;br /&gt;
* Expression pedals can only be assigned to CC1 and CC7&lt;br /&gt;
|&lt;br /&gt;
* Can be kind of confusing to program&lt;br /&gt;
* Have to switch scenes to be able to access all 625 performance rigs as well as toggle effects&lt;br /&gt;
* Cannot save configuration to PC and share&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== UnO4Kemper ====&lt;br /&gt;
[http://www.uno4kemper.com/ The UnO4Kemper firmware] is an unofficial firmware for the FCB1010 made by a 3rd party author.  It comes on an EPROM chip that can be switched out for the factory chip after opening the FCB1010 up.&lt;br /&gt;
&lt;br /&gt;
This firmware will instantly turn your FCB1010 into a dedicated Kemper controller.  The main advantage of this chip is it is as plug and play as you will find to get a working pedalboard for the Kemper, other than the official Kemper Remote.  The bad part is that it makes the FCB1010 only work with the Kemper and you cannot do advanced customization of how the controller operates (such as assigning multiple effects to toggle on a single button).  Also, if Kemper updates the KPA software to add new features, there is no method to update your current UnO4Kemper chip to support those features - you will have to purchase a new chip once the UnO4Kemper firmware is updated to support the feature.&lt;br /&gt;
&lt;br /&gt;
The full list of features is found in [http://www.uno4kemper.com/UnOforKemper_manual.pdf the manual].  &lt;br /&gt;
* Bank (Performance) Up/Down&lt;br /&gt;
* One row of buttons is used for rig selection and the other for toggling effects on/off&lt;br /&gt;
* The rows' functions can be swapped.&lt;br /&gt;
* Available effects/functions are A-D, X, Mod, Delay, Reverb, change rotary speaker effect speed, tap tempo, and display tuner&lt;br /&gt;
* Each effect toggle footswitch can be assigned to any 1 of those effects/functions.&lt;br /&gt;
* One expression pedal controls CC 1 (wah wah) and the other CC 7 (volume).  These can be swapped.&lt;br /&gt;
* Expression pedals can each be configured to use 1 out of 5 possible sweep curves.&lt;br /&gt;
* 2-way communication with KPA using 2nd MIDI cable.  Keeps footswitch LEDs in sync with KPA effects when switching rigs.&lt;br /&gt;
* Can display KPA tuner on FCB1010&lt;br /&gt;
* Can use KPA Beat Scanner function for tempo&lt;br /&gt;
* Force KPA to enter Browse Mode or Performance Mode&lt;br /&gt;
&lt;br /&gt;
=== Other MIDI Foot Controllers ===&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
{{Crumbs|orange|3&lt;br /&gt;
|Kemper KPA External Control#System Menu Settings|System Menu&lt;br /&gt;
|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010&lt;br /&gt;
|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers&lt;br /&gt;
|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference&lt;br /&gt;
}}&lt;br /&gt;
As you'll see below, the KPA provides extensive MIDI capabilities; basically any MIDI controller can get something out of it, while expensive, powerful controllers can do just about anything you can do by touching the KPA's buttons and knobs.  How far you want to take your amount of control depends on what you want to do.&lt;br /&gt;
&lt;br /&gt;
While I do not want to take up a lot of space discussing the capabilities and quirks of numerous footcontrollers, [http://www.wikpa.org/Using_Specific_MIDI_Controllers wikpa.org does a good job on this subject].&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== MIDI Programming Reference ===&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
{{Crumbs|orange|4&lt;br /&gt;
|Kemper KPA External Control#System Menu Settings|System Menu&lt;br /&gt;
|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010&lt;br /&gt;
|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers&lt;br /&gt;
|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference&lt;br /&gt;
}}&lt;br /&gt;
This section contains reference material for controlling the KPA by MIDI PC (Program Change), CC (Continuous Control), NRPN (Non-registered Parameter Numbers), or SysEx (System Exclusive) messages.  These go from least to most complicated, and similarly most to least supported.&lt;br /&gt;
&lt;br /&gt;
==== MIDI Program Change ====&lt;br /&gt;
Up to 128 rigs can be assigned PC numbers in Browse Mode from a page in the system menu - you can also see all the rigs assigned to PC's here.&lt;br /&gt;
&lt;br /&gt;
In Performance Mode, each performance/slot is automatically assigned a PC number based on the order of performances, and slots within each performance.  Even disabled slots are assigned a PC #.  Notice this only allows about 25 of the 125 performances (or 128 of the 625 slots) available.  If you need to access more, you can use a MIDI bank select command before the program change, which is implemented as MIDI CC #0 for the most significant byte (MSB) and #32 for the least significant byte (LSB).  While bank selects typically use 2 MIDI bytes, the KPA only requires a range of 0-4 to access all slots via PC.  It will ignore any CC #0 bank select MSB messages.  CC 32 can be used by itself to change which rigs the KPA accesses via PC.  Sending a value of 0 over CC 32 accesses the first 128 slots (performance 1 slot 1 - performance 26 slot 3), CC 32 value 1 accesses the next 128 (performance 26 slot 4 - performance 52 slot 1), etc. up to a max of CC 32 value 4, which will put PC access beyond the available 625 rigs.&lt;br /&gt;
&lt;br /&gt;
Note - it is recommended to use CC's 48-49 (or 47) for selecting performances, then using CC's 50-54 to select which slot to load.  This aligns both with the KPA's performance/slot organization and with footcontrollers that typically feature bank up/down switches as well as a row of switches to change patches/rigs.  There's no need to use complicated math to try to figure out which PC or bank select index is required to load a particular performance/slot.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== MIDI Continuous Control ====&lt;br /&gt;
The KPA responds to a number of MIDI CC messages.  These are enough for generic MIDI foot controllers to perform normal functionality.  You can change cycle through rigs in Browse mode, and bank up/down and select any of the 5 rigs assigned to the slots in Performance mode.  You can turn on/off any of the 8 effects, tap tempo, display the tuner, and switch the rotary speaker effect's speed.  In addition to the expression pedal functions above of controlling wah wah, pitch, volume, and monitor volume, one could be used to control delay/reverb mix and feedback/time, as well as amplifier gain.&lt;br /&gt;
&lt;br /&gt;
{| class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
! CC # !! Valid Values !! What it controls&lt;br /&gt;
|-&lt;br /&gt;
| 0 || N/A || Bank Select MSB - ignored&lt;br /&gt;
|-&lt;br /&gt;
| 1 || x || Wah Wah position on any enabled wah wah effect. Volume if &amp;quot;wah to volume&amp;quot; linking is checked and all wah wah effects are disabled or not present on current rig.  Pitch if &amp;quot;wah to pitch&amp;quot; linking is checked and all wah wah effects are disabled or not present on current rig.&lt;br /&gt;
|-&lt;br /&gt;
| 4 || x || Pitch position for Pedal Pitch or Pedal Vinyl Stop effects&lt;br /&gt;
|-&lt;br /&gt;
| 6 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|-&lt;br /&gt;
| 7 || x || Volume - controls the volume of the rig as specified per rig in the Rig Menu page 5.&lt;br /&gt;
|-&lt;br /&gt;
| 11 || x || Morph - controls any parameters set to be controlled by morphing.&lt;br /&gt;
|-&lt;br /&gt;
| 16 || Any || Toggles all stomps on/off&lt;br /&gt;
|-&lt;br /&gt;
| 17 || 0/1 || 0: Stomp A Off; 1: Stomp A On &lt;br /&gt;
|-&lt;br /&gt;
| 18 || 0/1 || 0: Stomp B Off; 1: Stomp B On &lt;br /&gt;
|-&lt;br /&gt;
| 19 || 0/1 || 0: Stomp C Off; 1: Stomp C On &lt;br /&gt;
|-&lt;br /&gt;
| 20 || 0/1 || 0: Stomp D Off; 1: Stomp D On &lt;br /&gt;
|-&lt;br /&gt;
| 22 || 0/1 || 0: Effect X Off; 1: Effect X On &lt;br /&gt;
|-&lt;br /&gt;
| 24 || 0/1 || 0: Effect Mod Off; 1: Effect Mod On &lt;br /&gt;
|-&lt;br /&gt;
| 26 || 0/1 || 0: Delay Off; 1: Delay On &lt;br /&gt;
|-&lt;br /&gt;
| 27 || 0/1 || 0: Delay Off (with tail); 1: Delay On &lt;br /&gt;
|-&lt;br /&gt;
| 28 || 0/1 || 0: Reverb Off; 1: Reverb On &lt;br /&gt;
|-&lt;br /&gt;
| 29 || 0/1 || 0: Reverb Off (with tail); 1: Reverb On &lt;br /&gt;
|-&lt;br /&gt;
| 30 || 1/0 || Sets Tempo Tap If your floorboard supports separate events on “pressing” and “releasing” a button, send 1 when “pressed” and 0 when “released”. If the floorboard can only send one event, use value 0. When value 1 has been sent and no value 0 for 3 seconds, the Beat Scanner1 is being activated. &lt;br /&gt;
|-&lt;br /&gt;
| 31 || 1/0 || 1: Show Tuner; 0: Hide Tuner &lt;br /&gt;
|-&lt;br /&gt;
| 32 || [0,4] || Bank Select LSB - changes which set of 128 performance slots are available via PC messages in Performance Mode.  &lt;br /&gt;
* Bank 0 - performance 1 slot 1 - performance 26 slot 3&lt;br /&gt;
* Bank 1 - performance 26 slot 4 - performance 52 slot 1&lt;br /&gt;
* Bank 2 - performance 52 slot 2 - performance 77 slot 4&lt;br /&gt;
* Bank 3 - performance 77 slot 5 - performance 103 slot 2&lt;br /&gt;
* Bank 4 - performance 103 slot 3 - performance 125 slot 5&lt;br /&gt;
|-&lt;br /&gt;
| 33 || 0/1 || 0: Rotary Speaker slow; 1: Rotary Speaker fast &lt;br /&gt;
|-&lt;br /&gt;
| 34 || 0/1 || 0: Delay Feedback Infinity Off; 1: Delay Feedback Infinity On&lt;br /&gt;
|-&lt;br /&gt;
| 35 || 0/1 || 0: Delay Hold Off; 1: Delay Hold On&lt;br /&gt;
|-&lt;br /&gt;
| 38 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|-&lt;br /&gt;
| 47 || [0,124]  || (Performance Mode only) Directly select a performance index. The performance will be loaded when a slot selection is sent (CC50-54). If no slot is selected, the performance index selection is disabled after a few seconds.  When disabled, the KPA sends the current performance index and slot back to the device.  This can be used to keep the MIDI controller and KPA in sync.&lt;br /&gt;
|-&lt;br /&gt;
| 48 || 1/0 &lt;br /&gt;
| Performance Mode: Increases performance index. Value triggers two different modes:&lt;br /&gt;
* Value 0, increase performance n to n+1 (bank up)*&lt;br /&gt;
* Value 1 initially increases performance by 1, after a timeout the Kemper Profiler starts to scroll performances upwards. Value 0 stops scrolling. &lt;br /&gt;
Browse Mode only: Value 0 selects the next Rig (current filter/sort applies), similar to “Rig Right” &lt;br /&gt;
|-&lt;br /&gt;
| 49 || 1/0 &lt;br /&gt;
| Performance Mode: Decreases performance index. Value triggers two different modes: &lt;br /&gt;
* Value 0, increase performance n to n-1 (bank down)*&lt;br /&gt;
* Value 1 initially decreases performance index by 1, after a timeout the Kemper Profiler starts to scroll performances downwards. Value 0 stops scrolling.&lt;br /&gt;
Browse Mode only: Value 0 selects the previous Rig (current filter/sort applies), similar to “Rig Left” &lt;br /&gt;
|- &lt;br /&gt;
| 50 || 1 || (Performance Mode only) Select Slot 1 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 51 || 1 || (Performance Mode only) Select Slot 2 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 52 || 1 || (Performance Mode only) Select Slot 3 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 53 || 1 || (Performance Mode only) Select Slot 4 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 54 || 1 || (Performance Mode only) Select Slot 5 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 68 || x || Sets Delay Mix to x &lt;br /&gt;
|-&lt;br /&gt;
| 69 || x || Sets Delay Feedback to x &lt;br /&gt;
|-&lt;br /&gt;
| 70 || x || Sets Reverb Mix to x &lt;br /&gt;
|-&lt;br /&gt;
| 71 || x || Sets Reverb Time to x &lt;br /&gt;
|-&lt;br /&gt;
| 72 || x ||Sets Amplifier Gain to x &lt;br /&gt;
|-&lt;br /&gt;
| 73 || x ||Sets Monitor Volume to x &lt;br /&gt;
|-&lt;br /&gt;
| 98 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|-&lt;br /&gt;
| 99 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|-&lt;br /&gt;
| 119 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
''* Changing the Performance may or may not load a slot instantly depending on the [[Kemper KPA Performing Live#MIDI|Perf. Load System Menu setting]].''&lt;br /&gt;
&lt;br /&gt;
Most foot controllers support some form of programming what each footswitch will send, and if the footswitch should toggle its value.  For example, if you assign FS1 to turn Stomp A on/off, you should be able to set FS1 to light up after pressing it (and it sends a 1 (on) value, indicating you've turned it on.  Now if you press it again, the light turns off, and it sends a 0 (off) value.&lt;br /&gt;
&lt;br /&gt;
This brings up a curious issue.  If you change rigs where Stomp A is on when the rig is loaded, how does the MIDI footcontroller know what state to set FS1?  The footcontroller itself must store a set of rigs containing the default on/off state of each footswitch, matching the corresponding rigs in the KPA.&lt;br /&gt;
&lt;br /&gt;
MIDI CC is the most widely supported part of the MIDI protocol by various MIDI footcontrollers; however, you will notice that there are hundreds of parameters for dozens of effects, as well as the amp, cab, input, output, and tonestack blocks that are not able to be controlled via CC, given the list above.  MIDI CC supports 7-bits for the CC channel number and 7-bits for the value, meaning a maximum of 128 parameters can be controlled with only 0-127 distinct values to communicate.  The MIDI specification gives 2 ways to deal with this: NPRN and Sysex.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== MIDI NRPN ====&lt;br /&gt;
[https://en.wikipedia.org/wiki/NRPN NRPN (Non-registered Parameter Numbers)] uses a set of 4 different CC messages to exponentially increase both the size of possible addresses and values that a device can send/receive.  '''Since each CC message can carry a value from 0-128, NRPN addresses and values each have a range of 128 x 128, which is 16,384.'''  The exact specification is below:&lt;br /&gt;
# '''CC 99''': Value is the Most significant Byte (MSB) of the desired address&lt;br /&gt;
# '''CC 98''': Value is the Least Significant Byte (LSB) of the desired address&lt;br /&gt;
# '''CC 06''': Value is the Most Significant Byte (MSB) of the desired value&lt;br /&gt;
# '''CC 38''': Value is the Least Significant Byte (LSB) of the desired value&lt;br /&gt;
&lt;br /&gt;
While the NRPN spec allows CC 38 to be optional, the KPA ''requires'' it.  The 4 CC's named above must be received in order, and the NRPN message is processed as soon as CC 38 is received.  ''Once an address has been selected via CC's 99 and 98, multiple values can be sent without sending 99/98 each time to reselect the address - only 06/38 needs to be sent.''  That is useful to know if you want to program NRPN to &amp;quot;move&amp;quot; a single parameter over time.&lt;br /&gt;
&lt;br /&gt;
Some footcontrollers support NRPN 14-bit addressing but not 14-bit values via CC's 06 and 38.  The KPA allows CC 119 to send the value in this case.  So the footcontroller can be programmed to send an NRPN as follows:&lt;br /&gt;
# '''CC 99''': address MSB&lt;br /&gt;
# '''CC 98''': address LSB&lt;br /&gt;
# '''CC 119''': 7-bit value&lt;br /&gt;
The 7-bit value is mapped to the appropriate 14-bit value - 128 becomes 16,384, 64 becomes 8,192, while 0 remains 0.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
|-style=&amp;quot;vertical-align:top;&amp;quot;&lt;br /&gt;
|&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
|+ NRPN Address - Parameter Mapping&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| Address&lt;br /&gt;
!rowspan=&amp;quot;2&amp;quot;| Type&lt;br /&gt;
!rowspan=&amp;quot;2&amp;quot;| Parameter&lt;br /&gt;
|-&lt;br /&gt;
! MSB !! LSB&lt;br /&gt;
|-&lt;br /&gt;
| 4 || 0 || Rig || Tempo&lt;br /&gt;
|-&lt;br /&gt;
| 4 || 1 || Rig || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 4 || 2 || Rig || Tempo Enable&lt;br /&gt;
|-&lt;br /&gt;
| 9 || 3 || Input || Noise Gate Intensity&lt;br /&gt;
|-&lt;br /&gt;
| 9 || 4 || Input || Clean Sense&lt;br /&gt;
|-&lt;br /&gt;
| 9 || 5 || Input || Distortion Sense&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 2 || Amplifier || On/Off&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 4 || Amplifier || Gain&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 6 || Amplifier || Definition&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 7 || Amplifier || Clarity&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 8 || Amplifier || Power Sagging&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 9 || Amplifier || Pick&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 10 || Amplifier || Compressor&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 11 || Amplifier || Tube Shape&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 12 || Amplifier || Tube Bias&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 15 || Amplifier || Direct Mix&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 2 || EQ || On/Off&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 4 || EQ || Bass&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 5 || EQ || Mids&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 6 || EQ || Treble&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 7 || EQ || Presence&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 2 || Cabinet || On/Off&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 3 || Cabinet || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 4 || Cabinet || High Shift&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 5 || Cabinet || Low Shift&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 6 || Cabinet || Character&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 0 || Stomp A || Type (see other table)&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 3 || Stomp A || On/Off&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 4 || Stomp A || Mix&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 6 || Stomp A || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 7 || Stomp A || Stereo&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 8 || Stomp A (Wah) || Wah Manual&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 9 || Stomp A (Wah) || Wah Peak&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 10 || Stomp A (Wah) || Wah Range&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 12 || Stomp A (Wah) || Wah Pedal Mode&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 13 || Stomp A (Wah) || Wah Touch Attack&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 14 || Stomp A (Wah) || Wah Touch Release&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 15 || Stomp A (Wah) || Wah Touch Boost&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 16 || Stomp A (Dist/Shaper) || Distortion/Shaper Drive&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 17 || Stomp A (Dist/Shaper) || Distortion/Booster Tone&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 18 || Stomp A (Comp) || Compressor/Gate Intensity&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 19 || Stomp A (Comp) || Compressor Attack&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 20 || Stomp A (Mod) || Modulation Rate&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 21 || Stomp A (Mod) || Modulation Depth&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 22 || Stomp A (Mod) || Modulation Feedback&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 23 || Stomp A (Mod) || Modulation Crossover&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 24 || Stomp A (Mod) || Modulation HyperChorus Amount&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 25 || Stomp A (Mod) || Modulation Manual&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 26 || Stomp A (Mod) || Modulation Phase Peak Spread&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 27 || Stomp A (Mod) || Modulation Stages&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 30 || Stomp A (Rot) || Rotary Speed (slow/fast)&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 31 || Stomp A (Rot) || Rotary Distance&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 32 || Stomp A (Rot) || Rotary Balance&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 33 || Stomp A (Comp) || Compressor Squash&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 34 || Stomp A (EQ) || Graphic EQ Band 1&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 35 || Stomp A (EQ) || Graphic EQ Band 2&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 36 || Stomp A (EQ) || Graphic EQ Band 3&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 37 || Stomp A (EQ) || Graphic EQ Band 4&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 38 || Stomp A (EQ) || Graphic EQ Band 5&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 39 || Stomp A (EQ) || Graphic EQ Band 6&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 40 || Stomp A (EQ) || Graphic EQ Band 7&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 41 || Stomp A (EQ) || Graphic EQ Band 8&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 42 || Stomp A (EQ) || Parametric EQ Low Gain&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 43 || Stomp A (EQ) || Parametric EQ Low Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 44 || Stomp A (EQ) || Parametric EQ High Gain&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 45 || Stomp A (EQ) || Parametric EQ High Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 46 || Stomp A (EQ) || Parametric EQ Peak Gain&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 47 || Stomp A (EQ) || Parametric EQ Peak Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 48 || Stomp A (EQ) || Parametric EQ Peak Q&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 49 || Stomp A (EQ) || Parametric EQ Peak 2 Gain&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 50 || Stomp A (EQ) || Parametric EQ Peak 2 Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 51 || Stomp A (EQ) || Parametric EQ Peak 2 Q&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 52 || Stomp A (Wah) || Wah Peak Range&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 53 || Stomp A || Ducking&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 55 || Stomp A (Pitch) || Voice Mix&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 56 || Stomp A (Pitch) || Voice 1 Pitch&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 57 || Stomp A (Pitch) || Voice 2 Pitch&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 58 || Stomp A (Pitch) || Detune&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 60 || Stomp A (Pitch) || Smooth Chords&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 61 || Stomp A (Pitch) || Pure Tuning&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 64 || Stomp A (Pitch) || Key&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 65 || Stomp A (Pitch) || Freeze Formants &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 66 || Stomp A (Pitch) || Formant Offset &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 67 || Stomp A (Delay) || Low Cut &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 68 || Stomp A (Delay) || High Cut &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 69 || Stomp A (Delay) || Delay Mix &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 70 || Stomp A (Delay) || Delay Mix Pre/Post &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 71 || Stomp A (Delay) || Delay Time 1 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 72 || Stomp A (Delay) || Delay Time 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 73 || Stomp A (Delay) || Delay Ratio 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 74 || Stomp A (Delay) || Delay Ratio 3 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 75 || Stomp A (Delay) || Delay Ratio 4 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 76 || Stomp A (Delay) || Delay Note Value 1 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 77 || Stomp A (Delay) || Delay Note Value 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 78 || Stomp A (Delay) || Delay Note Value 3 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 79 || Stomp A (Delay) || Delay Note Value 4 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 80 || Stomp A (Delay) || To Tempo &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 81 || Stomp A (Delay) || Delay Volume 1 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 82 || Stomp A (Delay) || Delay Volume 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 83 || Stomp A (Delay) || Delay Volume 3 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 84 || Stomp A (Delay) || Delay Volume 4 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 85 || Stomp A (Delay) || Delay Panorama 1 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 86 || Stomp A (Delay) || Delay Panorama 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 87 || Stomp A (Delay) || Delay Panorama 3 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 88 || Stomp A (Delay) || Delay Panorama 4 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 89 || Stomp A (Delay) || Voice3 Pitch &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 90 || Stomp A (Delay) || Voice4 Pitch &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 91 || Stomp A (Delay) || Voice3 Interval &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 92 || Stomp A (Delay) || Voice4 Interval &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 93 || Stomp A (Delay) || Feedback &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 94 || Stomp A (Delay) || Infinity Feedback &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 95 || Stomp A (Delay) || Infinity &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 96 || Stomp A (Delay) || Feedback2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 97 || Stomp A (Delay) || Feedback Sync Switch &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 98 || Stomp A (Delay) || Delay Low Cut &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 99 || Stomp A (Delay) || Delay High Cut &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 100 || Stomp A (Delay) || Delay Filter Intensity &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 101 || Stomp A (Delay) || Delay Modulation &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 102 || Stomp A (Delay) || Delay Chorus &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 103 || Stomp A (Delay) || Flutter Intensity &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 104 || Stomp A (Delay) || Flutter Shape &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 105 || Stomp A (Delay) || Grit &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 106 || Stomp A (Delay) || Reverse Mix &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 107 || Stomp A (Delay) || Swell &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 108 || Stomp A (Delay) || Smear &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 109 || Stomp A (Delay) || Ducking Pre/Post &lt;br /&gt;
|-&lt;br /&gt;
| 51 || * || Stomp B || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 52 || * || Stomp C || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 53 || * || Stomp D || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 56 || * || Effect X || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 58 || * || Effect Mod || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 74 || * || Delay (4.0+) || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 0 || Delay (Deprecated in 4.0) || Type (see below)&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 2 || Delay (Deprecated in 4.0) || On/Off (cuts tails)&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 3 || Delay (Deprecated in 4.0) || Mix&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 4 || Delay (Deprecated in 4.0) || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 5 || Delay (Deprecated in 4.0) || Time&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 6 || Delay (Deprecated in 4.0) || Ratio&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 7 || Delay (Deprecated in 4.0) || Clock Left&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 8 || Delay (Deprecated in 4.0) || Clock Right&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 9 || Delay (Deprecated in 4.0) || Feedback&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 10 || Delay (Deprecated in 4.0) || Bandwidth&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 11 || Delay (Deprecated in 4.0) || Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 12 || Delay (Deprecated in 4.0) || Modulation&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 13 || Delay (Deprecated in 4.0) || On/Off (keeps tails)&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 14 || Delay (Deprecated in 4.0) || Ducking&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 0 || Reverb || Type (see below)&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 2 || Reverb || On/Off (cuts tails)&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 3 || Reverb || Mix&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 4 || Reverb || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 5 || Reverb || Del/Rev Balance&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 6 || Reverb || Time&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 7 || Reverb || Damping&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 8 || Reverb || Bandwidth&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 9 || Reverb || Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 10 || Reverb || Pre-Delay&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 11 || Reverb || On/Off (keeps tails)&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 12 || Reverb || Ducking&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 0 || System/Global || Main Output Volume&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 1 || System/Global || Headphone Output Volume&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 2 || System/Global || Monitor Output Volume&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 3 || System/Global || Direct Output Volume&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 11 || System/Global || SPDIF Input Enable&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 12 || System/Global || Main Output EQ Bass&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 13 || System/Global || Main Output EQ Mids&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 14 || System/Global || Main Output EQ Treble&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 15 || System/Global || Main Output EQ Presence&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 17 || System/Global || Monitor Output EQ Bass&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 18 || System/Global || Monitor Output EQ Mids&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 19 || System/Global || Monitor Output EQ Treble&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 20 || System/Global || Monitor Output EQ Presence&lt;br /&gt;
|}&lt;br /&gt;
|&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
|+ Value to Effect Type Mapping&lt;br /&gt;
|-&lt;br /&gt;
! Value !! Effect Type&lt;br /&gt;
|-&lt;br /&gt;
| 0 || Null/Empty&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| Wah Wah&lt;br /&gt;
|-&lt;br /&gt;
| 1 || Wah Wah&lt;br /&gt;
|-&lt;br /&gt;
| 2 || Wah Low Pass&lt;br /&gt;
|-&lt;br /&gt;
| 3 || Wah High Pass&lt;br /&gt;
|-&lt;br /&gt;
| 4 || Wah Vowel Filter&lt;br /&gt;
|-&lt;br /&gt;
|    6 || Wah Phaser&lt;br /&gt;
|-&lt;br /&gt;
|    7 || Wah Flanger&lt;br /&gt;
|-&lt;br /&gt;
|    8 || Wah Rate Reducer&lt;br /&gt;
|-&lt;br /&gt;
|    9 || Wah Ring Modulator&lt;br /&gt;
|-&lt;br /&gt;
|    10 || Wah Freq Shifter&lt;br /&gt;
|-&lt;br /&gt;
|    12 || Wah Formant Shift&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| Shapers&lt;br /&gt;
|-&lt;br /&gt;
|    17 || Bit Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    18 || Recti Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    19 || Soft Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    20 || Hard Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    21 || Wave Shaper&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| Distortion&lt;br /&gt;
|-&lt;br /&gt;
|    33 || Green Scream&lt;br /&gt;
|-&lt;br /&gt;
|    34 || Plus DS&lt;br /&gt;
|-&lt;br /&gt;
|    35 || One DS&lt;br /&gt;
|-&lt;br /&gt;
|    36 || Muffin&lt;br /&gt;
|-&lt;br /&gt;
|    37 || Mouse&lt;br /&gt;
|-&lt;br /&gt;
|    38 || Fuzz DS&lt;br /&gt;
|-&lt;br /&gt;
|    39 || Metal DS&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| Boosters&lt;br /&gt;
|-&lt;br /&gt;
|    113 || Treble Booster&lt;br /&gt;
|-&lt;br /&gt;
|    114 || Lead Booster&lt;br /&gt;
|-&lt;br /&gt;
|    115 || Pure Booster&lt;br /&gt;
|-&lt;br /&gt;
|    116 || Wah Pedal Booster&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| EQs&lt;br /&gt;
|-&lt;br /&gt;
|    97 || Graphic Equalizer&lt;br /&gt;
|-&lt;br /&gt;
|    98 || Studio Equalizer&lt;br /&gt;
|-&lt;br /&gt;
|    99 || Metal Equalizer&lt;br /&gt;
|-&lt;br /&gt;
|    101 || Stereo Widener&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| Dynamics&lt;br /&gt;
|-&lt;br /&gt;
|    49 || Compressor&lt;br /&gt;
|-&lt;br /&gt;
|    57 || Gate 2:1&lt;br /&gt;
|-&lt;br /&gt;
|    58 || Gate 4:1&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| Modulation&lt;br /&gt;
|-&lt;br /&gt;
|    65 || Vintage Chorus&lt;br /&gt;
|-&lt;br /&gt;
|    66 || Hyper Chorus&lt;br /&gt;
|-&lt;br /&gt;
|    67 || Air Chorus&lt;br /&gt;
|-&lt;br /&gt;
|    71 || Micro Pitch|-&lt;br /&gt;
|-&lt;br /&gt;
|    68 || Vibrato&lt;br /&gt;
|-&lt;br /&gt;
|    69 || Rotary Speaker&lt;br /&gt;
|-&lt;br /&gt;
|    70 || Tremolo&lt;br /&gt;
|-&lt;br /&gt;
|    81 || Phaser&lt;br /&gt;
|-&lt;br /&gt;
|    82 || Phaser Vibe&lt;br /&gt;
|-&lt;br /&gt;
|    83 || Phaser Oneway&lt;br /&gt;
|-&lt;br /&gt;
|    89 || Flanger&lt;br /&gt;
|-&lt;br /&gt;
|    91 || Flanger Oneway&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| Loops&lt;br /&gt;
|-&lt;br /&gt;
|    121 || Loop Mono&lt;br /&gt;
|-&lt;br /&gt;
|    122 || Loop Stereo&lt;br /&gt;
|-&lt;br /&gt;
|    123 || Loop Distortion&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| Pitch&lt;br /&gt;
|-&lt;br /&gt;
|    129 || Transpose&lt;br /&gt;
|-&lt;br /&gt;
|    11 || Pedal Pitch&lt;br /&gt;
|-&lt;br /&gt;
| 130 || Chromatic Pitch&lt;br /&gt;
|-&lt;br /&gt;
| 131 || Harmonic Pitch&lt;br /&gt;
|}&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== MIDI SysEx ====&lt;br /&gt;
MIDI also has the ability to send [https://en.wikipedia.org/wiki/MIDI#System_Exclusive_messages SysEx (System Exclusive)] messages.  SysEx messages are proprietary protocols that each manufacturer can create for each of their devices.  They use a common beginning and ending indicators, as well as manufacturer and device identifiers, so that devices that cannot interpret them know to ignore the message; and they can be incorporated into streams of MIDI messages between lots of devices in a MIDI ring without causing chaos.&lt;br /&gt;
&lt;br /&gt;
The SysEx common format is:&lt;br /&gt;
# 1 byte for SysEx Start (&amp;lt;code&amp;gt;0xF0&amp;lt;/code&amp;gt;)&lt;br /&gt;
# 3 bytes for Manufacturer ID (&amp;lt;code&amp;gt;0x002033&amp;lt;/code&amp;gt; for Kemper)&lt;br /&gt;
# 1 byte for product type (&amp;lt;code&amp;gt;0x02&amp;lt;/code&amp;gt; for Kemper Profiling Amp)&lt;br /&gt;
# 1 byte for device ID (&amp;lt;code&amp;gt;0x7F&amp;lt;/code&amp;gt; for Omni)&lt;br /&gt;
# x bytes for the message (this is the device-specific part)&lt;br /&gt;
# 1 byte for SysEx End (&amp;lt;code&amp;gt;0xF7&amp;lt;/code&amp;gt;)&lt;br /&gt;
&lt;br /&gt;
Example: &amp;lt;code&amp;gt;F0-00-20-33-02-7F-...-F7&amp;lt;/code&amp;gt;, where ... is variable.&lt;br /&gt;
&lt;br /&gt;
The Kemper MIDI SysEx protocol gets pretty intense, and I'll leave it to those interested to refer to the [http://www.kemper-amps.com/page/render/lang/en/p/170/id/27/cat/30/do/Kemper_Profiling_Amplifier___Downloads.html Kemper MIDI documentation].  For most users, SysEx will never be necessary.  Where this really comes in handy is for software programs that want to communicate with KPA via MIDI.  The big items that SysEx offer beyond NRPN above are string manipulation and requesting parameter values from the KPA.  These would allow a program to act as an editor, or an advanced floorboard to maintain two-way communication with the KPA, displaying the KPA's current values and keeping on/off states in sync.&lt;br /&gt;
&lt;br /&gt;
The x bytes above have a common scheme for Kemper SysEx messages, where the first byte is the function code.  This is followed by an instance code, which is always &amp;lt;code&amp;gt;0x00&amp;lt;/code&amp;gt;.  This is followed by the address, then the data.&lt;br /&gt;
&lt;br /&gt;
Depending on the function code, the address may be 2 bytes or 4 bytes, and the data can be variable length.  '''The 2 byte addresses use the NRPN addresses above.'''  I am not sure what the extended addresses referenced below are - the MIDI documentation does not list any.  Similarly, '''all 2 byte values use integer values of 0 - 16,384 for min to max''', although this may correspond to different display values on the KPA (for instance, a value of 0 might be &amp;quot;-5.0&amp;quot;, 8,192 might be &amp;quot;&amp;lt;0.0&amp;gt;&amp;quot;, and  16,384 would be &amp;quot;+5.0&amp;quot; - this depends on what the parameter actually is).  '''Strings use single byte characters encoded using [http://www.asciitable.com/ ASCII].'''&lt;br /&gt;
&lt;br /&gt;
I am not sure what the addresses for the string values are, but the documentation does say that the numeric settings' addresses overlap with the strings.  So, to get all the tags for an Amplifier profile, I would imagine you'd use the first address for Amplifier parameters listed in the NRPN reference above, and iterate +1 for all available tags.  ''However, from my research, this does not match how the tags are structured in the .kipr files when they are saved.''&lt;br /&gt;
&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
! Function Code !! Function !! Address Size !! Data Size !! Notes !! Example&lt;br /&gt;
|-&lt;br /&gt;
| 0x01 || Single Parameter Change || 2 bytes || 2 bytes || Same as doing an NRPN change || &lt;br /&gt;
&amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
01-00-4A-04-40-00-&lt;br /&gt;
F7    Addr  Data&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x02 || Multi Parameter Change || 2 bytes || 2n bytes || Address is the starting address; you can send as many pairs of data bytes as you want to change - each pair will write to the next address in sequence || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
02-00-4A-00-00-03-00-01-..-..-&lt;br /&gt;
F7    Addr  Data1 Data2 ...&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x03 || String Parameter Change || 2 bytes || n bytes + final 0x00 byte || Strings must have a final null (0x00) byte to terminate the string.  String data is 1 byte per character, encoded as ASCII.  String addresses overlap with parameter addresses. || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
03-00-00-01-48-65-6C-6C-6F-00-&lt;br /&gt;
F7          H  e  l  l  o&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x04 || BLOB Change || 2 bytes || 2 byte offset + 2 byte size + n byte data || Only a null (0x00) offset is currently supported.  Not sure what this would be used for except overwriting amp/cab profile data?&lt;br /&gt;
|-  &lt;br /&gt;
| 0x06 || Extended Parameter Change || 5 bytes || 2n bytes || Same as 0x02 but uses 5 bytes for address&lt;br /&gt;
|-&lt;br /&gt;
| 0x07 || Extended String Change || 5 bytes || n bytes + 0x00 End Byte || Same as 0x03 but uses 5 bytes for address&lt;br /&gt;
|-&lt;br /&gt;
| 0x41 || Single Parameter Request || 2 bytes || 0 bytes || returns the corresponding 0x01 SysEx message || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
41-00-4A-04-&lt;br /&gt;
F7    Addr&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x42 || Multiple Parameter Request || 2 bytes || 0 bytes || returns the corresponding 0x02 SysEx message.  May contain up to 128 values as byte pairs. || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
42-00-4A-00-&lt;br /&gt;
F7    Addr&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x43 || String Request || 2 bytes || 0 bytes || returns the corresponding 0x03 SysEx message || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
43-00-00-01-&lt;br /&gt;
F7    Addr&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x47 || Extended String Request || 5 bytes || 0 bytes || returns the corresponding 0x07 SysEx message, but may return the corresponding 0x03 message if the address is &amp;lt; 16,384 &lt;br /&gt;
|-&lt;br /&gt;
| 0x7C || Request Parameter as String || 2 bytes || 2 bytes || this returns an 0x3C response that otherwise matches the request, plus the string response after the 2 byte data portion.  The string response is the KPA's string representation of that parameter value.  For instance, Delay Volume value 8,192 is the midpoint value, which displays in the KPA as &amp;quot;&amp;lt;0.0&amp;gt;&amp;quot;. || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
7C-00-4A-04-40-00-&lt;br /&gt;
F7    Addr  Data&lt;br /&gt;
returns &lt;br /&gt;
F0-00-20-33-02-7F-&lt;br /&gt;
3C-00-4A-04-40-00-3C-30-2E-30-3E-00-&lt;br /&gt;
F7                &amp;lt;  0  .  0  &amp;gt;&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Kemper Remote ==&lt;br /&gt;
{{Crumbs|blue|4&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
The '''Kemper Remote''' is the official foot controller for the KPA.  It connects via the '''LAN port''' on the back of the KPA, supporting '''2-way communication''' as well as '''power over a single cable'''.  It features 14 footswitches (2 for bank/performance up/down, 5 for performance slots, 4 for toggling effects on/off, a tap tempo, a tuner, and a looper).  Up to 4 expression pedals can be connected directly to the Remote.&lt;br /&gt;
&lt;br /&gt;
Each effect footswitch can be assigned to toggle on/off up to 4 effects, and what each footswitch controls is saved per rig.&lt;br /&gt;
&lt;br /&gt;
Currently, the Remote is the only foot controller capable of accessing the KPA's looper although there are plans to incorporate access into general MIDI access.&lt;br /&gt;
&lt;br /&gt;
I don't actually have a Kemper Remote, so if I'm missing functionality that creates an advantage over other foot controllers, add it here please.&lt;br /&gt;
&lt;br /&gt;
== DAW ==&lt;br /&gt;
{{Crumbs|blue|5&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
DAWs can either directly or through plug-ins send the MIDI messages needed to have near full control of the Kemper.  They will not be limited strictly to CC's or NRPN - using SysEx, the full parameter list to the KPA is open.  Alternatively, you could simply send the CC values you want to control.  Volume is actually the least necessary parameter - you can more easily control the volume of tracks inside your DAW.  EQ perhaps as well.  Compression may also have better options in the DAW.  Delay, Reverb, and Mod effects is up to you.  Things like Gain or rig changes would be things you'd need to access this way.  With automated rig changing, you could set up all the changes necessary for a whole song, or even an entire setlist.&lt;br /&gt;
&lt;br /&gt;
== Morphing ==&lt;br /&gt;
OS 4.0 introduces '''Morphing''', a feature where any continuous parameter can be defined the following:&lt;br /&gt;
* a '''base value'''&lt;br /&gt;
* a '''morphed value'''&lt;br /&gt;
* a '''rise time*'''&lt;br /&gt;
* a '''descend time*'''&lt;br /&gt;
''* these affect triggering morphing from a footswitch''&lt;br /&gt;
&lt;br /&gt;
On pages 5-10 of the System Menu, expression pedals and footswitches can be assigned the morphing feature.  It can also be easily assigned to any effect button for the Kemper Remote.&lt;br /&gt;
&lt;br /&gt;
Multiple (any or all) continuous parameters, including those in the Amp and Cab blocks can be assigned a morph value.  While some view this feature as a multiple-parameter gimmick, if nothing else it allows continuous control over ''any'' continuous parameter, greatly expanding the out the box functionality of any expression pedal.  Morph values can be set higher or lower than the base value.  The expression pedal heel position corresponds to the base value, and the toe position the morphed value.&lt;br /&gt;
&lt;br /&gt;
The morphing procedure is to tap the Rig button.  It has a bottom LED and top LED - the LEDs switch when Rig is tapped.  The bottom is the base value, and the top is the morphed.  So press Rig until the bottom LED is on; set your base parameters; then press Rig so the top LED is on and set your morph parameters.  That's all there is to it.  The assigned morph pedals or switches will now control those parameters.&lt;br /&gt;
&lt;br /&gt;
Morph settings are saved per rig.  To erase a morph for a given parameter, either reset the morph value to match the base value, or sweep the base value through the range of the morph value (if base is 1.0 and morph is 4.0, sweeping the base value from &amp;lt; 1.0 to &amp;gt; 4.0 will clear the morph entirely).&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
{{Kemper Guide Crumbs|6}}&lt;br /&gt;
&lt;br /&gt;
[[Category:Guitar]]&lt;br /&gt;
[[Category:Gear]]&lt;br /&gt;
[[Category:Modelers]]&lt;br /&gt;
[[Category:Guides]]&lt;br /&gt;
[[Category:Kemper]]&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=Kemper_KPA_External_Control&amp;diff=8740</id>
		<title>Kemper KPA External Control</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=Kemper_KPA_External_Control&amp;diff=8740"/>
				<updated>2017-03-12T00:33:18Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: /* MIDI NRPN */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{Top-Level Crumbs|4}}&lt;br /&gt;
{{User Guide Crumbs|2}}&lt;br /&gt;
{{Kemper Guide Crumbs|6}}&lt;br /&gt;
The KPA has extensive, intuitive support for external controllers, and some products are made specifically for control of the KPA.  The three main types of control are analog expression pedals/footswitches, MIDI, and the Kemper Remote.&lt;br /&gt;
&lt;br /&gt;
== Expression Pedals ==&lt;br /&gt;
{{Crumbs|blue|1&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
&lt;br /&gt;
The KPA has 2 stereo jacks on the back of the unit that can be connected to expression pedals or footswitches.  ''Expression pedals should be stereo and connected with a stereo cable.''  Footswitches can be mono or stereo.  Additionally, up to 4 expression pedals can be connected to the Kemper Remote.&lt;br /&gt;
&lt;br /&gt;
=== System Menu Settings ===&lt;br /&gt;
Pages 5-10 cover how expression pedals behave.  Pedals 1 and 2 cover the two inputs on the back of the KPA, while Pedals 3-6 refer to inputs on the official Kemper remote.  The setup done here is simply mapping the pedal's anolog input to that appropriate MIDI CC # (1 for wah wah, 7 for volume, 4 for pitch, and 73 for monitor volume).&lt;br /&gt;
&lt;br /&gt;
Note: if you only have one expression pedal, you can still use it to control wah, volume, and pitch with some additional [[#MIDI Assignments and Settings|MIDI setup below]].  You should set it to CC# 1 (Wah Wah).  The KPA is actually very smart about this, and you don't really ever need more than one expression pedal, unless you like to have dedicated pedals, or have your wah/pitch with a spring in it to push it back to heel position, or do some crazy stuff where you jump between pedals.&lt;br /&gt;
&lt;br /&gt;
'''Pedal Type''' refers to the '''polarity''' of the expression pedal - type 1 is the normal type (Roland), while type 2 is reversed (Yamaha).&lt;br /&gt;
&lt;br /&gt;
This is also where you would come to '''calibrate''' a new pedal, or after updating your KPA's firmware/OS.  You simply press the button then do a full sweep.  ''Be sure to calibrate any pedal that you add to the KPA or after you update the KPA's firmware/OS.''&lt;br /&gt;
&lt;br /&gt;
==== MIDI Assignments and Settings ====&lt;br /&gt;
Page 14 has some checkbox settings for allowing an expression pedal that was set to Wah Wah on pages 5-10 or MIDI CC 1 to also control volume or pitch-shifting, when not being used for a wah wah effect.  It also has settings for sending the KPA's MIDI clock to external devices and setting the MIDI global channel (omni by default).  And you can also see the current MIDI CC values for 4 of the most likely used CC's, controlling modulation, pitch, volume, and monitor volume.&lt;br /&gt;
&lt;br /&gt;
'''Note, if you link a wah pedal to volume, when you disable a wah effect on a rig, the pedal will ''not'' begin to control volume until you put it fully in the toe position''' - ''this prevents a jump in volume if your wah pedal is not in toe position when you turn it off''.  Similarly, if wah is linked to pitch, when you disable wah/enable pitch, the pedal will ''not'' begin to affect the pitch until it is brought fully to the ''heel'' position, again to prevent the pitch jumping on the transition.&lt;br /&gt;
&lt;br /&gt;
=== Rig Menu Volume Pedal Settings ===&lt;br /&gt;
Page 5 of the Rig menu has some settings specific to using an expression pedal for volume control.&lt;br /&gt;
&lt;br /&gt;
* '''Lock Vol. Pedal''' - this setting will lock the current volume pedal settings below to apply to all rigs&lt;br /&gt;
* '''Wah Pedal to Vol.''' - this is a rig-level override of the System Menu page 14 pedal linking option above&lt;br /&gt;
* '''Location''' - this refers to a volume pedal's placement in the signal chain.  Since a dedicated volume pedal doesn't require an effect slot like wah wah or pitch (whammy), you use this parameter to set where it should affect the signal.&lt;br /&gt;
* '''Range''' - this refers to whether the volume pedal should boost when moving from heel position to toe position (when set to right of center) or cut when moving from toe to heel position (when set left of center)&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Analog Footswitches ==&lt;br /&gt;
{{Crumbs|blue|2&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
The Kemper also supports analog mono and stereo momentary footswitches.  They are set up the similarly to expression pedals on pages 5-6 of the System menu.  The difference is instead of being mapped to wah wah, volume, pitch, and monitor volume, it can be assigned to enable/disable any of the sections or blocks in the signal chain, as well switch to tuner, tap in the tap tempo, and switch to the previous or next rig.  In the case of a stereo/dual footswitch, each one can be independently assigned to different parameters.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Using a MIDI Footcontroller ==&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
For more on MIDI foot controllers in general, see [[Foot Controllers]].  MIDI foot controllers typically feature a number of footswitches and often have multiple expression pedals.  Depending on their nature, they may support some features in the MIDI spec or not.  They are typically programmable to some nature, but often within predefined boundaries.  Some can be programmed directly from the footswitches, while others require being connected to a PC editor.  Below are the settings on the Kemper as well as the ways you'll have to program your controller to work with the Kemper.&lt;br /&gt;
&lt;br /&gt;
=== System Menu Settings ===&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
{{Crumbs|orange|1&lt;br /&gt;
|Kemper KPA External Control#System Menu Settings|System Menu&lt;br /&gt;
|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010&lt;br /&gt;
|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers&lt;br /&gt;
|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference&lt;br /&gt;
}}&lt;br /&gt;
&lt;br /&gt;
While in Browser mode, page 12 allows you to assign the current rig to a MIDI Program Change number, as well as view all the MIDI assignments.  Note, these are only for Browser mode, not performance mode, where more than MIDI bank of 128 rigs each can be assigned.&lt;br /&gt;
&lt;br /&gt;
While in Performance mode, page 13 allows assigning external devices to the MIDI Out and Thru ports, as well as giving them device names, and specifying which channels the Kemper should use to communicate with them.&lt;br /&gt;
&lt;br /&gt;
=== Behringer FCB1010 ===&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
{{Crumbs|orange|2&lt;br /&gt;
|Kemper KPA External Control#System Menu Settings|System Menu&lt;br /&gt;
|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010&lt;br /&gt;
|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers&lt;br /&gt;
|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference&lt;br /&gt;
}}&lt;br /&gt;
A popular foot controller for the Kemper is the [http://www.music-group.com/Categories/Behringer/Accessories/Footswitches-and-Remote-Controls/FCB1010/p/P0089 Behringer FCB1010].  Its layout lines up fairly closely with the KPA's performance slots, has two expression pedals, and can be found for a relatively cheap price.&lt;br /&gt;
&lt;br /&gt;
The FCB1010 can also easily be modified to use alternative firmware.  There are 4 possible firmwares you can use:&lt;br /&gt;
&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
! !! Factory !! [http://www.ossandust.be/ UnO] !! [http://www.uno4kemper.com/ UnO4Kemper] !! [http://www.eurekasound.com/eurekaprom Eureka]&lt;br /&gt;
|-&lt;br /&gt;
! Advantages&lt;br /&gt;
|&lt;br /&gt;
* Can be programmed from PC&lt;br /&gt;
* No additional cost&lt;br /&gt;
|&lt;br /&gt;
* Fixes bugs and removes restrictions found in factory FW&lt;br /&gt;
* Can be programmed from PC&lt;br /&gt;
* Can save programmed settings on PC&lt;br /&gt;
|&lt;br /&gt;
* Makes the FCB plug n play with KPA&lt;br /&gt;
* Supports 2-way communication to sync effect states&lt;br /&gt;
* Simple to program directly from FCB1010&lt;br /&gt;
* Supports accessing all 625 performances on the KPA&lt;br /&gt;
|&lt;br /&gt;
* Can access all 625 performance rigs&lt;br /&gt;
* Multiple &amp;quot;scene&amp;quot; paradigms easily switched to change behavior&lt;br /&gt;
* Very configurable/powerful&lt;br /&gt;
|-&lt;br /&gt;
! Disadvantages&lt;br /&gt;
|&lt;br /&gt;
* Contains a number of bugs, particularly early version&lt;br /&gt;
* Can only reference a max of 100 rigs&lt;br /&gt;
* Numerous restrictions&lt;br /&gt;
* Missing features&lt;br /&gt;
|&lt;br /&gt;
* Still limited to max of 100 rigs to select from&lt;br /&gt;
* No 2-way communication to display correct LED states matching KPA effects&lt;br /&gt;
|&lt;br /&gt;
* Cannot be updated as KPA OS is updated, have to buy a new chip&lt;br /&gt;
* No advanced programming, such as firing multiple CC's from one button press&lt;br /&gt;
* Footswitch and expression pedal assignment is global, not per rig&lt;br /&gt;
* Expression pedals can only be assigned to CC1 and CC7&lt;br /&gt;
|&lt;br /&gt;
* Can be kind of confusing to program&lt;br /&gt;
* Have to switch scenes to be able to access all 625 performance rigs as well as toggle effects&lt;br /&gt;
* Cannot save configuration to PC and share&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== UnO4Kemper ====&lt;br /&gt;
[http://www.uno4kemper.com/ The UnO4Kemper firmware] is an unofficial firmware for the FCB1010 made by a 3rd party author.  It comes on an EPROM chip that can be switched out for the factory chip after opening the FCB1010 up.&lt;br /&gt;
&lt;br /&gt;
This firmware will instantly turn your FCB1010 into a dedicated Kemper controller.  The main advantage of this chip is it is as plug and play as you will find to get a working pedalboard for the Kemper, other than the official Kemper Remote.  The bad part is that it makes the FCB1010 only work with the Kemper and you cannot do advanced customization of how the controller operates (such as assigning multiple effects to toggle on a single button).  Also, if Kemper updates the KPA software to add new features, there is no method to update your current UnO4Kemper chip to support those features - you will have to purchase a new chip once the UnO4Kemper firmware is updated to support the feature.&lt;br /&gt;
&lt;br /&gt;
The full list of features is found in [http://www.uno4kemper.com/UnOforKemper_manual.pdf the manual].  &lt;br /&gt;
* Bank (Performance) Up/Down&lt;br /&gt;
* One row of buttons is used for rig selection and the other for toggling effects on/off&lt;br /&gt;
* The rows' functions can be swapped.&lt;br /&gt;
* Available effects/functions are A-D, X, Mod, Delay, Reverb, change rotary speaker effect speed, tap tempo, and display tuner&lt;br /&gt;
* Each effect toggle footswitch can be assigned to any 1 of those effects/functions.&lt;br /&gt;
* One expression pedal controls CC 1 (wah wah) and the other CC 7 (volume).  These can be swapped.&lt;br /&gt;
* Expression pedals can each be configured to use 1 out of 5 possible sweep curves.&lt;br /&gt;
* 2-way communication with KPA using 2nd MIDI cable.  Keeps footswitch LEDs in sync with KPA effects when switching rigs.&lt;br /&gt;
* Can display KPA tuner on FCB1010&lt;br /&gt;
* Can use KPA Beat Scanner function for tempo&lt;br /&gt;
* Force KPA to enter Browse Mode or Performance Mode&lt;br /&gt;
&lt;br /&gt;
=== Other MIDI Foot Controllers ===&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
{{Crumbs|orange|3&lt;br /&gt;
|Kemper KPA External Control#System Menu Settings|System Menu&lt;br /&gt;
|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010&lt;br /&gt;
|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers&lt;br /&gt;
|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference&lt;br /&gt;
}}&lt;br /&gt;
As you'll see below, the KPA provides extensive MIDI capabilities; basically any MIDI controller can get something out of it, while expensive, powerful controllers can do just about anything you can do by touching the KPA's buttons and knobs.  How far you want to take your amount of control depends on what you want to do.&lt;br /&gt;
&lt;br /&gt;
While I do not want to take up a lot of space discussing the capabilities and quirks of numerous footcontrollers, [http://www.wikpa.org/Using_Specific_MIDI_Controllers wikpa.org does a good job on this subject].&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== MIDI Programming Reference ===&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
{{Crumbs|orange|4&lt;br /&gt;
|Kemper KPA External Control#System Menu Settings|System Menu&lt;br /&gt;
|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010&lt;br /&gt;
|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers&lt;br /&gt;
|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference&lt;br /&gt;
}}&lt;br /&gt;
This section contains reference material for controlling the KPA by MIDI PC (Program Change), CC (Continuous Control), NRPN (Non-registered Parameter Numbers), or SysEx (System Exclusive) messages.  These go from least to most complicated, and similarly most to least supported.&lt;br /&gt;
&lt;br /&gt;
==== MIDI Program Change ====&lt;br /&gt;
Up to 128 rigs can be assigned PC numbers in Browse Mode from a page in the system menu - you can also see all the rigs assigned to PC's here.&lt;br /&gt;
&lt;br /&gt;
In Performance Mode, each performance/slot is automatically assigned a PC number based on the order of performances, and slots within each performance.  Even disabled slots are assigned a PC #.  Notice this only allows about 25 of the 125 performances (or 128 of the 625 slots) available.  If you need to access more, you can use a MIDI bank select command before the program change, which is implemented as MIDI CC #0 for the most significant byte (MSB) and #32 for the least significant byte (LSB).  While bank selects typically use 2 MIDI bytes, the KPA only requires a range of 0-4 to access all slots via PC.  It will ignore any CC #0 bank select MSB messages.  CC 32 can be used by itself to change which rigs the KPA accesses via PC.  Sending a value of 0 over CC 32 accesses the first 128 slots (performance 1 slot 1 - performance 26 slot 3), CC 32 value 1 accesses the next 128 (performance 26 slot 4 - performance 52 slot 1), etc. up to a max of CC 32 value 4, which will put PC access beyond the available 625 rigs.&lt;br /&gt;
&lt;br /&gt;
Note - it is recommended to use CC's 48-49 (or 47) for selecting performances, then using CC's 50-54 to select which slot to load.  This aligns both with the KPA's performance/slot organization and with footcontrollers that typically feature bank up/down switches as well as a row of switches to change patches/rigs.  There's no need to use complicated math to try to figure out which PC or bank select index is required to load a particular performance/slot.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== MIDI Continuous Control ====&lt;br /&gt;
The KPA responds to a number of MIDI CC messages.  These are enough for generic MIDI foot controllers to perform normal functionality.  You can change cycle through rigs in Browse mode, and bank up/down and select any of the 5 rigs assigned to the slots in Performance mode.  You can turn on/off any of the 8 effects, tap tempo, display the tuner, and switch the rotary speaker effect's speed.  In addition to the expression pedal functions above of controlling wah wah, pitch, volume, and monitor volume, one could be used to control delay/reverb mix and feedback/time, as well as amplifier gain.&lt;br /&gt;
&lt;br /&gt;
{| class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
! CC # !! Valid Values !! What it controls&lt;br /&gt;
|-&lt;br /&gt;
| 0 || N/A || Bank Select MSB - ignored&lt;br /&gt;
|-&lt;br /&gt;
| 1 || x || Wah Wah position on any enabled wah wah effect. Volume if &amp;quot;wah to volume&amp;quot; linking is checked and all wah wah effects are disabled or not present on current rig.  Pitch if &amp;quot;wah to pitch&amp;quot; linking is checked and all wah wah effects are disabled or not present on current rig.&lt;br /&gt;
|-&lt;br /&gt;
| 4 || x || Pitch position for Pedal Pitch or Pedal Vinyl Stop effects&lt;br /&gt;
|-&lt;br /&gt;
| 6 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|-&lt;br /&gt;
| 7 || x || Volume - controls the volume of the rig as specified per rig in the Rig Menu page 5.&lt;br /&gt;
|-&lt;br /&gt;
| 11 || x || Morph - controls any parameters set to be controlled by morphing.&lt;br /&gt;
|-&lt;br /&gt;
| 16 || Any || Toggles all stomps on/off&lt;br /&gt;
|-&lt;br /&gt;
| 17 || 0/1 || 0: Stomp A Off; 1: Stomp A On &lt;br /&gt;
|-&lt;br /&gt;
| 18 || 0/1 || 0: Stomp B Off; 1: Stomp B On &lt;br /&gt;
|-&lt;br /&gt;
| 19 || 0/1 || 0: Stomp C Off; 1: Stomp C On &lt;br /&gt;
|-&lt;br /&gt;
| 20 || 0/1 || 0: Stomp D Off; 1: Stomp D On &lt;br /&gt;
|-&lt;br /&gt;
| 22 || 0/1 || 0: Effect X Off; 1: Effect X On &lt;br /&gt;
|-&lt;br /&gt;
| 24 || 0/1 || 0: Effect Mod Off; 1: Effect Mod On &lt;br /&gt;
|-&lt;br /&gt;
| 26 || 0/1 || 0: Delay Off; 1: Delay On &lt;br /&gt;
|-&lt;br /&gt;
| 27 || 0/1 || 0: Delay Off (with tail); 1: Delay On &lt;br /&gt;
|-&lt;br /&gt;
| 28 || 0/1 || 0: Reverb Off; 1: Reverb On &lt;br /&gt;
|-&lt;br /&gt;
| 29 || 0/1 || 0: Reverb Off (with tail); 1: Reverb On &lt;br /&gt;
|-&lt;br /&gt;
| 30 || 1/0 || Sets Tempo Tap If your floorboard supports separate events on “pressing” and “releasing” a button, send 1 when “pressed” and 0 when “released”. If the floorboard can only send one event, use value 0. When value 1 has been sent and no value 0 for 3 seconds, the Beat Scanner1 is being activated. &lt;br /&gt;
|-&lt;br /&gt;
| 31 || 1/0 || 1: Show Tuner; 0: Hide Tuner &lt;br /&gt;
|-&lt;br /&gt;
| 32 || [0,4] || Bank Select LSB - changes which set of 128 performance slots are available via PC messages in Performance Mode.  &lt;br /&gt;
* Bank 0 - performance 1 slot 1 - performance 26 slot 3&lt;br /&gt;
* Bank 1 - performance 26 slot 4 - performance 52 slot 1&lt;br /&gt;
* Bank 2 - performance 52 slot 2 - performance 77 slot 4&lt;br /&gt;
* Bank 3 - performance 77 slot 5 - performance 103 slot 2&lt;br /&gt;
* Bank 4 - performance 103 slot 3 - performance 125 slot 5&lt;br /&gt;
|-&lt;br /&gt;
| 33 || 0/1 || 0: Rotary Speaker slow; 1: Rotary Speaker fast &lt;br /&gt;
|-&lt;br /&gt;
| 34 || 0/1 || 0: Delay Feedback Infinity Off; 1: Delay Feedback Infinity On&lt;br /&gt;
|-&lt;br /&gt;
| 35 || 0/1 || 0: Delay Hold Off; 1: Delay Hold On&lt;br /&gt;
|-&lt;br /&gt;
| 38 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|-&lt;br /&gt;
| 47 || [0,124]  || (Performance Mode only) Directly select a performance index. The performance will be loaded when a slot selection is sent (CC50-54). If no slot is selected, the performance index selection is disabled after a few seconds.  When disabled, the KPA sends the current performance index and slot back to the device.  This can be used to keep the MIDI controller and KPA in sync.&lt;br /&gt;
|-&lt;br /&gt;
| 48 || 1/0 &lt;br /&gt;
| Performance Mode: Increases performance index. Value triggers two different modes:&lt;br /&gt;
* Value 0, increase performance n to n+1 (bank up)*&lt;br /&gt;
* Value 1 initially increases performance by 1, after a timeout the Kemper Profiler starts to scroll performances upwards. Value 0 stops scrolling. &lt;br /&gt;
Browse Mode only: Value 0 selects the next Rig (current filter/sort applies), similar to “Rig Right” &lt;br /&gt;
|-&lt;br /&gt;
| 49 || 1/0 &lt;br /&gt;
| Performance Mode: Decreases performance index. Value triggers two different modes: &lt;br /&gt;
* Value 0, increase performance n to n-1 (bank down)*&lt;br /&gt;
* Value 1 initially decreases performance index by 1, after a timeout the Kemper Profiler starts to scroll performances downwards. Value 0 stops scrolling.&lt;br /&gt;
Browse Mode only: Value 0 selects the previous Rig (current filter/sort applies), similar to “Rig Left” &lt;br /&gt;
|- &lt;br /&gt;
| 50 || 1 || (Performance Mode only) Select Slot 1 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 51 || 1 || (Performance Mode only) Select Slot 2 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 52 || 1 || (Performance Mode only) Select Slot 3 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 53 || 1 || (Performance Mode only) Select Slot 4 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 54 || 1 || (Performance Mode only) Select Slot 5 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 68 || x || Sets Delay Mix to x &lt;br /&gt;
|-&lt;br /&gt;
| 69 || x || Sets Delay Feedback to x &lt;br /&gt;
|-&lt;br /&gt;
| 70 || x || Sets Reverb Mix to x &lt;br /&gt;
|-&lt;br /&gt;
| 71 || x || Sets Reverb Time to x &lt;br /&gt;
|-&lt;br /&gt;
| 72 || x ||Sets Amplifier Gain to x &lt;br /&gt;
|-&lt;br /&gt;
| 73 || x ||Sets Monitor Volume to x &lt;br /&gt;
|-&lt;br /&gt;
| 98 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|-&lt;br /&gt;
| 99 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|-&lt;br /&gt;
| 119 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
''* Changing the Performance may or may not load a slot instantly depending on the [[Kemper KPA Performing Live#MIDI|Perf. Load System Menu setting]].''&lt;br /&gt;
&lt;br /&gt;
Most foot controllers support some form of programming what each footswitch will send, and if the footswitch should toggle its value.  For example, if you assign FS1 to turn Stomp A on/off, you should be able to set FS1 to light up after pressing it (and it sends a 1 (on) value, indicating you've turned it on.  Now if you press it again, the light turns off, and it sends a 0 (off) value.&lt;br /&gt;
&lt;br /&gt;
This brings up a curious issue.  If you change rigs where Stomp A is on when the rig is loaded, how does the MIDI footcontroller know what state to set FS1?  The footcontroller itself must store a set of rigs containing the default on/off state of each footswitch, matching the corresponding rigs in the KPA.&lt;br /&gt;
&lt;br /&gt;
MIDI CC is the most widely supported part of the MIDI protocol by various MIDI footcontrollers; however, you will notice that there are hundreds of parameters for dozens of effects, as well as the amp, cab, input, output, and tonestack blocks that are not able to be controlled via CC, given the list above.  MIDI CC supports 7-bits for the CC channel number and 7-bits for the value, meaning a maximum of 128 parameters can be controlled with only 0-127 distinct values to communicate.  The MIDI specification gives 2 ways to deal with this: NPRN and Sysex.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== MIDI NRPN ====&lt;br /&gt;
[https://en.wikipedia.org/wiki/NRPN NRPN (Non-registered Parameter Numbers)] uses a set of 4 different CC messages to exponentially increase both the size of possible addresses and values that a device can send/receive.  '''Since each CC message can carry a value from 0-128, NRPN addresses and values each have a range of 128 x 128, which is 16,384.'''  The exact specification is below:&lt;br /&gt;
# '''CC 99''': Value is the Most significant Byte (MSB) of the desired address&lt;br /&gt;
# '''CC 98''': Value is the Least Significant Byte (LSB) of the desired address&lt;br /&gt;
# '''CC 06''': Value is the Most Significant Byte (MSB) of the desired value&lt;br /&gt;
# '''CC 38''': Value is the Least Significant Byte (LSB) of the desired value&lt;br /&gt;
&lt;br /&gt;
While the NRPN spec allows CC 38 to be optional, the KPA ''requires'' it.  The 4 CC's named above must be received in order, and the NRPN message is processed as soon as CC 38 is received.  ''Once an address has been selected via CC's 99 and 98, multiple values can be sent without sending 99/98 each time to reselect the address - only 06/38 needs to be sent.''  That is useful to know if you want to program NRPN to &amp;quot;move&amp;quot; a single parameter over time.&lt;br /&gt;
&lt;br /&gt;
Some footcontrollers support NRPN 14-bit addressing but not 14-bit values via CC's 06 and 38.  The KPA allows CC 119 to send the value in this case.  So the footcontroller can be programmed to send an NRPN as follows:&lt;br /&gt;
# '''CC 99''': address MSB&lt;br /&gt;
# '''CC 98''': address LSB&lt;br /&gt;
# '''CC 119''': 7-bit value&lt;br /&gt;
The 7-bit value is mapped to the appropriate 14-bit value - 128 becomes 16,384, 64 becomes 8,192, while 0 remains 0.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
|-style=&amp;quot;vertical-align:top;&amp;quot;&lt;br /&gt;
|&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
|+ NRPN Address - Parameter Mapping&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| Address&lt;br /&gt;
!rowspan=&amp;quot;2&amp;quot;| Type&lt;br /&gt;
!rowspan=&amp;quot;2&amp;quot;| Parameter&lt;br /&gt;
|-&lt;br /&gt;
! MSB !! LSB&lt;br /&gt;
|-&lt;br /&gt;
| 4 || 0 || Rig || Tempo&lt;br /&gt;
|-&lt;br /&gt;
| 4 || 1 || Rig || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 4 || 2 || Rig || Tempo Enable&lt;br /&gt;
|-&lt;br /&gt;
| 9 || 3 || Input || Noise Gate Intensity&lt;br /&gt;
|-&lt;br /&gt;
| 9 || 4 || Input || Clean Sense&lt;br /&gt;
|-&lt;br /&gt;
| 9 || 5 || Input || Distortion Sense&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 2 || Amplifier || On/Off&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 4 || Amplifier || Gain&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 6 || Amplifier || Definition&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 7 || Amplifier || Clarity&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 8 || Amplifier || Power Sagging&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 9 || Amplifier || Pick&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 10 || Amplifier || Compressor&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 11 || Amplifier || Tube Shape&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 12 || Amplifier || Tube Bias&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 15 || Amplifier || Direct Mix&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 2 || EQ || On/Off&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 4 || EQ || Bass&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 5 || EQ || Mids&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 6 || EQ || Treble&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 7 || EQ || Presence&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 2 || Cabinet || On/Off&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 3 || Cabinet || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 4 || Cabinet || High Shift&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 5 || Cabinet || Low Shift&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 6 || Cabinet || Character&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 0 || Stomp A || Type (see other table)&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 3 || Stomp A || On/Off&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 4 || Stomp A || Mix&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 6 || Stomp A || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 7 || Stomp A || Stereo&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 8 || Stomp A (Wah) || Wah Manual&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 9 || Stomp A (Wah) || Wah Peak&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 10 || Stomp A (Wah) || Wah Range&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 12 || Stomp A (Wah) || Wah Pedal Mode&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 13 || Stomp A (Wah) || Wah Touch Attack&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 14 || Stomp A (Wah) || Wah Touch Release&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 15 || Stomp A (Wah) || Wah Touch Boost&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 16 || Stomp A (Dist/Shaper) || Distortion/Shaper Drive&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 17 || Stomp A (Dist/Shaper) || Distortion/Booster Tone&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 18 || Stomp A (Comp) || Compressor/Gate Intensity&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 19 || Stomp A (Comp) || Compressor Attack&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 20 || Stomp A (Mod) || Modulation Rate&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 21 || Stomp A (Mod) || Modulation Depth&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 22 || Stomp A (Mod) || Modulation Feedback&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 23 || Stomp A (Mod) || Modulation Crossover&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 24 || Stomp A (Mod) || Modulation HyperChorus Amount&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 25 || Stomp A (Mod) || Modulation Manual&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 26 || Stomp A (Mod) || Modulation Phase Peak Spread&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 27 || Stomp A (Mod) || Modulation Stages&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 30 || Stomp A (Rot) || Rotary Speed (slow/fast)&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 31 || Stomp A (Rot) || Rotary Distance&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 32 || Stomp A (Rot) || Rotary Balance&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 33 || Stomp A (Comp) || Compressor Squash&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 34 || Stomp A (EQ) || Graphic EQ Band 1&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 35 || Stomp A (EQ) || Graphic EQ Band 2&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 36 || Stomp A (EQ) || Graphic EQ Band 3&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 37 || Stomp A (EQ) || Graphic EQ Band 4&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 38 || Stomp A (EQ) || Graphic EQ Band 5&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 39 || Stomp A (EQ) || Graphic EQ Band 6&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 40 || Stomp A (EQ) || Graphic EQ Band 7&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 41 || Stomp A (EQ) || Graphic EQ Band 8&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 42 || Stomp A (EQ) || Parametric EQ Low Gain&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 43 || Stomp A (EQ) || Parametric EQ Low Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 44 || Stomp A (EQ) || Parametric EQ High Gain&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 45 || Stomp A (EQ) || Parametric EQ High Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 46 || Stomp A (EQ) || Parametric EQ Peak Gain&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 47 || Stomp A (EQ) || Parametric EQ Peak Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 48 || Stomp A (EQ) || Parametric EQ Peak Q&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 49 || Stomp A (EQ) || Parametric EQ Peak 2 Gain&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 50 || Stomp A (EQ) || Parametric EQ Peak 2 Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 51 || Stomp A (EQ) || Parametric EQ Peak 2 Q&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 52 || Stomp A (Wah) || Wah Peak Range&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 53 || Stomp A || Ducking&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 55 || Stomp A (Pitch) || Voice Mix&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 56 || Stomp A (Pitch) || Voice 1 Pitch&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 57 || Stomp A (Pitch) || Voice 2 Pitch&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 58 || Stomp A (Pitch) || Detune&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 60 || Stomp A (Pitch) || Smooth Chords&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 61 || Stomp A (Pitch) || Pure Tuning&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 64 || Stomp A (Pitch) || Key&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 65 || Stomp A (Pitch) || Freeze Formants &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 66 || Stomp A (Pitch) || Formant Offset &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 67 || Stomp A (Delay) || Low Cut &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 68 || Stomp A (Delay) || High Cut &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 69 || Stomp A (Delay) || Delay Mix &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 70 || Stomp A (Delay) || Delay Mix Pre/Post &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 71 || Stomp A (Delay) || Delay Time 1 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 72 || Stomp A (Delay) || Delay Time 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 73 || Stomp A (Delay) || Delay Ratio 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 74 || Stomp A (Delay) || Delay Ratio 3 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 75 || Stomp A (Delay) || Delay Ratio 4 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 76 || Stomp A (Delay) || Delay Note Value 1 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 77 || Stomp A (Delay) || Delay Note Value 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 78 || Stomp A (Delay) || Delay Note Value 3 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 79 || Stomp A (Delay) || Delay Note Value 4 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 80 || Stomp A (Delay) || To Tempo &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 81 || Stomp A (Delay) || Delay Volume 1 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 82 || Stomp A (Delay) || Delay Volume 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 83 || Stomp A (Delay) || Delay Volume 3 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 84 || Stomp A (Delay) || Delay Volume 4 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 85 || Stomp A (Delay) || Delay Panorama 1 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 86 || Stomp A (Delay) || Delay Panorama 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 87 || Stomp A (Delay) || Delay Panorama 3 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 88 || Stomp A (Delay) || Delay Panorama 4 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 89 || Stomp A (Delay) || Voice3 Pitch &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 90 || Stomp A (Delay) || Voice4 Pitch &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 91 || Stomp A (Delay) || Voice3 Interval &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 92 || Stomp A (Delay) || Voice4 Interval &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 93 || Stomp A (Delay) || Feedback &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 94 || Stomp A (Delay) || Infinity Feedback &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 95 || Stomp A (Delay) || Infinity &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 96 || Stomp A (Delay) || Feedback2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 97 || Stomp A (Delay) || Feedback Sync Switch &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 98 || Stomp A (Delay) || Delay Low Cut &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 99 || Stomp A (Delay) || Delay High Cut &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 100 || Stomp A (Delay) || Delay Filter Intensity &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 101 || Stomp A (Delay) || Delay Modulation &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 102 || Stomp A (Delay) || Delay Chorus &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 103 || Stomp A (Delay) || Flutter Intensity &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 104 || Stomp A (Delay) || Flutter Shape &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 105 || Stomp A (Delay) || Grit &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 106 || Stomp A (Delay) || Reverse Mix &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 107 || Stomp A (Delay) || Swell &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 108 || Stomp A (Delay) || Smear &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 109 || Stomp A (Delay) || Ducking Pre/Post &lt;br /&gt;
|-&lt;br /&gt;
| 51 || * || Stomp B || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 52 || * || Stomp C || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 53 || * || Stomp D || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 56 || * || Effect X || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 58 || * || Effect Mod || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 74 || * || Delay (4.0+) || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 0 || Delay (Deprecated in 4.0) || Type (see below)&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 2 || Delay (Deprecated in 4.0) || On/Off (cuts tails)&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 3 || Delay (Deprecated in 4.0) || Mix&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 4 || Delay (Deprecated in 4.0) || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 5 || Delay (Deprecated in 4.0) || Time&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 6 || Delay (Deprecated in 4.0) || Ratio&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 7 || Delay (Deprecated in 4.0) || Clock Left&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 8 || Delay (Deprecated in 4.0) || Clock Right&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 9 || Delay (Deprecated in 4.0) || Feedback&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 10 || Delay (Deprecated in 4.0) || Bandwidth&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 11 || Delay (Deprecated in 4.0) || Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 12 || Delay (Deprecated in 4.0) || Modulation&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 13 || Delay (Deprecated in 4.0) || On/Off (keeps tails)&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 14 || Delay (Deprecated in 4.0) || Ducking&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 0 || Reverb || Type (see below)&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 2 || Reverb || On/Off (cuts tails)&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 3 || Reverb || Mix&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 4 || Reverb || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 5 || Reverb || Del/Rev Balance&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 6 || Reverb || Time&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 7 || Reverb || Damping&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 8 || Reverb || Bandwidth&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 9 || Reverb || Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 10 || Reverb || Pre-Delay&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 11 || Reverb || On/Off (keeps tails)&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 12 || Reverb || Ducking&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 0 || System/Global || Main Output Volume&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 1 || System/Global || Headphone Output Volume&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 2 || System/Global || Monitor Output Volume&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 3 || System/Global || Direct Output Volume&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 11 || System/Global || SPDIF Input Enable&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 12 || System/Global || Main Output EQ Bass&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 13 || System/Global || Main Output EQ Mids&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 14 || System/Global || Main Output EQ Treble&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 15 || System/Global || Main Output EQ Presence&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 17 || System/Global || Monitor Output EQ Bass&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 18 || System/Global || Monitor Output EQ Mids&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 19 || System/Global || Monitor Output EQ Treble&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 20 || System/Global || Monitor Output EQ Presence&lt;br /&gt;
|}&lt;br /&gt;
|&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
|+ Value to Effect Type Mapping&lt;br /&gt;
|-&lt;br /&gt;
! Value !! Effect Type&lt;br /&gt;
|-&lt;br /&gt;
| 0 || Null/Empty&lt;br /&gt;
|-&lt;br /&gt;
|+ Wah Wah&lt;br /&gt;
|-&lt;br /&gt;
| 1 || Wah Wah&lt;br /&gt;
|-&lt;br /&gt;
| 2 || Wah Low Pass&lt;br /&gt;
|-&lt;br /&gt;
| 3 || Wah High Pass&lt;br /&gt;
|-&lt;br /&gt;
| 4 || Wah Vowel Filter&lt;br /&gt;
|-&lt;br /&gt;
|    6 || Wah Phaser&lt;br /&gt;
|-&lt;br /&gt;
|    7 || Wah Flanger&lt;br /&gt;
|-&lt;br /&gt;
|    8 || Wah Rate Reducer&lt;br /&gt;
|-&lt;br /&gt;
|    9 || Wah Ring Modulator&lt;br /&gt;
|-&lt;br /&gt;
|    10 || Wah Freq Shifter&lt;br /&gt;
|-&lt;br /&gt;
|    12 || Wah Formant Shift&lt;br /&gt;
|-&lt;br /&gt;
|+ Shapers&lt;br /&gt;
|-&lt;br /&gt;
|    17 || Bit Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    18 || Recti Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    19 || Soft Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    20 || Hard Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    21 || Wave Shaper&lt;br /&gt;
|-&lt;br /&gt;
|+ Distortion&lt;br /&gt;
|-&lt;br /&gt;
|    33 || Green Scream&lt;br /&gt;
|-&lt;br /&gt;
|    34 || Plus DS&lt;br /&gt;
|-&lt;br /&gt;
|    35 || One DS&lt;br /&gt;
|-&lt;br /&gt;
|    36 || Muffin&lt;br /&gt;
|-&lt;br /&gt;
|    37 || Mouse&lt;br /&gt;
|-&lt;br /&gt;
|    38 || Fuzz DS&lt;br /&gt;
|-&lt;br /&gt;
|    39 || Metal DS&lt;br /&gt;
|-&lt;br /&gt;
|+ Boosters&lt;br /&gt;
|-&lt;br /&gt;
|    113 || Treble Booster&lt;br /&gt;
|-&lt;br /&gt;
|    114 || Lead Booster&lt;br /&gt;
|-&lt;br /&gt;
|    115 || Pure Booster&lt;br /&gt;
|-&lt;br /&gt;
|    116 || Wah Pedal Booster&lt;br /&gt;
|-&lt;br /&gt;
|+ EQs&lt;br /&gt;
|-&lt;br /&gt;
|    97 || Graphic Equalizer&lt;br /&gt;
|-&lt;br /&gt;
|    98 || Studio Equalizer&lt;br /&gt;
|-&lt;br /&gt;
|    99 || Metal Equalizer&lt;br /&gt;
|-&lt;br /&gt;
|    101 || Stereo Widener&lt;br /&gt;
|-&lt;br /&gt;
|+ Dynamics&lt;br /&gt;
|-&lt;br /&gt;
|    49 || Compressor&lt;br /&gt;
|-&lt;br /&gt;
|    57 || Gate 2:1&lt;br /&gt;
|-&lt;br /&gt;
|    58 || Gate 4:1&lt;br /&gt;
|-&lt;br /&gt;
|+ Modulation&lt;br /&gt;
|-&lt;br /&gt;
|    65 || Vintage Chorus&lt;br /&gt;
|-&lt;br /&gt;
|    66 || Hyper Chorus&lt;br /&gt;
|-&lt;br /&gt;
|    67 || Air Chorus&lt;br /&gt;
|-&lt;br /&gt;
|    71 || Micro Pitch|-&lt;br /&gt;
|-&lt;br /&gt;
|    68 || Vibrato&lt;br /&gt;
|-&lt;br /&gt;
|    69 || Rotary Speaker&lt;br /&gt;
|-&lt;br /&gt;
|    70 || Tremolo&lt;br /&gt;
|-&lt;br /&gt;
|    81 || Phaser&lt;br /&gt;
|-&lt;br /&gt;
|    82 || Phaser Vibe&lt;br /&gt;
|-&lt;br /&gt;
|    83 || Phaser Oneway&lt;br /&gt;
|-&lt;br /&gt;
|    89 || Flanger&lt;br /&gt;
|-&lt;br /&gt;
|    91 || Flanger Oneway&lt;br /&gt;
|-&lt;br /&gt;
|+ Loops&lt;br /&gt;
|-&lt;br /&gt;
|    121 || Loop Mono&lt;br /&gt;
|-&lt;br /&gt;
|    122 || Loop Stereo&lt;br /&gt;
|-&lt;br /&gt;
|    123 || Loop Distortion&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| Pitch&lt;br /&gt;
|-&lt;br /&gt;
|    129 || Transpose&lt;br /&gt;
|-&lt;br /&gt;
|    11 || Pedal Pitch&lt;br /&gt;
|-&lt;br /&gt;
| 130 || Chromatic Pitch&lt;br /&gt;
|-&lt;br /&gt;
| 131 || Harmonic Pitch&lt;br /&gt;
|}&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== MIDI SysEx ====&lt;br /&gt;
MIDI also has the ability to send [https://en.wikipedia.org/wiki/MIDI#System_Exclusive_messages SysEx (System Exclusive)] messages.  SysEx messages are proprietary protocols that each manufacturer can create for each of their devices.  They use a common beginning and ending indicators, as well as manufacturer and device identifiers, so that devices that cannot interpret them know to ignore the message; and they can be incorporated into streams of MIDI messages between lots of devices in a MIDI ring without causing chaos.&lt;br /&gt;
&lt;br /&gt;
The SysEx common format is:&lt;br /&gt;
# 1 byte for SysEx Start (&amp;lt;code&amp;gt;0xF0&amp;lt;/code&amp;gt;)&lt;br /&gt;
# 3 bytes for Manufacturer ID (&amp;lt;code&amp;gt;0x002033&amp;lt;/code&amp;gt; for Kemper)&lt;br /&gt;
# 1 byte for product type (&amp;lt;code&amp;gt;0x02&amp;lt;/code&amp;gt; for Kemper Profiling Amp)&lt;br /&gt;
# 1 byte for device ID (&amp;lt;code&amp;gt;0x7F&amp;lt;/code&amp;gt; for Omni)&lt;br /&gt;
# x bytes for the message (this is the device-specific part)&lt;br /&gt;
# 1 byte for SysEx End (&amp;lt;code&amp;gt;0xF7&amp;lt;/code&amp;gt;)&lt;br /&gt;
&lt;br /&gt;
Example: &amp;lt;code&amp;gt;F0-00-20-33-02-7F-...-F7&amp;lt;/code&amp;gt;, where ... is variable.&lt;br /&gt;
&lt;br /&gt;
The Kemper MIDI SysEx protocol gets pretty intense, and I'll leave it to those interested to refer to the [http://www.kemper-amps.com/page/render/lang/en/p/170/id/27/cat/30/do/Kemper_Profiling_Amplifier___Downloads.html Kemper MIDI documentation].  For most users, SysEx will never be necessary.  Where this really comes in handy is for software programs that want to communicate with KPA via MIDI.  The big items that SysEx offer beyond NRPN above are string manipulation and requesting parameter values from the KPA.  These would allow a program to act as an editor, or an advanced floorboard to maintain two-way communication with the KPA, displaying the KPA's current values and keeping on/off states in sync.&lt;br /&gt;
&lt;br /&gt;
The x bytes above have a common scheme for Kemper SysEx messages, where the first byte is the function code.  This is followed by an instance code, which is always &amp;lt;code&amp;gt;0x00&amp;lt;/code&amp;gt;.  This is followed by the address, then the data.&lt;br /&gt;
&lt;br /&gt;
Depending on the function code, the address may be 2 bytes or 4 bytes, and the data can be variable length.  '''The 2 byte addresses use the NRPN addresses above.'''  I am not sure what the extended addresses referenced below are - the MIDI documentation does not list any.  Similarly, '''all 2 byte values use integer values of 0 - 16,384 for min to max''', although this may correspond to different display values on the KPA (for instance, a value of 0 might be &amp;quot;-5.0&amp;quot;, 8,192 might be &amp;quot;&amp;lt;0.0&amp;gt;&amp;quot;, and  16,384 would be &amp;quot;+5.0&amp;quot; - this depends on what the parameter actually is).  '''Strings use single byte characters encoded using [http://www.asciitable.com/ ASCII].'''&lt;br /&gt;
&lt;br /&gt;
I am not sure what the addresses for the string values are, but the documentation does say that the numeric settings' addresses overlap with the strings.  So, to get all the tags for an Amplifier profile, I would imagine you'd use the first address for Amplifier parameters listed in the NRPN reference above, and iterate +1 for all available tags.  ''However, from my research, this does not match how the tags are structured in the .kipr files when they are saved.''&lt;br /&gt;
&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
! Function Code !! Function !! Address Size !! Data Size !! Notes !! Example&lt;br /&gt;
|-&lt;br /&gt;
| 0x01 || Single Parameter Change || 2 bytes || 2 bytes || Same as doing an NRPN change || &lt;br /&gt;
&amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
01-00-4A-04-40-00-&lt;br /&gt;
F7    Addr  Data&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x02 || Multi Parameter Change || 2 bytes || 2n bytes || Address is the starting address; you can send as many pairs of data bytes as you want to change - each pair will write to the next address in sequence || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
02-00-4A-00-00-03-00-01-..-..-&lt;br /&gt;
F7    Addr  Data1 Data2 ...&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x03 || String Parameter Change || 2 bytes || n bytes + final 0x00 byte || Strings must have a final null (0x00) byte to terminate the string.  String data is 1 byte per character, encoded as ASCII.  String addresses overlap with parameter addresses. || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
03-00-00-01-48-65-6C-6C-6F-00-&lt;br /&gt;
F7          H  e  l  l  o&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x04 || BLOB Change || 2 bytes || 2 byte offset + 2 byte size + n byte data || Only a null (0x00) offset is currently supported.  Not sure what this would be used for except overwriting amp/cab profile data?&lt;br /&gt;
|-  &lt;br /&gt;
| 0x06 || Extended Parameter Change || 5 bytes || 2n bytes || Same as 0x02 but uses 5 bytes for address&lt;br /&gt;
|-&lt;br /&gt;
| 0x07 || Extended String Change || 5 bytes || n bytes + 0x00 End Byte || Same as 0x03 but uses 5 bytes for address&lt;br /&gt;
|-&lt;br /&gt;
| 0x41 || Single Parameter Request || 2 bytes || 0 bytes || returns the corresponding 0x01 SysEx message || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
41-00-4A-04-&lt;br /&gt;
F7    Addr&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x42 || Multiple Parameter Request || 2 bytes || 0 bytes || returns the corresponding 0x02 SysEx message.  May contain up to 128 values as byte pairs. || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
42-00-4A-00-&lt;br /&gt;
F7    Addr&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x43 || String Request || 2 bytes || 0 bytes || returns the corresponding 0x03 SysEx message || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
43-00-00-01-&lt;br /&gt;
F7    Addr&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x47 || Extended String Request || 5 bytes || 0 bytes || returns the corresponding 0x07 SysEx message, but may return the corresponding 0x03 message if the address is &amp;lt; 16,384 &lt;br /&gt;
|-&lt;br /&gt;
| 0x7C || Request Parameter as String || 2 bytes || 2 bytes || this returns an 0x3C response that otherwise matches the request, plus the string response after the 2 byte data portion.  The string response is the KPA's string representation of that parameter value.  For instance, Delay Volume value 8,192 is the midpoint value, which displays in the KPA as &amp;quot;&amp;lt;0.0&amp;gt;&amp;quot;. || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
7C-00-4A-04-40-00-&lt;br /&gt;
F7    Addr  Data&lt;br /&gt;
returns &lt;br /&gt;
F0-00-20-33-02-7F-&lt;br /&gt;
3C-00-4A-04-40-00-3C-30-2E-30-3E-00-&lt;br /&gt;
F7                &amp;lt;  0  .  0  &amp;gt;&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Kemper Remote ==&lt;br /&gt;
{{Crumbs|blue|4&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
The '''Kemper Remote''' is the official foot controller for the KPA.  It connects via the '''LAN port''' on the back of the KPA, supporting '''2-way communication''' as well as '''power over a single cable'''.  It features 14 footswitches (2 for bank/performance up/down, 5 for performance slots, 4 for toggling effects on/off, a tap tempo, a tuner, and a looper).  Up to 4 expression pedals can be connected directly to the Remote.&lt;br /&gt;
&lt;br /&gt;
Each effect footswitch can be assigned to toggle on/off up to 4 effects, and what each footswitch controls is saved per rig.&lt;br /&gt;
&lt;br /&gt;
Currently, the Remote is the only foot controller capable of accessing the KPA's looper although there are plans to incorporate access into general MIDI access.&lt;br /&gt;
&lt;br /&gt;
I don't actually have a Kemper Remote, so if I'm missing functionality that creates an advantage over other foot controllers, add it here please.&lt;br /&gt;
&lt;br /&gt;
== DAW ==&lt;br /&gt;
{{Crumbs|blue|5&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
DAWs can either directly or through plug-ins send the MIDI messages needed to have near full control of the Kemper.  They will not be limited strictly to CC's or NRPN - using SysEx, the full parameter list to the KPA is open.  Alternatively, you could simply send the CC values you want to control.  Volume is actually the least necessary parameter - you can more easily control the volume of tracks inside your DAW.  EQ perhaps as well.  Compression may also have better options in the DAW.  Delay, Reverb, and Mod effects is up to you.  Things like Gain or rig changes would be things you'd need to access this way.  With automated rig changing, you could set up all the changes necessary for a whole song, or even an entire setlist.&lt;br /&gt;
&lt;br /&gt;
== Morphing ==&lt;br /&gt;
OS 4.0 introduces '''Morphing''', a feature where any continuous parameter can be defined the following:&lt;br /&gt;
* a '''base value'''&lt;br /&gt;
* a '''morphed value'''&lt;br /&gt;
* a '''rise time*'''&lt;br /&gt;
* a '''descend time*'''&lt;br /&gt;
''* these affect triggering morphing from a footswitch''&lt;br /&gt;
&lt;br /&gt;
On pages 5-10 of the System Menu, expression pedals and footswitches can be assigned the morphing feature.  It can also be easily assigned to any effect button for the Kemper Remote.&lt;br /&gt;
&lt;br /&gt;
Multiple (any or all) continuous parameters, including those in the Amp and Cab blocks can be assigned a morph value.  While some view this feature as a multiple-parameter gimmick, if nothing else it allows continuous control over ''any'' continuous parameter, greatly expanding the out the box functionality of any expression pedal.  Morph values can be set higher or lower than the base value.  The expression pedal heel position corresponds to the base value, and the toe position the morphed value.&lt;br /&gt;
&lt;br /&gt;
The morphing procedure is to tap the Rig button.  It has a bottom LED and top LED - the LEDs switch when Rig is tapped.  The bottom is the base value, and the top is the morphed.  So press Rig until the bottom LED is on; set your base parameters; then press Rig so the top LED is on and set your morph parameters.  That's all there is to it.  The assigned morph pedals or switches will now control those parameters.&lt;br /&gt;
&lt;br /&gt;
Morph settings are saved per rig.  To erase a morph for a given parameter, either reset the morph value to match the base value, or sweep the base value through the range of the morph value (if base is 1.0 and morph is 4.0, sweeping the base value from &amp;lt; 1.0 to &amp;gt; 4.0 will clear the morph entirely).&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
{{Kemper Guide Crumbs|6}}&lt;br /&gt;
&lt;br /&gt;
[[Category:Guitar]]&lt;br /&gt;
[[Category:Gear]]&lt;br /&gt;
[[Category:Modelers]]&lt;br /&gt;
[[Category:Guides]]&lt;br /&gt;
[[Category:Kemper]]&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=Kemper_KPA_External_Control&amp;diff=8739</id>
		<title>Kemper KPA External Control</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=Kemper_KPA_External_Control&amp;diff=8739"/>
				<updated>2017-03-12T00:32:12Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: /* MIDI NRPN */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{Top-Level Crumbs|4}}&lt;br /&gt;
{{User Guide Crumbs|2}}&lt;br /&gt;
{{Kemper Guide Crumbs|6}}&lt;br /&gt;
The KPA has extensive, intuitive support for external controllers, and some products are made specifically for control of the KPA.  The three main types of control are analog expression pedals/footswitches, MIDI, and the Kemper Remote.&lt;br /&gt;
&lt;br /&gt;
== Expression Pedals ==&lt;br /&gt;
{{Crumbs|blue|1&lt;br /&gt;
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|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
&lt;br /&gt;
The KPA has 2 stereo jacks on the back of the unit that can be connected to expression pedals or footswitches.  ''Expression pedals should be stereo and connected with a stereo cable.''  Footswitches can be mono or stereo.  Additionally, up to 4 expression pedals can be connected to the Kemper Remote.&lt;br /&gt;
&lt;br /&gt;
=== System Menu Settings ===&lt;br /&gt;
Pages 5-10 cover how expression pedals behave.  Pedals 1 and 2 cover the two inputs on the back of the KPA, while Pedals 3-6 refer to inputs on the official Kemper remote.  The setup done here is simply mapping the pedal's anolog input to that appropriate MIDI CC # (1 for wah wah, 7 for volume, 4 for pitch, and 73 for monitor volume).&lt;br /&gt;
&lt;br /&gt;
Note: if you only have one expression pedal, you can still use it to control wah, volume, and pitch with some additional [[#MIDI Assignments and Settings|MIDI setup below]].  You should set it to CC# 1 (Wah Wah).  The KPA is actually very smart about this, and you don't really ever need more than one expression pedal, unless you like to have dedicated pedals, or have your wah/pitch with a spring in it to push it back to heel position, or do some crazy stuff where you jump between pedals.&lt;br /&gt;
&lt;br /&gt;
'''Pedal Type''' refers to the '''polarity''' of the expression pedal - type 1 is the normal type (Roland), while type 2 is reversed (Yamaha).&lt;br /&gt;
&lt;br /&gt;
This is also where you would come to '''calibrate''' a new pedal, or after updating your KPA's firmware/OS.  You simply press the button then do a full sweep.  ''Be sure to calibrate any pedal that you add to the KPA or after you update the KPA's firmware/OS.''&lt;br /&gt;
&lt;br /&gt;
==== MIDI Assignments and Settings ====&lt;br /&gt;
Page 14 has some checkbox settings for allowing an expression pedal that was set to Wah Wah on pages 5-10 or MIDI CC 1 to also control volume or pitch-shifting, when not being used for a wah wah effect.  It also has settings for sending the KPA's MIDI clock to external devices and setting the MIDI global channel (omni by default).  And you can also see the current MIDI CC values for 4 of the most likely used CC's, controlling modulation, pitch, volume, and monitor volume.&lt;br /&gt;
&lt;br /&gt;
'''Note, if you link a wah pedal to volume, when you disable a wah effect on a rig, the pedal will ''not'' begin to control volume until you put it fully in the toe position''' - ''this prevents a jump in volume if your wah pedal is not in toe position when you turn it off''.  Similarly, if wah is linked to pitch, when you disable wah/enable pitch, the pedal will ''not'' begin to affect the pitch until it is brought fully to the ''heel'' position, again to prevent the pitch jumping on the transition.&lt;br /&gt;
&lt;br /&gt;
=== Rig Menu Volume Pedal Settings ===&lt;br /&gt;
Page 5 of the Rig menu has some settings specific to using an expression pedal for volume control.&lt;br /&gt;
&lt;br /&gt;
* '''Lock Vol. Pedal''' - this setting will lock the current volume pedal settings below to apply to all rigs&lt;br /&gt;
* '''Wah Pedal to Vol.''' - this is a rig-level override of the System Menu page 14 pedal linking option above&lt;br /&gt;
* '''Location''' - this refers to a volume pedal's placement in the signal chain.  Since a dedicated volume pedal doesn't require an effect slot like wah wah or pitch (whammy), you use this parameter to set where it should affect the signal.&lt;br /&gt;
* '''Range''' - this refers to whether the volume pedal should boost when moving from heel position to toe position (when set to right of center) or cut when moving from toe to heel position (when set left of center)&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Analog Footswitches ==&lt;br /&gt;
{{Crumbs|blue|2&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
The Kemper also supports analog mono and stereo momentary footswitches.  They are set up the similarly to expression pedals on pages 5-6 of the System menu.  The difference is instead of being mapped to wah wah, volume, pitch, and monitor volume, it can be assigned to enable/disable any of the sections or blocks in the signal chain, as well switch to tuner, tap in the tap tempo, and switch to the previous or next rig.  In the case of a stereo/dual footswitch, each one can be independently assigned to different parameters.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Using a MIDI Footcontroller ==&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
For more on MIDI foot controllers in general, see [[Foot Controllers]].  MIDI foot controllers typically feature a number of footswitches and often have multiple expression pedals.  Depending on their nature, they may support some features in the MIDI spec or not.  They are typically programmable to some nature, but often within predefined boundaries.  Some can be programmed directly from the footswitches, while others require being connected to a PC editor.  Below are the settings on the Kemper as well as the ways you'll have to program your controller to work with the Kemper.&lt;br /&gt;
&lt;br /&gt;
=== System Menu Settings ===&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
{{Crumbs|orange|1&lt;br /&gt;
|Kemper KPA External Control#System Menu Settings|System Menu&lt;br /&gt;
|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010&lt;br /&gt;
|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers&lt;br /&gt;
|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference&lt;br /&gt;
}}&lt;br /&gt;
&lt;br /&gt;
While in Browser mode, page 12 allows you to assign the current rig to a MIDI Program Change number, as well as view all the MIDI assignments.  Note, these are only for Browser mode, not performance mode, where more than MIDI bank of 128 rigs each can be assigned.&lt;br /&gt;
&lt;br /&gt;
While in Performance mode, page 13 allows assigning external devices to the MIDI Out and Thru ports, as well as giving them device names, and specifying which channels the Kemper should use to communicate with them.&lt;br /&gt;
&lt;br /&gt;
=== Behringer FCB1010 ===&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
{{Crumbs|orange|2&lt;br /&gt;
|Kemper KPA External Control#System Menu Settings|System Menu&lt;br /&gt;
|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010&lt;br /&gt;
|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers&lt;br /&gt;
|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference&lt;br /&gt;
}}&lt;br /&gt;
A popular foot controller for the Kemper is the [http://www.music-group.com/Categories/Behringer/Accessories/Footswitches-and-Remote-Controls/FCB1010/p/P0089 Behringer FCB1010].  Its layout lines up fairly closely with the KPA's performance slots, has two expression pedals, and can be found for a relatively cheap price.&lt;br /&gt;
&lt;br /&gt;
The FCB1010 can also easily be modified to use alternative firmware.  There are 4 possible firmwares you can use:&lt;br /&gt;
&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
! !! Factory !! [http://www.ossandust.be/ UnO] !! [http://www.uno4kemper.com/ UnO4Kemper] !! [http://www.eurekasound.com/eurekaprom Eureka]&lt;br /&gt;
|-&lt;br /&gt;
! Advantages&lt;br /&gt;
|&lt;br /&gt;
* Can be programmed from PC&lt;br /&gt;
* No additional cost&lt;br /&gt;
|&lt;br /&gt;
* Fixes bugs and removes restrictions found in factory FW&lt;br /&gt;
* Can be programmed from PC&lt;br /&gt;
* Can save programmed settings on PC&lt;br /&gt;
|&lt;br /&gt;
* Makes the FCB plug n play with KPA&lt;br /&gt;
* Supports 2-way communication to sync effect states&lt;br /&gt;
* Simple to program directly from FCB1010&lt;br /&gt;
* Supports accessing all 625 performances on the KPA&lt;br /&gt;
|&lt;br /&gt;
* Can access all 625 performance rigs&lt;br /&gt;
* Multiple &amp;quot;scene&amp;quot; paradigms easily switched to change behavior&lt;br /&gt;
* Very configurable/powerful&lt;br /&gt;
|-&lt;br /&gt;
! Disadvantages&lt;br /&gt;
|&lt;br /&gt;
* Contains a number of bugs, particularly early version&lt;br /&gt;
* Can only reference a max of 100 rigs&lt;br /&gt;
* Numerous restrictions&lt;br /&gt;
* Missing features&lt;br /&gt;
|&lt;br /&gt;
* Still limited to max of 100 rigs to select from&lt;br /&gt;
* No 2-way communication to display correct LED states matching KPA effects&lt;br /&gt;
|&lt;br /&gt;
* Cannot be updated as KPA OS is updated, have to buy a new chip&lt;br /&gt;
* No advanced programming, such as firing multiple CC's from one button press&lt;br /&gt;
* Footswitch and expression pedal assignment is global, not per rig&lt;br /&gt;
* Expression pedals can only be assigned to CC1 and CC7&lt;br /&gt;
|&lt;br /&gt;
* Can be kind of confusing to program&lt;br /&gt;
* Have to switch scenes to be able to access all 625 performance rigs as well as toggle effects&lt;br /&gt;
* Cannot save configuration to PC and share&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== UnO4Kemper ====&lt;br /&gt;
[http://www.uno4kemper.com/ The UnO4Kemper firmware] is an unofficial firmware for the FCB1010 made by a 3rd party author.  It comes on an EPROM chip that can be switched out for the factory chip after opening the FCB1010 up.&lt;br /&gt;
&lt;br /&gt;
This firmware will instantly turn your FCB1010 into a dedicated Kemper controller.  The main advantage of this chip is it is as plug and play as you will find to get a working pedalboard for the Kemper, other than the official Kemper Remote.  The bad part is that it makes the FCB1010 only work with the Kemper and you cannot do advanced customization of how the controller operates (such as assigning multiple effects to toggle on a single button).  Also, if Kemper updates the KPA software to add new features, there is no method to update your current UnO4Kemper chip to support those features - you will have to purchase a new chip once the UnO4Kemper firmware is updated to support the feature.&lt;br /&gt;
&lt;br /&gt;
The full list of features is found in [http://www.uno4kemper.com/UnOforKemper_manual.pdf the manual].  &lt;br /&gt;
* Bank (Performance) Up/Down&lt;br /&gt;
* One row of buttons is used for rig selection and the other for toggling effects on/off&lt;br /&gt;
* The rows' functions can be swapped.&lt;br /&gt;
* Available effects/functions are A-D, X, Mod, Delay, Reverb, change rotary speaker effect speed, tap tempo, and display tuner&lt;br /&gt;
* Each effect toggle footswitch can be assigned to any 1 of those effects/functions.&lt;br /&gt;
* One expression pedal controls CC 1 (wah wah) and the other CC 7 (volume).  These can be swapped.&lt;br /&gt;
* Expression pedals can each be configured to use 1 out of 5 possible sweep curves.&lt;br /&gt;
* 2-way communication with KPA using 2nd MIDI cable.  Keeps footswitch LEDs in sync with KPA effects when switching rigs.&lt;br /&gt;
* Can display KPA tuner on FCB1010&lt;br /&gt;
* Can use KPA Beat Scanner function for tempo&lt;br /&gt;
* Force KPA to enter Browse Mode or Performance Mode&lt;br /&gt;
&lt;br /&gt;
=== Other MIDI Foot Controllers ===&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
{{Crumbs|orange|3&lt;br /&gt;
|Kemper KPA External Control#System Menu Settings|System Menu&lt;br /&gt;
|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010&lt;br /&gt;
|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers&lt;br /&gt;
|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference&lt;br /&gt;
}}&lt;br /&gt;
As you'll see below, the KPA provides extensive MIDI capabilities; basically any MIDI controller can get something out of it, while expensive, powerful controllers can do just about anything you can do by touching the KPA's buttons and knobs.  How far you want to take your amount of control depends on what you want to do.&lt;br /&gt;
&lt;br /&gt;
While I do not want to take up a lot of space discussing the capabilities and quirks of numerous footcontrollers, [http://www.wikpa.org/Using_Specific_MIDI_Controllers wikpa.org does a good job on this subject].&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== MIDI Programming Reference ===&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
{{Crumbs|orange|4&lt;br /&gt;
|Kemper KPA External Control#System Menu Settings|System Menu&lt;br /&gt;
|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010&lt;br /&gt;
|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers&lt;br /&gt;
|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference&lt;br /&gt;
}}&lt;br /&gt;
This section contains reference material for controlling the KPA by MIDI PC (Program Change), CC (Continuous Control), NRPN (Non-registered Parameter Numbers), or SysEx (System Exclusive) messages.  These go from least to most complicated, and similarly most to least supported.&lt;br /&gt;
&lt;br /&gt;
==== MIDI Program Change ====&lt;br /&gt;
Up to 128 rigs can be assigned PC numbers in Browse Mode from a page in the system menu - you can also see all the rigs assigned to PC's here.&lt;br /&gt;
&lt;br /&gt;
In Performance Mode, each performance/slot is automatically assigned a PC number based on the order of performances, and slots within each performance.  Even disabled slots are assigned a PC #.  Notice this only allows about 25 of the 125 performances (or 128 of the 625 slots) available.  If you need to access more, you can use a MIDI bank select command before the program change, which is implemented as MIDI CC #0 for the most significant byte (MSB) and #32 for the least significant byte (LSB).  While bank selects typically use 2 MIDI bytes, the KPA only requires a range of 0-4 to access all slots via PC.  It will ignore any CC #0 bank select MSB messages.  CC 32 can be used by itself to change which rigs the KPA accesses via PC.  Sending a value of 0 over CC 32 accesses the first 128 slots (performance 1 slot 1 - performance 26 slot 3), CC 32 value 1 accesses the next 128 (performance 26 slot 4 - performance 52 slot 1), etc. up to a max of CC 32 value 4, which will put PC access beyond the available 625 rigs.&lt;br /&gt;
&lt;br /&gt;
Note - it is recommended to use CC's 48-49 (or 47) for selecting performances, then using CC's 50-54 to select which slot to load.  This aligns both with the KPA's performance/slot organization and with footcontrollers that typically feature bank up/down switches as well as a row of switches to change patches/rigs.  There's no need to use complicated math to try to figure out which PC or bank select index is required to load a particular performance/slot.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== MIDI Continuous Control ====&lt;br /&gt;
The KPA responds to a number of MIDI CC messages.  These are enough for generic MIDI foot controllers to perform normal functionality.  You can change cycle through rigs in Browse mode, and bank up/down and select any of the 5 rigs assigned to the slots in Performance mode.  You can turn on/off any of the 8 effects, tap tempo, display the tuner, and switch the rotary speaker effect's speed.  In addition to the expression pedal functions above of controlling wah wah, pitch, volume, and monitor volume, one could be used to control delay/reverb mix and feedback/time, as well as amplifier gain.&lt;br /&gt;
&lt;br /&gt;
{| class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
! CC # !! Valid Values !! What it controls&lt;br /&gt;
|-&lt;br /&gt;
| 0 || N/A || Bank Select MSB - ignored&lt;br /&gt;
|-&lt;br /&gt;
| 1 || x || Wah Wah position on any enabled wah wah effect. Volume if &amp;quot;wah to volume&amp;quot; linking is checked and all wah wah effects are disabled or not present on current rig.  Pitch if &amp;quot;wah to pitch&amp;quot; linking is checked and all wah wah effects are disabled or not present on current rig.&lt;br /&gt;
|-&lt;br /&gt;
| 4 || x || Pitch position for Pedal Pitch or Pedal Vinyl Stop effects&lt;br /&gt;
|-&lt;br /&gt;
| 6 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|-&lt;br /&gt;
| 7 || x || Volume - controls the volume of the rig as specified per rig in the Rig Menu page 5.&lt;br /&gt;
|-&lt;br /&gt;
| 11 || x || Morph - controls any parameters set to be controlled by morphing.&lt;br /&gt;
|-&lt;br /&gt;
| 16 || Any || Toggles all stomps on/off&lt;br /&gt;
|-&lt;br /&gt;
| 17 || 0/1 || 0: Stomp A Off; 1: Stomp A On &lt;br /&gt;
|-&lt;br /&gt;
| 18 || 0/1 || 0: Stomp B Off; 1: Stomp B On &lt;br /&gt;
|-&lt;br /&gt;
| 19 || 0/1 || 0: Stomp C Off; 1: Stomp C On &lt;br /&gt;
|-&lt;br /&gt;
| 20 || 0/1 || 0: Stomp D Off; 1: Stomp D On &lt;br /&gt;
|-&lt;br /&gt;
| 22 || 0/1 || 0: Effect X Off; 1: Effect X On &lt;br /&gt;
|-&lt;br /&gt;
| 24 || 0/1 || 0: Effect Mod Off; 1: Effect Mod On &lt;br /&gt;
|-&lt;br /&gt;
| 26 || 0/1 || 0: Delay Off; 1: Delay On &lt;br /&gt;
|-&lt;br /&gt;
| 27 || 0/1 || 0: Delay Off (with tail); 1: Delay On &lt;br /&gt;
|-&lt;br /&gt;
| 28 || 0/1 || 0: Reverb Off; 1: Reverb On &lt;br /&gt;
|-&lt;br /&gt;
| 29 || 0/1 || 0: Reverb Off (with tail); 1: Reverb On &lt;br /&gt;
|-&lt;br /&gt;
| 30 || 1/0 || Sets Tempo Tap If your floorboard supports separate events on “pressing” and “releasing” a button, send 1 when “pressed” and 0 when “released”. If the floorboard can only send one event, use value 0. When value 1 has been sent and no value 0 for 3 seconds, the Beat Scanner1 is being activated. &lt;br /&gt;
|-&lt;br /&gt;
| 31 || 1/0 || 1: Show Tuner; 0: Hide Tuner &lt;br /&gt;
|-&lt;br /&gt;
| 32 || [0,4] || Bank Select LSB - changes which set of 128 performance slots are available via PC messages in Performance Mode.  &lt;br /&gt;
* Bank 0 - performance 1 slot 1 - performance 26 slot 3&lt;br /&gt;
* Bank 1 - performance 26 slot 4 - performance 52 slot 1&lt;br /&gt;
* Bank 2 - performance 52 slot 2 - performance 77 slot 4&lt;br /&gt;
* Bank 3 - performance 77 slot 5 - performance 103 slot 2&lt;br /&gt;
* Bank 4 - performance 103 slot 3 - performance 125 slot 5&lt;br /&gt;
|-&lt;br /&gt;
| 33 || 0/1 || 0: Rotary Speaker slow; 1: Rotary Speaker fast &lt;br /&gt;
|-&lt;br /&gt;
| 34 || 0/1 || 0: Delay Feedback Infinity Off; 1: Delay Feedback Infinity On&lt;br /&gt;
|-&lt;br /&gt;
| 35 || 0/1 || 0: Delay Hold Off; 1: Delay Hold On&lt;br /&gt;
|-&lt;br /&gt;
| 38 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|-&lt;br /&gt;
| 47 || [0,124]  || (Performance Mode only) Directly select a performance index. The performance will be loaded when a slot selection is sent (CC50-54). If no slot is selected, the performance index selection is disabled after a few seconds.  When disabled, the KPA sends the current performance index and slot back to the device.  This can be used to keep the MIDI controller and KPA in sync.&lt;br /&gt;
|-&lt;br /&gt;
| 48 || 1/0 &lt;br /&gt;
| Performance Mode: Increases performance index. Value triggers two different modes:&lt;br /&gt;
* Value 0, increase performance n to n+1 (bank up)*&lt;br /&gt;
* Value 1 initially increases performance by 1, after a timeout the Kemper Profiler starts to scroll performances upwards. Value 0 stops scrolling. &lt;br /&gt;
Browse Mode only: Value 0 selects the next Rig (current filter/sort applies), similar to “Rig Right” &lt;br /&gt;
|-&lt;br /&gt;
| 49 || 1/0 &lt;br /&gt;
| Performance Mode: Decreases performance index. Value triggers two different modes: &lt;br /&gt;
* Value 0, increase performance n to n-1 (bank down)*&lt;br /&gt;
* Value 1 initially decreases performance index by 1, after a timeout the Kemper Profiler starts to scroll performances downwards. Value 0 stops scrolling.&lt;br /&gt;
Browse Mode only: Value 0 selects the previous Rig (current filter/sort applies), similar to “Rig Left” &lt;br /&gt;
|- &lt;br /&gt;
| 50 || 1 || (Performance Mode only) Select Slot 1 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 51 || 1 || (Performance Mode only) Select Slot 2 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 52 || 1 || (Performance Mode only) Select Slot 3 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 53 || 1 || (Performance Mode only) Select Slot 4 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 54 || 1 || (Performance Mode only) Select Slot 5 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 68 || x || Sets Delay Mix to x &lt;br /&gt;
|-&lt;br /&gt;
| 69 || x || Sets Delay Feedback to x &lt;br /&gt;
|-&lt;br /&gt;
| 70 || x || Sets Reverb Mix to x &lt;br /&gt;
|-&lt;br /&gt;
| 71 || x || Sets Reverb Time to x &lt;br /&gt;
|-&lt;br /&gt;
| 72 || x ||Sets Amplifier Gain to x &lt;br /&gt;
|-&lt;br /&gt;
| 73 || x ||Sets Monitor Volume to x &lt;br /&gt;
|-&lt;br /&gt;
| 98 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|-&lt;br /&gt;
| 99 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|-&lt;br /&gt;
| 119 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
''* Changing the Performance may or may not load a slot instantly depending on the [[Kemper KPA Performing Live#MIDI|Perf. Load System Menu setting]].''&lt;br /&gt;
&lt;br /&gt;
Most foot controllers support some form of programming what each footswitch will send, and if the footswitch should toggle its value.  For example, if you assign FS1 to turn Stomp A on/off, you should be able to set FS1 to light up after pressing it (and it sends a 1 (on) value, indicating you've turned it on.  Now if you press it again, the light turns off, and it sends a 0 (off) value.&lt;br /&gt;
&lt;br /&gt;
This brings up a curious issue.  If you change rigs where Stomp A is on when the rig is loaded, how does the MIDI footcontroller know what state to set FS1?  The footcontroller itself must store a set of rigs containing the default on/off state of each footswitch, matching the corresponding rigs in the KPA.&lt;br /&gt;
&lt;br /&gt;
MIDI CC is the most widely supported part of the MIDI protocol by various MIDI footcontrollers; however, you will notice that there are hundreds of parameters for dozens of effects, as well as the amp, cab, input, output, and tonestack blocks that are not able to be controlled via CC, given the list above.  MIDI CC supports 7-bits for the CC channel number and 7-bits for the value, meaning a maximum of 128 parameters can be controlled with only 0-127 distinct values to communicate.  The MIDI specification gives 2 ways to deal with this: NPRN and Sysex.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== MIDI NRPN ====&lt;br /&gt;
[https://en.wikipedia.org/wiki/NRPN NRPN (Non-registered Parameter Numbers)] uses a set of 4 different CC messages to exponentially increase both the size of possible addresses and values that a device can send/receive.  '''Since each CC message can carry a value from 0-128, NRPN addresses and values each have a range of 128 x 128, which is 16,384.'''  The exact specification is below:&lt;br /&gt;
# '''CC 99''': Value is the Most significant Byte (MSB) of the desired address&lt;br /&gt;
# '''CC 98''': Value is the Least Significant Byte (LSB) of the desired address&lt;br /&gt;
# '''CC 06''': Value is the Most Significant Byte (MSB) of the desired value&lt;br /&gt;
# '''CC 38''': Value is the Least Significant Byte (LSB) of the desired value&lt;br /&gt;
&lt;br /&gt;
While the NRPN spec allows CC 38 to be optional, the KPA ''requires'' it.  The 4 CC's named above must be received in order, and the NRPN message is processed as soon as CC 38 is received.  ''Once an address has been selected via CC's 99 and 98, multiple values can be sent without sending 99/98 each time to reselect the address - only 06/38 needs to be sent.''  That is useful to know if you want to program NRPN to &amp;quot;move&amp;quot; a single parameter over time.&lt;br /&gt;
&lt;br /&gt;
Some footcontrollers support NRPN 14-bit addressing but not 14-bit values via CC's 06 and 38.  The KPA allows CC 119 to send the value in this case.  So the footcontroller can be programmed to send an NRPN as follows:&lt;br /&gt;
# '''CC 99''': address MSB&lt;br /&gt;
# '''CC 98''': address LSB&lt;br /&gt;
# '''CC 119''': 7-bit value&lt;br /&gt;
The 7-bit value is mapped to the appropriate 14-bit value - 128 becomes 16,384, 64 becomes 8,192, while 0 remains 0.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
|-style=&amp;quot;vertical-align:top;&amp;quot;&lt;br /&gt;
|&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
|+ NRPN Address - Parameter Mapping&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| Address&lt;br /&gt;
!rowspan=&amp;quot;2&amp;quot;| Type&lt;br /&gt;
!rowspan=&amp;quot;2&amp;quot;| Parameter&lt;br /&gt;
|-&lt;br /&gt;
! MSB !! LSB&lt;br /&gt;
|-&lt;br /&gt;
| 4 || 0 || Rig || Tempo&lt;br /&gt;
|-&lt;br /&gt;
| 4 || 1 || Rig || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 4 || 2 || Rig || Tempo Enable&lt;br /&gt;
|-&lt;br /&gt;
| 9 || 3 || Input || Noise Gate Intensity&lt;br /&gt;
|-&lt;br /&gt;
| 9 || 4 || Input || Clean Sense&lt;br /&gt;
|-&lt;br /&gt;
| 9 || 5 || Input || Distortion Sense&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 2 || Amplifier || On/Off&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 4 || Amplifier || Gain&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 6 || Amplifier || Definition&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 7 || Amplifier || Clarity&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 8 || Amplifier || Power Sagging&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 9 || Amplifier || Pick&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 10 || Amplifier || Compressor&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 11 || Amplifier || Tube Shape&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 12 || Amplifier || Tube Bias&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 15 || Amplifier || Direct Mix&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 2 || EQ || On/Off&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 4 || EQ || Bass&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 5 || EQ || Mids&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 6 || EQ || Treble&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 7 || EQ || Presence&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 2 || Cabinet || On/Off&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 3 || Cabinet || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 4 || Cabinet || High Shift&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 5 || Cabinet || Low Shift&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 6 || Cabinet || Character&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 0 || Stomp A || Type (see other table)&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 3 || Stomp A || On/Off&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 4 || Stomp A || Mix&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 6 || Stomp A || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 7 || Stomp A || Stereo&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 8 || Stomp A (Wah) || Wah Manual&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 9 || Stomp A (Wah) || Wah Peak&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 10 || Stomp A (Wah) || Wah Range&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 12 || Stomp A (Wah) || Wah Pedal Mode&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 13 || Stomp A (Wah) || Wah Touch Attack&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 14 || Stomp A (Wah) || Wah Touch Release&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 15 || Stomp A (Wah) || Wah Touch Boost&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 16 || Stomp A (Dist/Shaper) || Distortion/Shaper Drive&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 17 || Stomp A (Dist/Shaper) || Distortion/Booster Tone&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 18 || Stomp A (Comp) || Compressor/Gate Intensity&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 19 || Stomp A (Comp) || Compressor Attack&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 20 || Stomp A (Mod) || Modulation Rate&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 21 || Stomp A (Mod) || Modulation Depth&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 22 || Stomp A (Mod) || Modulation Feedback&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 23 || Stomp A (Mod) || Modulation Crossover&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 24 || Stomp A (Mod) || Modulation HyperChorus Amount&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 25 || Stomp A (Mod) || Modulation Manual&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 26 || Stomp A (Mod) || Modulation Phase Peak Spread&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 27 || Stomp A (Mod) || Modulation Stages&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 30 || Stomp A (Rot) || Rotary Speed (slow/fast)&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 31 || Stomp A (Rot) || Rotary Distance&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 32 || Stomp A (Rot) || Rotary Balance&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 33 || Stomp A (Comp) || Compressor Squash&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 34 || Stomp A (EQ) || Graphic EQ Band 1&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 35 || Stomp A (EQ) || Graphic EQ Band 2&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 36 || Stomp A (EQ) || Graphic EQ Band 3&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 37 || Stomp A (EQ) || Graphic EQ Band 4&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 38 || Stomp A (EQ) || Graphic EQ Band 5&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 39 || Stomp A (EQ) || Graphic EQ Band 6&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 40 || Stomp A (EQ) || Graphic EQ Band 7&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 41 || Stomp A (EQ) || Graphic EQ Band 8&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 42 || Stomp A (EQ) || Parametric EQ Low Gain&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 43 || Stomp A (EQ) || Parametric EQ Low Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 44 || Stomp A (EQ) || Parametric EQ High Gain&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 45 || Stomp A (EQ) || Parametric EQ High Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 46 || Stomp A (EQ) || Parametric EQ Peak Gain&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 47 || Stomp A (EQ) || Parametric EQ Peak Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 48 || Stomp A (EQ) || Parametric EQ Peak Q&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 49 || Stomp A (EQ) || Parametric EQ Peak 2 Gain&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 50 || Stomp A (EQ) || Parametric EQ Peak 2 Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 51 || Stomp A (EQ) || Parametric EQ Peak 2 Q&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 52 || Stomp A (Wah) || Wah Peak Range&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 53 || Stomp A || Ducking&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 55 || Stomp A (Pitch) || Voice Mix&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 56 || Stomp A (Pitch) || Voice 1 Pitch&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 57 || Stomp A (Pitch) || Voice 2 Pitch&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 58 || Stomp A (Pitch) || Detune&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 60 || Stomp A (Pitch) || Smooth Chords&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 61 || Stomp A (Pitch) || Pure Tuning&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 64 || Stomp A (Pitch) || Key&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 65 || Stomp A (Pitch) || Freeze Formants &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 66 || Stomp A (Pitch) || Formant Offset &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 67 || Stomp A (Delay) || Low Cut &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 68 || Stomp A (Delay) || High Cut &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 69 || Stomp A (Delay) || Delay Mix &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 70 || Stomp A (Delay) || Delay Mix Pre/Post &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 71 || Stomp A (Delay) || Delay Time 1 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 72 || Stomp A (Delay) || Delay Time 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 73 || Stomp A (Delay) || Delay Ratio 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 74 || Stomp A (Delay) || Delay Ratio 3 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 75 || Stomp A (Delay) || Delay Ratio 4 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 76 || Stomp A (Delay) || Delay Note Value 1 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 77 || Stomp A (Delay) || Delay Note Value 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 78 || Stomp A (Delay) || Delay Note Value 3 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 79 || Stomp A (Delay) || Delay Note Value 4 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 80 || Stomp A (Delay) || To Tempo &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 81 || Stomp A (Delay) || Delay Volume 1 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 82 || Stomp A (Delay) || Delay Volume 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 83 || Stomp A (Delay) || Delay Volume 3 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 84 || Stomp A (Delay) || Delay Volume 4 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 85 || Stomp A (Delay) || Delay Panorama 1 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 86 || Stomp A (Delay) || Delay Panorama 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 87 || Stomp A (Delay) || Delay Panorama 3 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 88 || Stomp A (Delay) || Delay Panorama 4 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 89 || Stomp A (Delay) || Voice3 Pitch &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 90 || Stomp A (Delay) || Voice4 Pitch &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 91 || Stomp A (Delay) || Voice3 Interval &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 92 || Stomp A (Delay) || Voice4 Interval &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 93 || Stomp A (Delay) || Feedback &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 94 || Stomp A (Delay) || Infinity Feedback &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 95 || Stomp A (Delay) || Infinity &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 96 || Stomp A (Delay) || Feedback2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 97 || Stomp A (Delay) || Feedback Sync Switch &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 98 || Stomp A (Delay) || Delay Low Cut &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 99 || Stomp A (Delay) || Delay High Cut &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 100 || Stomp A (Delay) || Delay Filter Intensity &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 101 || Stomp A (Delay) || Delay Modulation &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 102 || Stomp A (Delay) || Delay Chorus &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 103 || Stomp A (Delay) || Flutter Intensity &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 104 || Stomp A (Delay) || Flutter Shape &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 105 || Stomp A (Delay) || Grit &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 106 || Stomp A (Delay) || Reverse Mix &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 107 || Stomp A (Delay) || Swell &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 108 || Stomp A (Delay) || Smear &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 109 || Stomp A (Delay) || Ducking Pre/Post &lt;br /&gt;
|-&lt;br /&gt;
| 51 || * || Stomp B || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 52 || * || Stomp C || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 53 || * || Stomp D || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 56 || * || Effect X || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 58 || * || Effect Mod || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 74 || * || Delay (4.0+) || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 0 || Delay (Deprecated in 4.0) || Type (see below)&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 2 || Delay (Deprecated in 4.0) || On/Off (cuts tails)&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 3 || Delay (Deprecated in 4.0) || Mix&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 4 || Delay (Deprecated in 4.0) || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 5 || Delay (Deprecated in 4.0) || Time&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 6 || Delay (Deprecated in 4.0) || Ratio&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 7 || Delay (Deprecated in 4.0) || Clock Left&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 8 || Delay (Deprecated in 4.0) || Clock Right&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 9 || Delay (Deprecated in 4.0) || Feedback&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 10 || Delay (Deprecated in 4.0) || Bandwidth&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 11 || Delay (Deprecated in 4.0) || Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 12 || Delay (Deprecated in 4.0) || Modulation&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 13 || Delay (Deprecated in 4.0) || On/Off (keeps tails)&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 14 || Delay (Deprecated in 4.0) || Ducking&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 0 || Reverb || Type (see below)&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 2 || Reverb || On/Off (cuts tails)&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 3 || Reverb || Mix&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 4 || Reverb || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 5 || Reverb || Del/Rev Balance&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 6 || Reverb || Time&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 7 || Reverb || Damping&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 8 || Reverb || Bandwidth&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 9 || Reverb || Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 10 || Reverb || Pre-Delay&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 11 || Reverb || On/Off (keeps tails)&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 12 || Reverb || Ducking&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 0 || System/Global || Main Output Volume&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 1 || System/Global || Headphone Output Volume&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 2 || System/Global || Monitor Output Volume&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 3 || System/Global || Direct Output Volume&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 11 || System/Global || SPDIF Input Enable&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 12 || System/Global || Main Output EQ Bass&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 13 || System/Global || Main Output EQ Mids&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 14 || System/Global || Main Output EQ Treble&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 15 || System/Global || Main Output EQ Presence&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 17 || System/Global || Monitor Output EQ Bass&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 18 || System/Global || Monitor Output EQ Mids&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 19 || System/Global || Monitor Output EQ Treble&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 20 || System/Global || Monitor Output EQ Presence&lt;br /&gt;
|}&lt;br /&gt;
|&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
|+ Value to Effect Type Mapping&lt;br /&gt;
|-&lt;br /&gt;
! Value !! Effect Type&lt;br /&gt;
|-&lt;br /&gt;
| 0 || Null/Empty&lt;br /&gt;
|-&lt;br /&gt;
|+ Wah Wah&lt;br /&gt;
|-&lt;br /&gt;
| 1 || Wah Wah&lt;br /&gt;
|-&lt;br /&gt;
| 2 || Wah Low Pass&lt;br /&gt;
|-&lt;br /&gt;
| 3 || Wah High Pass&lt;br /&gt;
|-&lt;br /&gt;
| 4 || Wah Vowel Filter&lt;br /&gt;
|-&lt;br /&gt;
|    6 || Wah Phaser&lt;br /&gt;
|-&lt;br /&gt;
|    7 || Wah Flanger&lt;br /&gt;
|-&lt;br /&gt;
|    8 || Wah Rate Reducer&lt;br /&gt;
|-&lt;br /&gt;
|    9 || Wah Ring Modulator&lt;br /&gt;
|-&lt;br /&gt;
|    10 || Wah Freq Shifter&lt;br /&gt;
|-&lt;br /&gt;
|    12 || Wah Formant Shift&lt;br /&gt;
|-&lt;br /&gt;
|+ Shapers&lt;br /&gt;
|-&lt;br /&gt;
|    17 || Bit Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    18 || Recti Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    19 || Soft Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    20 || Hard Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    21 || Wave Shaper&lt;br /&gt;
|-&lt;br /&gt;
|+ Distortion&lt;br /&gt;
|-&lt;br /&gt;
|    33 || Green Scream&lt;br /&gt;
|-&lt;br /&gt;
|    34 || Plus DS&lt;br /&gt;
|-&lt;br /&gt;
|    35 || One DS&lt;br /&gt;
|-&lt;br /&gt;
|    36 || Muffin&lt;br /&gt;
|-&lt;br /&gt;
|    37 || Mouse&lt;br /&gt;
|-&lt;br /&gt;
|    38 || Fuzz DS&lt;br /&gt;
|-&lt;br /&gt;
|    39 || Metal DS&lt;br /&gt;
|-&lt;br /&gt;
|+ Boosters&lt;br /&gt;
|-&lt;br /&gt;
|    113 || Treble Booster&lt;br /&gt;
|-&lt;br /&gt;
|    114 || Lead Booster&lt;br /&gt;
|-&lt;br /&gt;
|    115 || Pure Booster&lt;br /&gt;
|-&lt;br /&gt;
|    116 || Wah Pedal Booster&lt;br /&gt;
|-&lt;br /&gt;
|+ EQs&lt;br /&gt;
|-&lt;br /&gt;
|    97 || Graphic Equalizer&lt;br /&gt;
|-&lt;br /&gt;
|    98 || Studio Equalizer&lt;br /&gt;
|-&lt;br /&gt;
|    99 || Metal Equalizer&lt;br /&gt;
|-&lt;br /&gt;
|    101 || Stereo Widener&lt;br /&gt;
|-&lt;br /&gt;
|+ Dynamics&lt;br /&gt;
|-&lt;br /&gt;
|    49 || Compressor&lt;br /&gt;
|-&lt;br /&gt;
|    57 || Gate 2:1&lt;br /&gt;
|-&lt;br /&gt;
|    58 || Gate 4:1&lt;br /&gt;
|-&lt;br /&gt;
|+ Modulation&lt;br /&gt;
|-&lt;br /&gt;
|    65 || Vintage Chorus&lt;br /&gt;
|-&lt;br /&gt;
|    66 || Hyper Chorus&lt;br /&gt;
|-&lt;br /&gt;
|    67 || Air Chorus&lt;br /&gt;
|-&lt;br /&gt;
|    71 || Micro Pitch|-&lt;br /&gt;
|-&lt;br /&gt;
|    68 || Vibrato&lt;br /&gt;
|-&lt;br /&gt;
|    69 || Rotary Speaker&lt;br /&gt;
|-&lt;br /&gt;
|    70 || Tremolo&lt;br /&gt;
|-&lt;br /&gt;
|    81 || Phaser&lt;br /&gt;
|-&lt;br /&gt;
|    82 || Phaser Vibe&lt;br /&gt;
|-&lt;br /&gt;
|    83 || Phaser Oneway&lt;br /&gt;
|-&lt;br /&gt;
|    89 || Flanger&lt;br /&gt;
|-&lt;br /&gt;
|    91 || Flanger Oneway&lt;br /&gt;
|-&lt;br /&gt;
|+ Loops&lt;br /&gt;
|-&lt;br /&gt;
|    121 || Loop Mono&lt;br /&gt;
|-&lt;br /&gt;
|    122 || Loop Stereo&lt;br /&gt;
|-&lt;br /&gt;
|    123 || Loop Distortion&lt;br /&gt;
|-&lt;br /&gt;
|+ Pitch&lt;br /&gt;
|-&lt;br /&gt;
|    129 || Transpose&lt;br /&gt;
|-&lt;br /&gt;
|    11 || Pedal Pitch&lt;br /&gt;
|-&lt;br /&gt;
| 130 || Chromatic Pitch&lt;br /&gt;
|-&lt;br /&gt;
| 131 || Harmonic Pitch&lt;br /&gt;
|}&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== MIDI SysEx ====&lt;br /&gt;
MIDI also has the ability to send [https://en.wikipedia.org/wiki/MIDI#System_Exclusive_messages SysEx (System Exclusive)] messages.  SysEx messages are proprietary protocols that each manufacturer can create for each of their devices.  They use a common beginning and ending indicators, as well as manufacturer and device identifiers, so that devices that cannot interpret them know to ignore the message; and they can be incorporated into streams of MIDI messages between lots of devices in a MIDI ring without causing chaos.&lt;br /&gt;
&lt;br /&gt;
The SysEx common format is:&lt;br /&gt;
# 1 byte for SysEx Start (&amp;lt;code&amp;gt;0xF0&amp;lt;/code&amp;gt;)&lt;br /&gt;
# 3 bytes for Manufacturer ID (&amp;lt;code&amp;gt;0x002033&amp;lt;/code&amp;gt; for Kemper)&lt;br /&gt;
# 1 byte for product type (&amp;lt;code&amp;gt;0x02&amp;lt;/code&amp;gt; for Kemper Profiling Amp)&lt;br /&gt;
# 1 byte for device ID (&amp;lt;code&amp;gt;0x7F&amp;lt;/code&amp;gt; for Omni)&lt;br /&gt;
# x bytes for the message (this is the device-specific part)&lt;br /&gt;
# 1 byte for SysEx End (&amp;lt;code&amp;gt;0xF7&amp;lt;/code&amp;gt;)&lt;br /&gt;
&lt;br /&gt;
Example: &amp;lt;code&amp;gt;F0-00-20-33-02-7F-...-F7&amp;lt;/code&amp;gt;, where ... is variable.&lt;br /&gt;
&lt;br /&gt;
The Kemper MIDI SysEx protocol gets pretty intense, and I'll leave it to those interested to refer to the [http://www.kemper-amps.com/page/render/lang/en/p/170/id/27/cat/30/do/Kemper_Profiling_Amplifier___Downloads.html Kemper MIDI documentation].  For most users, SysEx will never be necessary.  Where this really comes in handy is for software programs that want to communicate with KPA via MIDI.  The big items that SysEx offer beyond NRPN above are string manipulation and requesting parameter values from the KPA.  These would allow a program to act as an editor, or an advanced floorboard to maintain two-way communication with the KPA, displaying the KPA's current values and keeping on/off states in sync.&lt;br /&gt;
&lt;br /&gt;
The x bytes above have a common scheme for Kemper SysEx messages, where the first byte is the function code.  This is followed by an instance code, which is always &amp;lt;code&amp;gt;0x00&amp;lt;/code&amp;gt;.  This is followed by the address, then the data.&lt;br /&gt;
&lt;br /&gt;
Depending on the function code, the address may be 2 bytes or 4 bytes, and the data can be variable length.  '''The 2 byte addresses use the NRPN addresses above.'''  I am not sure what the extended addresses referenced below are - the MIDI documentation does not list any.  Similarly, '''all 2 byte values use integer values of 0 - 16,384 for min to max''', although this may correspond to different display values on the KPA (for instance, a value of 0 might be &amp;quot;-5.0&amp;quot;, 8,192 might be &amp;quot;&amp;lt;0.0&amp;gt;&amp;quot;, and  16,384 would be &amp;quot;+5.0&amp;quot; - this depends on what the parameter actually is).  '''Strings use single byte characters encoded using [http://www.asciitable.com/ ASCII].'''&lt;br /&gt;
&lt;br /&gt;
I am not sure what the addresses for the string values are, but the documentation does say that the numeric settings' addresses overlap with the strings.  So, to get all the tags for an Amplifier profile, I would imagine you'd use the first address for Amplifier parameters listed in the NRPN reference above, and iterate +1 for all available tags.  ''However, from my research, this does not match how the tags are structured in the .kipr files when they are saved.''&lt;br /&gt;
&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
! Function Code !! Function !! Address Size !! Data Size !! Notes !! Example&lt;br /&gt;
|-&lt;br /&gt;
| 0x01 || Single Parameter Change || 2 bytes || 2 bytes || Same as doing an NRPN change || &lt;br /&gt;
&amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
01-00-4A-04-40-00-&lt;br /&gt;
F7    Addr  Data&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x02 || Multi Parameter Change || 2 bytes || 2n bytes || Address is the starting address; you can send as many pairs of data bytes as you want to change - each pair will write to the next address in sequence || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
02-00-4A-00-00-03-00-01-..-..-&lt;br /&gt;
F7    Addr  Data1 Data2 ...&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x03 || String Parameter Change || 2 bytes || n bytes + final 0x00 byte || Strings must have a final null (0x00) byte to terminate the string.  String data is 1 byte per character, encoded as ASCII.  String addresses overlap with parameter addresses. || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
03-00-00-01-48-65-6C-6C-6F-00-&lt;br /&gt;
F7          H  e  l  l  o&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x04 || BLOB Change || 2 bytes || 2 byte offset + 2 byte size + n byte data || Only a null (0x00) offset is currently supported.  Not sure what this would be used for except overwriting amp/cab profile data?&lt;br /&gt;
|-  &lt;br /&gt;
| 0x06 || Extended Parameter Change || 5 bytes || 2n bytes || Same as 0x02 but uses 5 bytes for address&lt;br /&gt;
|-&lt;br /&gt;
| 0x07 || Extended String Change || 5 bytes || n bytes + 0x00 End Byte || Same as 0x03 but uses 5 bytes for address&lt;br /&gt;
|-&lt;br /&gt;
| 0x41 || Single Parameter Request || 2 bytes || 0 bytes || returns the corresponding 0x01 SysEx message || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
41-00-4A-04-&lt;br /&gt;
F7    Addr&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x42 || Multiple Parameter Request || 2 bytes || 0 bytes || returns the corresponding 0x02 SysEx message.  May contain up to 128 values as byte pairs. || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
42-00-4A-00-&lt;br /&gt;
F7    Addr&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x43 || String Request || 2 bytes || 0 bytes || returns the corresponding 0x03 SysEx message || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
43-00-00-01-&lt;br /&gt;
F7    Addr&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x47 || Extended String Request || 5 bytes || 0 bytes || returns the corresponding 0x07 SysEx message, but may return the corresponding 0x03 message if the address is &amp;lt; 16,384 &lt;br /&gt;
|-&lt;br /&gt;
| 0x7C || Request Parameter as String || 2 bytes || 2 bytes || this returns an 0x3C response that otherwise matches the request, plus the string response after the 2 byte data portion.  The string response is the KPA's string representation of that parameter value.  For instance, Delay Volume value 8,192 is the midpoint value, which displays in the KPA as &amp;quot;&amp;lt;0.0&amp;gt;&amp;quot;. || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
7C-00-4A-04-40-00-&lt;br /&gt;
F7    Addr  Data&lt;br /&gt;
returns &lt;br /&gt;
F0-00-20-33-02-7F-&lt;br /&gt;
3C-00-4A-04-40-00-3C-30-2E-30-3E-00-&lt;br /&gt;
F7                &amp;lt;  0  .  0  &amp;gt;&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Kemper Remote ==&lt;br /&gt;
{{Crumbs|blue|4&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
The '''Kemper Remote''' is the official foot controller for the KPA.  It connects via the '''LAN port''' on the back of the KPA, supporting '''2-way communication''' as well as '''power over a single cable'''.  It features 14 footswitches (2 for bank/performance up/down, 5 for performance slots, 4 for toggling effects on/off, a tap tempo, a tuner, and a looper).  Up to 4 expression pedals can be connected directly to the Remote.&lt;br /&gt;
&lt;br /&gt;
Each effect footswitch can be assigned to toggle on/off up to 4 effects, and what each footswitch controls is saved per rig.&lt;br /&gt;
&lt;br /&gt;
Currently, the Remote is the only foot controller capable of accessing the KPA's looper although there are plans to incorporate access into general MIDI access.&lt;br /&gt;
&lt;br /&gt;
I don't actually have a Kemper Remote, so if I'm missing functionality that creates an advantage over other foot controllers, add it here please.&lt;br /&gt;
&lt;br /&gt;
== DAW ==&lt;br /&gt;
{{Crumbs|blue|5&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
DAWs can either directly or through plug-ins send the MIDI messages needed to have near full control of the Kemper.  They will not be limited strictly to CC's or NRPN - using SysEx, the full parameter list to the KPA is open.  Alternatively, you could simply send the CC values you want to control.  Volume is actually the least necessary parameter - you can more easily control the volume of tracks inside your DAW.  EQ perhaps as well.  Compression may also have better options in the DAW.  Delay, Reverb, and Mod effects is up to you.  Things like Gain or rig changes would be things you'd need to access this way.  With automated rig changing, you could set up all the changes necessary for a whole song, or even an entire setlist.&lt;br /&gt;
&lt;br /&gt;
== Morphing ==&lt;br /&gt;
OS 4.0 introduces '''Morphing''', a feature where any continuous parameter can be defined the following:&lt;br /&gt;
* a '''base value'''&lt;br /&gt;
* a '''morphed value'''&lt;br /&gt;
* a '''rise time*'''&lt;br /&gt;
* a '''descend time*'''&lt;br /&gt;
''* these affect triggering morphing from a footswitch''&lt;br /&gt;
&lt;br /&gt;
On pages 5-10 of the System Menu, expression pedals and footswitches can be assigned the morphing feature.  It can also be easily assigned to any effect button for the Kemper Remote.&lt;br /&gt;
&lt;br /&gt;
Multiple (any or all) continuous parameters, including those in the Amp and Cab blocks can be assigned a morph value.  While some view this feature as a multiple-parameter gimmick, if nothing else it allows continuous control over ''any'' continuous parameter, greatly expanding the out the box functionality of any expression pedal.  Morph values can be set higher or lower than the base value.  The expression pedal heel position corresponds to the base value, and the toe position the morphed value.&lt;br /&gt;
&lt;br /&gt;
The morphing procedure is to tap the Rig button.  It has a bottom LED and top LED - the LEDs switch when Rig is tapped.  The bottom is the base value, and the top is the morphed.  So press Rig until the bottom LED is on; set your base parameters; then press Rig so the top LED is on and set your morph parameters.  That's all there is to it.  The assigned morph pedals or switches will now control those parameters.&lt;br /&gt;
&lt;br /&gt;
Morph settings are saved per rig.  To erase a morph for a given parameter, either reset the morph value to match the base value, or sweep the base value through the range of the morph value (if base is 1.0 and morph is 4.0, sweeping the base value from &amp;lt; 1.0 to &amp;gt; 4.0 will clear the morph entirely).&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
{{Kemper Guide Crumbs|6}}&lt;br /&gt;
&lt;br /&gt;
[[Category:Guitar]]&lt;br /&gt;
[[Category:Gear]]&lt;br /&gt;
[[Category:Modelers]]&lt;br /&gt;
[[Category:Guides]]&lt;br /&gt;
[[Category:Kemper]]&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=Kemper_KPA_Effects&amp;diff=8738</id>
		<title>Kemper KPA Effects</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=Kemper_KPA_Effects&amp;diff=8738"/>
				<updated>2017-03-08T23:57:42Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: /* Differences in Delay Types */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{Top-Level Crumbs|4}}&lt;br /&gt;
{{User Guide Crumbs|2}}&lt;br /&gt;
{{Kemper Guide Crumbs|8}}&lt;br /&gt;
&lt;br /&gt;
The Kemper Profiling Amp comes equipped with lots of effects models, covering basically [[Types of Effects|all the normal types of effects]] used for guitar and bass.  Its design philosophy is not to provide lots of variations of each type or software models of real-world popular/classic effect models, but to provide one or a few highly-configurable models of each effect type, allowing a wide variety of sounds from each one, including emulating real world gear.  There are a few exceptions to this general principle due to impossibilities in making them configurable such as distortions, shapers, and reverbs, as well as making the user interfaces less overwhelming in the cases of the wahs and delays.&lt;br /&gt;
&lt;br /&gt;
My goal for this page is ''not'' to walk through every effect in the unit, or describe how to get particular sounds based on artists or real-world gear - ''[http://www.wikpa.org/Effects WiKPA.org] already does a great job of that''.  I'm also assuming you already know about [[Contents#Effects|how typical guitar effects work and sound]] and how to tweak them, as well as [[Kemper KPA Basic Controls|how to place effects in the KPA's signal chain]].  What I'm covering are specific quirks in some effects, clarifications for things that might not be intuitive, and exposes for nifty features that aren't readily apparent.&lt;br /&gt;
&lt;br /&gt;
== Noise Gates ==&lt;br /&gt;
{{Crumbs|blue|1&lt;br /&gt;
|Kemper KPA Effects#Noise Gates|Gates&lt;br /&gt;
|Kemper KPA Effects#All those Wah Choices|Wah&lt;br /&gt;
|Kemper KPA Effects#Mono vs. Stereo|Mono/Stereo&lt;br /&gt;
|Kemper KPA Effects#Delay and Reverb|Delay/Reverb&lt;br /&gt;
|Kemper KPA Effects#Pitch Shifter Options|Pitch Shifter Options&lt;br /&gt;
|Kemper KPA Effects#Shapers|Shapers&lt;br /&gt;
}}&lt;br /&gt;
&lt;br /&gt;
The Noise Gate controlled by the big Noise Gate Knob on the front of the unit is actually part of the Input block.  If you lock Input (I recommend doing so), you will always use that Noise Gate setting.  Also, it is not a traditional noise gate but more of a noise remover or noise suppressor, which can leave artifacts when set fairly high.  For these reasons, I like to use a rather low value here - just enough to suppress ''some'' noise when muting the guitar strings.&lt;br /&gt;
&lt;br /&gt;
The 2:1 and 4:1 Gate effects are the true expansion-based noise gates, and they work very well.  These are the ones to use for high-gain patches where you need dead silence when muting the guitar strings.  The difference between the two is the expansion ratio they use.  The 2:1 Gate effectively halves the volume of the signal if the original signal is lower than the Threshold value you dial in.  The 4:1 Gate basically doubles that, making the volume 1/4 of what it is originally.  For punchy chord/silence/muted chord/silence djent-type riffing, I like the 4:1 Gate.  For leads or more traditional hard rock, I prefer the 2:1 Gate - it's enough to achieve silence while muting but won't noticeably decay sustained notes too quickly.&lt;br /&gt;
&lt;br /&gt;
I use fairly high-output passive pickups, and a Threshold setting of 3-4 is quite enough.  If you find yourself needing to go much higher to achieve silence, this indicates some other issue, either in your guitar electronics, pickup height, gain setting, or pickups themselves.&lt;br /&gt;
&lt;br /&gt;
== All those Wah Choices ==&lt;br /&gt;
{{Crumbs|blue|2&lt;br /&gt;
|Kemper KPA Effects#Noise Gates|Gates&lt;br /&gt;
|Kemper KPA Effects#All those Wah Choices|Wah&lt;br /&gt;
|Kemper KPA Effects#Mono vs. Stereo|Mono/Stereo&lt;br /&gt;
|Kemper KPA Effects#Delay and Reverb|Delay/Reverb&lt;br /&gt;
|Kemper KPA Effects#Pitch Shifter Options|Pitch Shifter Options&lt;br /&gt;
|Kemper KPA Effects#Shapers|Shapers&lt;br /&gt;
}}&lt;br /&gt;
All those Wah Wah choices can initially look intimidating and confusing.  Many are simply manual control over typical modulation effects, but their own type here to be automatically controlled by an expression pedal assigned to CC# 1 (Wah).  Here's the break down:&lt;br /&gt;
&lt;br /&gt;
* '''Wah Wah''' - this is the basic wah wah pedal, a band pass filter.&lt;br /&gt;
* '''Wah Low Pass''' - rather than a bank pass filter, the wah is a low pass; goes from dark to full&lt;br /&gt;
* '''Wah High Pass''' - rather than a bank pass filter, the wah is a high pass; goes from full to thin/shrill&lt;br /&gt;
* '''Wah Vowel''' - filter simulating a talkbox effect by emphasizing formants through the sweep&lt;br /&gt;
* '''Wah Phaser''' - a phaser effect where you manually control the sweep instead of an LFO&lt;br /&gt;
* '''Wah Flanger''' - a flanger effect where you manually control the sweep instead of an LFO&lt;br /&gt;
* '''Wah Rate Reducer''' - controls the sample rate, causing distortion and aliasing, glitchy sounds&lt;br /&gt;
* '''Wah Ring Modulator''' - controls a sine wave frequency fed into the signal for modulation&lt;br /&gt;
* '''Wah Frequency Shifter''' - a ring modulator that only allows for harmonic frequencies - sounds like radio tuning modulation&lt;br /&gt;
* '''Wah Formant Shifter''' - controls formant shifting of single notes.  center position is normal, basically no processing.  while the vowel filter changes an EQ-like sweep over one formant type, this shifts the formant types themselves&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Mono vs. Stereo ==&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA Effects#Noise Gates|Gates&lt;br /&gt;
|Kemper KPA Effects#All those Wah Choices|Wah&lt;br /&gt;
|Kemper KPA Effects#Mono vs. Stereo|Mono/Stereo&lt;br /&gt;
|Kemper KPA Effects#Delay and Reverb|Delay/Reverb&lt;br /&gt;
|Kemper KPA Effects#Pitch Shifter Options|Pitch Shifter Options&lt;br /&gt;
|Kemper KPA Effects#Shapers|Shapers&lt;br /&gt;
}}&lt;br /&gt;
&lt;br /&gt;
Although Stomps A-D, X, and Mod can all load the same effect types, some of them will function differently depending on placement.  The Stomps section is limited to mono effects.  Their stereo nature would have to be mixed down to mono to get processed by the Stack section anyway.  For such effects, you may notice an extra Stereo Separation parameter when using them in the X or Mod slots.  These use various techniques to &amp;quot;widen&amp;quot; their sound.  Many effects, such as the Air Chorus and Stereo Widener, will not sound correct unless used as stereo effects.&lt;br /&gt;
&lt;br /&gt;
== Delay and Reverb ==&lt;br /&gt;
{{Crumbs|blue|4&lt;br /&gt;
|Kemper KPA Effects#Noise Gates|Gates&lt;br /&gt;
|Kemper KPA Effects#All those Wah Choices|Wah&lt;br /&gt;
|Kemper KPA Effects#Mono vs. Stereo|Mono/Stereo&lt;br /&gt;
|Kemper KPA Effects#Delay and Reverb|Delay/Reverb&lt;br /&gt;
|Kemper KPA Effects#Pitch Shifter Options|Pitch Shifter Options&lt;br /&gt;
|Kemper KPA Effects#Shapers|Shapers&lt;br /&gt;
}}&lt;br /&gt;
&lt;br /&gt;
The KPA's Delay and Reverb blocks are special in that they can only load those types of effects (Delay will actually open up for general purpose usage in OS/FW 4.0).  This is for good reason - the KPA's design treats them special.  The wet portion of the combined Delay and Reverb blocks is accessible through the &amp;quot;Delay/Reverb Wet&amp;quot; output option that can be assigned to the Main or SPDIF outputs.  &lt;br /&gt;
&lt;br /&gt;
Additionally, the Reverb block has a &amp;quot;Del./Reverb Balance&amp;quot; parameter that ''greatly simplifies'' what would otherwise require a complicated routing and mixing setup.  The Delay block outputs a wet (delay trails) and dry (unaffected by Delay) signal to the Reverb block.  The Del/Reverb Balance setting chooses the proportion at which the reverb applies to each of these signals.  At full left, the reverb applies only to the dry signal, not to the delay trails.  At full right, the reverb only affects the delay trails, not the dry signal.  At other settings, the reverb applies to both but at different amounts.  This is a ''powerful'' control - when used in combination with a 100% wet reverb, you can set it fully right so that the delay trails are washed into a reverb, allowing for some very neat sounds ([[#MAB Advanced Reverb Effects|see below]]).&lt;br /&gt;
&lt;br /&gt;
=== Tone Controls ===&lt;br /&gt;
{{Crumbs|orange|1&lt;br /&gt;
|Kemper KPA Effects#Tone Controls|Tone&lt;br /&gt;
|Kemper KPA Effects#MAB Advanced Reverb Effects|MAB Reverbs&lt;br /&gt;
|Kemper KPA Effects#Differences in Delay Types|Delay Types&lt;br /&gt;
|Kemper KPA Effects#Tempo Considerations|Tempo&lt;br /&gt;
|Kemper KPA Effects#Space Effect|Space&lt;br /&gt;
}}&lt;br /&gt;
&lt;br /&gt;
Both the Delay and Reverb blocks feature Frequency and Bandwidth settings that affect the frequency response of the blocks.  The Bandwidth control is essentially a Q control, narrowing the range of frequencies allowed to pass through as you turn it higher and higher.  At 0, it is doing nothing.  At max, it is only allowing a very, very narrow range of frequencies through.&lt;br /&gt;
&lt;br /&gt;
''In OS 4.0, these controls are switched to high-pass/low-pass filters with configurable frequencies and 2 possible &amp;quot;slopes&amp;quot; for delay effects.  These are easier to utilize than the bandwidth/frequency paradigm, but the filters themselves still operate as described below.''&lt;br /&gt;
&lt;br /&gt;
These controls function slightly differently in the Delay block vs. the Reverb block.  Reverb's can be considered a filter on the wet part of the block's output after all processing.  When set to 100% mix, it is the same thing as placing an EQ after the reverb.  The Delay controls operate inside the delay's feedback loop.  This means that as the same segment of audio repeats over and over, it is filtered more and more each iteration.&lt;br /&gt;
&lt;br /&gt;
This is similar to the Reverb's Dampening control, which darkens the tone of the wet reverb as it decays based upon its Time setting.  However, while Dampening can only darken the wet signal over time, the Delay's tone controls can brighten ''or'' darken the signal over time.&lt;br /&gt;
&lt;br /&gt;
I find that the most natural sounding delay and reverb tend to darken the tone over time, as well as apply greater reverb to the delay trails than to the dry signal.  Thus, I often use the Delay's Bandwidth and Frequency controls set to slightly darken the trails, as well as use the Reverb's Dampening.  I usually set Del/Reverb Balance about 30% right of center.  I use the Reverb's Bandwidth/Frequency for any final tonal adjustments.&lt;br /&gt;
&lt;br /&gt;
However, there are numerous unique applications for the interaction of all these controls I attempt to explore below...&lt;br /&gt;
&lt;br /&gt;
=== MAB Advanced Reverb Effects ===&lt;br /&gt;
{{Crumbs|orange|2&lt;br /&gt;
|Kemper KPA Effects#Tone Controls|Tone&lt;br /&gt;
|Kemper KPA Effects#MAB Advanced Reverb Effects|MAB Reverbs&lt;br /&gt;
|Kemper KPA Effects#Differences in Delay Types|Delay Types&lt;br /&gt;
|Kemper KPA Effects#Tempo Considerations|Tempo&lt;br /&gt;
|Kemper KPA Effects#Space Effect|Space&lt;br /&gt;
}}&lt;br /&gt;
&lt;br /&gt;
A big complaint about the KPA is its lack of great reverb effects, particularly a spring reverb.  I attempted to create some advanced reverb presets that fill this void until '''''Kemper''''' adds them.  See the [[Kemper KPA MAB Advanced Reverb Presets|MAB Advanced Reverb Presets page]].&lt;br /&gt;
&lt;br /&gt;
=== Differences in Delay Types ===&lt;br /&gt;
{{Crumbs|orange|3&lt;br /&gt;
|Kemper KPA Effects#Tone Controls|Tone&lt;br /&gt;
|Kemper KPA Effects#MAB Advanced Reverb Effects|MAB Reverbs&lt;br /&gt;
|Kemper KPA Effects#Differences in Delay Types|Delay Types&lt;br /&gt;
|Kemper KPA Effects#Tempo Considerations|Tempo&lt;br /&gt;
|Kemper KPA Effects#Space Effect|Space&lt;br /&gt;
}}&lt;br /&gt;
&lt;br /&gt;
''Note: OS 4.0 converts the 3 delay types in the legacy section below into a '''Legacy Delay''' type, preparing for 5.0 to introduce a slew of new delay types.''&lt;br /&gt;
&lt;br /&gt;
==== OS 5.0 Delays ====&lt;br /&gt;
While there are a large number of delay effects listed in OS 5.0, they all boil down to a few core delay types with different features available:&lt;br /&gt;
* '''Two-Tap Delay''' - features two delays that function in tandem, not independently.  The first setting is the baseline setting, while the other is the offset of the first.  So you can get pairs of delays such as 100ms, 120ms, 200ms, 220ms, 300ms, 320ms...&lt;br /&gt;
* '''Serial Delay''' - this is essentially two delays built into one effect, with the output of the first feeding directly into the input of the second.  The second delay will repeat the raw guitar as well as the trails of the first.&lt;br /&gt;
* '''Dual Delay''' - two fully independent delays functioning in parallel.  Thus, you can have 30ms, 60ms, 90ms, 120ms... in the left field and 100ms, 200ms, 300ms... in the right.&lt;br /&gt;
* '''Melody Delay''' - this is similar to the two-tap delay in that the same delay pattern will repeat against the first delay's baseline time; however, each delay here can be set to different pitch-shifter settings.  Variants for chromatic and harmony pitch-shifting are provided.  This can be used to play arpeggios or scales via delay trails.&lt;br /&gt;
&lt;br /&gt;
Many of the new delays have the same great feature set, with two different kinds of modulation, (transient) smearing, attack swelling, reversing, hold/infinite feedback, crystal/shimmer (progressive pitch-shifting in the feedback loop), and both tape distortion and wow/flutter emulation.&lt;br /&gt;
&lt;br /&gt;
But perhaps the most interesting new feature is '''Super Stereo''' on the Stereo parameter.  Stereo can be set to &amp;lt;0.0&amp;gt; at dead center, which means each of the delays will be panned to center.  Moving left to -100% or right to 100% pans each delay full L/R or the opposite R/L.  Going beyond 100% up to 200% in either direction engages &amp;quot;Super Stereo&amp;quot;, which uses some EQ or phase trickery to make the delays sound even wider and even three-dimensional, like they are coming from the sides and back of the room.&lt;br /&gt;
&lt;br /&gt;
==== Legacy Delays ====&lt;br /&gt;
There are only 3 delay types, explained below.  Note, although it may seem these feature separate L/R timings, '''these are actually two-tap delays, where the L and R delay trails always have the same offset timing between each other'''.  This means you may not get the results you expect.  For instance a 2:4 ratio delay is not the same thing as a 4:2 ratio delay with L/R reversed!&lt;br /&gt;
&lt;br /&gt;
* '''Tap Delay''' - uses the tempo on the rig (tapped or manually entered), with separate L/R delay settings defined in terms of 16ths of a beat.  This offers the most flexibility between the left and right delays, offering ratios (3:5 or 5:7) that are not found in the other delay types.  However, it is not capable of offering repeats as quickly as the other delay types because it is always tied to a tempo setting that cannot go fast enough to allow such. &lt;br /&gt;
* '''Free Delay''' - can use the rig's tempo or can be manually specified when tempo is disabled.  This offers repeats as short as 1 ms!  However, there is only a single Time setting.  A Ratio parameter determines the ratio of left repeats to right repeats, with the only options being quarters of the other (1:4, 2:4, 3:4, 4:4, 4:3, 4:2, 4:1).&lt;br /&gt;
* '''Analog Delay''' - is the exact same thing as Free Delay, with the exception that if you change the Time parameter while repeats are occurring the repeats are pitch shifted as occurs on an analog delay pedal.  ''There are no tonal differences to this type compared to the other two.''&lt;br /&gt;
&lt;br /&gt;
All three Delay types exhibit a tape delay simulation when using Feedback settings around 90% or higher.  Anything lower is a straight digital delay.&lt;br /&gt;
&lt;br /&gt;
=== Tempo Considerations ===&lt;br /&gt;
{{Crumbs|orange|4&lt;br /&gt;
|Kemper KPA Effects#Tone Controls|Tone&lt;br /&gt;
|Kemper KPA Effects#MAB Advanced Reverb Effects|MAB Reverbs&lt;br /&gt;
|Kemper KPA Effects#Differences in Delay Types|Delay Types&lt;br /&gt;
|Kemper KPA Effects#Tempo Considerations|Tempo&lt;br /&gt;
|Kemper KPA Effects#Space Effect|Space&lt;br /&gt;
}}&lt;br /&gt;
&lt;br /&gt;
Tempo can be viewed, locked, changed, and disabled from the [[Kemper KPA System and Rig Settings#Tempo|Rig block's settings]].  This mainly affects the Delay block's operation.&lt;br /&gt;
&lt;br /&gt;
When tempo is disabled, the Free and Analog Delays use the Time parameter to determine how quickly they repeat.  The Tap Delay uses a default tempo of 120 bpm.  When tempo is enabled, the Delays ignore the Time parameter and use the tempo setting.  The Tap Delay defines the left and right repeats separately in terms of a beat.  The Free and Analog delays use a single Ratio parameter - the beat synchs up to the larger one.  For example, a ratio of 1:4 on a 120 bpm tempo means the left delay is set to 30 repeats per minute and the right delay is set to 120 repeats per minute.&lt;br /&gt;
&lt;br /&gt;
=== Space Effect ===&lt;br /&gt;
{{Crumbs|orange|5&lt;br /&gt;
|Kemper KPA Effects#Tone Controls|Tone&lt;br /&gt;
|Kemper KPA Effects#MAB Advanced Reverb Effects|MAB Reverbs&lt;br /&gt;
|Kemper KPA Effects#Differences in Delay Types|Delay Types&lt;br /&gt;
|Kemper KPA Effects#Tempo Considerations|Tempo&lt;br /&gt;
|Kemper KPA Effects#Space Effect|Space&lt;br /&gt;
}}&lt;br /&gt;
&lt;br /&gt;
In addition to Delay and Reverb, there is an effect called '''Space''' that operates similarly to a reverb, perhaps with very subtle delay thrown in, as well as a stereo widening type effect.  This effect was designed to make the sound of headphones sound more like the sound of a room.  It was originally created just as an option in the Output section for headphones, but can now be applied to all outputs, or assigned as an effect block with different settings per rig.&lt;br /&gt;
&lt;br /&gt;
== Pitch Shifter Options ==&lt;br /&gt;
{{Crumbs|blue|5&lt;br /&gt;
|Kemper KPA Effects#Noise Gates|Gates&lt;br /&gt;
|Kemper KPA Effects#All those Wah Choices|Wah&lt;br /&gt;
|Kemper KPA Effects#Mono vs. Stereo|Mono/Stereo&lt;br /&gt;
|Kemper KPA Effects#Delay and Reverb|Delay/Reverb&lt;br /&gt;
|Kemper KPA Effects#Pitch Shifter Options|Pitch Shifter Options&lt;br /&gt;
|Kemper KPA Effects#Shapers|Shapers&lt;br /&gt;
}}&lt;br /&gt;
&lt;br /&gt;
The KPA offers chromatic and intelligent (harmony) pitch shifting effects, which function like traditional [[Pitch Shifting|pitch shifters]].  The Harmony Shifter goes a step beyond and allows custom user scales to harmonize against.  But even beyond these functions, the KPA's shifters offer somewhat unique options to adjust how the shifters work:&lt;br /&gt;
&lt;br /&gt;
=== Smooth Chords ===&lt;br /&gt;
The Smooth Chords option disables the shifter's pitch tracking.  Tracking is used to phase align the time-shifted audio segments, so that the resulting audio sounds smooth and natural.  This works great for single notes but cannot work correctly for chords.  Instead, it may jump between pitches as it detects them or phase-align one pitch while the others in the chord end up sounding more harsh.  Smooth Chords prevents these awkward sounds when playing chords.&lt;br /&gt;
&lt;br /&gt;
While Smooth Chords is designed to reduce artifacts when playing chords, it may be useful even for single notes depending on how convoluted the signal chain is.  It can also yield more of the artifacts traditionally associated with pitch shifters, that while obvious and artificial, may produce a certain desirable sound.&lt;br /&gt;
&lt;br /&gt;
=== Pure Tuning ===&lt;br /&gt;
This option harmonizes to the Pure Tuned or Just Intonation intervals instead of the 12-Tone Equal Temperament intervals.  This makes the harmonized sound a bit more pleasant and harmonious when mixed with the dry signal, particularly when playing higher up the fretboard.  See [[Equal Temperament and Alternate Tunings]] for more about temperament and tuning.&lt;br /&gt;
&lt;br /&gt;
=== Formant ===&lt;br /&gt;
The Formant option enables a formant parameter which defines a resonant peak (formant) in the pitch-shifted part of the signal.  Formants determine what the tone sounds like, with the human voice making use of different formants to create the different phonetic sounds of the alphabet, particularly for vowels.  Thus, the pitch-shifted sound can become quite different from its normal sound.  It can reduce the &amp;quot;Chipmunks&amp;quot; type sound to upwards shifted settings.  It can also make the guitar sound like a different instrument altogether.&lt;br /&gt;
&lt;br /&gt;
== Shapers ==&lt;br /&gt;
{{Crumbs|blue|6&lt;br /&gt;
|Kemper KPA Effects#Noise Gates|Gates&lt;br /&gt;
|Kemper KPA Effects#All those Wah Choices|Wah&lt;br /&gt;
|Kemper KPA Effects#Mono vs. Stereo|Mono/Stereo&lt;br /&gt;
|Kemper KPA Effects#Delay and Reverb|Delay/Reverb&lt;br /&gt;
|Kemper KPA Effects#Pitch Shifter Options|Pitch Shifter Options&lt;br /&gt;
|Kemper KPA Effects#Shapers|Shapers&lt;br /&gt;
}}&lt;br /&gt;
&lt;br /&gt;
While most effects are more common for guitarists, the &amp;quot;shaper&amp;quot; effects may seem a bit confusing.  Essentially, they attempt to &amp;quot;shape&amp;quot; the waveforms of the input audio signal.  This is essentially what distortion is, but most distortion circuits use ''clipping'' to reshape the waves.  These do something different entirely, but most end up adding harmonic overtones.  The best advice is to try all of them at mild and hot settings, run both into a clean amp profile as well as crunchy one.&lt;br /&gt;
&lt;br /&gt;
Looking at stomps presets, many tend to use a combination of a shaper effect and distortion effect (and sometimes an EQ as well) to emulate various real-world distortion boxes, particularly fuzz type distortion.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
{{Kemper Guide Crumbs|8}}&lt;br /&gt;
&lt;br /&gt;
[[Category:Guitar]]&lt;br /&gt;
[[Category:Gear]]&lt;br /&gt;
[[Category:Modelers]]&lt;br /&gt;
[[Category:Guides]]&lt;br /&gt;
[[Category:Kemper]]&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=Kemper_KPA_External_Control&amp;diff=8737</id>
		<title>Kemper KPA External Control</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=Kemper_KPA_External_Control&amp;diff=8737"/>
				<updated>2016-11-04T04:54:40Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: /* MIDI Continuous Control */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{Top-Level Crumbs|4}}&lt;br /&gt;
{{User Guide Crumbs|2}}&lt;br /&gt;
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The KPA has extensive, intuitive support for external controllers, and some products are made specifically for control of the KPA.  The three main types of control are analog expression pedals/footswitches, MIDI, and the Kemper Remote.&lt;br /&gt;
&lt;br /&gt;
== Expression Pedals ==&lt;br /&gt;
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|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
&lt;br /&gt;
The KPA has 2 stereo jacks on the back of the unit that can be connected to expression pedals or footswitches.  ''Expression pedals should be stereo and connected with a stereo cable.''  Footswitches can be mono or stereo.  Additionally, up to 4 expression pedals can be connected to the Kemper Remote.&lt;br /&gt;
&lt;br /&gt;
=== System Menu Settings ===&lt;br /&gt;
Pages 5-10 cover how expression pedals behave.  Pedals 1 and 2 cover the two inputs on the back of the KPA, while Pedals 3-6 refer to inputs on the official Kemper remote.  The setup done here is simply mapping the pedal's anolog input to that appropriate MIDI CC # (1 for wah wah, 7 for volume, 4 for pitch, and 73 for monitor volume).&lt;br /&gt;
&lt;br /&gt;
Note: if you only have one expression pedal, you can still use it to control wah, volume, and pitch with some additional [[#MIDI Assignments and Settings|MIDI setup below]].  You should set it to CC# 1 (Wah Wah).  The KPA is actually very smart about this, and you don't really ever need more than one expression pedal, unless you like to have dedicated pedals, or have your wah/pitch with a spring in it to push it back to heel position, or do some crazy stuff where you jump between pedals.&lt;br /&gt;
&lt;br /&gt;
'''Pedal Type''' refers to the '''polarity''' of the expression pedal - type 1 is the normal type (Roland), while type 2 is reversed (Yamaha).&lt;br /&gt;
&lt;br /&gt;
This is also where you would come to '''calibrate''' a new pedal, or after updating your KPA's firmware/OS.  You simply press the button then do a full sweep.  ''Be sure to calibrate any pedal that you add to the KPA or after you update the KPA's firmware/OS.''&lt;br /&gt;
&lt;br /&gt;
==== MIDI Assignments and Settings ====&lt;br /&gt;
Page 14 has some checkbox settings for allowing an expression pedal that was set to Wah Wah on pages 5-10 or MIDI CC 1 to also control volume or pitch-shifting, when not being used for a wah wah effect.  It also has settings for sending the KPA's MIDI clock to external devices and setting the MIDI global channel (omni by default).  And you can also see the current MIDI CC values for 4 of the most likely used CC's, controlling modulation, pitch, volume, and monitor volume.&lt;br /&gt;
&lt;br /&gt;
'''Note, if you link a wah pedal to volume, when you disable a wah effect on a rig, the pedal will ''not'' begin to control volume until you put it fully in the toe position''' - ''this prevents a jump in volume if your wah pedal is not in toe position when you turn it off''.  Similarly, if wah is linked to pitch, when you disable wah/enable pitch, the pedal will ''not'' begin to affect the pitch until it is brought fully to the ''heel'' position, again to prevent the pitch jumping on the transition.&lt;br /&gt;
&lt;br /&gt;
=== Rig Menu Volume Pedal Settings ===&lt;br /&gt;
Page 5 of the Rig menu has some settings specific to using an expression pedal for volume control.&lt;br /&gt;
&lt;br /&gt;
* '''Lock Vol. Pedal''' - this setting will lock the current volume pedal settings below to apply to all rigs&lt;br /&gt;
* '''Wah Pedal to Vol.''' - this is a rig-level override of the System Menu page 14 pedal linking option above&lt;br /&gt;
* '''Location''' - this refers to a volume pedal's placement in the signal chain.  Since a dedicated volume pedal doesn't require an effect slot like wah wah or pitch (whammy), you use this parameter to set where it should affect the signal.&lt;br /&gt;
* '''Range''' - this refers to whether the volume pedal should boost when moving from heel position to toe position (when set to right of center) or cut when moving from toe to heel position (when set left of center)&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
== Analog Footswitches ==&lt;br /&gt;
{{Crumbs|blue|2&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
The Kemper also supports analog mono and stereo momentary footswitches.  They are set up the similarly to expression pedals on pages 5-6 of the System menu.  The difference is instead of being mapped to wah wah, volume, pitch, and monitor volume, it can be assigned to enable/disable any of the sections or blocks in the signal chain, as well switch to tuner, tap in the tap tempo, and switch to the previous or next rig.  In the case of a stereo/dual footswitch, each one can be independently assigned to different parameters.&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
== Using a MIDI Footcontroller ==&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
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|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
For more on MIDI foot controllers in general, see [[Foot Controllers]].  MIDI foot controllers typically feature a number of footswitches and often have multiple expression pedals.  Depending on their nature, they may support some features in the MIDI spec or not.  They are typically programmable to some nature, but often within predefined boundaries.  Some can be programmed directly from the footswitches, while others require being connected to a PC editor.  Below are the settings on the Kemper as well as the ways you'll have to program your controller to work with the Kemper.&lt;br /&gt;
&lt;br /&gt;
=== System Menu Settings ===&lt;br /&gt;
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|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
{{Crumbs|orange|1&lt;br /&gt;
|Kemper KPA External Control#System Menu Settings|System Menu&lt;br /&gt;
|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010&lt;br /&gt;
|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers&lt;br /&gt;
|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference&lt;br /&gt;
}}&lt;br /&gt;
&lt;br /&gt;
While in Browser mode, page 12 allows you to assign the current rig to a MIDI Program Change number, as well as view all the MIDI assignments.  Note, these are only for Browser mode, not performance mode, where more than MIDI bank of 128 rigs each can be assigned.&lt;br /&gt;
&lt;br /&gt;
While in Performance mode, page 13 allows assigning external devices to the MIDI Out and Thru ports, as well as giving them device names, and specifying which channels the Kemper should use to communicate with them.&lt;br /&gt;
&lt;br /&gt;
=== Behringer FCB1010 ===&lt;br /&gt;
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|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
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|Kemper KPA External Control#System Menu Settings|System Menu&lt;br /&gt;
|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010&lt;br /&gt;
|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers&lt;br /&gt;
|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference&lt;br /&gt;
}}&lt;br /&gt;
A popular foot controller for the Kemper is the [http://www.music-group.com/Categories/Behringer/Accessories/Footswitches-and-Remote-Controls/FCB1010/p/P0089 Behringer FCB1010].  Its layout lines up fairly closely with the KPA's performance slots, has two expression pedals, and can be found for a relatively cheap price.&lt;br /&gt;
&lt;br /&gt;
The FCB1010 can also easily be modified to use alternative firmware.  There are 4 possible firmwares you can use:&lt;br /&gt;
&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
! !! Factory !! [http://www.ossandust.be/ UnO] !! [http://www.uno4kemper.com/ UnO4Kemper] !! [http://www.eurekasound.com/eurekaprom Eureka]&lt;br /&gt;
|-&lt;br /&gt;
! Advantages&lt;br /&gt;
|&lt;br /&gt;
* Can be programmed from PC&lt;br /&gt;
* No additional cost&lt;br /&gt;
|&lt;br /&gt;
* Fixes bugs and removes restrictions found in factory FW&lt;br /&gt;
* Can be programmed from PC&lt;br /&gt;
* Can save programmed settings on PC&lt;br /&gt;
|&lt;br /&gt;
* Makes the FCB plug n play with KPA&lt;br /&gt;
* Supports 2-way communication to sync effect states&lt;br /&gt;
* Simple to program directly from FCB1010&lt;br /&gt;
* Supports accessing all 625 performances on the KPA&lt;br /&gt;
|&lt;br /&gt;
* Can access all 625 performance rigs&lt;br /&gt;
* Multiple &amp;quot;scene&amp;quot; paradigms easily switched to change behavior&lt;br /&gt;
* Very configurable/powerful&lt;br /&gt;
|-&lt;br /&gt;
! Disadvantages&lt;br /&gt;
|&lt;br /&gt;
* Contains a number of bugs, particularly early version&lt;br /&gt;
* Can only reference a max of 100 rigs&lt;br /&gt;
* Numerous restrictions&lt;br /&gt;
* Missing features&lt;br /&gt;
|&lt;br /&gt;
* Still limited to max of 100 rigs to select from&lt;br /&gt;
* No 2-way communication to display correct LED states matching KPA effects&lt;br /&gt;
|&lt;br /&gt;
* Cannot be updated as KPA OS is updated, have to buy a new chip&lt;br /&gt;
* No advanced programming, such as firing multiple CC's from one button press&lt;br /&gt;
* Footswitch and expression pedal assignment is global, not per rig&lt;br /&gt;
* Expression pedals can only be assigned to CC1 and CC7&lt;br /&gt;
|&lt;br /&gt;
* Can be kind of confusing to program&lt;br /&gt;
* Have to switch scenes to be able to access all 625 performance rigs as well as toggle effects&lt;br /&gt;
* Cannot save configuration to PC and share&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
==== UnO4Kemper ====&lt;br /&gt;
[http://www.uno4kemper.com/ The UnO4Kemper firmware] is an unofficial firmware for the FCB1010 made by a 3rd party author.  It comes on an EPROM chip that can be switched out for the factory chip after opening the FCB1010 up.&lt;br /&gt;
&lt;br /&gt;
This firmware will instantly turn your FCB1010 into a dedicated Kemper controller.  The main advantage of this chip is it is as plug and play as you will find to get a working pedalboard for the Kemper, other than the official Kemper Remote.  The bad part is that it makes the FCB1010 only work with the Kemper and you cannot do advanced customization of how the controller operates (such as assigning multiple effects to toggle on a single button).  Also, if Kemper updates the KPA software to add new features, there is no method to update your current UnO4Kemper chip to support those features - you will have to purchase a new chip once the UnO4Kemper firmware is updated to support the feature.&lt;br /&gt;
&lt;br /&gt;
The full list of features is found in [http://www.uno4kemper.com/UnOforKemper_manual.pdf the manual].  &lt;br /&gt;
* Bank (Performance) Up/Down&lt;br /&gt;
* One row of buttons is used for rig selection and the other for toggling effects on/off&lt;br /&gt;
* The rows' functions can be swapped.&lt;br /&gt;
* Available effects/functions are A-D, X, Mod, Delay, Reverb, change rotary speaker effect speed, tap tempo, and display tuner&lt;br /&gt;
* Each effect toggle footswitch can be assigned to any 1 of those effects/functions.&lt;br /&gt;
* One expression pedal controls CC 1 (wah wah) and the other CC 7 (volume).  These can be swapped.&lt;br /&gt;
* Expression pedals can each be configured to use 1 out of 5 possible sweep curves.&lt;br /&gt;
* 2-way communication with KPA using 2nd MIDI cable.  Keeps footswitch LEDs in sync with KPA effects when switching rigs.&lt;br /&gt;
* Can display KPA tuner on FCB1010&lt;br /&gt;
* Can use KPA Beat Scanner function for tempo&lt;br /&gt;
* Force KPA to enter Browse Mode or Performance Mode&lt;br /&gt;
&lt;br /&gt;
=== Other MIDI Foot Controllers ===&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
{{Crumbs|orange|3&lt;br /&gt;
|Kemper KPA External Control#System Menu Settings|System Menu&lt;br /&gt;
|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010&lt;br /&gt;
|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers&lt;br /&gt;
|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference&lt;br /&gt;
}}&lt;br /&gt;
As you'll see below, the KPA provides extensive MIDI capabilities; basically any MIDI controller can get something out of it, while expensive, powerful controllers can do just about anything you can do by touching the KPA's buttons and knobs.  How far you want to take your amount of control depends on what you want to do.&lt;br /&gt;
&lt;br /&gt;
While I do not want to take up a lot of space discussing the capabilities and quirks of numerous footcontrollers, [http://www.wikpa.org/Using_Specific_MIDI_Controllers wikpa.org does a good job on this subject].&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
=== MIDI Programming Reference ===&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
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|Kemper KPA External Control#System Menu Settings|System Menu&lt;br /&gt;
|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010&lt;br /&gt;
|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers&lt;br /&gt;
|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference&lt;br /&gt;
}}&lt;br /&gt;
This section contains reference material for controlling the KPA by MIDI PC (Program Change), CC (Continuous Control), NRPN (Non-registered Parameter Numbers), or SysEx (System Exclusive) messages.  These go from least to most complicated, and similarly most to least supported.&lt;br /&gt;
&lt;br /&gt;
==== MIDI Program Change ====&lt;br /&gt;
Up to 128 rigs can be assigned PC numbers in Browse Mode from a page in the system menu - you can also see all the rigs assigned to PC's here.&lt;br /&gt;
&lt;br /&gt;
In Performance Mode, each performance/slot is automatically assigned a PC number based on the order of performances, and slots within each performance.  Even disabled slots are assigned a PC #.  Notice this only allows about 25 of the 125 performances (or 128 of the 625 slots) available.  If you need to access more, you can use a MIDI bank select command before the program change, which is implemented as MIDI CC #0 for the most significant byte (MSB) and #32 for the least significant byte (LSB).  While bank selects typically use 2 MIDI bytes, the KPA only requires a range of 0-4 to access all slots via PC.  It will ignore any CC #0 bank select MSB messages.  CC 32 can be used by itself to change which rigs the KPA accesses via PC.  Sending a value of 0 over CC 32 accesses the first 128 slots (performance 1 slot 1 - performance 26 slot 3), CC 32 value 1 accesses the next 128 (performance 26 slot 4 - performance 52 slot 1), etc. up to a max of CC 32 value 4, which will put PC access beyond the available 625 rigs.&lt;br /&gt;
&lt;br /&gt;
Note - it is recommended to use CC's 48-49 (or 47) for selecting performances, then using CC's 50-54 to select which slot to load.  This aligns both with the KPA's performance/slot organization and with footcontrollers that typically feature bank up/down switches as well as a row of switches to change patches/rigs.  There's no need to use complicated math to try to figure out which PC or bank select index is required to load a particular performance/slot.&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
==== MIDI Continuous Control ====&lt;br /&gt;
The KPA responds to a number of MIDI CC messages.  These are enough for generic MIDI foot controllers to perform normal functionality.  You can change cycle through rigs in Browse mode, and bank up/down and select any of the 5 rigs assigned to the slots in Performance mode.  You can turn on/off any of the 8 effects, tap tempo, display the tuner, and switch the rotary speaker effect's speed.  In addition to the expression pedal functions above of controlling wah wah, pitch, volume, and monitor volume, one could be used to control delay/reverb mix and feedback/time, as well as amplifier gain.&lt;br /&gt;
&lt;br /&gt;
{| class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
! CC # !! Valid Values !! What it controls&lt;br /&gt;
|-&lt;br /&gt;
| 0 || N/A || Bank Select MSB - ignored&lt;br /&gt;
|-&lt;br /&gt;
| 1 || x || Wah Wah position on any enabled wah wah effect. Volume if &amp;quot;wah to volume&amp;quot; linking is checked and all wah wah effects are disabled or not present on current rig.  Pitch if &amp;quot;wah to pitch&amp;quot; linking is checked and all wah wah effects are disabled or not present on current rig.&lt;br /&gt;
|-&lt;br /&gt;
| 4 || x || Pitch position for Pedal Pitch or Pedal Vinyl Stop effects&lt;br /&gt;
|-&lt;br /&gt;
| 6 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|-&lt;br /&gt;
| 7 || x || Volume - controls the volume of the rig as specified per rig in the Rig Menu page 5.&lt;br /&gt;
|-&lt;br /&gt;
| 11 || x || Morph - controls any parameters set to be controlled by morphing.&lt;br /&gt;
|-&lt;br /&gt;
| 16 || Any || Toggles all stomps on/off&lt;br /&gt;
|-&lt;br /&gt;
| 17 || 0/1 || 0: Stomp A Off; 1: Stomp A On &lt;br /&gt;
|-&lt;br /&gt;
| 18 || 0/1 || 0: Stomp B Off; 1: Stomp B On &lt;br /&gt;
|-&lt;br /&gt;
| 19 || 0/1 || 0: Stomp C Off; 1: Stomp C On &lt;br /&gt;
|-&lt;br /&gt;
| 20 || 0/1 || 0: Stomp D Off; 1: Stomp D On &lt;br /&gt;
|-&lt;br /&gt;
| 22 || 0/1 || 0: Effect X Off; 1: Effect X On &lt;br /&gt;
|-&lt;br /&gt;
| 24 || 0/1 || 0: Effect Mod Off; 1: Effect Mod On &lt;br /&gt;
|-&lt;br /&gt;
| 26 || 0/1 || 0: Delay Off; 1: Delay On &lt;br /&gt;
|-&lt;br /&gt;
| 27 || 0/1 || 0: Delay Off (with tail); 1: Delay On &lt;br /&gt;
|-&lt;br /&gt;
| 28 || 0/1 || 0: Reverb Off; 1: Reverb On &lt;br /&gt;
|-&lt;br /&gt;
| 29 || 0/1 || 0: Reverb Off (with tail); 1: Reverb On &lt;br /&gt;
|-&lt;br /&gt;
| 30 || 1/0 || Sets Tempo Tap If your floorboard supports separate events on “pressing” and “releasing” a button, send 1 when “pressed” and 0 when “released”. If the floorboard can only send one event, use value 0. When value 1 has been sent and no value 0 for 3 seconds, the Beat Scanner1 is being activated. &lt;br /&gt;
|-&lt;br /&gt;
| 31 || 1/0 || 1: Show Tuner; 0: Hide Tuner &lt;br /&gt;
|-&lt;br /&gt;
| 32 || [0,4] || Bank Select LSB - changes which set of 128 performance slots are available via PC messages in Performance Mode.  &lt;br /&gt;
* Bank 0 - performance 1 slot 1 - performance 26 slot 3&lt;br /&gt;
* Bank 1 - performance 26 slot 4 - performance 52 slot 1&lt;br /&gt;
* Bank 2 - performance 52 slot 2 - performance 77 slot 4&lt;br /&gt;
* Bank 3 - performance 77 slot 5 - performance 103 slot 2&lt;br /&gt;
* Bank 4 - performance 103 slot 3 - performance 125 slot 5&lt;br /&gt;
|-&lt;br /&gt;
| 33 || 0/1 || 0: Rotary Speaker slow; 1: Rotary Speaker fast &lt;br /&gt;
|-&lt;br /&gt;
| 34 || 0/1 || 0: Delay Feedback Infinity Off; 1: Delay Feedback Infinity On&lt;br /&gt;
|-&lt;br /&gt;
| 35 || 0/1 || 0: Delay Hold Off; 1: Delay Hold On&lt;br /&gt;
|-&lt;br /&gt;
| 38 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|-&lt;br /&gt;
| 47 || [0,124]  || (Performance Mode only) Directly select a performance index. The performance will be loaded when a slot selection is sent (CC50-54). If no slot is selected, the performance index selection is disabled after a few seconds.  When disabled, the KPA sends the current performance index and slot back to the device.  This can be used to keep the MIDI controller and KPA in sync.&lt;br /&gt;
|-&lt;br /&gt;
| 48 || 1/0 &lt;br /&gt;
| Performance Mode: Increases performance index. Value triggers two different modes:&lt;br /&gt;
* Value 0, increase performance n to n+1 (bank up)*&lt;br /&gt;
* Value 1 initially increases performance by 1, after a timeout the Kemper Profiler starts to scroll performances upwards. Value 0 stops scrolling. &lt;br /&gt;
Browse Mode only: Value 0 selects the next Rig (current filter/sort applies), similar to “Rig Right” &lt;br /&gt;
|-&lt;br /&gt;
| 49 || 1/0 &lt;br /&gt;
| Performance Mode: Decreases performance index. Value triggers two different modes: &lt;br /&gt;
* Value 0, increase performance n to n-1 (bank down)*&lt;br /&gt;
* Value 1 initially decreases performance index by 1, after a timeout the Kemper Profiler starts to scroll performances downwards. Value 0 stops scrolling.&lt;br /&gt;
Browse Mode only: Value 0 selects the previous Rig (current filter/sort applies), similar to “Rig Left” &lt;br /&gt;
|- &lt;br /&gt;
| 50 || 1 || (Performance Mode only) Select Slot 1 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 51 || 1 || (Performance Mode only) Select Slot 2 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 52 || 1 || (Performance Mode only) Select Slot 3 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 53 || 1 || (Performance Mode only) Select Slot 4 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 54 || 1 || (Performance Mode only) Select Slot 5 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 68 || x || Sets Delay Mix to x &lt;br /&gt;
|-&lt;br /&gt;
| 69 || x || Sets Delay Feedback to x &lt;br /&gt;
|-&lt;br /&gt;
| 70 || x || Sets Reverb Mix to x &lt;br /&gt;
|-&lt;br /&gt;
| 71 || x || Sets Reverb Time to x &lt;br /&gt;
|-&lt;br /&gt;
| 72 || x ||Sets Amplifier Gain to x &lt;br /&gt;
|-&lt;br /&gt;
| 73 || x ||Sets Monitor Volume to x &lt;br /&gt;
|-&lt;br /&gt;
| 98 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|-&lt;br /&gt;
| 99 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|-&lt;br /&gt;
| 119 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
''* Changing the Performance may or may not load a slot instantly depending on the [[Kemper KPA Performing Live#MIDI|Perf. Load System Menu setting]].''&lt;br /&gt;
&lt;br /&gt;
Most foot controllers support some form of programming what each footswitch will send, and if the footswitch should toggle its value.  For example, if you assign FS1 to turn Stomp A on/off, you should be able to set FS1 to light up after pressing it (and it sends a 1 (on) value, indicating you've turned it on.  Now if you press it again, the light turns off, and it sends a 0 (off) value.&lt;br /&gt;
&lt;br /&gt;
This brings up a curious issue.  If you change rigs where Stomp A is on when the rig is loaded, how does the MIDI footcontroller know what state to set FS1?  The footcontroller itself must store a set of rigs containing the default on/off state of each footswitch, matching the corresponding rigs in the KPA.&lt;br /&gt;
&lt;br /&gt;
MIDI CC is the most widely supported part of the MIDI protocol by various MIDI footcontrollers; however, you will notice that there are hundreds of parameters for dozens of effects, as well as the amp, cab, input, output, and tonestack blocks that are not able to be controlled via CC, given the list above.  MIDI CC supports 7-bits for the CC channel number and 7-bits for the value, meaning a maximum of 128 parameters can be controlled with only 0-127 distinct values to communicate.  The MIDI specification gives 2 ways to deal with this: NPRN and Sysex.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== MIDI NRPN ====&lt;br /&gt;
[https://en.wikipedia.org/wiki/NRPN NRPN (Non-registered Parameter Numbers)] uses a set of 4 different CC messages to exponentially increase both the size of possible addresses and values that a device can send/receive.  '''Since each CC message can carry a value from 0-128, NRPN addresses and values each have a range of 128 x 128, which is 16,384.'''  The exact specification is below:&lt;br /&gt;
# '''CC 99''': Value is the Most significant Byte (MSB) of the desired address&lt;br /&gt;
# '''CC 98''': Value is the Least Significant Byte (LSB) of the desired address&lt;br /&gt;
# '''CC 06''': Value is the Most Significant Byte (MSB) of the desired value&lt;br /&gt;
# '''CC 38''': Value is the Least Significant Byte (LSB) of the desired value&lt;br /&gt;
&lt;br /&gt;
While the NRPN spec allows CC 38 to be optional, the KPA ''requires'' it.  The 4 CC's named above must be received in order, and the NRPN message is processed as soon as CC 38 is received.  ''Once an address has been selected via CC's 99 and 98, multiple values can be sent without sending 99/98 each time to reselect the address - only 06/38 needs to be sent.''  That is useful to know if you want to program NRPN to &amp;quot;move&amp;quot; a single parameter over time.&lt;br /&gt;
&lt;br /&gt;
Some footcontrollers support NRPN 14-bit addressing but not 14-bit values via CC's 06 and 38.  The KPA allows CC 119 to send the value in this case.  So the footcontroller can be programmed to send an NRPN as follows:&lt;br /&gt;
# '''CC 99''': address MSB&lt;br /&gt;
# '''CC 98''': address LSB&lt;br /&gt;
# '''CC 119''': 7-bit value&lt;br /&gt;
The 7-bit value is mapped to the appropriate 14-bit value - 128 becomes 16,384, 64 becomes 8,192, while 0 remains 0.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
|-style=&amp;quot;vertical-align:top;&amp;quot;&lt;br /&gt;
|&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
|+ NRPN Address - Parameter Mapping&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| Address&lt;br /&gt;
!rowspan=&amp;quot;2&amp;quot;| Type&lt;br /&gt;
!rowspan=&amp;quot;2&amp;quot;| Parameter&lt;br /&gt;
|-&lt;br /&gt;
! MSB !! LSB&lt;br /&gt;
|-&lt;br /&gt;
| 4 || 0 || Rig || Tempo&lt;br /&gt;
|-&lt;br /&gt;
| 4 || 1 || Rig || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 4 || 2 || Rig || Tempo Enable&lt;br /&gt;
|-&lt;br /&gt;
| 9 || 3 || Input || Noise Gate Intensity&lt;br /&gt;
|-&lt;br /&gt;
| 9 || 4 || Input || Clean Sense&lt;br /&gt;
|-&lt;br /&gt;
| 9 || 5 || Input || Distortion Sense&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 2 || Amplifier || On/Off&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 4 || Amplifier || Gain&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 6 || Amplifier || Definition&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 7 || Amplifier || Clarity&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 8 || Amplifier || Power Sagging&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 9 || Amplifier || Pick&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 10 || Amplifier || Compressor&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 11 || Amplifier || Tube Shape&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 12 || Amplifier || Tube Bias&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 15 || Amplifier || Direct Mix&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 2 || EQ || On/Off&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 4 || EQ || Bass&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 5 || EQ || Mids&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 6 || EQ || Treble&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 7 || EQ || Presence&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 2 || Cabinet || On/Off&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 3 || Cabinet || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 4 || Cabinet || High Shift&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 5 || Cabinet || Low Shift&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 6 || Cabinet || Character&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 0 || Stomp A || Type (see other table)&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 3 || Stomp A || On/Off&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 4 || Stomp A || Mix&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 6 || Stomp A || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 7 || Stomp A || Stereo&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 8 || Stomp A (Wah) || Wah Manual&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 9 || Stomp A (Wah) || Wah Peak&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 10 || Stomp A (Wah) || Wah Range&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 12 || Stomp A (Wah) || Wah Pedal Mode&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 13 || Stomp A (Wah) || Wah Touch Attack&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 14 || Stomp A (Wah) || Wah Touch Release&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 15 || Stomp A (Wah) || Wah Touch Boost&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 16 || Stomp A (Dist/Shaper) || Distortion/Shaper Drive&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 17 || Stomp A (Dist/Shaper) || Distortion/Booster Tone&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 18 || Stomp A (Comp) || Compressor/Gate Intensity&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 19 || Stomp A (Comp) || Compressor Attack&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 20 || Stomp A (Mod) || Modulation Rate&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 21 || Stomp A (Mod) || Modulation Depth&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 22 || Stomp A (Mod) || Modulation Feedback&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 23 || Stomp A (Mod) || Modulation Crossover&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 24 || Stomp A (Mod) || Modulation HyperChorus Amount&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 25 || Stomp A (Mod) || Modulation Manual&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 26 || Stomp A (Mod) || Modulation Phase Peak Spread&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 27 || Stomp A (Mod) || Modulation Stages&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 30 || Stomp A (Rot) || Rotary Speed (slow/fast)&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 31 || Stomp A (Rot) || Rotary Distance&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 32 || Stomp A (Rot) || Rotary Balance&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 33 || Stomp A (Comp) || Compressor Squash&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 34 || Stomp A (EQ) || Graphic EQ Band 1&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 35 || Stomp A (EQ) || Graphic EQ Band 2&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 36 || Stomp A (EQ) || Graphic EQ Band 3&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 37 || Stomp A (EQ) || Graphic EQ Band 4&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 38 || Stomp A (EQ) || Graphic EQ Band 5&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 39 || Stomp A (EQ) || Graphic EQ Band 6&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 40 || Stomp A (EQ) || Graphic EQ Band 7&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 41 || Stomp A (EQ) || Graphic EQ Band 8&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 42 || Stomp A (EQ) || Parametric EQ Low Gain&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 43 || Stomp A (EQ) || Parametric EQ Low Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 44 || Stomp A (EQ) || Parametric EQ High Gain&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 45 || Stomp A (EQ) || Parametric EQ High Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 46 || Stomp A (EQ) || Parametric EQ Peak Gain&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 47 || Stomp A (EQ) || Parametric EQ Peak Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 48 || Stomp A (EQ) || Parametric EQ Peak Q&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 49 || Stomp A (EQ) || Parametric EQ Peak 2 Gain&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 50 || Stomp A (EQ) || Parametric EQ Peak 2 Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 51 || Stomp A (EQ) || Parametric EQ Peak 2 Q&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 52 || Stomp A (Wah) || Wah Peak Range&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 53 || Stomp A || Ducking&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 55 || Stomp A (Pitch) || Voice Mix&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 56 || Stomp A (Pitch) || Voice 1 Pitch&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 57 || Stomp A (Pitch) || Voice 2 Pitch&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 58 || Stomp A (Pitch) || Detune&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 60 || Stomp A (Pitch) || Smooth Chords&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 61 || Stomp A (Pitch) || Pure Tuning&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 64 || Stomp A (Pitch) || Key&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 65 || Stomp A (Pitch) || Freeze Formants &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 66 || Stomp A (Pitch) || Formant Offset &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 67 || Stomp A (Delay) || Low Cut &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 68 || Stomp A (Delay) || High Cut &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 69 || Stomp A (Delay) || Delay Mix &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 70 || Stomp A (Delay) || Delay Mix Pre/Post &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 71 || Stomp A (Delay) || Delay Time 1 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 72 || Stomp A (Delay) || Delay Time 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 73 || Stomp A (Delay) || Delay Ratio 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 74 || Stomp A (Delay) || Delay Ratio 3 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 75 || Stomp A (Delay) || Delay Ratio 4 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 76 || Stomp A (Delay) || Delay Note Value 1 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 77 || Stomp A (Delay) || Delay Note Value 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 78 || Stomp A (Delay) || Delay Note Value 3 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 79 || Stomp A (Delay) || Delay Note Value 4 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 80 || Stomp A (Delay) || To Tempo &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 81 || Stomp A (Delay) || Delay Volume 1 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 82 || Stomp A (Delay) || Delay Volume 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 83 || Stomp A (Delay) || Delay Volume 3 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 84 || Stomp A (Delay) || Delay Volume 4 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 85 || Stomp A (Delay) || Delay Panorama 1 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 86 || Stomp A (Delay) || Delay Panorama 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 87 || Stomp A (Delay) || Delay Panorama 3 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 88 || Stomp A (Delay) || Delay Panorama 4 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 89 || Stomp A (Delay) || Voice3 Pitch &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 90 || Stomp A (Delay) || Voice4 Pitch &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 91 || Stomp A (Delay) || Voice3 Interval &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 92 || Stomp A (Delay) || Voice4 Interval &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 93 || Stomp A (Delay) || Feedback &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 94 || Stomp A (Delay) || Infinity Feedback &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 95 || Stomp A (Delay) || Infinity &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 96 || Stomp A (Delay) || Feedback2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 97 || Stomp A (Delay) || Feedback Sync Switch &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 98 || Stomp A (Delay) || Delay Low Cut &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 99 || Stomp A (Delay) || Delay High Cut &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 100 || Stomp A (Delay) || Delay Filter Intensity &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 101 || Stomp A (Delay) || Delay Modulation &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 102 || Stomp A (Delay) || Delay Chorus &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 103 || Stomp A (Delay) || Flutter Intensity &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 104 || Stomp A (Delay) || Flutter Shape &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 105 || Stomp A (Delay) || Grit &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 106 || Stomp A (Delay) || Reverse Mix &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 107 || Stomp A (Delay) || Swell &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 108 || Stomp A (Delay) || Smear &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 109 || Stomp A (Delay) || Ducking Pre/Post &lt;br /&gt;
|-&lt;br /&gt;
| 51 || * || Stomp B || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 52 || * || Stomp C || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 53 || * || Stomp D || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 56 || * || Effect X || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 58 || * || Effect Mod || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 74 || * || Delay (4.0+) || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 0 || Delay (Deprecated in 4.0) || Type (see below)&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 2 || Delay (Deprecated in 4.0) || On/Off (cuts tails)&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 3 || Delay (Deprecated in 4.0) || Mix&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 4 || Delay (Deprecated in 4.0) || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 5 || Delay (Deprecated in 4.0) || Time&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 6 || Delay (Deprecated in 4.0) || Ratio&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 7 || Delay (Deprecated in 4.0) || Clock Left&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 8 || Delay (Deprecated in 4.0) || Clock Right&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 9 || Delay (Deprecated in 4.0) || Feedback&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 10 || Delay (Deprecated in 4.0) || Bandwidth&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 11 || Delay (Deprecated in 4.0) || Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 12 || Delay (Deprecated in 4.0) || Modulation&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 13 || Delay (Deprecated in 4.0) || On/Off (keeps tails)&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 14 || Delay (Deprecated in 4.0) || Ducking&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 0 || Reverb || Type (see below)&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 2 || Reverb || On/Off (cuts tails)&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 3 || Reverb || Mix&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 4 || Reverb || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 5 || Reverb || Del/Rev Balance&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 6 || Reverb || Time&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 7 || Reverb || Damping&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 8 || Reverb || Bandwidth&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 9 || Reverb || Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 10 || Reverb || Pre-Delay&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 11 || Reverb || On/Off (keeps tails)&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 12 || Reverb || Ducking&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 0 || System/Global || Main Output Volume&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 1 || System/Global || Headphone Output Volume&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 2 || System/Global || Monitor Output Volume&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 3 || System/Global || Direct Output Volume&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 11 || System/Global || SPDIF Input Enable&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 12 || System/Global || Main Output EQ Bass&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 13 || System/Global || Main Output EQ Mids&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 14 || System/Global || Main Output EQ Treble&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 15 || System/Global || Main Output EQ Presence&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 17 || System/Global || Monitor Output EQ Bass&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 18 || System/Global || Monitor Output EQ Mids&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 19 || System/Global || Monitor Output EQ Treble&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 20 || System/Global || Monitor Output EQ Presence&lt;br /&gt;
|}&lt;br /&gt;
|&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
|+ Value to Effect Type Mapping&lt;br /&gt;
|-&lt;br /&gt;
! Value !! Effect Type&lt;br /&gt;
|-&lt;br /&gt;
| 0 || Null/Empty&lt;br /&gt;
|-&lt;br /&gt;
| 1 || Wah Wah&lt;br /&gt;
|-&lt;br /&gt;
| 2 || Wah Low Pass&lt;br /&gt;
|-&lt;br /&gt;
| 3 || Wah High Pass&lt;br /&gt;
|-&lt;br /&gt;
|    4 || Wah Vowel Filter&lt;br /&gt;
|-&lt;br /&gt;
|    6 || Wah Phaser&lt;br /&gt;
|-&lt;br /&gt;
|    7 || Wah Flanger&lt;br /&gt;
|-&lt;br /&gt;
|    8 || Wah Rate Reducer&lt;br /&gt;
|-&lt;br /&gt;
|    9 || Wah Ring Modulator&lt;br /&gt;
|-&lt;br /&gt;
|    10 || Wah Freq Shifter&lt;br /&gt;
|-&lt;br /&gt;
|    12 || Wah Formant Shift&lt;br /&gt;
|-&lt;br /&gt;
|    17 || Bit Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    18 || Recti Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    19 || Soft Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    20 || Hard Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    21 || Wave Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    33 || Green Scream&lt;br /&gt;
|-&lt;br /&gt;
|    34 || Plus DS&lt;br /&gt;
|-&lt;br /&gt;
|    35 || One DS&lt;br /&gt;
|-&lt;br /&gt;
|    36 || Muffin&lt;br /&gt;
|-&lt;br /&gt;
|    37 || Mouse&lt;br /&gt;
|-&lt;br /&gt;
|    38 || Fuzz DS&lt;br /&gt;
|-&lt;br /&gt;
|    39 || Metal DS&lt;br /&gt;
|-&lt;br /&gt;
|    113 || Treble Booster&lt;br /&gt;
|-&lt;br /&gt;
|    114 || Lead Booster&lt;br /&gt;
|-&lt;br /&gt;
|    115 || Pure Booster&lt;br /&gt;
|-&lt;br /&gt;
|    116 || Wah Pedal Booster&lt;br /&gt;
|-&lt;br /&gt;
|    97 || Graphic Equalizer&lt;br /&gt;
|-&lt;br /&gt;
|    98 || Studio Equalizer&lt;br /&gt;
|-&lt;br /&gt;
|    99 || Metal Equalizer&lt;br /&gt;
|-&lt;br /&gt;
|    101 || Stereo Widener&lt;br /&gt;
|-&lt;br /&gt;
|    49 || Compressor&lt;br /&gt;
|-&lt;br /&gt;
|    57 || Gate 2:1&lt;br /&gt;
|-&lt;br /&gt;
|    58 || Gate 4:1&lt;br /&gt;
|-&lt;br /&gt;
|    65 || Vintage Chorus&lt;br /&gt;
|-&lt;br /&gt;
|    66 || Hyper Chorus&lt;br /&gt;
|-&lt;br /&gt;
|    67 || Air Chorus&lt;br /&gt;
|-&lt;br /&gt;
|    71 || Micro Pitch|-&lt;br /&gt;
|-&lt;br /&gt;
|    68 || Vibrato&lt;br /&gt;
|-&lt;br /&gt;
|    69 || Rotary Speaker&lt;br /&gt;
|-&lt;br /&gt;
|    70 || Tremolo&lt;br /&gt;
|-&lt;br /&gt;
|    81 || Phaser&lt;br /&gt;
|-&lt;br /&gt;
|    82 || Phaser Vibe&lt;br /&gt;
|-&lt;br /&gt;
|    83 || Phaser Oneway&lt;br /&gt;
|-&lt;br /&gt;
|    89 || Flanger&lt;br /&gt;
|-&lt;br /&gt;
|    91 || Flanger Oneway&lt;br /&gt;
|-&lt;br /&gt;
|    121 || Loop Mono&lt;br /&gt;
|-&lt;br /&gt;
|    122 || Loop Stereo&lt;br /&gt;
|-&lt;br /&gt;
|    123 || Loop Distortion&lt;br /&gt;
|-&lt;br /&gt;
|    129 || Transpose&lt;br /&gt;
|-&lt;br /&gt;
|    11 || Pedal Pitch&lt;br /&gt;
|-&lt;br /&gt;
| 130 || Chromatic Pitch&lt;br /&gt;
|-&lt;br /&gt;
| 131 || Harmonic Pitch&lt;br /&gt;
|}&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== MIDI SysEx ====&lt;br /&gt;
MIDI also has the ability to send [https://en.wikipedia.org/wiki/MIDI#System_Exclusive_messages SysEx (System Exclusive)] messages.  SysEx messages are proprietary protocols that each manufacturer can create for each of their devices.  They use a common beginning and ending indicators, as well as manufacturer and device identifiers, so that devices that cannot interpret them know to ignore the message; and they can be incorporated into streams of MIDI messages between lots of devices in a MIDI ring without causing chaos.&lt;br /&gt;
&lt;br /&gt;
The SysEx common format is:&lt;br /&gt;
# 1 byte for SysEx Start (&amp;lt;code&amp;gt;0xF0&amp;lt;/code&amp;gt;)&lt;br /&gt;
# 3 bytes for Manufacturer ID (&amp;lt;code&amp;gt;0x002033&amp;lt;/code&amp;gt; for Kemper)&lt;br /&gt;
# 1 byte for product type (&amp;lt;code&amp;gt;0x02&amp;lt;/code&amp;gt; for Kemper Profiling Amp)&lt;br /&gt;
# 1 byte for device ID (&amp;lt;code&amp;gt;0x7F&amp;lt;/code&amp;gt; for Omni)&lt;br /&gt;
# x bytes for the message (this is the device-specific part)&lt;br /&gt;
# 1 byte for SysEx End (&amp;lt;code&amp;gt;0xF7&amp;lt;/code&amp;gt;)&lt;br /&gt;
&lt;br /&gt;
Example: &amp;lt;code&amp;gt;F0-00-20-33-02-7F-...-F7&amp;lt;/code&amp;gt;, where ... is variable.&lt;br /&gt;
&lt;br /&gt;
The Kemper MIDI SysEx protocol gets pretty intense, and I'll leave it to those interested to refer to the [http://www.kemper-amps.com/page/render/lang/en/p/170/id/27/cat/30/do/Kemper_Profiling_Amplifier___Downloads.html Kemper MIDI documentation].  For most users, SysEx will never be necessary.  Where this really comes in handy is for software programs that want to communicate with KPA via MIDI.  The big items that SysEx offer beyond NRPN above are string manipulation and requesting parameter values from the KPA.  These would allow a program to act as an editor, or an advanced floorboard to maintain two-way communication with the KPA, displaying the KPA's current values and keeping on/off states in sync.&lt;br /&gt;
&lt;br /&gt;
The x bytes above have a common scheme for Kemper SysEx messages, where the first byte is the function code.  This is followed by an instance code, which is always &amp;lt;code&amp;gt;0x00&amp;lt;/code&amp;gt;.  This is followed by the address, then the data.&lt;br /&gt;
&lt;br /&gt;
Depending on the function code, the address may be 2 bytes or 4 bytes, and the data can be variable length.  '''The 2 byte addresses use the NRPN addresses above.'''  I am not sure what the extended addresses referenced below are - the MIDI documentation does not list any.  Similarly, '''all 2 byte values use integer values of 0 - 16,384 for min to max''', although this may correspond to different display values on the KPA (for instance, a value of 0 might be &amp;quot;-5.0&amp;quot;, 8,192 might be &amp;quot;&amp;lt;0.0&amp;gt;&amp;quot;, and  16,384 would be &amp;quot;+5.0&amp;quot; - this depends on what the parameter actually is).  '''Strings use single byte characters encoded using [http://www.asciitable.com/ ASCII].'''&lt;br /&gt;
&lt;br /&gt;
I am not sure what the addresses for the string values are, but the documentation does say that the numeric settings' addresses overlap with the strings.  So, to get all the tags for an Amplifier profile, I would imagine you'd use the first address for Amplifier parameters listed in the NRPN reference above, and iterate +1 for all available tags.  ''However, from my research, this does not match how the tags are structured in the .kipr files when they are saved.''&lt;br /&gt;
&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
! Function Code !! Function !! Address Size !! Data Size !! Notes !! Example&lt;br /&gt;
|-&lt;br /&gt;
| 0x01 || Single Parameter Change || 2 bytes || 2 bytes || Same as doing an NRPN change || &lt;br /&gt;
&amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
01-00-4A-04-40-00-&lt;br /&gt;
F7    Addr  Data&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x02 || Multi Parameter Change || 2 bytes || 2n bytes || Address is the starting address; you can send as many pairs of data bytes as you want to change - each pair will write to the next address in sequence || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
02-00-4A-00-00-03-00-01-..-..-&lt;br /&gt;
F7    Addr  Data1 Data2 ...&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x03 || String Parameter Change || 2 bytes || n bytes + final 0x00 byte || Strings must have a final null (0x00) byte to terminate the string.  String data is 1 byte per character, encoded as ASCII.  String addresses overlap with parameter addresses. || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
03-00-00-01-48-65-6C-6C-6F-00-&lt;br /&gt;
F7          H  e  l  l  o&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x04 || BLOB Change || 2 bytes || 2 byte offset + 2 byte size + n byte data || Only a null (0x00) offset is currently supported.  Not sure what this would be used for except overwriting amp/cab profile data?&lt;br /&gt;
|-  &lt;br /&gt;
| 0x06 || Extended Parameter Change || 5 bytes || 2n bytes || Same as 0x02 but uses 5 bytes for address&lt;br /&gt;
|-&lt;br /&gt;
| 0x07 || Extended String Change || 5 bytes || n bytes + 0x00 End Byte || Same as 0x03 but uses 5 bytes for address&lt;br /&gt;
|-&lt;br /&gt;
| 0x41 || Single Parameter Request || 2 bytes || 0 bytes || returns the corresponding 0x01 SysEx message || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
41-00-4A-04-&lt;br /&gt;
F7    Addr&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x42 || Multiple Parameter Request || 2 bytes || 0 bytes || returns the corresponding 0x02 SysEx message.  May contain up to 128 values as byte pairs. || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
42-00-4A-00-&lt;br /&gt;
F7    Addr&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x43 || String Request || 2 bytes || 0 bytes || returns the corresponding 0x03 SysEx message || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
43-00-00-01-&lt;br /&gt;
F7    Addr&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x47 || Extended String Request || 5 bytes || 0 bytes || returns the corresponding 0x07 SysEx message, but may return the corresponding 0x03 message if the address is &amp;lt; 16,384 &lt;br /&gt;
|-&lt;br /&gt;
| 0x7C || Request Parameter as String || 2 bytes || 2 bytes || this returns an 0x3C response that otherwise matches the request, plus the string response after the 2 byte data portion.  The string response is the KPA's string representation of that parameter value.  For instance, Delay Volume value 8,192 is the midpoint value, which displays in the KPA as &amp;quot;&amp;lt;0.0&amp;gt;&amp;quot;. || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
7C-00-4A-04-40-00-&lt;br /&gt;
F7    Addr  Data&lt;br /&gt;
returns &lt;br /&gt;
F0-00-20-33-02-7F-&lt;br /&gt;
3C-00-4A-04-40-00-3C-30-2E-30-3E-00-&lt;br /&gt;
F7                &amp;lt;  0  .  0  &amp;gt;&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Kemper Remote ==&lt;br /&gt;
{{Crumbs|blue|4&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
The '''Kemper Remote''' is the official foot controller for the KPA.  It connects via the '''LAN port''' on the back of the KPA, supporting '''2-way communication''' as well as '''power over a single cable'''.  It features 14 footswitches (2 for bank/performance up/down, 5 for performance slots, 4 for toggling effects on/off, a tap tempo, a tuner, and a looper).  Up to 4 expression pedals can be connected directly to the Remote.&lt;br /&gt;
&lt;br /&gt;
Each effect footswitch can be assigned to toggle on/off up to 4 effects, and what each footswitch controls is saved per rig.&lt;br /&gt;
&lt;br /&gt;
Currently, the Remote is the only foot controller capable of accessing the KPA's looper although there are plans to incorporate access into general MIDI access.&lt;br /&gt;
&lt;br /&gt;
I don't actually have a Kemper Remote, so if I'm missing functionality that creates an advantage over other foot controllers, add it here please.&lt;br /&gt;
&lt;br /&gt;
== DAW ==&lt;br /&gt;
{{Crumbs|blue|5&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
DAWs can either directly or through plug-ins send the MIDI messages needed to have near full control of the Kemper.  They will not be limited strictly to CC's or NRPN - using SysEx, the full parameter list to the KPA is open.  Alternatively, you could simply send the CC values you want to control.  Volume is actually the least necessary parameter - you can more easily control the volume of tracks inside your DAW.  EQ perhaps as well.  Compression may also have better options in the DAW.  Delay, Reverb, and Mod effects is up to you.  Things like Gain or rig changes would be things you'd need to access this way.  With automated rig changing, you could set up all the changes necessary for a whole song, or even an entire setlist.&lt;br /&gt;
&lt;br /&gt;
== Morphing ==&lt;br /&gt;
OS 4.0 introduces '''Morphing''', a feature where any continuous parameter can be defined the following:&lt;br /&gt;
* a '''base value'''&lt;br /&gt;
* a '''morphed value'''&lt;br /&gt;
* a '''rise time*'''&lt;br /&gt;
* a '''descend time*'''&lt;br /&gt;
''* these affect triggering morphing from a footswitch''&lt;br /&gt;
&lt;br /&gt;
On pages 5-10 of the System Menu, expression pedals and footswitches can be assigned the morphing feature.  It can also be easily assigned to any effect button for the Kemper Remote.&lt;br /&gt;
&lt;br /&gt;
Multiple (any or all) continuous parameters, including those in the Amp and Cab blocks can be assigned a morph value.  While some view this feature as a multiple-parameter gimmick, if nothing else it allows continuous control over ''any'' continuous parameter, greatly expanding the out the box functionality of any expression pedal.  Morph values can be set higher or lower than the base value.  The expression pedal heel position corresponds to the base value, and the toe position the morphed value.&lt;br /&gt;
&lt;br /&gt;
The morphing procedure is to tap the Rig button.  It has a bottom LED and top LED - the LEDs switch when Rig is tapped.  The bottom is the base value, and the top is the morphed.  So press Rig until the bottom LED is on; set your base parameters; then press Rig so the top LED is on and set your morph parameters.  That's all there is to it.  The assigned morph pedals or switches will now control those parameters.&lt;br /&gt;
&lt;br /&gt;
Morph settings are saved per rig.  To erase a morph for a given parameter, either reset the morph value to match the base value, or sweep the base value through the range of the morph value (if base is 1.0 and morph is 4.0, sweeping the base value from &amp;lt; 1.0 to &amp;gt; 4.0 will clear the morph entirely).&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
{{Kemper Guide Crumbs|6}}&lt;br /&gt;
&lt;br /&gt;
[[Category:Guitar]]&lt;br /&gt;
[[Category:Gear]]&lt;br /&gt;
[[Category:Modelers]]&lt;br /&gt;
[[Category:Guides]]&lt;br /&gt;
[[Category:Kemper]]&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=Kemper_KPA_External_Control&amp;diff=8736</id>
		<title>Kemper KPA External Control</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=Kemper_KPA_External_Control&amp;diff=8736"/>
				<updated>2016-11-04T04:48:22Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: /* MIDI NRPN */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{Top-Level Crumbs|4}}&lt;br /&gt;
{{User Guide Crumbs|2}}&lt;br /&gt;
{{Kemper Guide Crumbs|6}}&lt;br /&gt;
The KPA has extensive, intuitive support for external controllers, and some products are made specifically for control of the KPA.  The three main types of control are analog expression pedals/footswitches, MIDI, and the Kemper Remote.&lt;br /&gt;
&lt;br /&gt;
== Expression Pedals ==&lt;br /&gt;
{{Crumbs|blue|1&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
&lt;br /&gt;
The KPA has 2 stereo jacks on the back of the unit that can be connected to expression pedals or footswitches.  ''Expression pedals should be stereo and connected with a stereo cable.''  Footswitches can be mono or stereo.  Additionally, up to 4 expression pedals can be connected to the Kemper Remote.&lt;br /&gt;
&lt;br /&gt;
=== System Menu Settings ===&lt;br /&gt;
Pages 5-10 cover how expression pedals behave.  Pedals 1 and 2 cover the two inputs on the back of the KPA, while Pedals 3-6 refer to inputs on the official Kemper remote.  The setup done here is simply mapping the pedal's anolog input to that appropriate MIDI CC # (1 for wah wah, 7 for volume, 4 for pitch, and 73 for monitor volume).&lt;br /&gt;
&lt;br /&gt;
Note: if you only have one expression pedal, you can still use it to control wah, volume, and pitch with some additional [[#MIDI Assignments and Settings|MIDI setup below]].  You should set it to CC# 1 (Wah Wah).  The KPA is actually very smart about this, and you don't really ever need more than one expression pedal, unless you like to have dedicated pedals, or have your wah/pitch with a spring in it to push it back to heel position, or do some crazy stuff where you jump between pedals.&lt;br /&gt;
&lt;br /&gt;
'''Pedal Type''' refers to the '''polarity''' of the expression pedal - type 1 is the normal type (Roland), while type 2 is reversed (Yamaha).&lt;br /&gt;
&lt;br /&gt;
This is also where you would come to '''calibrate''' a new pedal, or after updating your KPA's firmware/OS.  You simply press the button then do a full sweep.  ''Be sure to calibrate any pedal that you add to the KPA or after you update the KPA's firmware/OS.''&lt;br /&gt;
&lt;br /&gt;
==== MIDI Assignments and Settings ====&lt;br /&gt;
Page 14 has some checkbox settings for allowing an expression pedal that was set to Wah Wah on pages 5-10 or MIDI CC 1 to also control volume or pitch-shifting, when not being used for a wah wah effect.  It also has settings for sending the KPA's MIDI clock to external devices and setting the MIDI global channel (omni by default).  And you can also see the current MIDI CC values for 4 of the most likely used CC's, controlling modulation, pitch, volume, and monitor volume.&lt;br /&gt;
&lt;br /&gt;
'''Note, if you link a wah pedal to volume, when you disable a wah effect on a rig, the pedal will ''not'' begin to control volume until you put it fully in the toe position''' - ''this prevents a jump in volume if your wah pedal is not in toe position when you turn it off''.  Similarly, if wah is linked to pitch, when you disable wah/enable pitch, the pedal will ''not'' begin to affect the pitch until it is brought fully to the ''heel'' position, again to prevent the pitch jumping on the transition.&lt;br /&gt;
&lt;br /&gt;
=== Rig Menu Volume Pedal Settings ===&lt;br /&gt;
Page 5 of the Rig menu has some settings specific to using an expression pedal for volume control.&lt;br /&gt;
&lt;br /&gt;
* '''Lock Vol. Pedal''' - this setting will lock the current volume pedal settings below to apply to all rigs&lt;br /&gt;
* '''Wah Pedal to Vol.''' - this is a rig-level override of the System Menu page 14 pedal linking option above&lt;br /&gt;
* '''Location''' - this refers to a volume pedal's placement in the signal chain.  Since a dedicated volume pedal doesn't require an effect slot like wah wah or pitch (whammy), you use this parameter to set where it should affect the signal.&lt;br /&gt;
* '''Range''' - this refers to whether the volume pedal should boost when moving from heel position to toe position (when set to right of center) or cut when moving from toe to heel position (when set left of center)&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Analog Footswitches ==&lt;br /&gt;
{{Crumbs|blue|2&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
The Kemper also supports analog mono and stereo momentary footswitches.  They are set up the similarly to expression pedals on pages 5-6 of the System menu.  The difference is instead of being mapped to wah wah, volume, pitch, and monitor volume, it can be assigned to enable/disable any of the sections or blocks in the signal chain, as well switch to tuner, tap in the tap tempo, and switch to the previous or next rig.  In the case of a stereo/dual footswitch, each one can be independently assigned to different parameters.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Using a MIDI Footcontroller ==&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
For more on MIDI foot controllers in general, see [[Foot Controllers]].  MIDI foot controllers typically feature a number of footswitches and often have multiple expression pedals.  Depending on their nature, they may support some features in the MIDI spec or not.  They are typically programmable to some nature, but often within predefined boundaries.  Some can be programmed directly from the footswitches, while others require being connected to a PC editor.  Below are the settings on the Kemper as well as the ways you'll have to program your controller to work with the Kemper.&lt;br /&gt;
&lt;br /&gt;
=== System Menu Settings ===&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
{{Crumbs|orange|1&lt;br /&gt;
|Kemper KPA External Control#System Menu Settings|System Menu&lt;br /&gt;
|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010&lt;br /&gt;
|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers&lt;br /&gt;
|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference&lt;br /&gt;
}}&lt;br /&gt;
&lt;br /&gt;
While in Browser mode, page 12 allows you to assign the current rig to a MIDI Program Change number, as well as view all the MIDI assignments.  Note, these are only for Browser mode, not performance mode, where more than MIDI bank of 128 rigs each can be assigned.&lt;br /&gt;
&lt;br /&gt;
While in Performance mode, page 13 allows assigning external devices to the MIDI Out and Thru ports, as well as giving them device names, and specifying which channels the Kemper should use to communicate with them.&lt;br /&gt;
&lt;br /&gt;
=== Behringer FCB1010 ===&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
{{Crumbs|orange|2&lt;br /&gt;
|Kemper KPA External Control#System Menu Settings|System Menu&lt;br /&gt;
|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010&lt;br /&gt;
|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers&lt;br /&gt;
|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference&lt;br /&gt;
}}&lt;br /&gt;
A popular foot controller for the Kemper is the [http://www.music-group.com/Categories/Behringer/Accessories/Footswitches-and-Remote-Controls/FCB1010/p/P0089 Behringer FCB1010].  Its layout lines up fairly closely with the KPA's performance slots, has two expression pedals, and can be found for a relatively cheap price.&lt;br /&gt;
&lt;br /&gt;
The FCB1010 can also easily be modified to use alternative firmware.  There are 4 possible firmwares you can use:&lt;br /&gt;
&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
! !! Factory !! [http://www.ossandust.be/ UnO] !! [http://www.uno4kemper.com/ UnO4Kemper] !! [http://www.eurekasound.com/eurekaprom Eureka]&lt;br /&gt;
|-&lt;br /&gt;
! Advantages&lt;br /&gt;
|&lt;br /&gt;
* Can be programmed from PC&lt;br /&gt;
* No additional cost&lt;br /&gt;
|&lt;br /&gt;
* Fixes bugs and removes restrictions found in factory FW&lt;br /&gt;
* Can be programmed from PC&lt;br /&gt;
* Can save programmed settings on PC&lt;br /&gt;
|&lt;br /&gt;
* Makes the FCB plug n play with KPA&lt;br /&gt;
* Supports 2-way communication to sync effect states&lt;br /&gt;
* Simple to program directly from FCB1010&lt;br /&gt;
* Supports accessing all 625 performances on the KPA&lt;br /&gt;
|&lt;br /&gt;
* Can access all 625 performance rigs&lt;br /&gt;
* Multiple &amp;quot;scene&amp;quot; paradigms easily switched to change behavior&lt;br /&gt;
* Very configurable/powerful&lt;br /&gt;
|-&lt;br /&gt;
! Disadvantages&lt;br /&gt;
|&lt;br /&gt;
* Contains a number of bugs, particularly early version&lt;br /&gt;
* Can only reference a max of 100 rigs&lt;br /&gt;
* Numerous restrictions&lt;br /&gt;
* Missing features&lt;br /&gt;
|&lt;br /&gt;
* Still limited to max of 100 rigs to select from&lt;br /&gt;
* No 2-way communication to display correct LED states matching KPA effects&lt;br /&gt;
|&lt;br /&gt;
* Cannot be updated as KPA OS is updated, have to buy a new chip&lt;br /&gt;
* No advanced programming, such as firing multiple CC's from one button press&lt;br /&gt;
* Footswitch and expression pedal assignment is global, not per rig&lt;br /&gt;
* Expression pedals can only be assigned to CC1 and CC7&lt;br /&gt;
|&lt;br /&gt;
* Can be kind of confusing to program&lt;br /&gt;
* Have to switch scenes to be able to access all 625 performance rigs as well as toggle effects&lt;br /&gt;
* Cannot save configuration to PC and share&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== UnO4Kemper ====&lt;br /&gt;
[http://www.uno4kemper.com/ The UnO4Kemper firmware] is an unofficial firmware for the FCB1010 made by a 3rd party author.  It comes on an EPROM chip that can be switched out for the factory chip after opening the FCB1010 up.&lt;br /&gt;
&lt;br /&gt;
This firmware will instantly turn your FCB1010 into a dedicated Kemper controller.  The main advantage of this chip is it is as plug and play as you will find to get a working pedalboard for the Kemper, other than the official Kemper Remote.  The bad part is that it makes the FCB1010 only work with the Kemper and you cannot do advanced customization of how the controller operates (such as assigning multiple effects to toggle on a single button).  Also, if Kemper updates the KPA software to add new features, there is no method to update your current UnO4Kemper chip to support those features - you will have to purchase a new chip once the UnO4Kemper firmware is updated to support the feature.&lt;br /&gt;
&lt;br /&gt;
The full list of features is found in [http://www.uno4kemper.com/UnOforKemper_manual.pdf the manual].  &lt;br /&gt;
* Bank (Performance) Up/Down&lt;br /&gt;
* One row of buttons is used for rig selection and the other for toggling effects on/off&lt;br /&gt;
* The rows' functions can be swapped.&lt;br /&gt;
* Available effects/functions are A-D, X, Mod, Delay, Reverb, change rotary speaker effect speed, tap tempo, and display tuner&lt;br /&gt;
* Each effect toggle footswitch can be assigned to any 1 of those effects/functions.&lt;br /&gt;
* One expression pedal controls CC 1 (wah wah) and the other CC 7 (volume).  These can be swapped.&lt;br /&gt;
* Expression pedals can each be configured to use 1 out of 5 possible sweep curves.&lt;br /&gt;
* 2-way communication with KPA using 2nd MIDI cable.  Keeps footswitch LEDs in sync with KPA effects when switching rigs.&lt;br /&gt;
* Can display KPA tuner on FCB1010&lt;br /&gt;
* Can use KPA Beat Scanner function for tempo&lt;br /&gt;
* Force KPA to enter Browse Mode or Performance Mode&lt;br /&gt;
&lt;br /&gt;
=== Other MIDI Foot Controllers ===&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
{{Crumbs|orange|3&lt;br /&gt;
|Kemper KPA External Control#System Menu Settings|System Menu&lt;br /&gt;
|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010&lt;br /&gt;
|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers&lt;br /&gt;
|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference&lt;br /&gt;
}}&lt;br /&gt;
As you'll see below, the KPA provides extensive MIDI capabilities; basically any MIDI controller can get something out of it, while expensive, powerful controllers can do just about anything you can do by touching the KPA's buttons and knobs.  How far you want to take your amount of control depends on what you want to do.&lt;br /&gt;
&lt;br /&gt;
While I do not want to take up a lot of space discussing the capabilities and quirks of numerous footcontrollers, [http://www.wikpa.org/Using_Specific_MIDI_Controllers wikpa.org does a good job on this subject].&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== MIDI Programming Reference ===&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
{{Crumbs|orange|4&lt;br /&gt;
|Kemper KPA External Control#System Menu Settings|System Menu&lt;br /&gt;
|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010&lt;br /&gt;
|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers&lt;br /&gt;
|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference&lt;br /&gt;
}}&lt;br /&gt;
This section contains reference material for controlling the KPA by MIDI PC (Program Change), CC (Continuous Control), NRPN (Non-registered Parameter Numbers), or SysEx (System Exclusive) messages.  These go from least to most complicated, and similarly most to least supported.&lt;br /&gt;
&lt;br /&gt;
==== MIDI Program Change ====&lt;br /&gt;
Up to 128 rigs can be assigned PC numbers in Browse Mode from a page in the system menu - you can also see all the rigs assigned to PC's here.&lt;br /&gt;
&lt;br /&gt;
In Performance Mode, each performance/slot is automatically assigned a PC number based on the order of performances, and slots within each performance.  Even disabled slots are assigned a PC #.  Notice this only allows about 25 of the 125 performances (or 128 of the 625 slots) available.  If you need to access more, you can use a MIDI bank select command before the program change, which is implemented as MIDI CC #0 for the most significant byte (MSB) and #32 for the least significant byte (LSB).  While bank selects typically use 2 MIDI bytes, the KPA only requires a range of 0-4 to access all slots via PC.  It will ignore any CC #0 bank select MSB messages.  CC 32 can be used by itself to change which rigs the KPA accesses via PC.  Sending a value of 0 over CC 32 accesses the first 128 slots (performance 1 slot 1 - performance 26 slot 3), CC 32 value 1 accesses the next 128 (performance 26 slot 4 - performance 52 slot 1), etc. up to a max of CC 32 value 4, which will put PC access beyond the available 625 rigs.&lt;br /&gt;
&lt;br /&gt;
Note - it is recommended to use CC's 48-49 (or 47) for selecting performances, then using CC's 50-54 to select which slot to load.  This aligns both with the KPA's performance/slot organization and with footcontrollers that typically feature bank up/down switches as well as a row of switches to change patches/rigs.  There's no need to use complicated math to try to figure out which PC or bank select index is required to load a particular performance/slot.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== MIDI Continuous Control ====&lt;br /&gt;
The KPA responds to a number of MIDI CC messages.  These are enough for generic MIDI foot controllers to perform normal functionality.  You can change cycle through rigs in Browse mode, and bank up/down and select any of the 5 rigs assigned to the slots in Performance mode.  You can turn on/off any of the 8 effects, tap tempo, display the tuner, and switch the rotary speaker effect's speed.  In addition to the expression pedal functions above of controlling wah wah, pitch, volume, and monitor volume, one could be used to control delay/reverb mix and feedback/time, as well as amplifier gain.&lt;br /&gt;
&lt;br /&gt;
{| class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
! CC # !! Valid Values !! What it controls&lt;br /&gt;
|-&lt;br /&gt;
| 0 || N/A || Bank Select MSB - ignored&lt;br /&gt;
|-&lt;br /&gt;
| 1 || x || Wah Wah position on any enabled wah wah effect. Volume if &amp;quot;wah to volume&amp;quot; linking is checked and all wah wah effects are disabled or not present on current rig.  Pitch if &amp;quot;wah to pitch&amp;quot; linking is checked and all wah wah effects are disabled or not present on current rig.&lt;br /&gt;
|-&lt;br /&gt;
| 4 || x || Pitch position for Pedal Pitch or Pedal Vinyl Stop effects&lt;br /&gt;
|-&lt;br /&gt;
| 6 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|-&lt;br /&gt;
| 7 || x || Volume - controls the volume of the rig as specified per rig in the Rig Menu page 5.&lt;br /&gt;
|-&lt;br /&gt;
| 11 || x || Morph - controls any parameters set to be controlled by morphing.&lt;br /&gt;
|-&lt;br /&gt;
| 16 || Any || Toggles all stomps on/off&lt;br /&gt;
|-&lt;br /&gt;
| 17 || 0/1 || 0: Stomp A Off; 1: Stomp A On &lt;br /&gt;
|-&lt;br /&gt;
| 18 || 0/1 || 0: Stomp B Off; 1: Stomp B On &lt;br /&gt;
|-&lt;br /&gt;
| 19 || 0/1 || 0: Stomp C Off; 1: Stomp C On &lt;br /&gt;
|-&lt;br /&gt;
| 20 || 0/1 || 0: Stomp D Off; 1: Stomp D On &lt;br /&gt;
|-&lt;br /&gt;
| 22 || 0/1 || 0: Effect X Off; 1: Effect X On &lt;br /&gt;
|-&lt;br /&gt;
| 24 || 0/1 || 0: Effect Mod Off; 1: Effect Mod On &lt;br /&gt;
|-&lt;br /&gt;
| 26 || 0/1 || 0: Delay Off; 1: Delay On &lt;br /&gt;
|-&lt;br /&gt;
| 27 || 0/1 || 0: Delay Off (with tail); 1: Delay On &lt;br /&gt;
|-&lt;br /&gt;
| 28 || 0/1 || 0: Reverb Off; 1: Reverb On &lt;br /&gt;
|-&lt;br /&gt;
| 29 || 0/1 || 0: Reverb Off (with tail); 1: Reverb On &lt;br /&gt;
|-&lt;br /&gt;
| 30 || 1/0 || Sets Tempo Tap If your floorboard supports separate events on “pressing” and “releasing” a button, send 1 when “pressed” and 0 when “released”. If the floorboard can only send one event, use value 0. When value 1 has been sent and no value 0 for 3 seconds, the Beat Scanner1 is being activated. &lt;br /&gt;
|-&lt;br /&gt;
| 31 || 1/0 || 1: Show Tuner; 0: Hide Tuner &lt;br /&gt;
|-&lt;br /&gt;
| 32 || [0,4] || Bank Select LSB - changes which set of 128 performance slots are available via PC messages in Performance Mode.  &lt;br /&gt;
* Bank 0 - performance 1 slot 1 - performance 26 slot 3&lt;br /&gt;
* Bank 1 - performance 26 slot 4 - performance 52 slot 1&lt;br /&gt;
* Bank 2 - performance 52 slot 2 - performance 77 slot 4&lt;br /&gt;
* Bank 3 - performance 77 slot 5 - performance 103 slot 2&lt;br /&gt;
* Bank 4 - performance 103 slot 3 - performance 125 slot 5&lt;br /&gt;
|-&lt;br /&gt;
| 33 || 0/1 || 0: Rotary Speaker slow; 1: Rotary Speaker fast &lt;br /&gt;
|-&lt;br /&gt;
| 34 || 0/1 || 0: Delay Feedback Infinity Off; 1: Delay Feedback Infinity On&lt;br /&gt;
|-&lt;br /&gt;
| 35 || 0/1 || 0: Delay Hold Off; 1: Delay Hold On&lt;br /&gt;
|-&lt;br /&gt;
| 38 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|-&lt;br /&gt;
| 47 || [0,124]  || (Performance Mode only) Directly select a performance index. The performance will be loaded when a slot selection is sent (CC50-54). If no slot is selected, the performance index selection is disabled after a few seconds.  When disabled, the KPA sends the current performance index and slot back to the device.  This can be used to keep the MIDI controller and KPA in sync.&lt;br /&gt;
|-&lt;br /&gt;
| 48 || 1/0 &lt;br /&gt;
| Performance Mode: Increases performance index. Value triggers two different modes:&lt;br /&gt;
* Value 0, increase performance n to n+1 (bank up)*&lt;br /&gt;
* Value 1 initially increases performance by 1, after a timeout the Kemper Profiler starts to scroll performances upwards. Value 0 stops scrolling. &lt;br /&gt;
Browse Mode only: Value 0 selects the next Rig (current filter/sort applies), similar to “Rig Right” &lt;br /&gt;
|-&lt;br /&gt;
| 49 || 1/0 &lt;br /&gt;
| Performance Mode: Decreases performance index. Value triggers two different modes: &lt;br /&gt;
* Value 0, increase performance n to n-1 (bank down)*&lt;br /&gt;
* Value 1 initially decreases performance index by 1, after a timeout the Kemper Profiler starts to scroll performances downwards. Value 0 stops scrolling.&lt;br /&gt;
Browse Mode only: Value 0 selects the previous Rig (current filter/sort applies), similar to “Rig Left” &lt;br /&gt;
|- &lt;br /&gt;
| 50 || 1 || (Performance Mode only) Select Slot 1 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 51 || 1 || (Performance Mode only) Select Slot 2 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 52 || 1 || (Performance Mode only) Select Slot 3 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 53 || 1 || (Performance Mode only) Select Slot 4 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 54 || 1 || (Performance Mode only) Select Slot 5 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 68 || x || Sets Delay Mix to x &lt;br /&gt;
|-&lt;br /&gt;
| 69 || x || Sets Delay Feedback to x &lt;br /&gt;
|-&lt;br /&gt;
| 70 || x || Sets Reverb Mix to x &lt;br /&gt;
|-&lt;br /&gt;
| 71 || x || Sets Reverb Time to x &lt;br /&gt;
|-&lt;br /&gt;
| 72 || x ||Sets Amplifier Gain to x &lt;br /&gt;
|-&lt;br /&gt;
| 73 || x ||Sets Monitor Volume to x &lt;br /&gt;
|-&lt;br /&gt;
| 98 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|-&lt;br /&gt;
| 99 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
''* Changing the Performance may or may not load a slot instantly depending on the [[Kemper KPA Performing Live#MIDI|Perf. Load System Menu setting]].''&lt;br /&gt;
&lt;br /&gt;
Most foot controllers support some form of programming what each footswitch will send, and if the footswitch should toggle its value.  For example, if you assign FS1 to turn Stomp A on/off, you should be able to set FS1 to light up after pressing it (and it sends a 1 (on) value, indicating you've turned it on.  Now if you press it again, the light turns off, and it sends a 0 (off) value.&lt;br /&gt;
&lt;br /&gt;
This brings up a curious issue.  If you change rigs where Stomp A is on when the rig is loaded, how does the MIDI footcontroller know what state to set FS1?  The footcontroller itself must store a set of rigs containing the default on/off state of each footswitch, matching the corresponding rigs in the KPA.&lt;br /&gt;
&lt;br /&gt;
MIDI CC is the most widely supported part of the MIDI protocol by various MIDI footcontrollers; however, you will notice that there are hundreds of parameters for dozens of effects, as well as the amp, cab, input, output, and tonestack blocks that are not able to be controlled via CC, given the list above.  MIDI CC supports 7-bits for the CC channel number and 7-bits for the value, meaning a maximum of 128 parameters can be controlled with only 0-127 distinct values to communicate.  The MIDI specification gives 2 ways to deal with this: NPRN and Sysex.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== MIDI NRPN ====&lt;br /&gt;
[https://en.wikipedia.org/wiki/NRPN NRPN (Non-registered Parameter Numbers)] uses a set of 4 different CC messages to exponentially increase both the size of possible addresses and values that a device can send/receive.  '''Since each CC message can carry a value from 0-128, NRPN addresses and values each have a range of 128 x 128, which is 16,384.'''  The exact specification is below:&lt;br /&gt;
# '''CC 99''': Value is the Most significant Byte (MSB) of the desired address&lt;br /&gt;
# '''CC 98''': Value is the Least Significant Byte (LSB) of the desired address&lt;br /&gt;
# '''CC 06''': Value is the Most Significant Byte (MSB) of the desired value&lt;br /&gt;
# '''CC 38''': Value is the Least Significant Byte (LSB) of the desired value&lt;br /&gt;
&lt;br /&gt;
While the NRPN spec allows CC 38 to be optional, the KPA ''requires'' it.  The 4 CC's named above must be received in order, and the NRPN message is processed as soon as CC 38 is received.  ''Once an address has been selected via CC's 99 and 98, multiple values can be sent without sending 99/98 each time to reselect the address - only 06/38 needs to be sent.''  That is useful to know if you want to program NRPN to &amp;quot;move&amp;quot; a single parameter over time.&lt;br /&gt;
&lt;br /&gt;
Some footcontrollers support NRPN 14-bit addressing but not 14-bit values via CC's 06 and 38.  The KPA allows CC 119 to send the value in this case.  So the footcontroller can be programmed to send an NRPN as follows:&lt;br /&gt;
# '''CC 99''': address MSB&lt;br /&gt;
# '''CC 98''': address LSB&lt;br /&gt;
# '''CC 119''': 7-bit value&lt;br /&gt;
The 7-bit value is mapped to the appropriate 14-bit value - 128 becomes 16,384, 64 becomes 8,192, while 0 remains 0.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
|-style=&amp;quot;vertical-align:top;&amp;quot;&lt;br /&gt;
|&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
|+ NRPN Address - Parameter Mapping&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| Address&lt;br /&gt;
!rowspan=&amp;quot;2&amp;quot;| Type&lt;br /&gt;
!rowspan=&amp;quot;2&amp;quot;| Parameter&lt;br /&gt;
|-&lt;br /&gt;
! MSB !! LSB&lt;br /&gt;
|-&lt;br /&gt;
| 4 || 0 || Rig || Tempo&lt;br /&gt;
|-&lt;br /&gt;
| 4 || 1 || Rig || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 4 || 2 || Rig || Tempo Enable&lt;br /&gt;
|-&lt;br /&gt;
| 9 || 3 || Input || Noise Gate Intensity&lt;br /&gt;
|-&lt;br /&gt;
| 9 || 4 || Input || Clean Sense&lt;br /&gt;
|-&lt;br /&gt;
| 9 || 5 || Input || Distortion Sense&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 2 || Amplifier || On/Off&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 4 || Amplifier || Gain&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 6 || Amplifier || Definition&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 7 || Amplifier || Clarity&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 8 || Amplifier || Power Sagging&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 9 || Amplifier || Pick&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 10 || Amplifier || Compressor&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 11 || Amplifier || Tube Shape&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 12 || Amplifier || Tube Bias&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 15 || Amplifier || Direct Mix&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 2 || EQ || On/Off&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 4 || EQ || Bass&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 5 || EQ || Mids&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 6 || EQ || Treble&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 7 || EQ || Presence&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 2 || Cabinet || On/Off&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 3 || Cabinet || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 4 || Cabinet || High Shift&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 5 || Cabinet || Low Shift&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 6 || Cabinet || Character&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 0 || Stomp A || Type (see other table)&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 3 || Stomp A || On/Off&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 4 || Stomp A || Mix&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 6 || Stomp A || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 7 || Stomp A || Stereo&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 8 || Stomp A (Wah) || Wah Manual&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 9 || Stomp A (Wah) || Wah Peak&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 10 || Stomp A (Wah) || Wah Range&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 12 || Stomp A (Wah) || Wah Pedal Mode&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 13 || Stomp A (Wah) || Wah Touch Attack&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 14 || Stomp A (Wah) || Wah Touch Release&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 15 || Stomp A (Wah) || Wah Touch Boost&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 16 || Stomp A (Dist/Shaper) || Distortion/Shaper Drive&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 17 || Stomp A (Dist/Shaper) || Distortion/Booster Tone&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 18 || Stomp A (Comp) || Compressor/Gate Intensity&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 19 || Stomp A (Comp) || Compressor Attack&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 20 || Stomp A (Mod) || Modulation Rate&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 21 || Stomp A (Mod) || Modulation Depth&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 22 || Stomp A (Mod) || Modulation Feedback&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 23 || Stomp A (Mod) || Modulation Crossover&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 24 || Stomp A (Mod) || Modulation HyperChorus Amount&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 25 || Stomp A (Mod) || Modulation Manual&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 26 || Stomp A (Mod) || Modulation Phase Peak Spread&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 27 || Stomp A (Mod) || Modulation Stages&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 30 || Stomp A (Rot) || Rotary Speed (slow/fast)&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 31 || Stomp A (Rot) || Rotary Distance&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 32 || Stomp A (Rot) || Rotary Balance&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 33 || Stomp A (Comp) || Compressor Squash&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 34 || Stomp A (EQ) || Graphic EQ Band 1&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 35 || Stomp A (EQ) || Graphic EQ Band 2&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 36 || Stomp A (EQ) || Graphic EQ Band 3&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 37 || Stomp A (EQ) || Graphic EQ Band 4&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 38 || Stomp A (EQ) || Graphic EQ Band 5&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 39 || Stomp A (EQ) || Graphic EQ Band 6&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 40 || Stomp A (EQ) || Graphic EQ Band 7&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 41 || Stomp A (EQ) || Graphic EQ Band 8&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 42 || Stomp A (EQ) || Parametric EQ Low Gain&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 43 || Stomp A (EQ) || Parametric EQ Low Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 44 || Stomp A (EQ) || Parametric EQ High Gain&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 45 || Stomp A (EQ) || Parametric EQ High Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 46 || Stomp A (EQ) || Parametric EQ Peak Gain&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 47 || Stomp A (EQ) || Parametric EQ Peak Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 48 || Stomp A (EQ) || Parametric EQ Peak Q&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 49 || Stomp A (EQ) || Parametric EQ Peak 2 Gain&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 50 || Stomp A (EQ) || Parametric EQ Peak 2 Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 51 || Stomp A (EQ) || Parametric EQ Peak 2 Q&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 52 || Stomp A (Wah) || Wah Peak Range&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 53 || Stomp A || Ducking&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 55 || Stomp A (Pitch) || Voice Mix&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 56 || Stomp A (Pitch) || Voice 1 Pitch&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 57 || Stomp A (Pitch) || Voice 2 Pitch&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 58 || Stomp A (Pitch) || Detune&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 60 || Stomp A (Pitch) || Smooth Chords&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 61 || Stomp A (Pitch) || Pure Tuning&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 64 || Stomp A (Pitch) || Key&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 65 || Stomp A (Pitch) || Freeze Formants &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 66 || Stomp A (Pitch) || Formant Offset &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 67 || Stomp A (Delay) || Low Cut &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 68 || Stomp A (Delay) || High Cut &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 69 || Stomp A (Delay) || Delay Mix &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 70 || Stomp A (Delay) || Delay Mix Pre/Post &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 71 || Stomp A (Delay) || Delay Time 1 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 72 || Stomp A (Delay) || Delay Time 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 73 || Stomp A (Delay) || Delay Ratio 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 74 || Stomp A (Delay) || Delay Ratio 3 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 75 || Stomp A (Delay) || Delay Ratio 4 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 76 || Stomp A (Delay) || Delay Note Value 1 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 77 || Stomp A (Delay) || Delay Note Value 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 78 || Stomp A (Delay) || Delay Note Value 3 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 79 || Stomp A (Delay) || Delay Note Value 4 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 80 || Stomp A (Delay) || To Tempo &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 81 || Stomp A (Delay) || Delay Volume 1 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 82 || Stomp A (Delay) || Delay Volume 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 83 || Stomp A (Delay) || Delay Volume 3 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 84 || Stomp A (Delay) || Delay Volume 4 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 85 || Stomp A (Delay) || Delay Panorama 1 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 86 || Stomp A (Delay) || Delay Panorama 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 87 || Stomp A (Delay) || Delay Panorama 3 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 88 || Stomp A (Delay) || Delay Panorama 4 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 89 || Stomp A (Delay) || Voice3 Pitch &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 90 || Stomp A (Delay) || Voice4 Pitch &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 91 || Stomp A (Delay) || Voice3 Interval &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 92 || Stomp A (Delay) || Voice4 Interval &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 93 || Stomp A (Delay) || Feedback &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 94 || Stomp A (Delay) || Infinity Feedback &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 95 || Stomp A (Delay) || Infinity &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 96 || Stomp A (Delay) || Feedback2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 97 || Stomp A (Delay) || Feedback Sync Switch &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 98 || Stomp A (Delay) || Delay Low Cut &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 99 || Stomp A (Delay) || Delay High Cut &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 100 || Stomp A (Delay) || Delay Filter Intensity &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 101 || Stomp A (Delay) || Delay Modulation &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 102 || Stomp A (Delay) || Delay Chorus &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 103 || Stomp A (Delay) || Flutter Intensity &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 104 || Stomp A (Delay) || Flutter Shape &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 105 || Stomp A (Delay) || Grit &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 106 || Stomp A (Delay) || Reverse Mix &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 107 || Stomp A (Delay) || Swell &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 108 || Stomp A (Delay) || Smear &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 109 || Stomp A (Delay) || Ducking Pre/Post &lt;br /&gt;
|-&lt;br /&gt;
| 51 || * || Stomp B || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 52 || * || Stomp C || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 53 || * || Stomp D || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 56 || * || Effect X || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 58 || * || Effect Mod || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 74 || * || Delay (4.0+) || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 0 || Delay (Deprecated in 4.0) || Type (see below)&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 2 || Delay (Deprecated in 4.0) || On/Off (cuts tails)&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 3 || Delay (Deprecated in 4.0) || Mix&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 4 || Delay (Deprecated in 4.0) || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 5 || Delay (Deprecated in 4.0) || Time&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 6 || Delay (Deprecated in 4.0) || Ratio&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 7 || Delay (Deprecated in 4.0) || Clock Left&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 8 || Delay (Deprecated in 4.0) || Clock Right&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 9 || Delay (Deprecated in 4.0) || Feedback&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 10 || Delay (Deprecated in 4.0) || Bandwidth&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 11 || Delay (Deprecated in 4.0) || Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 12 || Delay (Deprecated in 4.0) || Modulation&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 13 || Delay (Deprecated in 4.0) || On/Off (keeps tails)&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 14 || Delay (Deprecated in 4.0) || Ducking&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 0 || Reverb || Type (see below)&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 2 || Reverb || On/Off (cuts tails)&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 3 || Reverb || Mix&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 4 || Reverb || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 5 || Reverb || Del/Rev Balance&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 6 || Reverb || Time&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 7 || Reverb || Damping&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 8 || Reverb || Bandwidth&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 9 || Reverb || Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 10 || Reverb || Pre-Delay&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 11 || Reverb || On/Off (keeps tails)&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 12 || Reverb || Ducking&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 0 || System/Global || Main Output Volume&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 1 || System/Global || Headphone Output Volume&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 2 || System/Global || Monitor Output Volume&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 3 || System/Global || Direct Output Volume&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 11 || System/Global || SPDIF Input Enable&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 12 || System/Global || Main Output EQ Bass&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 13 || System/Global || Main Output EQ Mids&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 14 || System/Global || Main Output EQ Treble&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 15 || System/Global || Main Output EQ Presence&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 17 || System/Global || Monitor Output EQ Bass&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 18 || System/Global || Monitor Output EQ Mids&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 19 || System/Global || Monitor Output EQ Treble&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 20 || System/Global || Monitor Output EQ Presence&lt;br /&gt;
|}&lt;br /&gt;
|&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
|+ Value to Effect Type Mapping&lt;br /&gt;
|-&lt;br /&gt;
! Value !! Effect Type&lt;br /&gt;
|-&lt;br /&gt;
| 0 || Null/Empty&lt;br /&gt;
|-&lt;br /&gt;
| 1 || Wah Wah&lt;br /&gt;
|-&lt;br /&gt;
| 2 || Wah Low Pass&lt;br /&gt;
|-&lt;br /&gt;
| 3 || Wah High Pass&lt;br /&gt;
|-&lt;br /&gt;
|    4 || Wah Vowel Filter&lt;br /&gt;
|-&lt;br /&gt;
|    6 || Wah Phaser&lt;br /&gt;
|-&lt;br /&gt;
|    7 || Wah Flanger&lt;br /&gt;
|-&lt;br /&gt;
|    8 || Wah Rate Reducer&lt;br /&gt;
|-&lt;br /&gt;
|    9 || Wah Ring Modulator&lt;br /&gt;
|-&lt;br /&gt;
|    10 || Wah Freq Shifter&lt;br /&gt;
|-&lt;br /&gt;
|    12 || Wah Formant Shift&lt;br /&gt;
|-&lt;br /&gt;
|    17 || Bit Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    18 || Recti Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    19 || Soft Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    20 || Hard Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    21 || Wave Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    33 || Green Scream&lt;br /&gt;
|-&lt;br /&gt;
|    34 || Plus DS&lt;br /&gt;
|-&lt;br /&gt;
|    35 || One DS&lt;br /&gt;
|-&lt;br /&gt;
|    36 || Muffin&lt;br /&gt;
|-&lt;br /&gt;
|    37 || Mouse&lt;br /&gt;
|-&lt;br /&gt;
|    38 || Fuzz DS&lt;br /&gt;
|-&lt;br /&gt;
|    39 || Metal DS&lt;br /&gt;
|-&lt;br /&gt;
|    113 || Treble Booster&lt;br /&gt;
|-&lt;br /&gt;
|    114 || Lead Booster&lt;br /&gt;
|-&lt;br /&gt;
|    115 || Pure Booster&lt;br /&gt;
|-&lt;br /&gt;
|    116 || Wah Pedal Booster&lt;br /&gt;
|-&lt;br /&gt;
|    97 || Graphic Equalizer&lt;br /&gt;
|-&lt;br /&gt;
|    98 || Studio Equalizer&lt;br /&gt;
|-&lt;br /&gt;
|    99 || Metal Equalizer&lt;br /&gt;
|-&lt;br /&gt;
|    101 || Stereo Widener&lt;br /&gt;
|-&lt;br /&gt;
|    49 || Compressor&lt;br /&gt;
|-&lt;br /&gt;
|    57 || Gate 2:1&lt;br /&gt;
|-&lt;br /&gt;
|    58 || Gate 4:1&lt;br /&gt;
|-&lt;br /&gt;
|    65 || Vintage Chorus&lt;br /&gt;
|-&lt;br /&gt;
|    66 || Hyper Chorus&lt;br /&gt;
|-&lt;br /&gt;
|    67 || Air Chorus&lt;br /&gt;
|-&lt;br /&gt;
|    71 || Micro Pitch|-&lt;br /&gt;
|-&lt;br /&gt;
|    68 || Vibrato&lt;br /&gt;
|-&lt;br /&gt;
|    69 || Rotary Speaker&lt;br /&gt;
|-&lt;br /&gt;
|    70 || Tremolo&lt;br /&gt;
|-&lt;br /&gt;
|    81 || Phaser&lt;br /&gt;
|-&lt;br /&gt;
|    82 || Phaser Vibe&lt;br /&gt;
|-&lt;br /&gt;
|    83 || Phaser Oneway&lt;br /&gt;
|-&lt;br /&gt;
|    89 || Flanger&lt;br /&gt;
|-&lt;br /&gt;
|    91 || Flanger Oneway&lt;br /&gt;
|-&lt;br /&gt;
|    121 || Loop Mono&lt;br /&gt;
|-&lt;br /&gt;
|    122 || Loop Stereo&lt;br /&gt;
|-&lt;br /&gt;
|    123 || Loop Distortion&lt;br /&gt;
|-&lt;br /&gt;
|    129 || Transpose&lt;br /&gt;
|-&lt;br /&gt;
|    11 || Pedal Pitch&lt;br /&gt;
|-&lt;br /&gt;
| 130 || Chromatic Pitch&lt;br /&gt;
|-&lt;br /&gt;
| 131 || Harmonic Pitch&lt;br /&gt;
|}&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== MIDI SysEx ====&lt;br /&gt;
MIDI also has the ability to send [https://en.wikipedia.org/wiki/MIDI#System_Exclusive_messages SysEx (System Exclusive)] messages.  SysEx messages are proprietary protocols that each manufacturer can create for each of their devices.  They use a common beginning and ending indicators, as well as manufacturer and device identifiers, so that devices that cannot interpret them know to ignore the message; and they can be incorporated into streams of MIDI messages between lots of devices in a MIDI ring without causing chaos.&lt;br /&gt;
&lt;br /&gt;
The SysEx common format is:&lt;br /&gt;
# 1 byte for SysEx Start (&amp;lt;code&amp;gt;0xF0&amp;lt;/code&amp;gt;)&lt;br /&gt;
# 3 bytes for Manufacturer ID (&amp;lt;code&amp;gt;0x002033&amp;lt;/code&amp;gt; for Kemper)&lt;br /&gt;
# 1 byte for product type (&amp;lt;code&amp;gt;0x02&amp;lt;/code&amp;gt; for Kemper Profiling Amp)&lt;br /&gt;
# 1 byte for device ID (&amp;lt;code&amp;gt;0x7F&amp;lt;/code&amp;gt; for Omni)&lt;br /&gt;
# x bytes for the message (this is the device-specific part)&lt;br /&gt;
# 1 byte for SysEx End (&amp;lt;code&amp;gt;0xF7&amp;lt;/code&amp;gt;)&lt;br /&gt;
&lt;br /&gt;
Example: &amp;lt;code&amp;gt;F0-00-20-33-02-7F-...-F7&amp;lt;/code&amp;gt;, where ... is variable.&lt;br /&gt;
&lt;br /&gt;
The Kemper MIDI SysEx protocol gets pretty intense, and I'll leave it to those interested to refer to the [http://www.kemper-amps.com/page/render/lang/en/p/170/id/27/cat/30/do/Kemper_Profiling_Amplifier___Downloads.html Kemper MIDI documentation].  For most users, SysEx will never be necessary.  Where this really comes in handy is for software programs that want to communicate with KPA via MIDI.  The big items that SysEx offer beyond NRPN above are string manipulation and requesting parameter values from the KPA.  These would allow a program to act as an editor, or an advanced floorboard to maintain two-way communication with the KPA, displaying the KPA's current values and keeping on/off states in sync.&lt;br /&gt;
&lt;br /&gt;
The x bytes above have a common scheme for Kemper SysEx messages, where the first byte is the function code.  This is followed by an instance code, which is always &amp;lt;code&amp;gt;0x00&amp;lt;/code&amp;gt;.  This is followed by the address, then the data.&lt;br /&gt;
&lt;br /&gt;
Depending on the function code, the address may be 2 bytes or 4 bytes, and the data can be variable length.  '''The 2 byte addresses use the NRPN addresses above.'''  I am not sure what the extended addresses referenced below are - the MIDI documentation does not list any.  Similarly, '''all 2 byte values use integer values of 0 - 16,384 for min to max''', although this may correspond to different display values on the KPA (for instance, a value of 0 might be &amp;quot;-5.0&amp;quot;, 8,192 might be &amp;quot;&amp;lt;0.0&amp;gt;&amp;quot;, and  16,384 would be &amp;quot;+5.0&amp;quot; - this depends on what the parameter actually is).  '''Strings use single byte characters encoded using [http://www.asciitable.com/ ASCII].'''&lt;br /&gt;
&lt;br /&gt;
I am not sure what the addresses for the string values are, but the documentation does say that the numeric settings' addresses overlap with the strings.  So, to get all the tags for an Amplifier profile, I would imagine you'd use the first address for Amplifier parameters listed in the NRPN reference above, and iterate +1 for all available tags.  ''However, from my research, this does not match how the tags are structured in the .kipr files when they are saved.''&lt;br /&gt;
&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
! Function Code !! Function !! Address Size !! Data Size !! Notes !! Example&lt;br /&gt;
|-&lt;br /&gt;
| 0x01 || Single Parameter Change || 2 bytes || 2 bytes || Same as doing an NRPN change || &lt;br /&gt;
&amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
01-00-4A-04-40-00-&lt;br /&gt;
F7    Addr  Data&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x02 || Multi Parameter Change || 2 bytes || 2n bytes || Address is the starting address; you can send as many pairs of data bytes as you want to change - each pair will write to the next address in sequence || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
02-00-4A-00-00-03-00-01-..-..-&lt;br /&gt;
F7    Addr  Data1 Data2 ...&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x03 || String Parameter Change || 2 bytes || n bytes + final 0x00 byte || Strings must have a final null (0x00) byte to terminate the string.  String data is 1 byte per character, encoded as ASCII.  String addresses overlap with parameter addresses. || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
03-00-00-01-48-65-6C-6C-6F-00-&lt;br /&gt;
F7          H  e  l  l  o&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x04 || BLOB Change || 2 bytes || 2 byte offset + 2 byte size + n byte data || Only a null (0x00) offset is currently supported.  Not sure what this would be used for except overwriting amp/cab profile data?&lt;br /&gt;
|-  &lt;br /&gt;
| 0x06 || Extended Parameter Change || 5 bytes || 2n bytes || Same as 0x02 but uses 5 bytes for address&lt;br /&gt;
|-&lt;br /&gt;
| 0x07 || Extended String Change || 5 bytes || n bytes + 0x00 End Byte || Same as 0x03 but uses 5 bytes for address&lt;br /&gt;
|-&lt;br /&gt;
| 0x41 || Single Parameter Request || 2 bytes || 0 bytes || returns the corresponding 0x01 SysEx message || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
41-00-4A-04-&lt;br /&gt;
F7    Addr&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x42 || Multiple Parameter Request || 2 bytes || 0 bytes || returns the corresponding 0x02 SysEx message.  May contain up to 128 values as byte pairs. || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
42-00-4A-00-&lt;br /&gt;
F7    Addr&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x43 || String Request || 2 bytes || 0 bytes || returns the corresponding 0x03 SysEx message || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
43-00-00-01-&lt;br /&gt;
F7    Addr&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x47 || Extended String Request || 5 bytes || 0 bytes || returns the corresponding 0x07 SysEx message, but may return the corresponding 0x03 message if the address is &amp;lt; 16,384 &lt;br /&gt;
|-&lt;br /&gt;
| 0x7C || Request Parameter as String || 2 bytes || 2 bytes || this returns an 0x3C response that otherwise matches the request, plus the string response after the 2 byte data portion.  The string response is the KPA's string representation of that parameter value.  For instance, Delay Volume value 8,192 is the midpoint value, which displays in the KPA as &amp;quot;&amp;lt;0.0&amp;gt;&amp;quot;. || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
7C-00-4A-04-40-00-&lt;br /&gt;
F7    Addr  Data&lt;br /&gt;
returns &lt;br /&gt;
F0-00-20-33-02-7F-&lt;br /&gt;
3C-00-4A-04-40-00-3C-30-2E-30-3E-00-&lt;br /&gt;
F7                &amp;lt;  0  .  0  &amp;gt;&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Kemper Remote ==&lt;br /&gt;
{{Crumbs|blue|4&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
The '''Kemper Remote''' is the official foot controller for the KPA.  It connects via the '''LAN port''' on the back of the KPA, supporting '''2-way communication''' as well as '''power over a single cable'''.  It features 14 footswitches (2 for bank/performance up/down, 5 for performance slots, 4 for toggling effects on/off, a tap tempo, a tuner, and a looper).  Up to 4 expression pedals can be connected directly to the Remote.&lt;br /&gt;
&lt;br /&gt;
Each effect footswitch can be assigned to toggle on/off up to 4 effects, and what each footswitch controls is saved per rig.&lt;br /&gt;
&lt;br /&gt;
Currently, the Remote is the only foot controller capable of accessing the KPA's looper although there are plans to incorporate access into general MIDI access.&lt;br /&gt;
&lt;br /&gt;
I don't actually have a Kemper Remote, so if I'm missing functionality that creates an advantage over other foot controllers, add it here please.&lt;br /&gt;
&lt;br /&gt;
== DAW ==&lt;br /&gt;
{{Crumbs|blue|5&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
DAWs can either directly or through plug-ins send the MIDI messages needed to have near full control of the Kemper.  They will not be limited strictly to CC's or NRPN - using SysEx, the full parameter list to the KPA is open.  Alternatively, you could simply send the CC values you want to control.  Volume is actually the least necessary parameter - you can more easily control the volume of tracks inside your DAW.  EQ perhaps as well.  Compression may also have better options in the DAW.  Delay, Reverb, and Mod effects is up to you.  Things like Gain or rig changes would be things you'd need to access this way.  With automated rig changing, you could set up all the changes necessary for a whole song, or even an entire setlist.&lt;br /&gt;
&lt;br /&gt;
== Morphing ==&lt;br /&gt;
OS 4.0 introduces '''Morphing''', a feature where any continuous parameter can be defined the following:&lt;br /&gt;
* a '''base value'''&lt;br /&gt;
* a '''morphed value'''&lt;br /&gt;
* a '''rise time*'''&lt;br /&gt;
* a '''descend time*'''&lt;br /&gt;
''* these affect triggering morphing from a footswitch''&lt;br /&gt;
&lt;br /&gt;
On pages 5-10 of the System Menu, expression pedals and footswitches can be assigned the morphing feature.  It can also be easily assigned to any effect button for the Kemper Remote.&lt;br /&gt;
&lt;br /&gt;
Multiple (any or all) continuous parameters, including those in the Amp and Cab blocks can be assigned a morph value.  While some view this feature as a multiple-parameter gimmick, if nothing else it allows continuous control over ''any'' continuous parameter, greatly expanding the out the box functionality of any expression pedal.  Morph values can be set higher or lower than the base value.  The expression pedal heel position corresponds to the base value, and the toe position the morphed value.&lt;br /&gt;
&lt;br /&gt;
The morphing procedure is to tap the Rig button.  It has a bottom LED and top LED - the LEDs switch when Rig is tapped.  The bottom is the base value, and the top is the morphed.  So press Rig until the bottom LED is on; set your base parameters; then press Rig so the top LED is on and set your morph parameters.  That's all there is to it.  The assigned morph pedals or switches will now control those parameters.&lt;br /&gt;
&lt;br /&gt;
Morph settings are saved per rig.  To erase a morph for a given parameter, either reset the morph value to match the base value, or sweep the base value through the range of the morph value (if base is 1.0 and morph is 4.0, sweeping the base value from &amp;lt; 1.0 to &amp;gt; 4.0 will clear the morph entirely).&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
{{Kemper Guide Crumbs|6}}&lt;br /&gt;
&lt;br /&gt;
[[Category:Guitar]]&lt;br /&gt;
[[Category:Gear]]&lt;br /&gt;
[[Category:Modelers]]&lt;br /&gt;
[[Category:Guides]]&lt;br /&gt;
[[Category:Kemper]]&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=Kemper_KPA_External_Control&amp;diff=8735</id>
		<title>Kemper KPA External Control</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=Kemper_KPA_External_Control&amp;diff=8735"/>
				<updated>2016-11-04T04:43:49Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: /* MIDI Continuous Control */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{Top-Level Crumbs|4}}&lt;br /&gt;
{{User Guide Crumbs|2}}&lt;br /&gt;
{{Kemper Guide Crumbs|6}}&lt;br /&gt;
The KPA has extensive, intuitive support for external controllers, and some products are made specifically for control of the KPA.  The three main types of control are analog expression pedals/footswitches, MIDI, and the Kemper Remote.&lt;br /&gt;
&lt;br /&gt;
== Expression Pedals ==&lt;br /&gt;
{{Crumbs|blue|1&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
&lt;br /&gt;
The KPA has 2 stereo jacks on the back of the unit that can be connected to expression pedals or footswitches.  ''Expression pedals should be stereo and connected with a stereo cable.''  Footswitches can be mono or stereo.  Additionally, up to 4 expression pedals can be connected to the Kemper Remote.&lt;br /&gt;
&lt;br /&gt;
=== System Menu Settings ===&lt;br /&gt;
Pages 5-10 cover how expression pedals behave.  Pedals 1 and 2 cover the two inputs on the back of the KPA, while Pedals 3-6 refer to inputs on the official Kemper remote.  The setup done here is simply mapping the pedal's anolog input to that appropriate MIDI CC # (1 for wah wah, 7 for volume, 4 for pitch, and 73 for monitor volume).&lt;br /&gt;
&lt;br /&gt;
Note: if you only have one expression pedal, you can still use it to control wah, volume, and pitch with some additional [[#MIDI Assignments and Settings|MIDI setup below]].  You should set it to CC# 1 (Wah Wah).  The KPA is actually very smart about this, and you don't really ever need more than one expression pedal, unless you like to have dedicated pedals, or have your wah/pitch with a spring in it to push it back to heel position, or do some crazy stuff where you jump between pedals.&lt;br /&gt;
&lt;br /&gt;
'''Pedal Type''' refers to the '''polarity''' of the expression pedal - type 1 is the normal type (Roland), while type 2 is reversed (Yamaha).&lt;br /&gt;
&lt;br /&gt;
This is also where you would come to '''calibrate''' a new pedal, or after updating your KPA's firmware/OS.  You simply press the button then do a full sweep.  ''Be sure to calibrate any pedal that you add to the KPA or after you update the KPA's firmware/OS.''&lt;br /&gt;
&lt;br /&gt;
==== MIDI Assignments and Settings ====&lt;br /&gt;
Page 14 has some checkbox settings for allowing an expression pedal that was set to Wah Wah on pages 5-10 or MIDI CC 1 to also control volume or pitch-shifting, when not being used for a wah wah effect.  It also has settings for sending the KPA's MIDI clock to external devices and setting the MIDI global channel (omni by default).  And you can also see the current MIDI CC values for 4 of the most likely used CC's, controlling modulation, pitch, volume, and monitor volume.&lt;br /&gt;
&lt;br /&gt;
'''Note, if you link a wah pedal to volume, when you disable a wah effect on a rig, the pedal will ''not'' begin to control volume until you put it fully in the toe position''' - ''this prevents a jump in volume if your wah pedal is not in toe position when you turn it off''.  Similarly, if wah is linked to pitch, when you disable wah/enable pitch, the pedal will ''not'' begin to affect the pitch until it is brought fully to the ''heel'' position, again to prevent the pitch jumping on the transition.&lt;br /&gt;
&lt;br /&gt;
=== Rig Menu Volume Pedal Settings ===&lt;br /&gt;
Page 5 of the Rig menu has some settings specific to using an expression pedal for volume control.&lt;br /&gt;
&lt;br /&gt;
* '''Lock Vol. Pedal''' - this setting will lock the current volume pedal settings below to apply to all rigs&lt;br /&gt;
* '''Wah Pedal to Vol.''' - this is a rig-level override of the System Menu page 14 pedal linking option above&lt;br /&gt;
* '''Location''' - this refers to a volume pedal's placement in the signal chain.  Since a dedicated volume pedal doesn't require an effect slot like wah wah or pitch (whammy), you use this parameter to set where it should affect the signal.&lt;br /&gt;
* '''Range''' - this refers to whether the volume pedal should boost when moving from heel position to toe position (when set to right of center) or cut when moving from toe to heel position (when set left of center)&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Analog Footswitches ==&lt;br /&gt;
{{Crumbs|blue|2&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
The Kemper also supports analog mono and stereo momentary footswitches.  They are set up the similarly to expression pedals on pages 5-6 of the System menu.  The difference is instead of being mapped to wah wah, volume, pitch, and monitor volume, it can be assigned to enable/disable any of the sections or blocks in the signal chain, as well switch to tuner, tap in the tap tempo, and switch to the previous or next rig.  In the case of a stereo/dual footswitch, each one can be independently assigned to different parameters.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Using a MIDI Footcontroller ==&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
For more on MIDI foot controllers in general, see [[Foot Controllers]].  MIDI foot controllers typically feature a number of footswitches and often have multiple expression pedals.  Depending on their nature, they may support some features in the MIDI spec or not.  They are typically programmable to some nature, but often within predefined boundaries.  Some can be programmed directly from the footswitches, while others require being connected to a PC editor.  Below are the settings on the Kemper as well as the ways you'll have to program your controller to work with the Kemper.&lt;br /&gt;
&lt;br /&gt;
=== System Menu Settings ===&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
{{Crumbs|orange|1&lt;br /&gt;
|Kemper KPA External Control#System Menu Settings|System Menu&lt;br /&gt;
|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010&lt;br /&gt;
|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers&lt;br /&gt;
|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference&lt;br /&gt;
}}&lt;br /&gt;
&lt;br /&gt;
While in Browser mode, page 12 allows you to assign the current rig to a MIDI Program Change number, as well as view all the MIDI assignments.  Note, these are only for Browser mode, not performance mode, where more than MIDI bank of 128 rigs each can be assigned.&lt;br /&gt;
&lt;br /&gt;
While in Performance mode, page 13 allows assigning external devices to the MIDI Out and Thru ports, as well as giving them device names, and specifying which channels the Kemper should use to communicate with them.&lt;br /&gt;
&lt;br /&gt;
=== Behringer FCB1010 ===&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
{{Crumbs|orange|2&lt;br /&gt;
|Kemper KPA External Control#System Menu Settings|System Menu&lt;br /&gt;
|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010&lt;br /&gt;
|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers&lt;br /&gt;
|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference&lt;br /&gt;
}}&lt;br /&gt;
A popular foot controller for the Kemper is the [http://www.music-group.com/Categories/Behringer/Accessories/Footswitches-and-Remote-Controls/FCB1010/p/P0089 Behringer FCB1010].  Its layout lines up fairly closely with the KPA's performance slots, has two expression pedals, and can be found for a relatively cheap price.&lt;br /&gt;
&lt;br /&gt;
The FCB1010 can also easily be modified to use alternative firmware.  There are 4 possible firmwares you can use:&lt;br /&gt;
&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
! !! Factory !! [http://www.ossandust.be/ UnO] !! [http://www.uno4kemper.com/ UnO4Kemper] !! [http://www.eurekasound.com/eurekaprom Eureka]&lt;br /&gt;
|-&lt;br /&gt;
! Advantages&lt;br /&gt;
|&lt;br /&gt;
* Can be programmed from PC&lt;br /&gt;
* No additional cost&lt;br /&gt;
|&lt;br /&gt;
* Fixes bugs and removes restrictions found in factory FW&lt;br /&gt;
* Can be programmed from PC&lt;br /&gt;
* Can save programmed settings on PC&lt;br /&gt;
|&lt;br /&gt;
* Makes the FCB plug n play with KPA&lt;br /&gt;
* Supports 2-way communication to sync effect states&lt;br /&gt;
* Simple to program directly from FCB1010&lt;br /&gt;
* Supports accessing all 625 performances on the KPA&lt;br /&gt;
|&lt;br /&gt;
* Can access all 625 performance rigs&lt;br /&gt;
* Multiple &amp;quot;scene&amp;quot; paradigms easily switched to change behavior&lt;br /&gt;
* Very configurable/powerful&lt;br /&gt;
|-&lt;br /&gt;
! Disadvantages&lt;br /&gt;
|&lt;br /&gt;
* Contains a number of bugs, particularly early version&lt;br /&gt;
* Can only reference a max of 100 rigs&lt;br /&gt;
* Numerous restrictions&lt;br /&gt;
* Missing features&lt;br /&gt;
|&lt;br /&gt;
* Still limited to max of 100 rigs to select from&lt;br /&gt;
* No 2-way communication to display correct LED states matching KPA effects&lt;br /&gt;
|&lt;br /&gt;
* Cannot be updated as KPA OS is updated, have to buy a new chip&lt;br /&gt;
* No advanced programming, such as firing multiple CC's from one button press&lt;br /&gt;
* Footswitch and expression pedal assignment is global, not per rig&lt;br /&gt;
* Expression pedals can only be assigned to CC1 and CC7&lt;br /&gt;
|&lt;br /&gt;
* Can be kind of confusing to program&lt;br /&gt;
* Have to switch scenes to be able to access all 625 performance rigs as well as toggle effects&lt;br /&gt;
* Cannot save configuration to PC and share&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== UnO4Kemper ====&lt;br /&gt;
[http://www.uno4kemper.com/ The UnO4Kemper firmware] is an unofficial firmware for the FCB1010 made by a 3rd party author.  It comes on an EPROM chip that can be switched out for the factory chip after opening the FCB1010 up.&lt;br /&gt;
&lt;br /&gt;
This firmware will instantly turn your FCB1010 into a dedicated Kemper controller.  The main advantage of this chip is it is as plug and play as you will find to get a working pedalboard for the Kemper, other than the official Kemper Remote.  The bad part is that it makes the FCB1010 only work with the Kemper and you cannot do advanced customization of how the controller operates (such as assigning multiple effects to toggle on a single button).  Also, if Kemper updates the KPA software to add new features, there is no method to update your current UnO4Kemper chip to support those features - you will have to purchase a new chip once the UnO4Kemper firmware is updated to support the feature.&lt;br /&gt;
&lt;br /&gt;
The full list of features is found in [http://www.uno4kemper.com/UnOforKemper_manual.pdf the manual].  &lt;br /&gt;
* Bank (Performance) Up/Down&lt;br /&gt;
* One row of buttons is used for rig selection and the other for toggling effects on/off&lt;br /&gt;
* The rows' functions can be swapped.&lt;br /&gt;
* Available effects/functions are A-D, X, Mod, Delay, Reverb, change rotary speaker effect speed, tap tempo, and display tuner&lt;br /&gt;
* Each effect toggle footswitch can be assigned to any 1 of those effects/functions.&lt;br /&gt;
* One expression pedal controls CC 1 (wah wah) and the other CC 7 (volume).  These can be swapped.&lt;br /&gt;
* Expression pedals can each be configured to use 1 out of 5 possible sweep curves.&lt;br /&gt;
* 2-way communication with KPA using 2nd MIDI cable.  Keeps footswitch LEDs in sync with KPA effects when switching rigs.&lt;br /&gt;
* Can display KPA tuner on FCB1010&lt;br /&gt;
* Can use KPA Beat Scanner function for tempo&lt;br /&gt;
* Force KPA to enter Browse Mode or Performance Mode&lt;br /&gt;
&lt;br /&gt;
=== Other MIDI Foot Controllers ===&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
{{Crumbs|orange|3&lt;br /&gt;
|Kemper KPA External Control#System Menu Settings|System Menu&lt;br /&gt;
|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010&lt;br /&gt;
|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers&lt;br /&gt;
|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference&lt;br /&gt;
}}&lt;br /&gt;
As you'll see below, the KPA provides extensive MIDI capabilities; basically any MIDI controller can get something out of it, while expensive, powerful controllers can do just about anything you can do by touching the KPA's buttons and knobs.  How far you want to take your amount of control depends on what you want to do.&lt;br /&gt;
&lt;br /&gt;
While I do not want to take up a lot of space discussing the capabilities and quirks of numerous footcontrollers, [http://www.wikpa.org/Using_Specific_MIDI_Controllers wikpa.org does a good job on this subject].&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== MIDI Programming Reference ===&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
{{Crumbs|orange|4&lt;br /&gt;
|Kemper KPA External Control#System Menu Settings|System Menu&lt;br /&gt;
|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010&lt;br /&gt;
|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers&lt;br /&gt;
|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference&lt;br /&gt;
}}&lt;br /&gt;
This section contains reference material for controlling the KPA by MIDI PC (Program Change), CC (Continuous Control), NRPN (Non-registered Parameter Numbers), or SysEx (System Exclusive) messages.  These go from least to most complicated, and similarly most to least supported.&lt;br /&gt;
&lt;br /&gt;
==== MIDI Program Change ====&lt;br /&gt;
Up to 128 rigs can be assigned PC numbers in Browse Mode from a page in the system menu - you can also see all the rigs assigned to PC's here.&lt;br /&gt;
&lt;br /&gt;
In Performance Mode, each performance/slot is automatically assigned a PC number based on the order of performances, and slots within each performance.  Even disabled slots are assigned a PC #.  Notice this only allows about 25 of the 125 performances (or 128 of the 625 slots) available.  If you need to access more, you can use a MIDI bank select command before the program change, which is implemented as MIDI CC #0 for the most significant byte (MSB) and #32 for the least significant byte (LSB).  While bank selects typically use 2 MIDI bytes, the KPA only requires a range of 0-4 to access all slots via PC.  It will ignore any CC #0 bank select MSB messages.  CC 32 can be used by itself to change which rigs the KPA accesses via PC.  Sending a value of 0 over CC 32 accesses the first 128 slots (performance 1 slot 1 - performance 26 slot 3), CC 32 value 1 accesses the next 128 (performance 26 slot 4 - performance 52 slot 1), etc. up to a max of CC 32 value 4, which will put PC access beyond the available 625 rigs.&lt;br /&gt;
&lt;br /&gt;
Note - it is recommended to use CC's 48-49 (or 47) for selecting performances, then using CC's 50-54 to select which slot to load.  This aligns both with the KPA's performance/slot organization and with footcontrollers that typically feature bank up/down switches as well as a row of switches to change patches/rigs.  There's no need to use complicated math to try to figure out which PC or bank select index is required to load a particular performance/slot.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== MIDI Continuous Control ====&lt;br /&gt;
The KPA responds to a number of MIDI CC messages.  These are enough for generic MIDI foot controllers to perform normal functionality.  You can change cycle through rigs in Browse mode, and bank up/down and select any of the 5 rigs assigned to the slots in Performance mode.  You can turn on/off any of the 8 effects, tap tempo, display the tuner, and switch the rotary speaker effect's speed.  In addition to the expression pedal functions above of controlling wah wah, pitch, volume, and monitor volume, one could be used to control delay/reverb mix and feedback/time, as well as amplifier gain.&lt;br /&gt;
&lt;br /&gt;
{| class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
! CC # !! Valid Values !! What it controls&lt;br /&gt;
|-&lt;br /&gt;
| 0 || N/A || Bank Select MSB - ignored&lt;br /&gt;
|-&lt;br /&gt;
| 1 || x || Wah Wah position on any enabled wah wah effect. Volume if &amp;quot;wah to volume&amp;quot; linking is checked and all wah wah effects are disabled or not present on current rig.  Pitch if &amp;quot;wah to pitch&amp;quot; linking is checked and all wah wah effects are disabled or not present on current rig.&lt;br /&gt;
|-&lt;br /&gt;
| 4 || x || Pitch position for Pedal Pitch or Pedal Vinyl Stop effects&lt;br /&gt;
|-&lt;br /&gt;
| 6 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|-&lt;br /&gt;
| 7 || x || Volume - controls the volume of the rig as specified per rig in the Rig Menu page 5.&lt;br /&gt;
|-&lt;br /&gt;
| 11 || x || Morph - controls any parameters set to be controlled by morphing.&lt;br /&gt;
|-&lt;br /&gt;
| 16 || Any || Toggles all stomps on/off&lt;br /&gt;
|-&lt;br /&gt;
| 17 || 0/1 || 0: Stomp A Off; 1: Stomp A On &lt;br /&gt;
|-&lt;br /&gt;
| 18 || 0/1 || 0: Stomp B Off; 1: Stomp B On &lt;br /&gt;
|-&lt;br /&gt;
| 19 || 0/1 || 0: Stomp C Off; 1: Stomp C On &lt;br /&gt;
|-&lt;br /&gt;
| 20 || 0/1 || 0: Stomp D Off; 1: Stomp D On &lt;br /&gt;
|-&lt;br /&gt;
| 22 || 0/1 || 0: Effect X Off; 1: Effect X On &lt;br /&gt;
|-&lt;br /&gt;
| 24 || 0/1 || 0: Effect Mod Off; 1: Effect Mod On &lt;br /&gt;
|-&lt;br /&gt;
| 26 || 0/1 || 0: Delay Off; 1: Delay On &lt;br /&gt;
|-&lt;br /&gt;
| 27 || 0/1 || 0: Delay Off (with tail); 1: Delay On &lt;br /&gt;
|-&lt;br /&gt;
| 28 || 0/1 || 0: Reverb Off; 1: Reverb On &lt;br /&gt;
|-&lt;br /&gt;
| 29 || 0/1 || 0: Reverb Off (with tail); 1: Reverb On &lt;br /&gt;
|-&lt;br /&gt;
| 30 || 1/0 || Sets Tempo Tap If your floorboard supports separate events on “pressing” and “releasing” a button, send 1 when “pressed” and 0 when “released”. If the floorboard can only send one event, use value 0. When value 1 has been sent and no value 0 for 3 seconds, the Beat Scanner1 is being activated. &lt;br /&gt;
|-&lt;br /&gt;
| 31 || 1/0 || 1: Show Tuner; 0: Hide Tuner &lt;br /&gt;
|-&lt;br /&gt;
| 32 || [0,4] || Bank Select LSB - changes which set of 128 performance slots are available via PC messages in Performance Mode.  &lt;br /&gt;
* Bank 0 - performance 1 slot 1 - performance 26 slot 3&lt;br /&gt;
* Bank 1 - performance 26 slot 4 - performance 52 slot 1&lt;br /&gt;
* Bank 2 - performance 52 slot 2 - performance 77 slot 4&lt;br /&gt;
* Bank 3 - performance 77 slot 5 - performance 103 slot 2&lt;br /&gt;
* Bank 4 - performance 103 slot 3 - performance 125 slot 5&lt;br /&gt;
|-&lt;br /&gt;
| 33 || 0/1 || 0: Rotary Speaker slow; 1: Rotary Speaker fast &lt;br /&gt;
|-&lt;br /&gt;
| 34 || 0/1 || 0: Delay Feedback Infinity Off; 1: Delay Feedback Infinity On&lt;br /&gt;
|-&lt;br /&gt;
| 35 || 0/1 || 0: Delay Hold Off; 1: Delay Hold On&lt;br /&gt;
|-&lt;br /&gt;
| 38 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|-&lt;br /&gt;
| 47 || [0,124]  || (Performance Mode only) Directly select a performance index. The performance will be loaded when a slot selection is sent (CC50-54). If no slot is selected, the performance index selection is disabled after a few seconds.  When disabled, the KPA sends the current performance index and slot back to the device.  This can be used to keep the MIDI controller and KPA in sync.&lt;br /&gt;
|-&lt;br /&gt;
| 48 || 1/0 &lt;br /&gt;
| Performance Mode: Increases performance index. Value triggers two different modes:&lt;br /&gt;
* Value 0, increase performance n to n+1 (bank up)*&lt;br /&gt;
* Value 1 initially increases performance by 1, after a timeout the Kemper Profiler starts to scroll performances upwards. Value 0 stops scrolling. &lt;br /&gt;
Browse Mode only: Value 0 selects the next Rig (current filter/sort applies), similar to “Rig Right” &lt;br /&gt;
|-&lt;br /&gt;
| 49 || 1/0 &lt;br /&gt;
| Performance Mode: Decreases performance index. Value triggers two different modes: &lt;br /&gt;
* Value 0, increase performance n to n-1 (bank down)*&lt;br /&gt;
* Value 1 initially decreases performance index by 1, after a timeout the Kemper Profiler starts to scroll performances downwards. Value 0 stops scrolling.&lt;br /&gt;
Browse Mode only: Value 0 selects the previous Rig (current filter/sort applies), similar to “Rig Left” &lt;br /&gt;
|- &lt;br /&gt;
| 50 || 1 || (Performance Mode only) Select Slot 1 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 51 || 1 || (Performance Mode only) Select Slot 2 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 52 || 1 || (Performance Mode only) Select Slot 3 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 53 || 1 || (Performance Mode only) Select Slot 4 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 54 || 1 || (Performance Mode only) Select Slot 5 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 68 || x || Sets Delay Mix to x &lt;br /&gt;
|-&lt;br /&gt;
| 69 || x || Sets Delay Feedback to x &lt;br /&gt;
|-&lt;br /&gt;
| 70 || x || Sets Reverb Mix to x &lt;br /&gt;
|-&lt;br /&gt;
| 71 || x || Sets Reverb Time to x &lt;br /&gt;
|-&lt;br /&gt;
| 72 || x ||Sets Amplifier Gain to x &lt;br /&gt;
|-&lt;br /&gt;
| 73 || x ||Sets Monitor Volume to x &lt;br /&gt;
|-&lt;br /&gt;
| 98 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|-&lt;br /&gt;
| 99 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
''* Changing the Performance may or may not load a slot instantly depending on the [[Kemper KPA Performing Live#MIDI|Perf. Load System Menu setting]].''&lt;br /&gt;
&lt;br /&gt;
Most foot controllers support some form of programming what each footswitch will send, and if the footswitch should toggle its value.  For example, if you assign FS1 to turn Stomp A on/off, you should be able to set FS1 to light up after pressing it (and it sends a 1 (on) value, indicating you've turned it on.  Now if you press it again, the light turns off, and it sends a 0 (off) value.&lt;br /&gt;
&lt;br /&gt;
This brings up a curious issue.  If you change rigs where Stomp A is on when the rig is loaded, how does the MIDI footcontroller know what state to set FS1?  The footcontroller itself must store a set of rigs containing the default on/off state of each footswitch, matching the corresponding rigs in the KPA.&lt;br /&gt;
&lt;br /&gt;
MIDI CC is the most widely supported part of the MIDI protocol by various MIDI footcontrollers; however, you will notice that there are hundreds of parameters for dozens of effects, as well as the amp, cab, input, output, and tonestack blocks that are not able to be controlled via CC, given the list above.  MIDI CC supports 7-bits for the CC channel number and 7-bits for the value, meaning a maximum of 128 parameters can be controlled with only 0-127 distinct values to communicate.  The MIDI specification gives 2 ways to deal with this: NPRN and Sysex.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== MIDI NRPN ====&lt;br /&gt;
[https://en.wikipedia.org/wiki/NRPN NRPN (Non-registered Parameter Numbers)] uses a set of 4 different CC messages to exponentially increase both the size of possible addresses and values that a device can send/receive.  '''Since each CC message can carry a value from 0-128, NRPN addresses and values each have a range of 128 x 128, which is 16,384.'''  The exact specification is below:&lt;br /&gt;
# '''CC 99''': Value is the Most significant Byte (MSB) of the desired address&lt;br /&gt;
# '''CC 98''': Value is the Least Significant Byte (LSB) of the desired address&lt;br /&gt;
# '''CC 06''': Value is the Most Significant Byte (MSB) of the desired value&lt;br /&gt;
# '''CC 38''': Value is the Least Significant Byte (LSB) of the desired value&lt;br /&gt;
&lt;br /&gt;
While the NRPN spec allows CC 38 to be optional, the KPA ''requires'' it.  The 4 CC's named above must be received in order, and the NRPN message is processed as soon as CC 38 is received.  ''Once an address has been selected via CC's 99 and 98, multiple values can be sent without sending 99/98 each time to reselect the address - only 06/38 needs to be sent.''  That is useful to know if you want to program NRPN to &amp;quot;move&amp;quot; a single parameter over time.&lt;br /&gt;
&lt;br /&gt;
Some footcontrollers support NRPN 14-bit addressing but not 14-bit values via CC's 06 and 38.  The KPA allows CC 119 to send the value in this case.  So the footcontroller can be programmed to send an NRPN as follows:&lt;br /&gt;
# '''CC 99''': address MSB&lt;br /&gt;
# '''CC 98''': address LSB&lt;br /&gt;
# '''CC 119''': 7-bit value&lt;br /&gt;
The 7-bit value is mapped to the appropriate 14-bit value - 128 becomes 16,384, 64 becomes 8,192, while 0 remains 0.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
|-style=&amp;quot;vertical-align:top;&amp;quot;&lt;br /&gt;
|&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
|+ NRPN Address - Parameter Mapping&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| Address&lt;br /&gt;
!rowspan=&amp;quot;2&amp;quot;| Type&lt;br /&gt;
!rowspan=&amp;quot;2&amp;quot;| Parameter&lt;br /&gt;
|-&lt;br /&gt;
! MSB !! LSB&lt;br /&gt;
|-&lt;br /&gt;
| 4 || 0 || Rig || Tempo&lt;br /&gt;
|-&lt;br /&gt;
| 4 || 1 || Rig || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 4 || 2 || Rig || Tempo Enable&lt;br /&gt;
|-&lt;br /&gt;
| 9 || 3 || Input || Noise Gate Intensity&lt;br /&gt;
|-&lt;br /&gt;
| 9 || 4 || Input || Clean Sense&lt;br /&gt;
|-&lt;br /&gt;
| 9 || 5 || Input || Distortion Sense&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 2 || Amplifier || On/Off&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 4 || Amplifier || Gain&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 6 || Amplifier || Definition&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 7 || Amplifier || Clarity&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 8 || Amplifier || Power Sagging&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 9 || Amplifier || Pick&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 10 || Amplifier || Compressor&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 11 || Amplifier || Tube Shape&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 12 || Amplifier || Tube Bias&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 15 || Amplifier || Direct Mix&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 2 || EQ || On/Off&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 4 || EQ || Bass&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 5 || EQ || Mids&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 6 || EQ || Treble&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 7 || EQ || Presence&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 2 || Cabinet || On/Off&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 3 || Cabinet || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 4 || Cabinet || High Shift&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 5 || Cabinet || Low Shift&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 6 || Cabinet || Character&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 0 || Stomp A || Type (see other table)&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 3 || Stomp A || On/Off&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 4 || Stomp A || Mix&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 6 || Stomp A || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 7 || Stomp A || Stereo&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 8 || Stomp A (Wah) || Wah Manual&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 9 || Stomp A (Wah) || Wah Peak&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 10 || Stomp A (Wah) || Wah Range&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 12 || Stomp A (Wah) || Wah Pedal Mode&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 13 || Stomp A (Wah) || Wah Touch Attack&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 14 || Stomp A (Wah) || Wah Touch Release&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 15 || Stomp A (Wah) || Wah Touch Boost&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 16 || Stomp A (Dist/Shaper) || Distortion/Shaper Drive&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 17 || Stomp A (Dist/Shaper) || Distortion/Booster Tone&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 18 || Stomp A (Comp) || Compressor/Gate Intensity&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 19 || Stomp A (Comp) || Compressor Attack&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 20 || Stomp A (Mod) || Modulation Rate&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 21 || Stomp A (Mod) || Modulation Depth&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 22 || Stomp A (Mod) || Modulation Feedback&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 23 || Stomp A (Mod) || Modulation Crossover&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 24 || Stomp A (Mod) || Modulation HyperChorus Amount&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 25 || Stomp A (Mod) || Modulation Manual&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 26 || Stomp A (Mod) || Modulation Phase Peak Spread&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 27 || Stomp A (Mod) || Modulation Stages&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 30 || Stomp A (Rot) || Rotary Speed (slow/fast)&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 31 || Stomp A (Rot) || Rotary Distance&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 32 || Stomp A (Rot) || Rotary Balance&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 33 || Stomp A (Comp) || Compressor Squash&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 34 || Stomp A (EQ) || Graphic EQ Band 1&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 35 || Stomp A (EQ) || Graphic EQ Band 2&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 36 || Stomp A (EQ) || Graphic EQ Band 3&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 37 || Stomp A (EQ) || Graphic EQ Band 4&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 38 || Stomp A (EQ) || Graphic EQ Band 5&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 39 || Stomp A (EQ) || Graphic EQ Band 6&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 40 || Stomp A (EQ) || Graphic EQ Band 7&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 41 || Stomp A (EQ) || Graphic EQ Band 8&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 42 || Stomp A (EQ) || Parametric EQ Low Gain&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 43 || Stomp A (EQ) || Parametric EQ Low Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 44 || Stomp A (EQ) || Parametric EQ High Gain&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 45 || Stomp A (EQ) || Parametric EQ High Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 46 || Stomp A (EQ) || Parametric EQ Peak Gain&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 47 || Stomp A (EQ) || Parametric EQ Peak Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 48 || Stomp A (EQ) || Parametric EQ Peak Q&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 49 || Stomp A (EQ) || Parametric EQ Peak 2 Gain&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 50 || Stomp A (EQ) || Parametric EQ Peak 2 Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 51 || Stomp A (EQ) || Parametric EQ Peak 2 Q&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 52 || Stomp A (Wah) || Wah Peak Range&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 53 || Stomp A || Ducking&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 55 || Stomp A (Pitch) || Voice Mix&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 56 || Stomp A (Pitch) || Voice 1 Pitch&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 57 || Stomp A (Pitch) || Voice 2 Pitch&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 58 || Stomp A (Pitch) || Detune&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 60 || Stomp A (Pitch) || Smooth Chords&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 61 || Stomp A (Pitch) || Pure Tuning&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 64 || Stomp A (Pitch) || Key&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 65 || Stomp A (Pitch) || Freeze Formants &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 66 || Stomp A (Pitch) || Formant Offset &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 67 || Stomp A (Delay) || Low Cut &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 68 || Stomp A (Delay) || High Cut &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 69 || Stomp A (Delay) || Delay Mix &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 70 || Stomp A (Delay) || Delay Mix Pre/Post &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 71 || Stomp A (Delay) || Delay Time 1 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 72 || Stomp A (Delay) || Delay Time 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 73 || Stomp A (Delay) || Delay Ratio 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 74 || Stomp A (Delay) || Delay Ratio 3 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 75 || Stomp A (Delay) || Delay Ratio 4 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 76 || Stomp A (Delay) || Delay Note Value 1 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 77 || Stomp A (Delay) || Delay Note Value 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 78 || Stomp A (Delay) || Delay Note Value 3 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 79 || Stomp A (Delay) || Delay Note Value 4 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 80 || Stomp A (Delay) || To Tempo &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 81 || Stomp A (Delay) || Delay Volume 1 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 82 || Stomp A (Delay) || Delay Volume 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 83 || Stomp A (Delay) || Delay Volume 3 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 84 || Stomp A (Delay) || Delay Volume 4 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 85 || Stomp A (Delay) || Delay Panorama 1 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 86 || Stomp A (Delay) || Delay Panorama 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 87 || Stomp A (Delay) || Delay Panorama 3 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 88 || Stomp A (Delay) || Delay Panorama 4 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 89 || Stomp A (Delay) || Voice3 Pitch &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 90 || Stomp A (Delay) || Voice4 Pitch &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 91 || Stomp A (Delay) || Voice3 Interval &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 92 || Stomp A (Delay) || Voice4 Interval &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 93 || Stomp A (Delay) || Feedback &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 94 || Stomp A (Delay) || Infinity Feedback &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 95 || Stomp A (Delay) || Infinity &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 96 || Stomp A (Delay) || Feedback2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 97 || Stomp A (Delay) || Feedback Sync Switch &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 98 || Stomp A (Delay) || Delay Low Cut &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 99 || Stomp A (Delay) || Delay High Cut &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 100 || Stomp A (Delay) || Delay Filter Intensity &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 101 || Stomp A (Delay) || Delay Modulation &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 102 || Stomp A (Delay) || Delay Chorus &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 103 || Stomp A (Delay) || Flutter Intensity &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 104 || Stomp A (Delay) || Flutter Shape &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 105 || Stomp A (Delay) || Grit &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 106 || Stomp A (Delay) || Reverse Mix &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 107 || Stomp A (Delay) || Swell &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 108 || Stomp A (Delay) || Smear &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 109 || Stomp A (Delay) || Ducking Pre/Post &lt;br /&gt;
|-&lt;br /&gt;
| 51 || * || Stomp B || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 52 || * || Stomp C || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 53 || * || Stomp D || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 56 || * || Effect X || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 58 || * || Effect Mod || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 0 || Delay (Deprecated in 4.0) || Type (see below)&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 2 || Delay (Deprecated in 4.0) || On/Off (cuts tails)&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 3 || Delay (Deprecated in 4.0) || Mix&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 4 || Delay (Deprecated in 4.0) || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 5 || Delay (Deprecated in 4.0) || Time&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 6 || Delay (Deprecated in 4.0) || Ratio&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 7 || Delay (Deprecated in 4.0) || Clock Left&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 8 || Delay (Deprecated in 4.0) || Clock Right&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 9 || Delay (Deprecated in 4.0) || Feedback&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 10 || Delay (Deprecated in 4.0) || Bandwidth&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 11 || Delay (Deprecated in 4.0) || Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 12 || Delay (Deprecated in 4.0) || Modulation&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 13 || Delay (Deprecated in 4.0) || On/Off (keeps tails)&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 14 || Delay (Deprecated in 4.0) || Ducking&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 0 || Reverb || Type (see below)&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 2 || Reverb || On/Off (cuts tails)&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 3 || Reverb || Mix&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 4 || Reverb || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 5 || Reverb || Del/Rev Balance&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 6 || Reverb || Time&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 7 || Reverb || Damping&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 8 || Reverb || Bandwidth&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 9 || Reverb || Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 10 || Reverb || Pre-Delay&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 11 || Reverb || On/Off (keeps tails)&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 12 || Reverb || Ducking&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 0 || System/Global || Main Output Volume&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 1 || System/Global || Headphone Output Volume&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 2 || System/Global || Monitor Output Volume&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 3 || System/Global || Direct Output Volume&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 11 || System/Global || SPDIF Input Enable&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 12 || System/Global || Main Output EQ Bass&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 13 || System/Global || Main Output EQ Mids&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 14 || System/Global || Main Output EQ Treble&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 15 || System/Global || Main Output EQ Presence&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 17 || System/Global || Monitor Output EQ Bass&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 18 || System/Global || Monitor Output EQ Mids&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 19 || System/Global || Monitor Output EQ Treble&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 20 || System/Global || Monitor Output EQ Presence&lt;br /&gt;
|}&lt;br /&gt;
|&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
|+ Value to Effect Type Mapping&lt;br /&gt;
|-&lt;br /&gt;
! Value !! Effect Type&lt;br /&gt;
|-&lt;br /&gt;
| 0 || Null/Empty&lt;br /&gt;
|-&lt;br /&gt;
| 1 || Wah Wah&lt;br /&gt;
|-&lt;br /&gt;
| 2 || Wah Low Pass&lt;br /&gt;
|-&lt;br /&gt;
| 3 || Wah High Pass&lt;br /&gt;
|-&lt;br /&gt;
|    4 || Wah Vowel Filter&lt;br /&gt;
|-&lt;br /&gt;
|    6 || Wah Phaser&lt;br /&gt;
|-&lt;br /&gt;
|    7 || Wah Flanger&lt;br /&gt;
|-&lt;br /&gt;
|    8 || Wah Rate Reducer&lt;br /&gt;
|-&lt;br /&gt;
|    9 || Wah Ring Modulator&lt;br /&gt;
|-&lt;br /&gt;
|    10 || Wah Freq Shifter&lt;br /&gt;
|-&lt;br /&gt;
|    12 || Wah Formant Shift&lt;br /&gt;
|-&lt;br /&gt;
|    17 || Bit Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    18 || Recti Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    19 || Soft Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    20 || Hard Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    21 || Wave Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    33 || Green Scream&lt;br /&gt;
|-&lt;br /&gt;
|    34 || Plus DS&lt;br /&gt;
|-&lt;br /&gt;
|    35 || One DS&lt;br /&gt;
|-&lt;br /&gt;
|    36 || Muffin&lt;br /&gt;
|-&lt;br /&gt;
|    37 || Mouse&lt;br /&gt;
|-&lt;br /&gt;
|    38 || Fuzz DS&lt;br /&gt;
|-&lt;br /&gt;
|    39 || Metal DS&lt;br /&gt;
|-&lt;br /&gt;
|    113 || Treble Booster&lt;br /&gt;
|-&lt;br /&gt;
|    114 || Lead Booster&lt;br /&gt;
|-&lt;br /&gt;
|    115 || Pure Booster&lt;br /&gt;
|-&lt;br /&gt;
|    116 || Wah Pedal Booster&lt;br /&gt;
|-&lt;br /&gt;
|    97 || Graphic Equalizer&lt;br /&gt;
|-&lt;br /&gt;
|    98 || Studio Equalizer&lt;br /&gt;
|-&lt;br /&gt;
|    99 || Metal Equalizer&lt;br /&gt;
|-&lt;br /&gt;
|    101 || Stereo Widener&lt;br /&gt;
|-&lt;br /&gt;
|    49 || Compressor&lt;br /&gt;
|-&lt;br /&gt;
|    57 || Gate 2:1&lt;br /&gt;
|-&lt;br /&gt;
|    58 || Gate 4:1&lt;br /&gt;
|-&lt;br /&gt;
|    65 || Vintage Chorus&lt;br /&gt;
|-&lt;br /&gt;
|    66 || Hyper Chorus&lt;br /&gt;
|-&lt;br /&gt;
|    67 || Air Chorus&lt;br /&gt;
|-&lt;br /&gt;
|    71 || Micro Pitch|-&lt;br /&gt;
|-&lt;br /&gt;
|    68 || Vibrato&lt;br /&gt;
|-&lt;br /&gt;
|    69 || Rotary Speaker&lt;br /&gt;
|-&lt;br /&gt;
|    70 || Tremolo&lt;br /&gt;
|-&lt;br /&gt;
|    81 || Phaser&lt;br /&gt;
|-&lt;br /&gt;
|    82 || Phaser Vibe&lt;br /&gt;
|-&lt;br /&gt;
|    83 || Phaser Oneway&lt;br /&gt;
|-&lt;br /&gt;
|    89 || Flanger&lt;br /&gt;
|-&lt;br /&gt;
|    91 || Flanger Oneway&lt;br /&gt;
|-&lt;br /&gt;
|    121 || Loop Mono&lt;br /&gt;
|-&lt;br /&gt;
|    122 || Loop Stereo&lt;br /&gt;
|-&lt;br /&gt;
|    123 || Loop Distortion&lt;br /&gt;
|-&lt;br /&gt;
|    129 || Transpose&lt;br /&gt;
|-&lt;br /&gt;
|    11 || Pedal Pitch&lt;br /&gt;
|-&lt;br /&gt;
| 130 || Chromatic Pitch&lt;br /&gt;
|-&lt;br /&gt;
| 131 || Harmonic Pitch&lt;br /&gt;
|}&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== MIDI SysEx ====&lt;br /&gt;
MIDI also has the ability to send [https://en.wikipedia.org/wiki/MIDI#System_Exclusive_messages SysEx (System Exclusive)] messages.  SysEx messages are proprietary protocols that each manufacturer can create for each of their devices.  They use a common beginning and ending indicators, as well as manufacturer and device identifiers, so that devices that cannot interpret them know to ignore the message; and they can be incorporated into streams of MIDI messages between lots of devices in a MIDI ring without causing chaos.&lt;br /&gt;
&lt;br /&gt;
The SysEx common format is:&lt;br /&gt;
# 1 byte for SysEx Start (&amp;lt;code&amp;gt;0xF0&amp;lt;/code&amp;gt;)&lt;br /&gt;
# 3 bytes for Manufacturer ID (&amp;lt;code&amp;gt;0x002033&amp;lt;/code&amp;gt; for Kemper)&lt;br /&gt;
# 1 byte for product type (&amp;lt;code&amp;gt;0x02&amp;lt;/code&amp;gt; for Kemper Profiling Amp)&lt;br /&gt;
# 1 byte for device ID (&amp;lt;code&amp;gt;0x7F&amp;lt;/code&amp;gt; for Omni)&lt;br /&gt;
# x bytes for the message (this is the device-specific part)&lt;br /&gt;
# 1 byte for SysEx End (&amp;lt;code&amp;gt;0xF7&amp;lt;/code&amp;gt;)&lt;br /&gt;
&lt;br /&gt;
Example: &amp;lt;code&amp;gt;F0-00-20-33-02-7F-...-F7&amp;lt;/code&amp;gt;, where ... is variable.&lt;br /&gt;
&lt;br /&gt;
The Kemper MIDI SysEx protocol gets pretty intense, and I'll leave it to those interested to refer to the [http://www.kemper-amps.com/page/render/lang/en/p/170/id/27/cat/30/do/Kemper_Profiling_Amplifier___Downloads.html Kemper MIDI documentation].  For most users, SysEx will never be necessary.  Where this really comes in handy is for software programs that want to communicate with KPA via MIDI.  The big items that SysEx offer beyond NRPN above are string manipulation and requesting parameter values from the KPA.  These would allow a program to act as an editor, or an advanced floorboard to maintain two-way communication with the KPA, displaying the KPA's current values and keeping on/off states in sync.&lt;br /&gt;
&lt;br /&gt;
The x bytes above have a common scheme for Kemper SysEx messages, where the first byte is the function code.  This is followed by an instance code, which is always &amp;lt;code&amp;gt;0x00&amp;lt;/code&amp;gt;.  This is followed by the address, then the data.&lt;br /&gt;
&lt;br /&gt;
Depending on the function code, the address may be 2 bytes or 4 bytes, and the data can be variable length.  '''The 2 byte addresses use the NRPN addresses above.'''  I am not sure what the extended addresses referenced below are - the MIDI documentation does not list any.  Similarly, '''all 2 byte values use integer values of 0 - 16,384 for min to max''', although this may correspond to different display values on the KPA (for instance, a value of 0 might be &amp;quot;-5.0&amp;quot;, 8,192 might be &amp;quot;&amp;lt;0.0&amp;gt;&amp;quot;, and  16,384 would be &amp;quot;+5.0&amp;quot; - this depends on what the parameter actually is).  '''Strings use single byte characters encoded using [http://www.asciitable.com/ ASCII].'''&lt;br /&gt;
&lt;br /&gt;
I am not sure what the addresses for the string values are, but the documentation does say that the numeric settings' addresses overlap with the strings.  So, to get all the tags for an Amplifier profile, I would imagine you'd use the first address for Amplifier parameters listed in the NRPN reference above, and iterate +1 for all available tags.  ''However, from my research, this does not match how the tags are structured in the .kipr files when they are saved.''&lt;br /&gt;
&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
! Function Code !! Function !! Address Size !! Data Size !! Notes !! Example&lt;br /&gt;
|-&lt;br /&gt;
| 0x01 || Single Parameter Change || 2 bytes || 2 bytes || Same as doing an NRPN change || &lt;br /&gt;
&amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
01-00-4A-04-40-00-&lt;br /&gt;
F7    Addr  Data&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x02 || Multi Parameter Change || 2 bytes || 2n bytes || Address is the starting address; you can send as many pairs of data bytes as you want to change - each pair will write to the next address in sequence || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
02-00-4A-00-00-03-00-01-..-..-&lt;br /&gt;
F7    Addr  Data1 Data2 ...&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x03 || String Parameter Change || 2 bytes || n bytes + final 0x00 byte || Strings must have a final null (0x00) byte to terminate the string.  String data is 1 byte per character, encoded as ASCII.  String addresses overlap with parameter addresses. || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
03-00-00-01-48-65-6C-6C-6F-00-&lt;br /&gt;
F7          H  e  l  l  o&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x04 || BLOB Change || 2 bytes || 2 byte offset + 2 byte size + n byte data || Only a null (0x00) offset is currently supported.  Not sure what this would be used for except overwriting amp/cab profile data?&lt;br /&gt;
|-  &lt;br /&gt;
| 0x06 || Extended Parameter Change || 5 bytes || 2n bytes || Same as 0x02 but uses 5 bytes for address&lt;br /&gt;
|-&lt;br /&gt;
| 0x07 || Extended String Change || 5 bytes || n bytes + 0x00 End Byte || Same as 0x03 but uses 5 bytes for address&lt;br /&gt;
|-&lt;br /&gt;
| 0x41 || Single Parameter Request || 2 bytes || 0 bytes || returns the corresponding 0x01 SysEx message || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
41-00-4A-04-&lt;br /&gt;
F7    Addr&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x42 || Multiple Parameter Request || 2 bytes || 0 bytes || returns the corresponding 0x02 SysEx message.  May contain up to 128 values as byte pairs. || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
42-00-4A-00-&lt;br /&gt;
F7    Addr&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x43 || String Request || 2 bytes || 0 bytes || returns the corresponding 0x03 SysEx message || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
43-00-00-01-&lt;br /&gt;
F7    Addr&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x47 || Extended String Request || 5 bytes || 0 bytes || returns the corresponding 0x07 SysEx message, but may return the corresponding 0x03 message if the address is &amp;lt; 16,384 &lt;br /&gt;
|-&lt;br /&gt;
| 0x7C || Request Parameter as String || 2 bytes || 2 bytes || this returns an 0x3C response that otherwise matches the request, plus the string response after the 2 byte data portion.  The string response is the KPA's string representation of that parameter value.  For instance, Delay Volume value 8,192 is the midpoint value, which displays in the KPA as &amp;quot;&amp;lt;0.0&amp;gt;&amp;quot;. || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
7C-00-4A-04-40-00-&lt;br /&gt;
F7    Addr  Data&lt;br /&gt;
returns &lt;br /&gt;
F0-00-20-33-02-7F-&lt;br /&gt;
3C-00-4A-04-40-00-3C-30-2E-30-3E-00-&lt;br /&gt;
F7                &amp;lt;  0  .  0  &amp;gt;&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Kemper Remote ==&lt;br /&gt;
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|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
The '''Kemper Remote''' is the official foot controller for the KPA.  It connects via the '''LAN port''' on the back of the KPA, supporting '''2-way communication''' as well as '''power over a single cable'''.  It features 14 footswitches (2 for bank/performance up/down, 5 for performance slots, 4 for toggling effects on/off, a tap tempo, a tuner, and a looper).  Up to 4 expression pedals can be connected directly to the Remote.&lt;br /&gt;
&lt;br /&gt;
Each effect footswitch can be assigned to toggle on/off up to 4 effects, and what each footswitch controls is saved per rig.&lt;br /&gt;
&lt;br /&gt;
Currently, the Remote is the only foot controller capable of accessing the KPA's looper although there are plans to incorporate access into general MIDI access.&lt;br /&gt;
&lt;br /&gt;
I don't actually have a Kemper Remote, so if I'm missing functionality that creates an advantage over other foot controllers, add it here please.&lt;br /&gt;
&lt;br /&gt;
== DAW ==&lt;br /&gt;
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|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
DAWs can either directly or through plug-ins send the MIDI messages needed to have near full control of the Kemper.  They will not be limited strictly to CC's or NRPN - using SysEx, the full parameter list to the KPA is open.  Alternatively, you could simply send the CC values you want to control.  Volume is actually the least necessary parameter - you can more easily control the volume of tracks inside your DAW.  EQ perhaps as well.  Compression may also have better options in the DAW.  Delay, Reverb, and Mod effects is up to you.  Things like Gain or rig changes would be things you'd need to access this way.  With automated rig changing, you could set up all the changes necessary for a whole song, or even an entire setlist.&lt;br /&gt;
&lt;br /&gt;
== Morphing ==&lt;br /&gt;
OS 4.0 introduces '''Morphing''', a feature where any continuous parameter can be defined the following:&lt;br /&gt;
* a '''base value'''&lt;br /&gt;
* a '''morphed value'''&lt;br /&gt;
* a '''rise time*'''&lt;br /&gt;
* a '''descend time*'''&lt;br /&gt;
''* these affect triggering morphing from a footswitch''&lt;br /&gt;
&lt;br /&gt;
On pages 5-10 of the System Menu, expression pedals and footswitches can be assigned the morphing feature.  It can also be easily assigned to any effect button for the Kemper Remote.&lt;br /&gt;
&lt;br /&gt;
Multiple (any or all) continuous parameters, including those in the Amp and Cab blocks can be assigned a morph value.  While some view this feature as a multiple-parameter gimmick, if nothing else it allows continuous control over ''any'' continuous parameter, greatly expanding the out the box functionality of any expression pedal.  Morph values can be set higher or lower than the base value.  The expression pedal heel position corresponds to the base value, and the toe position the morphed value.&lt;br /&gt;
&lt;br /&gt;
The morphing procedure is to tap the Rig button.  It has a bottom LED and top LED - the LEDs switch when Rig is tapped.  The bottom is the base value, and the top is the morphed.  So press Rig until the bottom LED is on; set your base parameters; then press Rig so the top LED is on and set your morph parameters.  That's all there is to it.  The assigned morph pedals or switches will now control those parameters.&lt;br /&gt;
&lt;br /&gt;
Morph settings are saved per rig.  To erase a morph for a given parameter, either reset the morph value to match the base value, or sweep the base value through the range of the morph value (if base is 1.0 and morph is 4.0, sweeping the base value from &amp;lt; 1.0 to &amp;gt; 4.0 will clear the morph entirely).&lt;br /&gt;
&lt;br /&gt;
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{{Kemper Guide Crumbs|6}}&lt;br /&gt;
&lt;br /&gt;
[[Category:Guitar]]&lt;br /&gt;
[[Category:Gear]]&lt;br /&gt;
[[Category:Modelers]]&lt;br /&gt;
[[Category:Guides]]&lt;br /&gt;
[[Category:Kemper]]&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=Kemper_KPA_External_Control&amp;diff=8734</id>
		<title>Kemper KPA External Control</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=Kemper_KPA_External_Control&amp;diff=8734"/>
				<updated>2016-11-04T04:36:54Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: /* MIDI NRPN */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{Top-Level Crumbs|4}}&lt;br /&gt;
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The KPA has extensive, intuitive support for external controllers, and some products are made specifically for control of the KPA.  The three main types of control are analog expression pedals/footswitches, MIDI, and the Kemper Remote.&lt;br /&gt;
&lt;br /&gt;
== Expression Pedals ==&lt;br /&gt;
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&lt;br /&gt;
The KPA has 2 stereo jacks on the back of the unit that can be connected to expression pedals or footswitches.  ''Expression pedals should be stereo and connected with a stereo cable.''  Footswitches can be mono or stereo.  Additionally, up to 4 expression pedals can be connected to the Kemper Remote.&lt;br /&gt;
&lt;br /&gt;
=== System Menu Settings ===&lt;br /&gt;
Pages 5-10 cover how expression pedals behave.  Pedals 1 and 2 cover the two inputs on the back of the KPA, while Pedals 3-6 refer to inputs on the official Kemper remote.  The setup done here is simply mapping the pedal's anolog input to that appropriate MIDI CC # (1 for wah wah, 7 for volume, 4 for pitch, and 73 for monitor volume).&lt;br /&gt;
&lt;br /&gt;
Note: if you only have one expression pedal, you can still use it to control wah, volume, and pitch with some additional [[#MIDI Assignments and Settings|MIDI setup below]].  You should set it to CC# 1 (Wah Wah).  The KPA is actually very smart about this, and you don't really ever need more than one expression pedal, unless you like to have dedicated pedals, or have your wah/pitch with a spring in it to push it back to heel position, or do some crazy stuff where you jump between pedals.&lt;br /&gt;
&lt;br /&gt;
'''Pedal Type''' refers to the '''polarity''' of the expression pedal - type 1 is the normal type (Roland), while type 2 is reversed (Yamaha).&lt;br /&gt;
&lt;br /&gt;
This is also where you would come to '''calibrate''' a new pedal, or after updating your KPA's firmware/OS.  You simply press the button then do a full sweep.  ''Be sure to calibrate any pedal that you add to the KPA or after you update the KPA's firmware/OS.''&lt;br /&gt;
&lt;br /&gt;
==== MIDI Assignments and Settings ====&lt;br /&gt;
Page 14 has some checkbox settings for allowing an expression pedal that was set to Wah Wah on pages 5-10 or MIDI CC 1 to also control volume or pitch-shifting, when not being used for a wah wah effect.  It also has settings for sending the KPA's MIDI clock to external devices and setting the MIDI global channel (omni by default).  And you can also see the current MIDI CC values for 4 of the most likely used CC's, controlling modulation, pitch, volume, and monitor volume.&lt;br /&gt;
&lt;br /&gt;
'''Note, if you link a wah pedal to volume, when you disable a wah effect on a rig, the pedal will ''not'' begin to control volume until you put it fully in the toe position''' - ''this prevents a jump in volume if your wah pedal is not in toe position when you turn it off''.  Similarly, if wah is linked to pitch, when you disable wah/enable pitch, the pedal will ''not'' begin to affect the pitch until it is brought fully to the ''heel'' position, again to prevent the pitch jumping on the transition.&lt;br /&gt;
&lt;br /&gt;
=== Rig Menu Volume Pedal Settings ===&lt;br /&gt;
Page 5 of the Rig menu has some settings specific to using an expression pedal for volume control.&lt;br /&gt;
&lt;br /&gt;
* '''Lock Vol. Pedal''' - this setting will lock the current volume pedal settings below to apply to all rigs&lt;br /&gt;
* '''Wah Pedal to Vol.''' - this is a rig-level override of the System Menu page 14 pedal linking option above&lt;br /&gt;
* '''Location''' - this refers to a volume pedal's placement in the signal chain.  Since a dedicated volume pedal doesn't require an effect slot like wah wah or pitch (whammy), you use this parameter to set where it should affect the signal.&lt;br /&gt;
* '''Range''' - this refers to whether the volume pedal should boost when moving from heel position to toe position (when set to right of center) or cut when moving from toe to heel position (when set left of center)&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
== Analog Footswitches ==&lt;br /&gt;
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|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
The Kemper also supports analog mono and stereo momentary footswitches.  They are set up the similarly to expression pedals on pages 5-6 of the System menu.  The difference is instead of being mapped to wah wah, volume, pitch, and monitor volume, it can be assigned to enable/disable any of the sections or blocks in the signal chain, as well switch to tuner, tap in the tap tempo, and switch to the previous or next rig.  In the case of a stereo/dual footswitch, each one can be independently assigned to different parameters.&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
== Using a MIDI Footcontroller ==&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
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|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
For more on MIDI foot controllers in general, see [[Foot Controllers]].  MIDI foot controllers typically feature a number of footswitches and often have multiple expression pedals.  Depending on their nature, they may support some features in the MIDI spec or not.  They are typically programmable to some nature, but often within predefined boundaries.  Some can be programmed directly from the footswitches, while others require being connected to a PC editor.  Below are the settings on the Kemper as well as the ways you'll have to program your controller to work with the Kemper.&lt;br /&gt;
&lt;br /&gt;
=== System Menu Settings ===&lt;br /&gt;
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|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
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|Kemper KPA External Control#System Menu Settings|System Menu&lt;br /&gt;
|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010&lt;br /&gt;
|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers&lt;br /&gt;
|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference&lt;br /&gt;
}}&lt;br /&gt;
&lt;br /&gt;
While in Browser mode, page 12 allows you to assign the current rig to a MIDI Program Change number, as well as view all the MIDI assignments.  Note, these are only for Browser mode, not performance mode, where more than MIDI bank of 128 rigs each can be assigned.&lt;br /&gt;
&lt;br /&gt;
While in Performance mode, page 13 allows assigning external devices to the MIDI Out and Thru ports, as well as giving them device names, and specifying which channels the Kemper should use to communicate with them.&lt;br /&gt;
&lt;br /&gt;
=== Behringer FCB1010 ===&lt;br /&gt;
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|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
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|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers&lt;br /&gt;
|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference&lt;br /&gt;
}}&lt;br /&gt;
A popular foot controller for the Kemper is the [http://www.music-group.com/Categories/Behringer/Accessories/Footswitches-and-Remote-Controls/FCB1010/p/P0089 Behringer FCB1010].  Its layout lines up fairly closely with the KPA's performance slots, has two expression pedals, and can be found for a relatively cheap price.&lt;br /&gt;
&lt;br /&gt;
The FCB1010 can also easily be modified to use alternative firmware.  There are 4 possible firmwares you can use:&lt;br /&gt;
&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
! !! Factory !! [http://www.ossandust.be/ UnO] !! [http://www.uno4kemper.com/ UnO4Kemper] !! [http://www.eurekasound.com/eurekaprom Eureka]&lt;br /&gt;
|-&lt;br /&gt;
! Advantages&lt;br /&gt;
|&lt;br /&gt;
* Can be programmed from PC&lt;br /&gt;
* No additional cost&lt;br /&gt;
|&lt;br /&gt;
* Fixes bugs and removes restrictions found in factory FW&lt;br /&gt;
* Can be programmed from PC&lt;br /&gt;
* Can save programmed settings on PC&lt;br /&gt;
|&lt;br /&gt;
* Makes the FCB plug n play with KPA&lt;br /&gt;
* Supports 2-way communication to sync effect states&lt;br /&gt;
* Simple to program directly from FCB1010&lt;br /&gt;
* Supports accessing all 625 performances on the KPA&lt;br /&gt;
|&lt;br /&gt;
* Can access all 625 performance rigs&lt;br /&gt;
* Multiple &amp;quot;scene&amp;quot; paradigms easily switched to change behavior&lt;br /&gt;
* Very configurable/powerful&lt;br /&gt;
|-&lt;br /&gt;
! Disadvantages&lt;br /&gt;
|&lt;br /&gt;
* Contains a number of bugs, particularly early version&lt;br /&gt;
* Can only reference a max of 100 rigs&lt;br /&gt;
* Numerous restrictions&lt;br /&gt;
* Missing features&lt;br /&gt;
|&lt;br /&gt;
* Still limited to max of 100 rigs to select from&lt;br /&gt;
* No 2-way communication to display correct LED states matching KPA effects&lt;br /&gt;
|&lt;br /&gt;
* Cannot be updated as KPA OS is updated, have to buy a new chip&lt;br /&gt;
* No advanced programming, such as firing multiple CC's from one button press&lt;br /&gt;
* Footswitch and expression pedal assignment is global, not per rig&lt;br /&gt;
* Expression pedals can only be assigned to CC1 and CC7&lt;br /&gt;
|&lt;br /&gt;
* Can be kind of confusing to program&lt;br /&gt;
* Have to switch scenes to be able to access all 625 performance rigs as well as toggle effects&lt;br /&gt;
* Cannot save configuration to PC and share&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
==== UnO4Kemper ====&lt;br /&gt;
[http://www.uno4kemper.com/ The UnO4Kemper firmware] is an unofficial firmware for the FCB1010 made by a 3rd party author.  It comes on an EPROM chip that can be switched out for the factory chip after opening the FCB1010 up.&lt;br /&gt;
&lt;br /&gt;
This firmware will instantly turn your FCB1010 into a dedicated Kemper controller.  The main advantage of this chip is it is as plug and play as you will find to get a working pedalboard for the Kemper, other than the official Kemper Remote.  The bad part is that it makes the FCB1010 only work with the Kemper and you cannot do advanced customization of how the controller operates (such as assigning multiple effects to toggle on a single button).  Also, if Kemper updates the KPA software to add new features, there is no method to update your current UnO4Kemper chip to support those features - you will have to purchase a new chip once the UnO4Kemper firmware is updated to support the feature.&lt;br /&gt;
&lt;br /&gt;
The full list of features is found in [http://www.uno4kemper.com/UnOforKemper_manual.pdf the manual].  &lt;br /&gt;
* Bank (Performance) Up/Down&lt;br /&gt;
* One row of buttons is used for rig selection and the other for toggling effects on/off&lt;br /&gt;
* The rows' functions can be swapped.&lt;br /&gt;
* Available effects/functions are A-D, X, Mod, Delay, Reverb, change rotary speaker effect speed, tap tempo, and display tuner&lt;br /&gt;
* Each effect toggle footswitch can be assigned to any 1 of those effects/functions.&lt;br /&gt;
* One expression pedal controls CC 1 (wah wah) and the other CC 7 (volume).  These can be swapped.&lt;br /&gt;
* Expression pedals can each be configured to use 1 out of 5 possible sweep curves.&lt;br /&gt;
* 2-way communication with KPA using 2nd MIDI cable.  Keeps footswitch LEDs in sync with KPA effects when switching rigs.&lt;br /&gt;
* Can display KPA tuner on FCB1010&lt;br /&gt;
* Can use KPA Beat Scanner function for tempo&lt;br /&gt;
* Force KPA to enter Browse Mode or Performance Mode&lt;br /&gt;
&lt;br /&gt;
=== Other MIDI Foot Controllers ===&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
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|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
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|Kemper KPA External Control#System Menu Settings|System Menu&lt;br /&gt;
|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010&lt;br /&gt;
|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers&lt;br /&gt;
|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference&lt;br /&gt;
}}&lt;br /&gt;
As you'll see below, the KPA provides extensive MIDI capabilities; basically any MIDI controller can get something out of it, while expensive, powerful controllers can do just about anything you can do by touching the KPA's buttons and knobs.  How far you want to take your amount of control depends on what you want to do.&lt;br /&gt;
&lt;br /&gt;
While I do not want to take up a lot of space discussing the capabilities and quirks of numerous footcontrollers, [http://www.wikpa.org/Using_Specific_MIDI_Controllers wikpa.org does a good job on this subject].&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
=== MIDI Programming Reference ===&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
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|Kemper KPA External Control#System Menu Settings|System Menu&lt;br /&gt;
|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010&lt;br /&gt;
|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers&lt;br /&gt;
|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference&lt;br /&gt;
}}&lt;br /&gt;
This section contains reference material for controlling the KPA by MIDI PC (Program Change), CC (Continuous Control), NRPN (Non-registered Parameter Numbers), or SysEx (System Exclusive) messages.  These go from least to most complicated, and similarly most to least supported.&lt;br /&gt;
&lt;br /&gt;
==== MIDI Program Change ====&lt;br /&gt;
Up to 128 rigs can be assigned PC numbers in Browse Mode from a page in the system menu - you can also see all the rigs assigned to PC's here.&lt;br /&gt;
&lt;br /&gt;
In Performance Mode, each performance/slot is automatically assigned a PC number based on the order of performances, and slots within each performance.  Even disabled slots are assigned a PC #.  Notice this only allows about 25 of the 125 performances (or 128 of the 625 slots) available.  If you need to access more, you can use a MIDI bank select command before the program change, which is implemented as MIDI CC #0 for the most significant byte (MSB) and #32 for the least significant byte (LSB).  While bank selects typically use 2 MIDI bytes, the KPA only requires a range of 0-4 to access all slots via PC.  It will ignore any CC #0 bank select MSB messages.  CC 32 can be used by itself to change which rigs the KPA accesses via PC.  Sending a value of 0 over CC 32 accesses the first 128 slots (performance 1 slot 1 - performance 26 slot 3), CC 32 value 1 accesses the next 128 (performance 26 slot 4 - performance 52 slot 1), etc. up to a max of CC 32 value 4, which will put PC access beyond the available 625 rigs.&lt;br /&gt;
&lt;br /&gt;
Note - it is recommended to use CC's 48-49 (or 47) for selecting performances, then using CC's 50-54 to select which slot to load.  This aligns both with the KPA's performance/slot organization and with footcontrollers that typically feature bank up/down switches as well as a row of switches to change patches/rigs.  There's no need to use complicated math to try to figure out which PC or bank select index is required to load a particular performance/slot.&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
==== MIDI Continuous Control ====&lt;br /&gt;
The KPA responds to a number of MIDI CC messages.  These are enough for generic MIDI foot controllers to perform normal functionality.  You can change cycle through rigs in Browse mode, and bank up/down and select any of the 5 rigs assigned to the slots in Performance mode.  You can turn on/off any of the 8 effects, tap tempo, display the tuner, and switch the rotary speaker effect's speed.  In addition to the expression pedal functions above of controlling wah wah, pitch, volume, and monitor volume, one could be used to control delay/reverb mix and feedback/time, as well as amplifier gain.&lt;br /&gt;
&lt;br /&gt;
{| class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
! CC # !! Valid Values !! What it controls&lt;br /&gt;
|-&lt;br /&gt;
| 0 || N/A || Bank Select MSB - ignored&lt;br /&gt;
|-&lt;br /&gt;
| 1 || x || Wah Wah position on any enabled wah wah effect. Volume if &amp;quot;wah to volume&amp;quot; linking is checked and all wah wah effects are disabled or not present on current rig.  Pitch if &amp;quot;wah to pitch&amp;quot; linking is checked and all wah wah effects are disabled or not present on current rig.&lt;br /&gt;
|-&lt;br /&gt;
| 4 || x || Pitch position for Pedal Pitch or Pedal Vinyl Stop effects&lt;br /&gt;
|-&lt;br /&gt;
| 6 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|-&lt;br /&gt;
| 7 || x || Volume - controls the volume of the rig as specified per rig in the Rig Menu page 5.&lt;br /&gt;
|-&lt;br /&gt;
| 11 || x || Morph - controls any parameters set to be controlled by morphing.&lt;br /&gt;
|-&lt;br /&gt;
| 16 || Any || Toggles all stomps on/off&lt;br /&gt;
|-&lt;br /&gt;
| 17 || 0/1 || 0: Stomp A Off; 1: Stomp A On &lt;br /&gt;
|-&lt;br /&gt;
| 18 || 0/1 || 0: Stomp B Off; 1: Stomp B On &lt;br /&gt;
|-&lt;br /&gt;
| 19 || 0/1 || 0: Stomp C Off; 1: Stomp C On &lt;br /&gt;
|-&lt;br /&gt;
| 20 || 0/1 || 0: Stomp D Off; 1: Stomp D On &lt;br /&gt;
|-&lt;br /&gt;
| 22 || 0/1 || 0: Effect X Off; 1: Effect X On &lt;br /&gt;
|-&lt;br /&gt;
| 24 || 0/1 || 0: Effect Mod Off; 1: Effect Mod On &lt;br /&gt;
|-&lt;br /&gt;
| 26 || 0/1 || 0: Delay Off; 1: Delay On &lt;br /&gt;
|-&lt;br /&gt;
| 27 || 0/1 || 0: Delay Off (with tail); 1: Delay On &lt;br /&gt;
|-&lt;br /&gt;
| 28 || 0/1 || 0: Reverb Off; 1: Reverb On &lt;br /&gt;
|-&lt;br /&gt;
| 29 || 0/1 || 0: Reverb Off (with tail); 1: Reverb On &lt;br /&gt;
|-&lt;br /&gt;
| 30 || 1/0 || Sets Tempo Tap If your floorboard supports separate events on “pressing” and “releasing” a button, send 1 when “pressed” and 0 when “released”. If the floorboard can only send one event, use value 0. When value 1 has been sent and no value 0 for 3 seconds, the Beat Scanner1 is being activated. &lt;br /&gt;
|-&lt;br /&gt;
| 31 || 1/0 || 1: Show Tuner; 0: Hide Tuner &lt;br /&gt;
|-&lt;br /&gt;
| 32 || [0,4] || Bank Select LSB - changes which set of 128 performance slots are available via PC messages in Performance Mode.  &lt;br /&gt;
* Bank 0 - performance 1 slot 1 - performance 26 slot 3&lt;br /&gt;
* Bank 1 - performance 26 slot 4 - performance 52 slot 1&lt;br /&gt;
* Bank 2 - performance 52 slot 2 - performance 77 slot 4&lt;br /&gt;
* Bank 3 - performance 77 slot 5 - performance 103 slot 2&lt;br /&gt;
* Bank 4 - performance 103 slot 3 - performance 125 slot 5&lt;br /&gt;
|-&lt;br /&gt;
| 33 || 0/1 || 0: Rotary Speaker slow; 1: Rotary Speaker fast &lt;br /&gt;
|-&lt;br /&gt;
| 38 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|-&lt;br /&gt;
| 47 || [0,124]  || (Performance Mode only) Directly select a performance index. The performance will be loaded when a slot selection is sent (CC50-54). If no slot is selected, the performance index selection is disabled after a few seconds.  When disabled, the KPA sends the current performance index and slot back to the device.  This can be used to keep the MIDI controller and KPA in sync.&lt;br /&gt;
|-&lt;br /&gt;
| 48 || 1/0 &lt;br /&gt;
| Performance Mode: Increases performance index. Value triggers two different modes:&lt;br /&gt;
* Value 0, increase performance n to n+1 (bank up)*&lt;br /&gt;
* Value 1 initially increases performance by 1, after a timeout the Kemper Profiler starts to scroll performances upwards. Value 0 stops scrolling. &lt;br /&gt;
Browse Mode only: Value 0 selects the next Rig (current filter/sort applies), similar to “Rig Right” &lt;br /&gt;
|-&lt;br /&gt;
| 49 || 1/0 &lt;br /&gt;
| Performance Mode: Decreases performance index. Value triggers two different modes: &lt;br /&gt;
* Value 0, increase performance n to n-1 (bank down)*&lt;br /&gt;
* Value 1 initially decreases performance index by 1, after a timeout the Kemper Profiler starts to scroll performances downwards. Value 0 stops scrolling.&lt;br /&gt;
Browse Mode only: Value 0 selects the previous Rig (current filter/sort applies), similar to “Rig Left” &lt;br /&gt;
|- &lt;br /&gt;
| 50 || 1 || (Performance Mode only) Select Slot 1 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 51 || 1 || (Performance Mode only) Select Slot 2 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 52 || 1 || (Performance Mode only) Select Slot 3 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 53 || 1 || (Performance Mode only) Select Slot 4 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 54 || 1 || (Performance Mode only) Select Slot 5 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 68 || x || Sets Delay Mix to x &lt;br /&gt;
|-&lt;br /&gt;
| 69 || x || Sets Delay Feedback to x &lt;br /&gt;
|-&lt;br /&gt;
| 70 || x || Sets Reverb Mix to x &lt;br /&gt;
|-&lt;br /&gt;
| 71 || x || Sets Reverb Time to x &lt;br /&gt;
|-&lt;br /&gt;
| 72 || x ||Sets Amplifier Gain to x &lt;br /&gt;
|-&lt;br /&gt;
| 73 || x ||Sets Monitor Volume to x &lt;br /&gt;
|-&lt;br /&gt;
| 98 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|-&lt;br /&gt;
| 99 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
''* Changing the Performance may or may not load a slot instantly depending on the [[Kemper KPA Performing Live#MIDI|Perf. Load System Menu setting]].''&lt;br /&gt;
&lt;br /&gt;
Most foot controllers support some form of programming what each footswitch will send, and if the footswitch should toggle its value.  For example, if you assign FS1 to turn Stomp A on/off, you should be able to set FS1 to light up after pressing it (and it sends a 1 (on) value, indicating you've turned it on.  Now if you press it again, the light turns off, and it sends a 0 (off) value.&lt;br /&gt;
&lt;br /&gt;
This brings up a curious issue.  If you change rigs where Stomp A is on when the rig is loaded, how does the MIDI footcontroller know what state to set FS1?  The footcontroller itself must store a set of rigs containing the default on/off state of each footswitch, matching the corresponding rigs in the KPA.&lt;br /&gt;
&lt;br /&gt;
MIDI CC is the most widely supported part of the MIDI protocol by various MIDI footcontrollers; however, you will notice that there are hundreds of parameters for dozens of effects, as well as the amp, cab, input, output, and tonestack blocks that are not able to be controlled via CC, given the list above.  MIDI CC supports 7-bits for the CC channel number and 7-bits for the value, meaning a maximum of 128 parameters can be controlled with only 0-127 distinct values to communicate.  The MIDI specification gives 2 ways to deal with this: NPRN and Sysex.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== MIDI NRPN ====&lt;br /&gt;
[https://en.wikipedia.org/wiki/NRPN NRPN (Non-registered Parameter Numbers)] uses a set of 4 different CC messages to exponentially increase both the size of possible addresses and values that a device can send/receive.  '''Since each CC message can carry a value from 0-128, NRPN addresses and values each have a range of 128 x 128, which is 16,384.'''  The exact specification is below:&lt;br /&gt;
# '''CC 99''': Value is the Most significant Byte (MSB) of the desired address&lt;br /&gt;
# '''CC 98''': Value is the Least Significant Byte (LSB) of the desired address&lt;br /&gt;
# '''CC 06''': Value is the Most Significant Byte (MSB) of the desired value&lt;br /&gt;
# '''CC 38''': Value is the Least Significant Byte (LSB) of the desired value&lt;br /&gt;
&lt;br /&gt;
While the NRPN spec allows CC 38 to be optional, the KPA ''requires'' it.  The 4 CC's named above must be received in order, and the NRPN message is processed as soon as CC 38 is received.  ''Once an address has been selected via CC's 99 and 98, multiple values can be sent without sending 99/98 each time to reselect the address - only 06/38 needs to be sent.''  That is useful to know if you want to program NRPN to &amp;quot;move&amp;quot; a single parameter over time.&lt;br /&gt;
&lt;br /&gt;
Some footcontrollers support NRPN 14-bit addressing but not 14-bit values via CC's 06 and 38.  The KPA allows CC 119 to send the value in this case.  So the footcontroller can be programmed to send an NRPN as follows:&lt;br /&gt;
# '''CC 99''': address MSB&lt;br /&gt;
# '''CC 98''': address LSB&lt;br /&gt;
# '''CC 119''': 7-bit value&lt;br /&gt;
The 7-bit value is mapped to the appropriate 14-bit value - 128 becomes 16,384, 64 becomes 8,192, while 0 remains 0.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
|-style=&amp;quot;vertical-align:top;&amp;quot;&lt;br /&gt;
|&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
|+ NRPN Address - Parameter Mapping&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| Address&lt;br /&gt;
!rowspan=&amp;quot;2&amp;quot;| Type&lt;br /&gt;
!rowspan=&amp;quot;2&amp;quot;| Parameter&lt;br /&gt;
|-&lt;br /&gt;
! MSB !! LSB&lt;br /&gt;
|-&lt;br /&gt;
| 4 || 0 || Rig || Tempo&lt;br /&gt;
|-&lt;br /&gt;
| 4 || 1 || Rig || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 4 || 2 || Rig || Tempo Enable&lt;br /&gt;
|-&lt;br /&gt;
| 9 || 3 || Input || Noise Gate Intensity&lt;br /&gt;
|-&lt;br /&gt;
| 9 || 4 || Input || Clean Sense&lt;br /&gt;
|-&lt;br /&gt;
| 9 || 5 || Input || Distortion Sense&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 2 || Amplifier || On/Off&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 4 || Amplifier || Gain&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 6 || Amplifier || Definition&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 7 || Amplifier || Clarity&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 8 || Amplifier || Power Sagging&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 9 || Amplifier || Pick&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 10 || Amplifier || Compressor&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 11 || Amplifier || Tube Shape&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 12 || Amplifier || Tube Bias&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 15 || Amplifier || Direct Mix&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 2 || EQ || On/Off&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 4 || EQ || Bass&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 5 || EQ || Mids&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 6 || EQ || Treble&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 7 || EQ || Presence&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 2 || Cabinet || On/Off&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 3 || Cabinet || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 4 || Cabinet || High Shift&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 5 || Cabinet || Low Shift&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 6 || Cabinet || Character&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 0 || Stomp A || Type (see other table)&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 3 || Stomp A || On/Off&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 4 || Stomp A || Mix&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 6 || Stomp A || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 7 || Stomp A || Stereo&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 8 || Stomp A (Wah) || Wah Manual&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 9 || Stomp A (Wah) || Wah Peak&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 10 || Stomp A (Wah) || Wah Range&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 12 || Stomp A (Wah) || Wah Pedal Mode&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 13 || Stomp A (Wah) || Wah Touch Attack&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 14 || Stomp A (Wah) || Wah Touch Release&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 15 || Stomp A (Wah) || Wah Touch Boost&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 16 || Stomp A (Dist/Shaper) || Distortion/Shaper Drive&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 17 || Stomp A (Dist/Shaper) || Distortion/Booster Tone&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 18 || Stomp A (Comp) || Compressor/Gate Intensity&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 19 || Stomp A (Comp) || Compressor Attack&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 20 || Stomp A (Mod) || Modulation Rate&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 21 || Stomp A (Mod) || Modulation Depth&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 22 || Stomp A (Mod) || Modulation Feedback&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 23 || Stomp A (Mod) || Modulation Crossover&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 24 || Stomp A (Mod) || Modulation HyperChorus Amount&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 25 || Stomp A (Mod) || Modulation Manual&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 26 || Stomp A (Mod) || Modulation Phase Peak Spread&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 27 || Stomp A (Mod) || Modulation Stages&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 30 || Stomp A (Rot) || Rotary Speed (slow/fast)&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 31 || Stomp A (Rot) || Rotary Distance&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 32 || Stomp A (Rot) || Rotary Balance&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 33 || Stomp A (Comp) || Compressor Squash&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 34 || Stomp A (EQ) || Graphic EQ Band 1&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 35 || Stomp A (EQ) || Graphic EQ Band 2&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 36 || Stomp A (EQ) || Graphic EQ Band 3&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 37 || Stomp A (EQ) || Graphic EQ Band 4&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 38 || Stomp A (EQ) || Graphic EQ Band 5&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 39 || Stomp A (EQ) || Graphic EQ Band 6&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 40 || Stomp A (EQ) || Graphic EQ Band 7&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 41 || Stomp A (EQ) || Graphic EQ Band 8&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 42 || Stomp A (EQ) || Parametric EQ Low Gain&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 43 || Stomp A (EQ) || Parametric EQ Low Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 44 || Stomp A (EQ) || Parametric EQ High Gain&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 45 || Stomp A (EQ) || Parametric EQ High Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 46 || Stomp A (EQ) || Parametric EQ Peak Gain&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 47 || Stomp A (EQ) || Parametric EQ Peak Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 48 || Stomp A (EQ) || Parametric EQ Peak Q&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 49 || Stomp A (EQ) || Parametric EQ Peak 2 Gain&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 50 || Stomp A (EQ) || Parametric EQ Peak 2 Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 51 || Stomp A (EQ) || Parametric EQ Peak 2 Q&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 52 || Stomp A (Wah) || Wah Peak Range&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 53 || Stomp A || Ducking&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 55 || Stomp A (Pitch) || Voice Mix&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 56 || Stomp A (Pitch) || Voice 1 Pitch&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 57 || Stomp A (Pitch) || Voice 2 Pitch&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 58 || Stomp A (Pitch) || Detune&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 60 || Stomp A (Pitch) || Smooth Chords&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 61 || Stomp A (Pitch) || Pure Tuning&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 64 || Stomp A (Pitch) || Key&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 65 || Stomp A (Pitch) || Freeze Formants &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 66 || Stomp A (Pitch) || Formant Offset &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 67 || Stomp A (Delay) || Low Cut &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 68 || Stomp A (Delay) || High Cut &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 69 || Stomp A (Delay) || Delay Mix &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 70 || Stomp A (Delay) || Delay Mix Pre/Post &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 71 || Stomp A (Delay) || Delay Time 1 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 72 || Stomp A (Delay) || Delay Time 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 73 || Stomp A (Delay) || Delay Ratio 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 74 || Stomp A (Delay) || Delay Ratio 3 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 75 || Stomp A (Delay) || Delay Ratio 4 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 76 || Stomp A (Delay) || Delay Note Value 1 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 77 || Stomp A (Delay) || Delay Note Value 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 78 || Stomp A (Delay) || Delay Note Value 3 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 79 || Stomp A (Delay) || Delay Note Value 4 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 80 || Stomp A (Delay) || To Tempo &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 81 || Stomp A (Delay) || Delay Volume 1 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 82 || Stomp A (Delay) || Delay Volume 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 83 || Stomp A (Delay) || Delay Volume 3 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 84 || Stomp A (Delay) || Delay Volume 4 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 85 || Stomp A (Delay) || Delay Panorama 1 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 86 || Stomp A (Delay) || Delay Panorama 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 87 || Stomp A (Delay) || Delay Panorama 3 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 88 || Stomp A (Delay) || Delay Panorama 4 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 89 || Stomp A (Delay) || Voice3 Pitch &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 90 || Stomp A (Delay) || Voice4 Pitch &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 91 || Stomp A (Delay) || Voice3 Interval &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 92 || Stomp A (Delay) || Voice4 Interval &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 93 || Stomp A (Delay) || Feedback &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 94 || Stomp A (Delay) || Infinity Feedback &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 95 || Stomp A (Delay) || Infinity &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 96 || Stomp A (Delay) || Feedback2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 97 || Stomp A (Delay) || Feedback Sync Switch &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 98 || Stomp A (Delay) || Delay Low Cut &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 99 || Stomp A (Delay) || Delay High Cut &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 100 || Stomp A (Delay) || Delay Filter Intensity &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 101 || Stomp A (Delay) || Delay Modulation &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 102 || Stomp A (Delay) || Delay Chorus &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 103 || Stomp A (Delay) || Flutter Intensity &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 104 || Stomp A (Delay) || Flutter Shape &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 105 || Stomp A (Delay) || Grit &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 106 || Stomp A (Delay) || Reverse Mix &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 107 || Stomp A (Delay) || Swell &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 108 || Stomp A (Delay) || Smear &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 109 || Stomp A (Delay) || Ducking Pre/Post &lt;br /&gt;
|-&lt;br /&gt;
| 51 || * || Stomp B || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 52 || * || Stomp C || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 53 || * || Stomp D || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 56 || * || Effect X || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 58 || * || Effect Mod || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 0 || Delay (Deprecated in 4.0) || Type (see below)&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 2 || Delay (Deprecated in 4.0) || On/Off (cuts tails)&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 3 || Delay (Deprecated in 4.0) || Mix&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 4 || Delay (Deprecated in 4.0) || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 5 || Delay (Deprecated in 4.0) || Time&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 6 || Delay (Deprecated in 4.0) || Ratio&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 7 || Delay (Deprecated in 4.0) || Clock Left&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 8 || Delay (Deprecated in 4.0) || Clock Right&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 9 || Delay (Deprecated in 4.0) || Feedback&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 10 || Delay (Deprecated in 4.0) || Bandwidth&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 11 || Delay (Deprecated in 4.0) || Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 12 || Delay (Deprecated in 4.0) || Modulation&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 13 || Delay (Deprecated in 4.0) || On/Off (keeps tails)&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 14 || Delay (Deprecated in 4.0) || Ducking&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 0 || Reverb || Type (see below)&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 2 || Reverb || On/Off (cuts tails)&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 3 || Reverb || Mix&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 4 || Reverb || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 5 || Reverb || Del/Rev Balance&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 6 || Reverb || Time&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 7 || Reverb || Damping&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 8 || Reverb || Bandwidth&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 9 || Reverb || Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 10 || Reverb || Pre-Delay&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 11 || Reverb || On/Off (keeps tails)&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 12 || Reverb || Ducking&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 0 || System/Global || Main Output Volume&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 1 || System/Global || Headphone Output Volume&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 2 || System/Global || Monitor Output Volume&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 3 || System/Global || Direct Output Volume&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 11 || System/Global || SPDIF Input Enable&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 12 || System/Global || Main Output EQ Bass&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 13 || System/Global || Main Output EQ Mids&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 14 || System/Global || Main Output EQ Treble&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 15 || System/Global || Main Output EQ Presence&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 17 || System/Global || Monitor Output EQ Bass&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 18 || System/Global || Monitor Output EQ Mids&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 19 || System/Global || Monitor Output EQ Treble&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 20 || System/Global || Monitor Output EQ Presence&lt;br /&gt;
|}&lt;br /&gt;
|&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
|+ Value to Effect Type Mapping&lt;br /&gt;
|-&lt;br /&gt;
! Value !! Effect Type&lt;br /&gt;
|-&lt;br /&gt;
| 0 || Null/Empty&lt;br /&gt;
|-&lt;br /&gt;
| 1 || Wah Wah&lt;br /&gt;
|-&lt;br /&gt;
| 2 || Wah Low Pass&lt;br /&gt;
|-&lt;br /&gt;
| 3 || Wah High Pass&lt;br /&gt;
|-&lt;br /&gt;
|    4 || Wah Vowel Filter&lt;br /&gt;
|-&lt;br /&gt;
|    6 || Wah Phaser&lt;br /&gt;
|-&lt;br /&gt;
|    7 || Wah Flanger&lt;br /&gt;
|-&lt;br /&gt;
|    8 || Wah Rate Reducer&lt;br /&gt;
|-&lt;br /&gt;
|    9 || Wah Ring Modulator&lt;br /&gt;
|-&lt;br /&gt;
|    10 || Wah Freq Shifter&lt;br /&gt;
|-&lt;br /&gt;
|    12 || Wah Formant Shift&lt;br /&gt;
|-&lt;br /&gt;
|    17 || Bit Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    18 || Recti Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    19 || Soft Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    20 || Hard Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    21 || Wave Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    33 || Green Scream&lt;br /&gt;
|-&lt;br /&gt;
|    34 || Plus DS&lt;br /&gt;
|-&lt;br /&gt;
|    35 || One DS&lt;br /&gt;
|-&lt;br /&gt;
|    36 || Muffin&lt;br /&gt;
|-&lt;br /&gt;
|    37 || Mouse&lt;br /&gt;
|-&lt;br /&gt;
|    38 || Fuzz DS&lt;br /&gt;
|-&lt;br /&gt;
|    39 || Metal DS&lt;br /&gt;
|-&lt;br /&gt;
|    113 || Treble Booster&lt;br /&gt;
|-&lt;br /&gt;
|    114 || Lead Booster&lt;br /&gt;
|-&lt;br /&gt;
|    115 || Pure Booster&lt;br /&gt;
|-&lt;br /&gt;
|    116 || Wah Pedal Booster&lt;br /&gt;
|-&lt;br /&gt;
|    97 || Graphic Equalizer&lt;br /&gt;
|-&lt;br /&gt;
|    98 || Studio Equalizer&lt;br /&gt;
|-&lt;br /&gt;
|    99 || Metal Equalizer&lt;br /&gt;
|-&lt;br /&gt;
|    101 || Stereo Widener&lt;br /&gt;
|-&lt;br /&gt;
|    49 || Compressor&lt;br /&gt;
|-&lt;br /&gt;
|    57 || Gate 2:1&lt;br /&gt;
|-&lt;br /&gt;
|    58 || Gate 4:1&lt;br /&gt;
|-&lt;br /&gt;
|    65 || Vintage Chorus&lt;br /&gt;
|-&lt;br /&gt;
|    66 || Hyper Chorus&lt;br /&gt;
|-&lt;br /&gt;
|    67 || Air Chorus&lt;br /&gt;
|-&lt;br /&gt;
|    71 || Micro Pitch|-&lt;br /&gt;
|-&lt;br /&gt;
|    68 || Vibrato&lt;br /&gt;
|-&lt;br /&gt;
|    69 || Rotary Speaker&lt;br /&gt;
|-&lt;br /&gt;
|    70 || Tremolo&lt;br /&gt;
|-&lt;br /&gt;
|    81 || Phaser&lt;br /&gt;
|-&lt;br /&gt;
|    82 || Phaser Vibe&lt;br /&gt;
|-&lt;br /&gt;
|    83 || Phaser Oneway&lt;br /&gt;
|-&lt;br /&gt;
|    89 || Flanger&lt;br /&gt;
|-&lt;br /&gt;
|    91 || Flanger Oneway&lt;br /&gt;
|-&lt;br /&gt;
|    121 || Loop Mono&lt;br /&gt;
|-&lt;br /&gt;
|    122 || Loop Stereo&lt;br /&gt;
|-&lt;br /&gt;
|    123 || Loop Distortion&lt;br /&gt;
|-&lt;br /&gt;
|    129 || Transpose&lt;br /&gt;
|-&lt;br /&gt;
|    11 || Pedal Pitch&lt;br /&gt;
|-&lt;br /&gt;
| 130 || Chromatic Pitch&lt;br /&gt;
|-&lt;br /&gt;
| 131 || Harmonic Pitch&lt;br /&gt;
|}&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== MIDI SysEx ====&lt;br /&gt;
MIDI also has the ability to send [https://en.wikipedia.org/wiki/MIDI#System_Exclusive_messages SysEx (System Exclusive)] messages.  SysEx messages are proprietary protocols that each manufacturer can create for each of their devices.  They use a common beginning and ending indicators, as well as manufacturer and device identifiers, so that devices that cannot interpret them know to ignore the message; and they can be incorporated into streams of MIDI messages between lots of devices in a MIDI ring without causing chaos.&lt;br /&gt;
&lt;br /&gt;
The SysEx common format is:&lt;br /&gt;
# 1 byte for SysEx Start (&amp;lt;code&amp;gt;0xF0&amp;lt;/code&amp;gt;)&lt;br /&gt;
# 3 bytes for Manufacturer ID (&amp;lt;code&amp;gt;0x002033&amp;lt;/code&amp;gt; for Kemper)&lt;br /&gt;
# 1 byte for product type (&amp;lt;code&amp;gt;0x02&amp;lt;/code&amp;gt; for Kemper Profiling Amp)&lt;br /&gt;
# 1 byte for device ID (&amp;lt;code&amp;gt;0x7F&amp;lt;/code&amp;gt; for Omni)&lt;br /&gt;
# x bytes for the message (this is the device-specific part)&lt;br /&gt;
# 1 byte for SysEx End (&amp;lt;code&amp;gt;0xF7&amp;lt;/code&amp;gt;)&lt;br /&gt;
&lt;br /&gt;
Example: &amp;lt;code&amp;gt;F0-00-20-33-02-7F-...-F7&amp;lt;/code&amp;gt;, where ... is variable.&lt;br /&gt;
&lt;br /&gt;
The Kemper MIDI SysEx protocol gets pretty intense, and I'll leave it to those interested to refer to the [http://www.kemper-amps.com/page/render/lang/en/p/170/id/27/cat/30/do/Kemper_Profiling_Amplifier___Downloads.html Kemper MIDI documentation].  For most users, SysEx will never be necessary.  Where this really comes in handy is for software programs that want to communicate with KPA via MIDI.  The big items that SysEx offer beyond NRPN above are string manipulation and requesting parameter values from the KPA.  These would allow a program to act as an editor, or an advanced floorboard to maintain two-way communication with the KPA, displaying the KPA's current values and keeping on/off states in sync.&lt;br /&gt;
&lt;br /&gt;
The x bytes above have a common scheme for Kemper SysEx messages, where the first byte is the function code.  This is followed by an instance code, which is always &amp;lt;code&amp;gt;0x00&amp;lt;/code&amp;gt;.  This is followed by the address, then the data.&lt;br /&gt;
&lt;br /&gt;
Depending on the function code, the address may be 2 bytes or 4 bytes, and the data can be variable length.  '''The 2 byte addresses use the NRPN addresses above.'''  I am not sure what the extended addresses referenced below are - the MIDI documentation does not list any.  Similarly, '''all 2 byte values use integer values of 0 - 16,384 for min to max''', although this may correspond to different display values on the KPA (for instance, a value of 0 might be &amp;quot;-5.0&amp;quot;, 8,192 might be &amp;quot;&amp;lt;0.0&amp;gt;&amp;quot;, and  16,384 would be &amp;quot;+5.0&amp;quot; - this depends on what the parameter actually is).  '''Strings use single byte characters encoded using [http://www.asciitable.com/ ASCII].'''&lt;br /&gt;
&lt;br /&gt;
I am not sure what the addresses for the string values are, but the documentation does say that the numeric settings' addresses overlap with the strings.  So, to get all the tags for an Amplifier profile, I would imagine you'd use the first address for Amplifier parameters listed in the NRPN reference above, and iterate +1 for all available tags.  ''However, from my research, this does not match how the tags are structured in the .kipr files when they are saved.''&lt;br /&gt;
&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
! Function Code !! Function !! Address Size !! Data Size !! Notes !! Example&lt;br /&gt;
|-&lt;br /&gt;
| 0x01 || Single Parameter Change || 2 bytes || 2 bytes || Same as doing an NRPN change || &lt;br /&gt;
&amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
01-00-4A-04-40-00-&lt;br /&gt;
F7    Addr  Data&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x02 || Multi Parameter Change || 2 bytes || 2n bytes || Address is the starting address; you can send as many pairs of data bytes as you want to change - each pair will write to the next address in sequence || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
02-00-4A-00-00-03-00-01-..-..-&lt;br /&gt;
F7    Addr  Data1 Data2 ...&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x03 || String Parameter Change || 2 bytes || n bytes + final 0x00 byte || Strings must have a final null (0x00) byte to terminate the string.  String data is 1 byte per character, encoded as ASCII.  String addresses overlap with parameter addresses. || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
03-00-00-01-48-65-6C-6C-6F-00-&lt;br /&gt;
F7          H  e  l  l  o&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x04 || BLOB Change || 2 bytes || 2 byte offset + 2 byte size + n byte data || Only a null (0x00) offset is currently supported.  Not sure what this would be used for except overwriting amp/cab profile data?&lt;br /&gt;
|-  &lt;br /&gt;
| 0x06 || Extended Parameter Change || 5 bytes || 2n bytes || Same as 0x02 but uses 5 bytes for address&lt;br /&gt;
|-&lt;br /&gt;
| 0x07 || Extended String Change || 5 bytes || n bytes + 0x00 End Byte || Same as 0x03 but uses 5 bytes for address&lt;br /&gt;
|-&lt;br /&gt;
| 0x41 || Single Parameter Request || 2 bytes || 0 bytes || returns the corresponding 0x01 SysEx message || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
41-00-4A-04-&lt;br /&gt;
F7    Addr&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x42 || Multiple Parameter Request || 2 bytes || 0 bytes || returns the corresponding 0x02 SysEx message.  May contain up to 128 values as byte pairs. || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
42-00-4A-00-&lt;br /&gt;
F7    Addr&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x43 || String Request || 2 bytes || 0 bytes || returns the corresponding 0x03 SysEx message || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
43-00-00-01-&lt;br /&gt;
F7    Addr&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x47 || Extended String Request || 5 bytes || 0 bytes || returns the corresponding 0x07 SysEx message, but may return the corresponding 0x03 message if the address is &amp;lt; 16,384 &lt;br /&gt;
|-&lt;br /&gt;
| 0x7C || Request Parameter as String || 2 bytes || 2 bytes || this returns an 0x3C response that otherwise matches the request, plus the string response after the 2 byte data portion.  The string response is the KPA's string representation of that parameter value.  For instance, Delay Volume value 8,192 is the midpoint value, which displays in the KPA as &amp;quot;&amp;lt;0.0&amp;gt;&amp;quot;. || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
7C-00-4A-04-40-00-&lt;br /&gt;
F7    Addr  Data&lt;br /&gt;
returns &lt;br /&gt;
F0-00-20-33-02-7F-&lt;br /&gt;
3C-00-4A-04-40-00-3C-30-2E-30-3E-00-&lt;br /&gt;
F7                &amp;lt;  0  .  0  &amp;gt;&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Kemper Remote ==&lt;br /&gt;
{{Crumbs|blue|4&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
The '''Kemper Remote''' is the official foot controller for the KPA.  It connects via the '''LAN port''' on the back of the KPA, supporting '''2-way communication''' as well as '''power over a single cable'''.  It features 14 footswitches (2 for bank/performance up/down, 5 for performance slots, 4 for toggling effects on/off, a tap tempo, a tuner, and a looper).  Up to 4 expression pedals can be connected directly to the Remote.&lt;br /&gt;
&lt;br /&gt;
Each effect footswitch can be assigned to toggle on/off up to 4 effects, and what each footswitch controls is saved per rig.&lt;br /&gt;
&lt;br /&gt;
Currently, the Remote is the only foot controller capable of accessing the KPA's looper although there are plans to incorporate access into general MIDI access.&lt;br /&gt;
&lt;br /&gt;
I don't actually have a Kemper Remote, so if I'm missing functionality that creates an advantage over other foot controllers, add it here please.&lt;br /&gt;
&lt;br /&gt;
== DAW ==&lt;br /&gt;
{{Crumbs|blue|5&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
DAWs can either directly or through plug-ins send the MIDI messages needed to have near full control of the Kemper.  They will not be limited strictly to CC's or NRPN - using SysEx, the full parameter list to the KPA is open.  Alternatively, you could simply send the CC values you want to control.  Volume is actually the least necessary parameter - you can more easily control the volume of tracks inside your DAW.  EQ perhaps as well.  Compression may also have better options in the DAW.  Delay, Reverb, and Mod effects is up to you.  Things like Gain or rig changes would be things you'd need to access this way.  With automated rig changing, you could set up all the changes necessary for a whole song, or even an entire setlist.&lt;br /&gt;
&lt;br /&gt;
== Morphing ==&lt;br /&gt;
OS 4.0 introduces '''Morphing''', a feature where any continuous parameter can be defined the following:&lt;br /&gt;
* a '''base value'''&lt;br /&gt;
* a '''morphed value'''&lt;br /&gt;
* a '''rise time*'''&lt;br /&gt;
* a '''descend time*'''&lt;br /&gt;
''* these affect triggering morphing from a footswitch''&lt;br /&gt;
&lt;br /&gt;
On pages 5-10 of the System Menu, expression pedals and footswitches can be assigned the morphing feature.  It can also be easily assigned to any effect button for the Kemper Remote.&lt;br /&gt;
&lt;br /&gt;
Multiple (any or all) continuous parameters, including those in the Amp and Cab blocks can be assigned a morph value.  While some view this feature as a multiple-parameter gimmick, if nothing else it allows continuous control over ''any'' continuous parameter, greatly expanding the out the box functionality of any expression pedal.  Morph values can be set higher or lower than the base value.  The expression pedal heel position corresponds to the base value, and the toe position the morphed value.&lt;br /&gt;
&lt;br /&gt;
The morphing procedure is to tap the Rig button.  It has a bottom LED and top LED - the LEDs switch when Rig is tapped.  The bottom is the base value, and the top is the morphed.  So press Rig until the bottom LED is on; set your base parameters; then press Rig so the top LED is on and set your morph parameters.  That's all there is to it.  The assigned morph pedals or switches will now control those parameters.&lt;br /&gt;
&lt;br /&gt;
Morph settings are saved per rig.  To erase a morph for a given parameter, either reset the morph value to match the base value, or sweep the base value through the range of the morph value (if base is 1.0 and morph is 4.0, sweeping the base value from &amp;lt; 1.0 to &amp;gt; 4.0 will clear the morph entirely).&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
{{Kemper Guide Crumbs|6}}&lt;br /&gt;
&lt;br /&gt;
[[Category:Guitar]]&lt;br /&gt;
[[Category:Gear]]&lt;br /&gt;
[[Category:Modelers]]&lt;br /&gt;
[[Category:Guides]]&lt;br /&gt;
[[Category:Kemper]]&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=Kemper_KPA_External_Control&amp;diff=8733</id>
		<title>Kemper KPA External Control</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=Kemper_KPA_External_Control&amp;diff=8733"/>
				<updated>2016-11-04T04:31:36Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: /* MIDI NRPN */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{Top-Level Crumbs|4}}&lt;br /&gt;
{{User Guide Crumbs|2}}&lt;br /&gt;
{{Kemper Guide Crumbs|6}}&lt;br /&gt;
The KPA has extensive, intuitive support for external controllers, and some products are made specifically for control of the KPA.  The three main types of control are analog expression pedals/footswitches, MIDI, and the Kemper Remote.&lt;br /&gt;
&lt;br /&gt;
== Expression Pedals ==&lt;br /&gt;
{{Crumbs|blue|1&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
&lt;br /&gt;
The KPA has 2 stereo jacks on the back of the unit that can be connected to expression pedals or footswitches.  ''Expression pedals should be stereo and connected with a stereo cable.''  Footswitches can be mono or stereo.  Additionally, up to 4 expression pedals can be connected to the Kemper Remote.&lt;br /&gt;
&lt;br /&gt;
=== System Menu Settings ===&lt;br /&gt;
Pages 5-10 cover how expression pedals behave.  Pedals 1 and 2 cover the two inputs on the back of the KPA, while Pedals 3-6 refer to inputs on the official Kemper remote.  The setup done here is simply mapping the pedal's anolog input to that appropriate MIDI CC # (1 for wah wah, 7 for volume, 4 for pitch, and 73 for monitor volume).&lt;br /&gt;
&lt;br /&gt;
Note: if you only have one expression pedal, you can still use it to control wah, volume, and pitch with some additional [[#MIDI Assignments and Settings|MIDI setup below]].  You should set it to CC# 1 (Wah Wah).  The KPA is actually very smart about this, and you don't really ever need more than one expression pedal, unless you like to have dedicated pedals, or have your wah/pitch with a spring in it to push it back to heel position, or do some crazy stuff where you jump between pedals.&lt;br /&gt;
&lt;br /&gt;
'''Pedal Type''' refers to the '''polarity''' of the expression pedal - type 1 is the normal type (Roland), while type 2 is reversed (Yamaha).&lt;br /&gt;
&lt;br /&gt;
This is also where you would come to '''calibrate''' a new pedal, or after updating your KPA's firmware/OS.  You simply press the button then do a full sweep.  ''Be sure to calibrate any pedal that you add to the KPA or after you update the KPA's firmware/OS.''&lt;br /&gt;
&lt;br /&gt;
==== MIDI Assignments and Settings ====&lt;br /&gt;
Page 14 has some checkbox settings for allowing an expression pedal that was set to Wah Wah on pages 5-10 or MIDI CC 1 to also control volume or pitch-shifting, when not being used for a wah wah effect.  It also has settings for sending the KPA's MIDI clock to external devices and setting the MIDI global channel (omni by default).  And you can also see the current MIDI CC values for 4 of the most likely used CC's, controlling modulation, pitch, volume, and monitor volume.&lt;br /&gt;
&lt;br /&gt;
'''Note, if you link a wah pedal to volume, when you disable a wah effect on a rig, the pedal will ''not'' begin to control volume until you put it fully in the toe position''' - ''this prevents a jump in volume if your wah pedal is not in toe position when you turn it off''.  Similarly, if wah is linked to pitch, when you disable wah/enable pitch, the pedal will ''not'' begin to affect the pitch until it is brought fully to the ''heel'' position, again to prevent the pitch jumping on the transition.&lt;br /&gt;
&lt;br /&gt;
=== Rig Menu Volume Pedal Settings ===&lt;br /&gt;
Page 5 of the Rig menu has some settings specific to using an expression pedal for volume control.&lt;br /&gt;
&lt;br /&gt;
* '''Lock Vol. Pedal''' - this setting will lock the current volume pedal settings below to apply to all rigs&lt;br /&gt;
* '''Wah Pedal to Vol.''' - this is a rig-level override of the System Menu page 14 pedal linking option above&lt;br /&gt;
* '''Location''' - this refers to a volume pedal's placement in the signal chain.  Since a dedicated volume pedal doesn't require an effect slot like wah wah or pitch (whammy), you use this parameter to set where it should affect the signal.&lt;br /&gt;
* '''Range''' - this refers to whether the volume pedal should boost when moving from heel position to toe position (when set to right of center) or cut when moving from toe to heel position (when set left of center)&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Analog Footswitches ==&lt;br /&gt;
{{Crumbs|blue|2&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
The Kemper also supports analog mono and stereo momentary footswitches.  They are set up the similarly to expression pedals on pages 5-6 of the System menu.  The difference is instead of being mapped to wah wah, volume, pitch, and monitor volume, it can be assigned to enable/disable any of the sections or blocks in the signal chain, as well switch to tuner, tap in the tap tempo, and switch to the previous or next rig.  In the case of a stereo/dual footswitch, each one can be independently assigned to different parameters.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Using a MIDI Footcontroller ==&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
For more on MIDI foot controllers in general, see [[Foot Controllers]].  MIDI foot controllers typically feature a number of footswitches and often have multiple expression pedals.  Depending on their nature, they may support some features in the MIDI spec or not.  They are typically programmable to some nature, but often within predefined boundaries.  Some can be programmed directly from the footswitches, while others require being connected to a PC editor.  Below are the settings on the Kemper as well as the ways you'll have to program your controller to work with the Kemper.&lt;br /&gt;
&lt;br /&gt;
=== System Menu Settings ===&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
{{Crumbs|orange|1&lt;br /&gt;
|Kemper KPA External Control#System Menu Settings|System Menu&lt;br /&gt;
|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010&lt;br /&gt;
|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers&lt;br /&gt;
|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference&lt;br /&gt;
}}&lt;br /&gt;
&lt;br /&gt;
While in Browser mode, page 12 allows you to assign the current rig to a MIDI Program Change number, as well as view all the MIDI assignments.  Note, these are only for Browser mode, not performance mode, where more than MIDI bank of 128 rigs each can be assigned.&lt;br /&gt;
&lt;br /&gt;
While in Performance mode, page 13 allows assigning external devices to the MIDI Out and Thru ports, as well as giving them device names, and specifying which channels the Kemper should use to communicate with them.&lt;br /&gt;
&lt;br /&gt;
=== Behringer FCB1010 ===&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
{{Crumbs|orange|2&lt;br /&gt;
|Kemper KPA External Control#System Menu Settings|System Menu&lt;br /&gt;
|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010&lt;br /&gt;
|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers&lt;br /&gt;
|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference&lt;br /&gt;
}}&lt;br /&gt;
A popular foot controller for the Kemper is the [http://www.music-group.com/Categories/Behringer/Accessories/Footswitches-and-Remote-Controls/FCB1010/p/P0089 Behringer FCB1010].  Its layout lines up fairly closely with the KPA's performance slots, has two expression pedals, and can be found for a relatively cheap price.&lt;br /&gt;
&lt;br /&gt;
The FCB1010 can also easily be modified to use alternative firmware.  There are 4 possible firmwares you can use:&lt;br /&gt;
&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
! !! Factory !! [http://www.ossandust.be/ UnO] !! [http://www.uno4kemper.com/ UnO4Kemper] !! [http://www.eurekasound.com/eurekaprom Eureka]&lt;br /&gt;
|-&lt;br /&gt;
! Advantages&lt;br /&gt;
|&lt;br /&gt;
* Can be programmed from PC&lt;br /&gt;
* No additional cost&lt;br /&gt;
|&lt;br /&gt;
* Fixes bugs and removes restrictions found in factory FW&lt;br /&gt;
* Can be programmed from PC&lt;br /&gt;
* Can save programmed settings on PC&lt;br /&gt;
|&lt;br /&gt;
* Makes the FCB plug n play with KPA&lt;br /&gt;
* Supports 2-way communication to sync effect states&lt;br /&gt;
* Simple to program directly from FCB1010&lt;br /&gt;
* Supports accessing all 625 performances on the KPA&lt;br /&gt;
|&lt;br /&gt;
* Can access all 625 performance rigs&lt;br /&gt;
* Multiple &amp;quot;scene&amp;quot; paradigms easily switched to change behavior&lt;br /&gt;
* Very configurable/powerful&lt;br /&gt;
|-&lt;br /&gt;
! Disadvantages&lt;br /&gt;
|&lt;br /&gt;
* Contains a number of bugs, particularly early version&lt;br /&gt;
* Can only reference a max of 100 rigs&lt;br /&gt;
* Numerous restrictions&lt;br /&gt;
* Missing features&lt;br /&gt;
|&lt;br /&gt;
* Still limited to max of 100 rigs to select from&lt;br /&gt;
* No 2-way communication to display correct LED states matching KPA effects&lt;br /&gt;
|&lt;br /&gt;
* Cannot be updated as KPA OS is updated, have to buy a new chip&lt;br /&gt;
* No advanced programming, such as firing multiple CC's from one button press&lt;br /&gt;
* Footswitch and expression pedal assignment is global, not per rig&lt;br /&gt;
* Expression pedals can only be assigned to CC1 and CC7&lt;br /&gt;
|&lt;br /&gt;
* Can be kind of confusing to program&lt;br /&gt;
* Have to switch scenes to be able to access all 625 performance rigs as well as toggle effects&lt;br /&gt;
* Cannot save configuration to PC and share&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== UnO4Kemper ====&lt;br /&gt;
[http://www.uno4kemper.com/ The UnO4Kemper firmware] is an unofficial firmware for the FCB1010 made by a 3rd party author.  It comes on an EPROM chip that can be switched out for the factory chip after opening the FCB1010 up.&lt;br /&gt;
&lt;br /&gt;
This firmware will instantly turn your FCB1010 into a dedicated Kemper controller.  The main advantage of this chip is it is as plug and play as you will find to get a working pedalboard for the Kemper, other than the official Kemper Remote.  The bad part is that it makes the FCB1010 only work with the Kemper and you cannot do advanced customization of how the controller operates (such as assigning multiple effects to toggle on a single button).  Also, if Kemper updates the KPA software to add new features, there is no method to update your current UnO4Kemper chip to support those features - you will have to purchase a new chip once the UnO4Kemper firmware is updated to support the feature.&lt;br /&gt;
&lt;br /&gt;
The full list of features is found in [http://www.uno4kemper.com/UnOforKemper_manual.pdf the manual].  &lt;br /&gt;
* Bank (Performance) Up/Down&lt;br /&gt;
* One row of buttons is used for rig selection and the other for toggling effects on/off&lt;br /&gt;
* The rows' functions can be swapped.&lt;br /&gt;
* Available effects/functions are A-D, X, Mod, Delay, Reverb, change rotary speaker effect speed, tap tempo, and display tuner&lt;br /&gt;
* Each effect toggle footswitch can be assigned to any 1 of those effects/functions.&lt;br /&gt;
* One expression pedal controls CC 1 (wah wah) and the other CC 7 (volume).  These can be swapped.&lt;br /&gt;
* Expression pedals can each be configured to use 1 out of 5 possible sweep curves.&lt;br /&gt;
* 2-way communication with KPA using 2nd MIDI cable.  Keeps footswitch LEDs in sync with KPA effects when switching rigs.&lt;br /&gt;
* Can display KPA tuner on FCB1010&lt;br /&gt;
* Can use KPA Beat Scanner function for tempo&lt;br /&gt;
* Force KPA to enter Browse Mode or Performance Mode&lt;br /&gt;
&lt;br /&gt;
=== Other MIDI Foot Controllers ===&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
{{Crumbs|orange|3&lt;br /&gt;
|Kemper KPA External Control#System Menu Settings|System Menu&lt;br /&gt;
|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010&lt;br /&gt;
|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers&lt;br /&gt;
|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference&lt;br /&gt;
}}&lt;br /&gt;
As you'll see below, the KPA provides extensive MIDI capabilities; basically any MIDI controller can get something out of it, while expensive, powerful controllers can do just about anything you can do by touching the KPA's buttons and knobs.  How far you want to take your amount of control depends on what you want to do.&lt;br /&gt;
&lt;br /&gt;
While I do not want to take up a lot of space discussing the capabilities and quirks of numerous footcontrollers, [http://www.wikpa.org/Using_Specific_MIDI_Controllers wikpa.org does a good job on this subject].&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== MIDI Programming Reference ===&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
{{Crumbs|orange|4&lt;br /&gt;
|Kemper KPA External Control#System Menu Settings|System Menu&lt;br /&gt;
|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010&lt;br /&gt;
|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers&lt;br /&gt;
|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference&lt;br /&gt;
}}&lt;br /&gt;
This section contains reference material for controlling the KPA by MIDI PC (Program Change), CC (Continuous Control), NRPN (Non-registered Parameter Numbers), or SysEx (System Exclusive) messages.  These go from least to most complicated, and similarly most to least supported.&lt;br /&gt;
&lt;br /&gt;
==== MIDI Program Change ====&lt;br /&gt;
Up to 128 rigs can be assigned PC numbers in Browse Mode from a page in the system menu - you can also see all the rigs assigned to PC's here.&lt;br /&gt;
&lt;br /&gt;
In Performance Mode, each performance/slot is automatically assigned a PC number based on the order of performances, and slots within each performance.  Even disabled slots are assigned a PC #.  Notice this only allows about 25 of the 125 performances (or 128 of the 625 slots) available.  If you need to access more, you can use a MIDI bank select command before the program change, which is implemented as MIDI CC #0 for the most significant byte (MSB) and #32 for the least significant byte (LSB).  While bank selects typically use 2 MIDI bytes, the KPA only requires a range of 0-4 to access all slots via PC.  It will ignore any CC #0 bank select MSB messages.  CC 32 can be used by itself to change which rigs the KPA accesses via PC.  Sending a value of 0 over CC 32 accesses the first 128 slots (performance 1 slot 1 - performance 26 slot 3), CC 32 value 1 accesses the next 128 (performance 26 slot 4 - performance 52 slot 1), etc. up to a max of CC 32 value 4, which will put PC access beyond the available 625 rigs.&lt;br /&gt;
&lt;br /&gt;
Note - it is recommended to use CC's 48-49 (or 47) for selecting performances, then using CC's 50-54 to select which slot to load.  This aligns both with the KPA's performance/slot organization and with footcontrollers that typically feature bank up/down switches as well as a row of switches to change patches/rigs.  There's no need to use complicated math to try to figure out which PC or bank select index is required to load a particular performance/slot.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== MIDI Continuous Control ====&lt;br /&gt;
The KPA responds to a number of MIDI CC messages.  These are enough for generic MIDI foot controllers to perform normal functionality.  You can change cycle through rigs in Browse mode, and bank up/down and select any of the 5 rigs assigned to the slots in Performance mode.  You can turn on/off any of the 8 effects, tap tempo, display the tuner, and switch the rotary speaker effect's speed.  In addition to the expression pedal functions above of controlling wah wah, pitch, volume, and monitor volume, one could be used to control delay/reverb mix and feedback/time, as well as amplifier gain.&lt;br /&gt;
&lt;br /&gt;
{| class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
! CC # !! Valid Values !! What it controls&lt;br /&gt;
|-&lt;br /&gt;
| 0 || N/A || Bank Select MSB - ignored&lt;br /&gt;
|-&lt;br /&gt;
| 1 || x || Wah Wah position on any enabled wah wah effect. Volume if &amp;quot;wah to volume&amp;quot; linking is checked and all wah wah effects are disabled or not present on current rig.  Pitch if &amp;quot;wah to pitch&amp;quot; linking is checked and all wah wah effects are disabled or not present on current rig.&lt;br /&gt;
|-&lt;br /&gt;
| 4 || x || Pitch position for Pedal Pitch or Pedal Vinyl Stop effects&lt;br /&gt;
|-&lt;br /&gt;
| 6 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|-&lt;br /&gt;
| 7 || x || Volume - controls the volume of the rig as specified per rig in the Rig Menu page 5.&lt;br /&gt;
|-&lt;br /&gt;
| 11 || x || Morph - controls any parameters set to be controlled by morphing.&lt;br /&gt;
|-&lt;br /&gt;
| 16 || Any || Toggles all stomps on/off&lt;br /&gt;
|-&lt;br /&gt;
| 17 || 0/1 || 0: Stomp A Off; 1: Stomp A On &lt;br /&gt;
|-&lt;br /&gt;
| 18 || 0/1 || 0: Stomp B Off; 1: Stomp B On &lt;br /&gt;
|-&lt;br /&gt;
| 19 || 0/1 || 0: Stomp C Off; 1: Stomp C On &lt;br /&gt;
|-&lt;br /&gt;
| 20 || 0/1 || 0: Stomp D Off; 1: Stomp D On &lt;br /&gt;
|-&lt;br /&gt;
| 22 || 0/1 || 0: Effect X Off; 1: Effect X On &lt;br /&gt;
|-&lt;br /&gt;
| 24 || 0/1 || 0: Effect Mod Off; 1: Effect Mod On &lt;br /&gt;
|-&lt;br /&gt;
| 26 || 0/1 || 0: Delay Off; 1: Delay On &lt;br /&gt;
|-&lt;br /&gt;
| 27 || 0/1 || 0: Delay Off (with tail); 1: Delay On &lt;br /&gt;
|-&lt;br /&gt;
| 28 || 0/1 || 0: Reverb Off; 1: Reverb On &lt;br /&gt;
|-&lt;br /&gt;
| 29 || 0/1 || 0: Reverb Off (with tail); 1: Reverb On &lt;br /&gt;
|-&lt;br /&gt;
| 30 || 1/0 || Sets Tempo Tap If your floorboard supports separate events on “pressing” and “releasing” a button, send 1 when “pressed” and 0 when “released”. If the floorboard can only send one event, use value 0. When value 1 has been sent and no value 0 for 3 seconds, the Beat Scanner1 is being activated. &lt;br /&gt;
|-&lt;br /&gt;
| 31 || 1/0 || 1: Show Tuner; 0: Hide Tuner &lt;br /&gt;
|-&lt;br /&gt;
| 32 || [0,4] || Bank Select LSB - changes which set of 128 performance slots are available via PC messages in Performance Mode.  &lt;br /&gt;
* Bank 0 - performance 1 slot 1 - performance 26 slot 3&lt;br /&gt;
* Bank 1 - performance 26 slot 4 - performance 52 slot 1&lt;br /&gt;
* Bank 2 - performance 52 slot 2 - performance 77 slot 4&lt;br /&gt;
* Bank 3 - performance 77 slot 5 - performance 103 slot 2&lt;br /&gt;
* Bank 4 - performance 103 slot 3 - performance 125 slot 5&lt;br /&gt;
|-&lt;br /&gt;
| 33 || 0/1 || 0: Rotary Speaker slow; 1: Rotary Speaker fast &lt;br /&gt;
|-&lt;br /&gt;
| 38 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|-&lt;br /&gt;
| 47 || [0,124]  || (Performance Mode only) Directly select a performance index. The performance will be loaded when a slot selection is sent (CC50-54). If no slot is selected, the performance index selection is disabled after a few seconds.  When disabled, the KPA sends the current performance index and slot back to the device.  This can be used to keep the MIDI controller and KPA in sync.&lt;br /&gt;
|-&lt;br /&gt;
| 48 || 1/0 &lt;br /&gt;
| Performance Mode: Increases performance index. Value triggers two different modes:&lt;br /&gt;
* Value 0, increase performance n to n+1 (bank up)*&lt;br /&gt;
* Value 1 initially increases performance by 1, after a timeout the Kemper Profiler starts to scroll performances upwards. Value 0 stops scrolling. &lt;br /&gt;
Browse Mode only: Value 0 selects the next Rig (current filter/sort applies), similar to “Rig Right” &lt;br /&gt;
|-&lt;br /&gt;
| 49 || 1/0 &lt;br /&gt;
| Performance Mode: Decreases performance index. Value triggers two different modes: &lt;br /&gt;
* Value 0, increase performance n to n-1 (bank down)*&lt;br /&gt;
* Value 1 initially decreases performance index by 1, after a timeout the Kemper Profiler starts to scroll performances downwards. Value 0 stops scrolling.&lt;br /&gt;
Browse Mode only: Value 0 selects the previous Rig (current filter/sort applies), similar to “Rig Left” &lt;br /&gt;
|- &lt;br /&gt;
| 50 || 1 || (Performance Mode only) Select Slot 1 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 51 || 1 || (Performance Mode only) Select Slot 2 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 52 || 1 || (Performance Mode only) Select Slot 3 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 53 || 1 || (Performance Mode only) Select Slot 4 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 54 || 1 || (Performance Mode only) Select Slot 5 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 68 || x || Sets Delay Mix to x &lt;br /&gt;
|-&lt;br /&gt;
| 69 || x || Sets Delay Feedback to x &lt;br /&gt;
|-&lt;br /&gt;
| 70 || x || Sets Reverb Mix to x &lt;br /&gt;
|-&lt;br /&gt;
| 71 || x || Sets Reverb Time to x &lt;br /&gt;
|-&lt;br /&gt;
| 72 || x ||Sets Amplifier Gain to x &lt;br /&gt;
|-&lt;br /&gt;
| 73 || x ||Sets Monitor Volume to x &lt;br /&gt;
|-&lt;br /&gt;
| 98 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|-&lt;br /&gt;
| 99 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
''* Changing the Performance may or may not load a slot instantly depending on the [[Kemper KPA Performing Live#MIDI|Perf. Load System Menu setting]].''&lt;br /&gt;
&lt;br /&gt;
Most foot controllers support some form of programming what each footswitch will send, and if the footswitch should toggle its value.  For example, if you assign FS1 to turn Stomp A on/off, you should be able to set FS1 to light up after pressing it (and it sends a 1 (on) value, indicating you've turned it on.  Now if you press it again, the light turns off, and it sends a 0 (off) value.&lt;br /&gt;
&lt;br /&gt;
This brings up a curious issue.  If you change rigs where Stomp A is on when the rig is loaded, how does the MIDI footcontroller know what state to set FS1?  The footcontroller itself must store a set of rigs containing the default on/off state of each footswitch, matching the corresponding rigs in the KPA.&lt;br /&gt;
&lt;br /&gt;
MIDI CC is the most widely supported part of the MIDI protocol by various MIDI footcontrollers; however, you will notice that there are hundreds of parameters for dozens of effects, as well as the amp, cab, input, output, and tonestack blocks that are not able to be controlled via CC, given the list above.  MIDI CC supports 7-bits for the CC channel number and 7-bits for the value, meaning a maximum of 128 parameters can be controlled with only 0-127 distinct values to communicate.  The MIDI specification gives 2 ways to deal with this: NPRN and Sysex.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== MIDI NRPN ====&lt;br /&gt;
[https://en.wikipedia.org/wiki/NRPN NRPN (Non-registered Parameter Numbers)] uses a set of 4 different CC messages to exponentially increase both the size of possible addresses and values that a device can send/receive.  '''Since each CC message can carry a value from 0-128, NRPN addresses and values each have a range of 128 x 128, which is 16,384.'''  The exact specification is below:&lt;br /&gt;
# '''CC 99''': Value is the Most significant Byte (MSB) of the desired address&lt;br /&gt;
# '''CC 98''': Value is the Least Significant Byte (LSB) of the desired address&lt;br /&gt;
# '''CC 06''': Value is the Most Significant Byte (MSB) of the desired value&lt;br /&gt;
# '''CC 38''': Value is the Least Significant Byte (LSB) of the desired value&lt;br /&gt;
&lt;br /&gt;
While the NRPN spec allows CC 38 to be optional, the KPA ''requires'' it.  The 4 CC's named above must be received in order, and the NRPN message is processed as soon as CC 38 is received.  ''Once an address has been selected via CC's 99 and 98, multiple values can be sent without sending 99/98 each time to reselect the address - only 06/38 needs to be sent.''  That is useful to know if you want to program NRPN to &amp;quot;move&amp;quot; a single parameter over time.&lt;br /&gt;
&lt;br /&gt;
Some footcontrollers support NRPN 14-bit addressing but not 14-bit values via CC's 06 and 38.  The KPA allows CC 119 to send the value in this case.  So the footcontroller can be programmed to send an NRPN as follows:&lt;br /&gt;
# '''CC 99''': address MSB&lt;br /&gt;
# '''CC 98''': address LSB&lt;br /&gt;
# '''CC 119''': 7-bit value&lt;br /&gt;
The 7-bit value is mapped to the appropriate 14-bit value - 128 becomes 16,384, 64 becomes 8,192, while 0 remains 0.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
|-style=&amp;quot;vertical-align:top;&amp;quot;&lt;br /&gt;
|&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
|+ NRPN Address - Parameter Mapping&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| Address&lt;br /&gt;
!rowspan=&amp;quot;2&amp;quot;| Type&lt;br /&gt;
!rowspan=&amp;quot;2&amp;quot;| Parameter&lt;br /&gt;
|-&lt;br /&gt;
! MSB !! LSB&lt;br /&gt;
|-&lt;br /&gt;
| 4 || 0 || Rig || Tempo&lt;br /&gt;
|-&lt;br /&gt;
| 4 || 1 || Rig || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 4 || 2 || Rig || Tempo Enable&lt;br /&gt;
|-&lt;br /&gt;
| 9 || 3 || Input || Noise Gate Intensity&lt;br /&gt;
|-&lt;br /&gt;
| 9 || 4 || Input || Clean Sense&lt;br /&gt;
|-&lt;br /&gt;
| 9 || 5 || Input || Distortion Sense&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 2 || Amplifier || On/Off&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 4 || Amplifier || Gain&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 6 || Amplifier || Definition&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 7 || Amplifier || Clarity&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 8 || Amplifier || Power Sagging&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 9 || Amplifier || Pick&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 10 || Amplifier || Compressor&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 11 || Amplifier || Tube Shape&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 12 || Amplifier || Tube Bias&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 15 || Amplifier || Direct Mix&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 2 || EQ || On/Off&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 4 || EQ || Bass&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 5 || EQ || Mids&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 6 || EQ || Treble&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 7 || EQ || Presence&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 2 || Cabinet || On/Off&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 3 || Cabinet || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 4 || Cabinet || High Shift&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 5 || Cabinet || Low Shift&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 6 || Cabinet || Character&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 0 || Stomp A || Type (see below)&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 3 || Stomp A || On/Off&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 4 || Stomp A || Mix&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 6 || Stomp A || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 7 || Stomp A || Stereo&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 8 || Stomp A || Wah Manual&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 9 || Stomp A || Wah Peak&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 10 || Stomp A || Wah Range&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 12 || Stomp A || Wah Pedal Mode&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 13 || Stomp A || Wah Touch Attack&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 14 || Stomp A || Wah Touch Release&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 15 || Stomp A || Wah Touch Boost&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 16 || Stomp A || Distortion/Shaper Drive&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 17 || Stomp A || Distortion/Booster Tone&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 18 || Stomp A || Compressor/Gate Intensity&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 19 || Stomp A || Compressor Attack&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 20 || Stomp A || Modulation Rate&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 21 || Stomp A || Modulation Depth&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 22 || Stomp A || Modulation Feedback&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 23 || Stomp A || Modulation Crossover&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 24 || Stomp A || Modulation HyperChorus Amount&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 25 || Stomp A || Modulation Manual&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 26 || Stomp A || Modulation Phase Peak Spread&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 27 || Stomp A || Modulation Stages&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 30 || Stomp A || Rotary Speed (slow/fast)&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 31 || Stomp A || Rotary Distance&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 32 || Stomp A || Rotary Balance&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 33 || Stomp A || Compressor Squash&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 34 || Stomp A || Graphic EQ Band 1&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 35 || Stomp A || Graphic EQ Band 2&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 36 || Stomp A || Graphic EQ Band 3&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 37 || Stomp A || Graphic EQ Band 4&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 38 || Stomp A || Graphic EQ Band 5&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 39 || Stomp A || Graphic EQ Band 6&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 40 || Stomp A || Graphic EQ Band 7&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 41 || Stomp A || Graphic EQ Band 8&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 42 || Stomp A || Parametric EQ Low Gain&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 43 || Stomp A || Parametric EQ Low Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 44 || Stomp A || Parametric EQ High Gain&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 45 || Stomp A || Parametric EQ High Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 46 || Stomp A || Parametric EQ Peak Gain&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 47 || Stomp A || Parametric EQ Peak Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 48 || Stomp A || Parametric EQ Peak Q&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 49 || Stomp A || Parametric EQ Peak 2 Gain&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 50 || Stomp A || Parametric EQ Peak 2 Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 51 || Stomp A || Parametric EQ Peak 2 Q&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 52 || Stomp A || Wah Peak Range&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 53 || Stomp A || Ducking&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 55 || Stomp A || Voice Mix&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 56 || Stomp A || Voice 1 Pitch&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 57 || Stomp A || Voice 2 Pitch&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 58 || Stomp A || Detune&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 60 || Stomp A || Smooth Chords&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 61 || Stomp A || Pure Tuning&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 64 || Stomp A || Key&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 65 || Stomp A || Freeze Formants &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 66 || Stomp A || Formant Offset &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 67 || Stomp A || Low Cut &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 68 || Stomp A || High Cut &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 69 || Stomp A || Delay Mix &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 70 || Stomp A || Delay Mix Pre/Post &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 71 || Stomp A || Delay Time 1 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 72 || Stomp A || Delay Time 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 73 || Stomp A || Delay Ratio 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 74 || Stomp A || Delay Ratio 3 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 75 || Stomp A || Delay Ratio 4 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 76 || Stomp A || Delay Note Value 1 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 77 || Stomp A || Delay Note Value 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 78 || Stomp A || Delay Note Value 3 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 79 || Stomp A || Delay Note Value 4 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 80 || Stomp A || To Tempo &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 81 || Stomp A || Delay Volume 1 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 82 || Stomp A || Delay Volume 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 83 || Stomp A || Delay Volume 3 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 84 || Stomp A || Delay Volume 4 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 85 || Stomp A || Delay Panorama 1 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 86 || Stomp A || Delay Panorama 2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 87 || Stomp A || Delay Panorama 3 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 88 || Stomp A || Delay Panorama 4 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 89 || Stomp A || Voice3 Pitch &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 90 || Stomp A || Voice4 Pitch &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 91 || Stomp A || Voice3 Interval &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 92 || Stomp A || Voice4 Interval &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 93 || Stomp A || Feedback &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 94 || Stomp A || Infinity Feedback &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 95 || Stomp A || Infinity &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 96 || Stomp A || Feedback2 &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 97 || Stomp A || Feedback Sync Switch &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 98 || Stomp A || Delay Low Cut &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 99 || Stomp A || Delay High Cut &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 100 || Stomp A || Delay Filter Intensity &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 101 || Stomp A || Delay Modulation &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 102 || Stomp A || Delay Chorus &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 103 || Stomp A || Flutter Intensity &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 104 || Stomp A || Flutter Shape &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 105 || Stomp A || Grit &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 106 || Stomp A || Reverse Mix &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 107 || Stomp A || Swell &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 108 || Stomp A || Smear &lt;br /&gt;
|-&lt;br /&gt;
| 50 || 109 || Stomp A || Ducking Pre/Post &lt;br /&gt;
|-&lt;br /&gt;
| 51 || * || Stomp B || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 52 || * || Stomp C || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 53 || * || Stomp D || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 56 || * || Effect X || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 58 || * || Effect Mod || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 0 || Delay (Deprecated in 4.0) || Type (see below)&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 2 || Delay (Deprecated in 4.0) || On/Off (cuts tails)&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 3 || Delay (Deprecated in 4.0) || Mix&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 4 || Delay (Deprecated in 4.0) || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 5 || Delay (Deprecated in 4.0) || Time&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 6 || Delay (Deprecated in 4.0) || Ratio&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 7 || Delay (Deprecated in 4.0) || Clock Left&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 8 || Delay (Deprecated in 4.0) || Clock Right&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 9 || Delay (Deprecated in 4.0) || Feedback&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 10 || Delay (Deprecated in 4.0) || Bandwidth&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 11 || Delay (Deprecated in 4.0) || Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 12 || Delay (Deprecated in 4.0) || Modulation&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 13 || Delay (Deprecated in 4.0) || On/Off (keeps tails)&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 14 || Delay (Deprecated in 4.0) || Ducking&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 0 || Reverb || Type (see below)&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 2 || Reverb || On/Off (cuts tails)&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 3 || Reverb || Mix&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 4 || Reverb || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 5 || Reverb || Del/Rev Balance&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 6 || Reverb || Time&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 7 || Reverb || Damping&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 8 || Reverb || Bandwidth&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 9 || Reverb || Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 10 || Reverb || Pre-Delay&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 11 || Reverb || On/Off (keeps tails)&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 12 || Reverb || Ducking&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 0 || System/Global || Main Output Volume&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 1 || System/Global || Headphone Output Volume&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 2 || System/Global || Monitor Output Volume&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 3 || System/Global || Direct Output Volume&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 11 || System/Global || SPDIF Input Enable&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 12 || System/Global || Main Output EQ Bass&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 13 || System/Global || Main Output EQ Mids&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 14 || System/Global || Main Output EQ Treble&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 15 || System/Global || Main Output EQ Presence&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 17 || System/Global || Monitor Output EQ Bass&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 18 || System/Global || Monitor Output EQ Mids&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 19 || System/Global || Monitor Output EQ Treble&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 20 || System/Global || Monitor Output EQ Presence&lt;br /&gt;
|}&lt;br /&gt;
|&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
|+ Value to Effect Type Mapping&lt;br /&gt;
|-&lt;br /&gt;
! Value !! Effect Type&lt;br /&gt;
|-&lt;br /&gt;
| 0 || Null/Empty&lt;br /&gt;
|-&lt;br /&gt;
| 1 || Wah Wah&lt;br /&gt;
|-&lt;br /&gt;
| 2 || Wah Low Pass&lt;br /&gt;
|-&lt;br /&gt;
| 3 || Wah High Pass&lt;br /&gt;
|-&lt;br /&gt;
|    4 || Wah Vowel Filter&lt;br /&gt;
|-&lt;br /&gt;
|    6 || Wah Phaser&lt;br /&gt;
|-&lt;br /&gt;
|    7 || Wah Flanger&lt;br /&gt;
|-&lt;br /&gt;
|    8 || Wah Rate Reducer&lt;br /&gt;
|-&lt;br /&gt;
|    9 || Wah Ring Modulator&lt;br /&gt;
|-&lt;br /&gt;
|    10 || Wah Freq Shifter&lt;br /&gt;
|-&lt;br /&gt;
|    12 || Wah Formant Shift&lt;br /&gt;
|-&lt;br /&gt;
|    17 || Bit Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    18 || Recti Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    19 || Soft Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    20 || Hard Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    21 || Wave Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    33 || Green Scream&lt;br /&gt;
|-&lt;br /&gt;
|    34 || Plus DS&lt;br /&gt;
|-&lt;br /&gt;
|    35 || One DS&lt;br /&gt;
|-&lt;br /&gt;
|    36 || Muffin&lt;br /&gt;
|-&lt;br /&gt;
|    37 || Mouse&lt;br /&gt;
|-&lt;br /&gt;
|    38 || Fuzz DS&lt;br /&gt;
|-&lt;br /&gt;
|    39 || Metal DS&lt;br /&gt;
|-&lt;br /&gt;
|    113 || Treble Booster&lt;br /&gt;
|-&lt;br /&gt;
|    114 || Lead Booster&lt;br /&gt;
|-&lt;br /&gt;
|    115 || Pure Booster&lt;br /&gt;
|-&lt;br /&gt;
|    116 || Wah Pedal Booster&lt;br /&gt;
|-&lt;br /&gt;
|    97 || Graphic Equalizer&lt;br /&gt;
|-&lt;br /&gt;
|    98 || Studio Equalizer&lt;br /&gt;
|-&lt;br /&gt;
|    99 || Metal Equalizer&lt;br /&gt;
|-&lt;br /&gt;
|    101 || Stereo Widener&lt;br /&gt;
|-&lt;br /&gt;
|    49 || Compressor&lt;br /&gt;
|-&lt;br /&gt;
|    57 || Gate 2:1&lt;br /&gt;
|-&lt;br /&gt;
|    58 || Gate 4:1&lt;br /&gt;
|-&lt;br /&gt;
|    65 || Vintage Chorus&lt;br /&gt;
|-&lt;br /&gt;
|    66 || Hyper Chorus&lt;br /&gt;
|-&lt;br /&gt;
|    67 || Air Chorus&lt;br /&gt;
|-&lt;br /&gt;
|    71 || Micro Pitch|-&lt;br /&gt;
|-&lt;br /&gt;
|    68 || Vibrato&lt;br /&gt;
|-&lt;br /&gt;
|    69 || Rotary Speaker&lt;br /&gt;
|-&lt;br /&gt;
|    70 || Tremolo&lt;br /&gt;
|-&lt;br /&gt;
|    81 || Phaser&lt;br /&gt;
|-&lt;br /&gt;
|    82 || Phaser Vibe&lt;br /&gt;
|-&lt;br /&gt;
|    83 || Phaser Oneway&lt;br /&gt;
|-&lt;br /&gt;
|    89 || Flanger&lt;br /&gt;
|-&lt;br /&gt;
|    91 || Flanger Oneway&lt;br /&gt;
|-&lt;br /&gt;
|    121 || Loop Mono&lt;br /&gt;
|-&lt;br /&gt;
|    122 || Loop Stereo&lt;br /&gt;
|-&lt;br /&gt;
|    123 || Loop Distortion&lt;br /&gt;
|-&lt;br /&gt;
|    129 || Transpose&lt;br /&gt;
|-&lt;br /&gt;
|    11 || Pedal Pitch&lt;br /&gt;
|-&lt;br /&gt;
| 130 || Chromatic Pitch&lt;br /&gt;
|-&lt;br /&gt;
| 131 || Harmonic Pitch&lt;br /&gt;
|}&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== MIDI SysEx ====&lt;br /&gt;
MIDI also has the ability to send [https://en.wikipedia.org/wiki/MIDI#System_Exclusive_messages SysEx (System Exclusive)] messages.  SysEx messages are proprietary protocols that each manufacturer can create for each of their devices.  They use a common beginning and ending indicators, as well as manufacturer and device identifiers, so that devices that cannot interpret them know to ignore the message; and they can be incorporated into streams of MIDI messages between lots of devices in a MIDI ring without causing chaos.&lt;br /&gt;
&lt;br /&gt;
The SysEx common format is:&lt;br /&gt;
# 1 byte for SysEx Start (&amp;lt;code&amp;gt;0xF0&amp;lt;/code&amp;gt;)&lt;br /&gt;
# 3 bytes for Manufacturer ID (&amp;lt;code&amp;gt;0x002033&amp;lt;/code&amp;gt; for Kemper)&lt;br /&gt;
# 1 byte for product type (&amp;lt;code&amp;gt;0x02&amp;lt;/code&amp;gt; for Kemper Profiling Amp)&lt;br /&gt;
# 1 byte for device ID (&amp;lt;code&amp;gt;0x7F&amp;lt;/code&amp;gt; for Omni)&lt;br /&gt;
# x bytes for the message (this is the device-specific part)&lt;br /&gt;
# 1 byte for SysEx End (&amp;lt;code&amp;gt;0xF7&amp;lt;/code&amp;gt;)&lt;br /&gt;
&lt;br /&gt;
Example: &amp;lt;code&amp;gt;F0-00-20-33-02-7F-...-F7&amp;lt;/code&amp;gt;, where ... is variable.&lt;br /&gt;
&lt;br /&gt;
The Kemper MIDI SysEx protocol gets pretty intense, and I'll leave it to those interested to refer to the [http://www.kemper-amps.com/page/render/lang/en/p/170/id/27/cat/30/do/Kemper_Profiling_Amplifier___Downloads.html Kemper MIDI documentation].  For most users, SysEx will never be necessary.  Where this really comes in handy is for software programs that want to communicate with KPA via MIDI.  The big items that SysEx offer beyond NRPN above are string manipulation and requesting parameter values from the KPA.  These would allow a program to act as an editor, or an advanced floorboard to maintain two-way communication with the KPA, displaying the KPA's current values and keeping on/off states in sync.&lt;br /&gt;
&lt;br /&gt;
The x bytes above have a common scheme for Kemper SysEx messages, where the first byte is the function code.  This is followed by an instance code, which is always &amp;lt;code&amp;gt;0x00&amp;lt;/code&amp;gt;.  This is followed by the address, then the data.&lt;br /&gt;
&lt;br /&gt;
Depending on the function code, the address may be 2 bytes or 4 bytes, and the data can be variable length.  '''The 2 byte addresses use the NRPN addresses above.'''  I am not sure what the extended addresses referenced below are - the MIDI documentation does not list any.  Similarly, '''all 2 byte values use integer values of 0 - 16,384 for min to max''', although this may correspond to different display values on the KPA (for instance, a value of 0 might be &amp;quot;-5.0&amp;quot;, 8,192 might be &amp;quot;&amp;lt;0.0&amp;gt;&amp;quot;, and  16,384 would be &amp;quot;+5.0&amp;quot; - this depends on what the parameter actually is).  '''Strings use single byte characters encoded using [http://www.asciitable.com/ ASCII].'''&lt;br /&gt;
&lt;br /&gt;
I am not sure what the addresses for the string values are, but the documentation does say that the numeric settings' addresses overlap with the strings.  So, to get all the tags for an Amplifier profile, I would imagine you'd use the first address for Amplifier parameters listed in the NRPN reference above, and iterate +1 for all available tags.  ''However, from my research, this does not match how the tags are structured in the .kipr files when they are saved.''&lt;br /&gt;
&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
! Function Code !! Function !! Address Size !! Data Size !! Notes !! Example&lt;br /&gt;
|-&lt;br /&gt;
| 0x01 || Single Parameter Change || 2 bytes || 2 bytes || Same as doing an NRPN change || &lt;br /&gt;
&amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
01-00-4A-04-40-00-&lt;br /&gt;
F7    Addr  Data&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x02 || Multi Parameter Change || 2 bytes || 2n bytes || Address is the starting address; you can send as many pairs of data bytes as you want to change - each pair will write to the next address in sequence || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
02-00-4A-00-00-03-00-01-..-..-&lt;br /&gt;
F7    Addr  Data1 Data2 ...&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x03 || String Parameter Change || 2 bytes || n bytes + final 0x00 byte || Strings must have a final null (0x00) byte to terminate the string.  String data is 1 byte per character, encoded as ASCII.  String addresses overlap with parameter addresses. || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
03-00-00-01-48-65-6C-6C-6F-00-&lt;br /&gt;
F7          H  e  l  l  o&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x04 || BLOB Change || 2 bytes || 2 byte offset + 2 byte size + n byte data || Only a null (0x00) offset is currently supported.  Not sure what this would be used for except overwriting amp/cab profile data?&lt;br /&gt;
|-  &lt;br /&gt;
| 0x06 || Extended Parameter Change || 5 bytes || 2n bytes || Same as 0x02 but uses 5 bytes for address&lt;br /&gt;
|-&lt;br /&gt;
| 0x07 || Extended String Change || 5 bytes || n bytes + 0x00 End Byte || Same as 0x03 but uses 5 bytes for address&lt;br /&gt;
|-&lt;br /&gt;
| 0x41 || Single Parameter Request || 2 bytes || 0 bytes || returns the corresponding 0x01 SysEx message || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
41-00-4A-04-&lt;br /&gt;
F7    Addr&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x42 || Multiple Parameter Request || 2 bytes || 0 bytes || returns the corresponding 0x02 SysEx message.  May contain up to 128 values as byte pairs. || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
42-00-4A-00-&lt;br /&gt;
F7    Addr&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x43 || String Request || 2 bytes || 0 bytes || returns the corresponding 0x03 SysEx message || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
43-00-00-01-&lt;br /&gt;
F7    Addr&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x47 || Extended String Request || 5 bytes || 0 bytes || returns the corresponding 0x07 SysEx message, but may return the corresponding 0x03 message if the address is &amp;lt; 16,384 &lt;br /&gt;
|-&lt;br /&gt;
| 0x7C || Request Parameter as String || 2 bytes || 2 bytes || this returns an 0x3C response that otherwise matches the request, plus the string response after the 2 byte data portion.  The string response is the KPA's string representation of that parameter value.  For instance, Delay Volume value 8,192 is the midpoint value, which displays in the KPA as &amp;quot;&amp;lt;0.0&amp;gt;&amp;quot;. || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
7C-00-4A-04-40-00-&lt;br /&gt;
F7    Addr  Data&lt;br /&gt;
returns &lt;br /&gt;
F0-00-20-33-02-7F-&lt;br /&gt;
3C-00-4A-04-40-00-3C-30-2E-30-3E-00-&lt;br /&gt;
F7                &amp;lt;  0  .  0  &amp;gt;&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Kemper Remote ==&lt;br /&gt;
{{Crumbs|blue|4&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
The '''Kemper Remote''' is the official foot controller for the KPA.  It connects via the '''LAN port''' on the back of the KPA, supporting '''2-way communication''' as well as '''power over a single cable'''.  It features 14 footswitches (2 for bank/performance up/down, 5 for performance slots, 4 for toggling effects on/off, a tap tempo, a tuner, and a looper).  Up to 4 expression pedals can be connected directly to the Remote.&lt;br /&gt;
&lt;br /&gt;
Each effect footswitch can be assigned to toggle on/off up to 4 effects, and what each footswitch controls is saved per rig.&lt;br /&gt;
&lt;br /&gt;
Currently, the Remote is the only foot controller capable of accessing the KPA's looper although there are plans to incorporate access into general MIDI access.&lt;br /&gt;
&lt;br /&gt;
I don't actually have a Kemper Remote, so if I'm missing functionality that creates an advantage over other foot controllers, add it here please.&lt;br /&gt;
&lt;br /&gt;
== DAW ==&lt;br /&gt;
{{Crumbs|blue|5&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
DAWs can either directly or through plug-ins send the MIDI messages needed to have near full control of the Kemper.  They will not be limited strictly to CC's or NRPN - using SysEx, the full parameter list to the KPA is open.  Alternatively, you could simply send the CC values you want to control.  Volume is actually the least necessary parameter - you can more easily control the volume of tracks inside your DAW.  EQ perhaps as well.  Compression may also have better options in the DAW.  Delay, Reverb, and Mod effects is up to you.  Things like Gain or rig changes would be things you'd need to access this way.  With automated rig changing, you could set up all the changes necessary for a whole song, or even an entire setlist.&lt;br /&gt;
&lt;br /&gt;
== Morphing ==&lt;br /&gt;
OS 4.0 introduces '''Morphing''', a feature where any continuous parameter can be defined the following:&lt;br /&gt;
* a '''base value'''&lt;br /&gt;
* a '''morphed value'''&lt;br /&gt;
* a '''rise time*'''&lt;br /&gt;
* a '''descend time*'''&lt;br /&gt;
''* these affect triggering morphing from a footswitch''&lt;br /&gt;
&lt;br /&gt;
On pages 5-10 of the System Menu, expression pedals and footswitches can be assigned the morphing feature.  It can also be easily assigned to any effect button for the Kemper Remote.&lt;br /&gt;
&lt;br /&gt;
Multiple (any or all) continuous parameters, including those in the Amp and Cab blocks can be assigned a morph value.  While some view this feature as a multiple-parameter gimmick, if nothing else it allows continuous control over ''any'' continuous parameter, greatly expanding the out the box functionality of any expression pedal.  Morph values can be set higher or lower than the base value.  The expression pedal heel position corresponds to the base value, and the toe position the morphed value.&lt;br /&gt;
&lt;br /&gt;
The morphing procedure is to tap the Rig button.  It has a bottom LED and top LED - the LEDs switch when Rig is tapped.  The bottom is the base value, and the top is the morphed.  So press Rig until the bottom LED is on; set your base parameters; then press Rig so the top LED is on and set your morph parameters.  That's all there is to it.  The assigned morph pedals or switches will now control those parameters.&lt;br /&gt;
&lt;br /&gt;
Morph settings are saved per rig.  To erase a morph for a given parameter, either reset the morph value to match the base value, or sweep the base value through the range of the morph value (if base is 1.0 and morph is 4.0, sweeping the base value from &amp;lt; 1.0 to &amp;gt; 4.0 will clear the morph entirely).&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
{{Kemper Guide Crumbs|6}}&lt;br /&gt;
&lt;br /&gt;
[[Category:Guitar]]&lt;br /&gt;
[[Category:Gear]]&lt;br /&gt;
[[Category:Modelers]]&lt;br /&gt;
[[Category:Guides]]&lt;br /&gt;
[[Category:Kemper]]&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=Kemper_KPA_External_Control&amp;diff=8732</id>
		<title>Kemper KPA External Control</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=Kemper_KPA_External_Control&amp;diff=8732"/>
				<updated>2016-11-04T04:22:39Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: /* MIDI Continuous Control */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{Top-Level Crumbs|4}}&lt;br /&gt;
{{User Guide Crumbs|2}}&lt;br /&gt;
{{Kemper Guide Crumbs|6}}&lt;br /&gt;
The KPA has extensive, intuitive support for external controllers, and some products are made specifically for control of the KPA.  The three main types of control are analog expression pedals/footswitches, MIDI, and the Kemper Remote.&lt;br /&gt;
&lt;br /&gt;
== Expression Pedals ==&lt;br /&gt;
{{Crumbs|blue|1&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
&lt;br /&gt;
The KPA has 2 stereo jacks on the back of the unit that can be connected to expression pedals or footswitches.  ''Expression pedals should be stereo and connected with a stereo cable.''  Footswitches can be mono or stereo.  Additionally, up to 4 expression pedals can be connected to the Kemper Remote.&lt;br /&gt;
&lt;br /&gt;
=== System Menu Settings ===&lt;br /&gt;
Pages 5-10 cover how expression pedals behave.  Pedals 1 and 2 cover the two inputs on the back of the KPA, while Pedals 3-6 refer to inputs on the official Kemper remote.  The setup done here is simply mapping the pedal's anolog input to that appropriate MIDI CC # (1 for wah wah, 7 for volume, 4 for pitch, and 73 for monitor volume).&lt;br /&gt;
&lt;br /&gt;
Note: if you only have one expression pedal, you can still use it to control wah, volume, and pitch with some additional [[#MIDI Assignments and Settings|MIDI setup below]].  You should set it to CC# 1 (Wah Wah).  The KPA is actually very smart about this, and you don't really ever need more than one expression pedal, unless you like to have dedicated pedals, or have your wah/pitch with a spring in it to push it back to heel position, or do some crazy stuff where you jump between pedals.&lt;br /&gt;
&lt;br /&gt;
'''Pedal Type''' refers to the '''polarity''' of the expression pedal - type 1 is the normal type (Roland), while type 2 is reversed (Yamaha).&lt;br /&gt;
&lt;br /&gt;
This is also where you would come to '''calibrate''' a new pedal, or after updating your KPA's firmware/OS.  You simply press the button then do a full sweep.  ''Be sure to calibrate any pedal that you add to the KPA or after you update the KPA's firmware/OS.''&lt;br /&gt;
&lt;br /&gt;
==== MIDI Assignments and Settings ====&lt;br /&gt;
Page 14 has some checkbox settings for allowing an expression pedal that was set to Wah Wah on pages 5-10 or MIDI CC 1 to also control volume or pitch-shifting, when not being used for a wah wah effect.  It also has settings for sending the KPA's MIDI clock to external devices and setting the MIDI global channel (omni by default).  And you can also see the current MIDI CC values for 4 of the most likely used CC's, controlling modulation, pitch, volume, and monitor volume.&lt;br /&gt;
&lt;br /&gt;
'''Note, if you link a wah pedal to volume, when you disable a wah effect on a rig, the pedal will ''not'' begin to control volume until you put it fully in the toe position''' - ''this prevents a jump in volume if your wah pedal is not in toe position when you turn it off''.  Similarly, if wah is linked to pitch, when you disable wah/enable pitch, the pedal will ''not'' begin to affect the pitch until it is brought fully to the ''heel'' position, again to prevent the pitch jumping on the transition.&lt;br /&gt;
&lt;br /&gt;
=== Rig Menu Volume Pedal Settings ===&lt;br /&gt;
Page 5 of the Rig menu has some settings specific to using an expression pedal for volume control.&lt;br /&gt;
&lt;br /&gt;
* '''Lock Vol. Pedal''' - this setting will lock the current volume pedal settings below to apply to all rigs&lt;br /&gt;
* '''Wah Pedal to Vol.''' - this is a rig-level override of the System Menu page 14 pedal linking option above&lt;br /&gt;
* '''Location''' - this refers to a volume pedal's placement in the signal chain.  Since a dedicated volume pedal doesn't require an effect slot like wah wah or pitch (whammy), you use this parameter to set where it should affect the signal.&lt;br /&gt;
* '''Range''' - this refers to whether the volume pedal should boost when moving from heel position to toe position (when set to right of center) or cut when moving from toe to heel position (when set left of center)&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Analog Footswitches ==&lt;br /&gt;
{{Crumbs|blue|2&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
The Kemper also supports analog mono and stereo momentary footswitches.  They are set up the similarly to expression pedals on pages 5-6 of the System menu.  The difference is instead of being mapped to wah wah, volume, pitch, and monitor volume, it can be assigned to enable/disable any of the sections or blocks in the signal chain, as well switch to tuner, tap in the tap tempo, and switch to the previous or next rig.  In the case of a stereo/dual footswitch, each one can be independently assigned to different parameters.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Using a MIDI Footcontroller ==&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
For more on MIDI foot controllers in general, see [[Foot Controllers]].  MIDI foot controllers typically feature a number of footswitches and often have multiple expression pedals.  Depending on their nature, they may support some features in the MIDI spec or not.  They are typically programmable to some nature, but often within predefined boundaries.  Some can be programmed directly from the footswitches, while others require being connected to a PC editor.  Below are the settings on the Kemper as well as the ways you'll have to program your controller to work with the Kemper.&lt;br /&gt;
&lt;br /&gt;
=== System Menu Settings ===&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
{{Crumbs|orange|1&lt;br /&gt;
|Kemper KPA External Control#System Menu Settings|System Menu&lt;br /&gt;
|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010&lt;br /&gt;
|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers&lt;br /&gt;
|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference&lt;br /&gt;
}}&lt;br /&gt;
&lt;br /&gt;
While in Browser mode, page 12 allows you to assign the current rig to a MIDI Program Change number, as well as view all the MIDI assignments.  Note, these are only for Browser mode, not performance mode, where more than MIDI bank of 128 rigs each can be assigned.&lt;br /&gt;
&lt;br /&gt;
While in Performance mode, page 13 allows assigning external devices to the MIDI Out and Thru ports, as well as giving them device names, and specifying which channels the Kemper should use to communicate with them.&lt;br /&gt;
&lt;br /&gt;
=== Behringer FCB1010 ===&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
{{Crumbs|orange|2&lt;br /&gt;
|Kemper KPA External Control#System Menu Settings|System Menu&lt;br /&gt;
|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010&lt;br /&gt;
|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers&lt;br /&gt;
|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference&lt;br /&gt;
}}&lt;br /&gt;
A popular foot controller for the Kemper is the [http://www.music-group.com/Categories/Behringer/Accessories/Footswitches-and-Remote-Controls/FCB1010/p/P0089 Behringer FCB1010].  Its layout lines up fairly closely with the KPA's performance slots, has two expression pedals, and can be found for a relatively cheap price.&lt;br /&gt;
&lt;br /&gt;
The FCB1010 can also easily be modified to use alternative firmware.  There are 4 possible firmwares you can use:&lt;br /&gt;
&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
! !! Factory !! [http://www.ossandust.be/ UnO] !! [http://www.uno4kemper.com/ UnO4Kemper] !! [http://www.eurekasound.com/eurekaprom Eureka]&lt;br /&gt;
|-&lt;br /&gt;
! Advantages&lt;br /&gt;
|&lt;br /&gt;
* Can be programmed from PC&lt;br /&gt;
* No additional cost&lt;br /&gt;
|&lt;br /&gt;
* Fixes bugs and removes restrictions found in factory FW&lt;br /&gt;
* Can be programmed from PC&lt;br /&gt;
* Can save programmed settings on PC&lt;br /&gt;
|&lt;br /&gt;
* Makes the FCB plug n play with KPA&lt;br /&gt;
* Supports 2-way communication to sync effect states&lt;br /&gt;
* Simple to program directly from FCB1010&lt;br /&gt;
* Supports accessing all 625 performances on the KPA&lt;br /&gt;
|&lt;br /&gt;
* Can access all 625 performance rigs&lt;br /&gt;
* Multiple &amp;quot;scene&amp;quot; paradigms easily switched to change behavior&lt;br /&gt;
* Very configurable/powerful&lt;br /&gt;
|-&lt;br /&gt;
! Disadvantages&lt;br /&gt;
|&lt;br /&gt;
* Contains a number of bugs, particularly early version&lt;br /&gt;
* Can only reference a max of 100 rigs&lt;br /&gt;
* Numerous restrictions&lt;br /&gt;
* Missing features&lt;br /&gt;
|&lt;br /&gt;
* Still limited to max of 100 rigs to select from&lt;br /&gt;
* No 2-way communication to display correct LED states matching KPA effects&lt;br /&gt;
|&lt;br /&gt;
* Cannot be updated as KPA OS is updated, have to buy a new chip&lt;br /&gt;
* No advanced programming, such as firing multiple CC's from one button press&lt;br /&gt;
* Footswitch and expression pedal assignment is global, not per rig&lt;br /&gt;
* Expression pedals can only be assigned to CC1 and CC7&lt;br /&gt;
|&lt;br /&gt;
* Can be kind of confusing to program&lt;br /&gt;
* Have to switch scenes to be able to access all 625 performance rigs as well as toggle effects&lt;br /&gt;
* Cannot save configuration to PC and share&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== UnO4Kemper ====&lt;br /&gt;
[http://www.uno4kemper.com/ The UnO4Kemper firmware] is an unofficial firmware for the FCB1010 made by a 3rd party author.  It comes on an EPROM chip that can be switched out for the factory chip after opening the FCB1010 up.&lt;br /&gt;
&lt;br /&gt;
This firmware will instantly turn your FCB1010 into a dedicated Kemper controller.  The main advantage of this chip is it is as plug and play as you will find to get a working pedalboard for the Kemper, other than the official Kemper Remote.  The bad part is that it makes the FCB1010 only work with the Kemper and you cannot do advanced customization of how the controller operates (such as assigning multiple effects to toggle on a single button).  Also, if Kemper updates the KPA software to add new features, there is no method to update your current UnO4Kemper chip to support those features - you will have to purchase a new chip once the UnO4Kemper firmware is updated to support the feature.&lt;br /&gt;
&lt;br /&gt;
The full list of features is found in [http://www.uno4kemper.com/UnOforKemper_manual.pdf the manual].  &lt;br /&gt;
* Bank (Performance) Up/Down&lt;br /&gt;
* One row of buttons is used for rig selection and the other for toggling effects on/off&lt;br /&gt;
* The rows' functions can be swapped.&lt;br /&gt;
* Available effects/functions are A-D, X, Mod, Delay, Reverb, change rotary speaker effect speed, tap tempo, and display tuner&lt;br /&gt;
* Each effect toggle footswitch can be assigned to any 1 of those effects/functions.&lt;br /&gt;
* One expression pedal controls CC 1 (wah wah) and the other CC 7 (volume).  These can be swapped.&lt;br /&gt;
* Expression pedals can each be configured to use 1 out of 5 possible sweep curves.&lt;br /&gt;
* 2-way communication with KPA using 2nd MIDI cable.  Keeps footswitch LEDs in sync with KPA effects when switching rigs.&lt;br /&gt;
* Can display KPA tuner on FCB1010&lt;br /&gt;
* Can use KPA Beat Scanner function for tempo&lt;br /&gt;
* Force KPA to enter Browse Mode or Performance Mode&lt;br /&gt;
&lt;br /&gt;
=== Other MIDI Foot Controllers ===&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
{{Crumbs|orange|3&lt;br /&gt;
|Kemper KPA External Control#System Menu Settings|System Menu&lt;br /&gt;
|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010&lt;br /&gt;
|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers&lt;br /&gt;
|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference&lt;br /&gt;
}}&lt;br /&gt;
As you'll see below, the KPA provides extensive MIDI capabilities; basically any MIDI controller can get something out of it, while expensive, powerful controllers can do just about anything you can do by touching the KPA's buttons and knobs.  How far you want to take your amount of control depends on what you want to do.&lt;br /&gt;
&lt;br /&gt;
While I do not want to take up a lot of space discussing the capabilities and quirks of numerous footcontrollers, [http://www.wikpa.org/Using_Specific_MIDI_Controllers wikpa.org does a good job on this subject].&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== MIDI Programming Reference ===&lt;br /&gt;
{{Crumbs|blue|3&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
{{Crumbs|orange|4&lt;br /&gt;
|Kemper KPA External Control#System Menu Settings|System Menu&lt;br /&gt;
|Kemper KPA External Control#Behringer FCB1010|Behringer FCB1010&lt;br /&gt;
|Kemper KPA External Control#Other MIDI Foot Controllers|Other Controllers&lt;br /&gt;
|Kemper KPA External Control#MIDI Programming Reference|MIDI Reference&lt;br /&gt;
}}&lt;br /&gt;
This section contains reference material for controlling the KPA by MIDI PC (Program Change), CC (Continuous Control), NRPN (Non-registered Parameter Numbers), or SysEx (System Exclusive) messages.  These go from least to most complicated, and similarly most to least supported.&lt;br /&gt;
&lt;br /&gt;
==== MIDI Program Change ====&lt;br /&gt;
Up to 128 rigs can be assigned PC numbers in Browse Mode from a page in the system menu - you can also see all the rigs assigned to PC's here.&lt;br /&gt;
&lt;br /&gt;
In Performance Mode, each performance/slot is automatically assigned a PC number based on the order of performances, and slots within each performance.  Even disabled slots are assigned a PC #.  Notice this only allows about 25 of the 125 performances (or 128 of the 625 slots) available.  If you need to access more, you can use a MIDI bank select command before the program change, which is implemented as MIDI CC #0 for the most significant byte (MSB) and #32 for the least significant byte (LSB).  While bank selects typically use 2 MIDI bytes, the KPA only requires a range of 0-4 to access all slots via PC.  It will ignore any CC #0 bank select MSB messages.  CC 32 can be used by itself to change which rigs the KPA accesses via PC.  Sending a value of 0 over CC 32 accesses the first 128 slots (performance 1 slot 1 - performance 26 slot 3), CC 32 value 1 accesses the next 128 (performance 26 slot 4 - performance 52 slot 1), etc. up to a max of CC 32 value 4, which will put PC access beyond the available 625 rigs.&lt;br /&gt;
&lt;br /&gt;
Note - it is recommended to use CC's 48-49 (or 47) for selecting performances, then using CC's 50-54 to select which slot to load.  This aligns both with the KPA's performance/slot organization and with footcontrollers that typically feature bank up/down switches as well as a row of switches to change patches/rigs.  There's no need to use complicated math to try to figure out which PC or bank select index is required to load a particular performance/slot.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== MIDI Continuous Control ====&lt;br /&gt;
The KPA responds to a number of MIDI CC messages.  These are enough for generic MIDI foot controllers to perform normal functionality.  You can change cycle through rigs in Browse mode, and bank up/down and select any of the 5 rigs assigned to the slots in Performance mode.  You can turn on/off any of the 8 effects, tap tempo, display the tuner, and switch the rotary speaker effect's speed.  In addition to the expression pedal functions above of controlling wah wah, pitch, volume, and monitor volume, one could be used to control delay/reverb mix and feedback/time, as well as amplifier gain.&lt;br /&gt;
&lt;br /&gt;
{| class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
! CC # !! Valid Values !! What it controls&lt;br /&gt;
|-&lt;br /&gt;
| 0 || N/A || Bank Select MSB - ignored&lt;br /&gt;
|-&lt;br /&gt;
| 1 || x || Wah Wah position on any enabled wah wah effect. Volume if &amp;quot;wah to volume&amp;quot; linking is checked and all wah wah effects are disabled or not present on current rig.  Pitch if &amp;quot;wah to pitch&amp;quot; linking is checked and all wah wah effects are disabled or not present on current rig.&lt;br /&gt;
|-&lt;br /&gt;
| 4 || x || Pitch position for Pedal Pitch or Pedal Vinyl Stop effects&lt;br /&gt;
|-&lt;br /&gt;
| 6 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|-&lt;br /&gt;
| 7 || x || Volume - controls the volume of the rig as specified per rig in the Rig Menu page 5.&lt;br /&gt;
|-&lt;br /&gt;
| 11 || x || Morph - controls any parameters set to be controlled by morphing.&lt;br /&gt;
|-&lt;br /&gt;
| 16 || Any || Toggles all stomps on/off&lt;br /&gt;
|-&lt;br /&gt;
| 17 || 0/1 || 0: Stomp A Off; 1: Stomp A On &lt;br /&gt;
|-&lt;br /&gt;
| 18 || 0/1 || 0: Stomp B Off; 1: Stomp B On &lt;br /&gt;
|-&lt;br /&gt;
| 19 || 0/1 || 0: Stomp C Off; 1: Stomp C On &lt;br /&gt;
|-&lt;br /&gt;
| 20 || 0/1 || 0: Stomp D Off; 1: Stomp D On &lt;br /&gt;
|-&lt;br /&gt;
| 22 || 0/1 || 0: Effect X Off; 1: Effect X On &lt;br /&gt;
|-&lt;br /&gt;
| 24 || 0/1 || 0: Effect Mod Off; 1: Effect Mod On &lt;br /&gt;
|-&lt;br /&gt;
| 26 || 0/1 || 0: Delay Off; 1: Delay On &lt;br /&gt;
|-&lt;br /&gt;
| 27 || 0/1 || 0: Delay Off (with tail); 1: Delay On &lt;br /&gt;
|-&lt;br /&gt;
| 28 || 0/1 || 0: Reverb Off; 1: Reverb On &lt;br /&gt;
|-&lt;br /&gt;
| 29 || 0/1 || 0: Reverb Off (with tail); 1: Reverb On &lt;br /&gt;
|-&lt;br /&gt;
| 30 || 1/0 || Sets Tempo Tap If your floorboard supports separate events on “pressing” and “releasing” a button, send 1 when “pressed” and 0 when “released”. If the floorboard can only send one event, use value 0. When value 1 has been sent and no value 0 for 3 seconds, the Beat Scanner1 is being activated. &lt;br /&gt;
|-&lt;br /&gt;
| 31 || 1/0 || 1: Show Tuner; 0: Hide Tuner &lt;br /&gt;
|-&lt;br /&gt;
| 32 || [0,4] || Bank Select LSB - changes which set of 128 performance slots are available via PC messages in Performance Mode.  &lt;br /&gt;
* Bank 0 - performance 1 slot 1 - performance 26 slot 3&lt;br /&gt;
* Bank 1 - performance 26 slot 4 - performance 52 slot 1&lt;br /&gt;
* Bank 2 - performance 52 slot 2 - performance 77 slot 4&lt;br /&gt;
* Bank 3 - performance 77 slot 5 - performance 103 slot 2&lt;br /&gt;
* Bank 4 - performance 103 slot 3 - performance 125 slot 5&lt;br /&gt;
|-&lt;br /&gt;
| 33 || 0/1 || 0: Rotary Speaker slow; 1: Rotary Speaker fast &lt;br /&gt;
|-&lt;br /&gt;
| 38 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|-&lt;br /&gt;
| 47 || [0,124]  || (Performance Mode only) Directly select a performance index. The performance will be loaded when a slot selection is sent (CC50-54). If no slot is selected, the performance index selection is disabled after a few seconds.  When disabled, the KPA sends the current performance index and slot back to the device.  This can be used to keep the MIDI controller and KPA in sync.&lt;br /&gt;
|-&lt;br /&gt;
| 48 || 1/0 &lt;br /&gt;
| Performance Mode: Increases performance index. Value triggers two different modes:&lt;br /&gt;
* Value 0, increase performance n to n+1 (bank up)*&lt;br /&gt;
* Value 1 initially increases performance by 1, after a timeout the Kemper Profiler starts to scroll performances upwards. Value 0 stops scrolling. &lt;br /&gt;
Browse Mode only: Value 0 selects the next Rig (current filter/sort applies), similar to “Rig Right” &lt;br /&gt;
|-&lt;br /&gt;
| 49 || 1/0 &lt;br /&gt;
| Performance Mode: Decreases performance index. Value triggers two different modes: &lt;br /&gt;
* Value 0, increase performance n to n-1 (bank down)*&lt;br /&gt;
* Value 1 initially decreases performance index by 1, after a timeout the Kemper Profiler starts to scroll performances downwards. Value 0 stops scrolling.&lt;br /&gt;
Browse Mode only: Value 0 selects the previous Rig (current filter/sort applies), similar to “Rig Left” &lt;br /&gt;
|- &lt;br /&gt;
| 50 || 1 || (Performance Mode only) Select Slot 1 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 51 || 1 || (Performance Mode only) Select Slot 2 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 52 || 1 || (Performance Mode only) Select Slot 3 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 53 || 1 || (Performance Mode only) Select Slot 4 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 54 || 1 || (Performance Mode only) Select Slot 5 of current performance. &lt;br /&gt;
|-&lt;br /&gt;
| 68 || x || Sets Delay Mix to x &lt;br /&gt;
|-&lt;br /&gt;
| 69 || x || Sets Delay Feedback to x &lt;br /&gt;
|-&lt;br /&gt;
| 70 || x || Sets Reverb Mix to x &lt;br /&gt;
|-&lt;br /&gt;
| 71 || x || Sets Reverb Time to x &lt;br /&gt;
|-&lt;br /&gt;
| 72 || x ||Sets Amplifier Gain to x &lt;br /&gt;
|-&lt;br /&gt;
| 73 || x ||Sets Monitor Volume to x &lt;br /&gt;
|-&lt;br /&gt;
| 98 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|-&lt;br /&gt;
| 99 || N/A || Part of an NRPN message; see [[#MIDI NRPN|MIDI NRPN below]]&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
''* Changing the Performance may or may not load a slot instantly depending on the [[Kemper KPA Performing Live#MIDI|Perf. Load System Menu setting]].''&lt;br /&gt;
&lt;br /&gt;
Most foot controllers support some form of programming what each footswitch will send, and if the footswitch should toggle its value.  For example, if you assign FS1 to turn Stomp A on/off, you should be able to set FS1 to light up after pressing it (and it sends a 1 (on) value, indicating you've turned it on.  Now if you press it again, the light turns off, and it sends a 0 (off) value.&lt;br /&gt;
&lt;br /&gt;
This brings up a curious issue.  If you change rigs where Stomp A is on when the rig is loaded, how does the MIDI footcontroller know what state to set FS1?  The footcontroller itself must store a set of rigs containing the default on/off state of each footswitch, matching the corresponding rigs in the KPA.&lt;br /&gt;
&lt;br /&gt;
MIDI CC is the most widely supported part of the MIDI protocol by various MIDI footcontrollers; however, you will notice that there are hundreds of parameters for dozens of effects, as well as the amp, cab, input, output, and tonestack blocks that are not able to be controlled via CC, given the list above.  MIDI CC supports 7-bits for the CC channel number and 7-bits for the value, meaning a maximum of 128 parameters can be controlled with only 0-127 distinct values to communicate.  The MIDI specification gives 2 ways to deal with this: NPRN and Sysex.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== MIDI NRPN ====&lt;br /&gt;
[https://en.wikipedia.org/wiki/NRPN NRPN (Non-registered Parameter Numbers)] uses a set of 4 different CC messages to exponentially increase both the size of possible addresses and values that a device can send/receive.  '''Since each CC message can carry a value from 0-128, NRPN addresses and values each have a range of 128 x 128, which is 16,384.'''  The exact specification is below:&lt;br /&gt;
# '''CC 99''': Value is the Most significant Byte (MSB) of the desired address&lt;br /&gt;
# '''CC 98''': Value is the Least Significant Byte (LSB) of the desired address&lt;br /&gt;
# '''CC 06''': Value is the Most Significant Byte (MSB) of the desired value&lt;br /&gt;
# '''CC 38''': Value is the Least Significant Byte (LSB) of the desired value&lt;br /&gt;
&lt;br /&gt;
While the NRPN spec allows CC 38 to be optional, the KPA ''requires'' it.  The 4 CC's named above must be received in order, and the NRPN message is processed as soon as CC 38 is received.  ''Once an address has been selected via CC's 99 and 98, multiple values can be sent without sending 99/98 each time to reselect the address - only 06/38 needs to be sent.''  That is useful to know if you want to program NRPN to &amp;quot;move&amp;quot; a single parameter over time.&lt;br /&gt;
&lt;br /&gt;
Some footcontrollers support NRPN 14-bit addressing but not 14-bit values via CC's 06 and 38.  The KPA allows CC 119 to send the value in this case.  So the footcontroller can be programmed to send an NRPN as follows:&lt;br /&gt;
# '''CC 99''': address MSB&lt;br /&gt;
# '''CC 98''': address LSB&lt;br /&gt;
# '''CC 119''': 7-bit value&lt;br /&gt;
The 7-bit value is mapped to the appropriate 14-bit value - 128 becomes 16,384, 64 becomes 8,192, while 0 remains 0.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
|-style=&amp;quot;vertical-align:top;&amp;quot;&lt;br /&gt;
|&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
|+ NRPN Address - Parameter Mapping&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| Address&lt;br /&gt;
!rowspan=&amp;quot;2&amp;quot;| Type&lt;br /&gt;
!rowspan=&amp;quot;2&amp;quot;| Parameter&lt;br /&gt;
|-&lt;br /&gt;
! MSB !! LSB&lt;br /&gt;
|-&lt;br /&gt;
| 4 || 0 || Rig || Tempo&lt;br /&gt;
|-&lt;br /&gt;
| 4 || 1 || Rig || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 4 || 2 || Rig || Tempo Enable&lt;br /&gt;
|-&lt;br /&gt;
| 9 || 3 || Input || Noise Gate Intensity&lt;br /&gt;
|-&lt;br /&gt;
| 9 || 4 || Input || Clean Sense&lt;br /&gt;
|-&lt;br /&gt;
| 9 || 5 || Input || Distortion Sense&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 2 || Amplifier || On/Off&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 4 || Amplifier || Gain&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 6 || Amplifier || Definition&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 7 || Amplifier || Clarity&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 8 || Amplifier || Power Sagging&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 9 || Amplifier || Pick&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 10 || Amplifier || Compressor&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 11 || Amplifier || Tube Shape&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 12 || Amplifier || Tube Bias&lt;br /&gt;
|-&lt;br /&gt;
| 10 || 15 || Amplifier || Direct Mix&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 2 || EQ || On/Off&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 4 || EQ || Bass&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 5 || EQ || Mids&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 6 || EQ || Treble&lt;br /&gt;
|-&lt;br /&gt;
| 11 || 7 || EQ || Presence&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 2 || Cabinet || On/Off&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 3 || Cabinet || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 4 || Cabinet || High Shift&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 5 || Cabinet || Low Shift&lt;br /&gt;
|-&lt;br /&gt;
| 12 || 6 || Cabinet || Character&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 0 || Stomp A || Type (see below)&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 3 || Stomp A || On/Off&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 4 || Stomp A || Mix&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 6 || Stomp A || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 7 || Stomp A || Stereo&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 8 || Stomp A || Wah Manual&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 9 || Stomp A || Wah Peak&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 10 || Stomp A || Wah Range&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 12 || Stomp A || Wah Pedal Mode&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 13 || Stomp A || Wah Touch Attack&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 14 || Stomp A || Wah Touch Release&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 15 || Stomp A || Wah Touch Boost&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 16 || Stomp A || Distortion/Shaper Drive&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 17 || Stomp A || Distortion/Booster Tone&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 18 || Stomp A || Compressor/Gate Intensity&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 19 || Stomp A || Compressor Attack&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 20 || Stomp A || Modulation Rate&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 21 || Stomp A || Modulation Depth&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 22 || Stomp A || Modulation Feedback&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 23 || Stomp A || Modulation Crossover&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 24 || Stomp A || Modulation HyperChorus Amount&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 25 || Stomp A || Modulation Manual&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 26 || Stomp A || Modulation Phase Peak Spread&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 27 || Stomp A || Modulation Stages&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 30 || Stomp A || Rotary Speed (slow/fast)&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 31 || Stomp A || Rotary Distance&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 32 || Stomp A || Rotary Balance&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 33 || Stomp A || Compressor Squash&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 34 || Stomp A || Graphic EQ Band 1&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 35 || Stomp A || Graphic EQ Band 2&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 36 || Stomp A || Graphic EQ Band 3&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 37 || Stomp A || Graphic EQ Band 4&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 38 || Stomp A || Graphic EQ Band 5&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 39 || Stomp A || Graphic EQ Band 6&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 40 || Stomp A || Graphic EQ Band 7&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 41 || Stomp A || Graphic EQ Band 8&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 42 || Stomp A || Parametric EQ Low Gain&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 43 || Stomp A || Parametric EQ Low Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 44 || Stomp A || Parametric EQ High Gain&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 45 || Stomp A || Parametric EQ High Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 46 || Stomp A || Parametric EQ Peak Gain&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 47 || Stomp A || Parametric EQ Peak Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 48 || Stomp A || Parametric EQ Peak Q&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 49 || Stomp A || Parametric EQ Peak 2 Gain&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 50 || Stomp A || Parametric EQ Peak 2 Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 51 || Stomp A || Parametric EQ Peak 2 Q&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 52 || Stomp A || Wah Peak Range&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 53 || Stomp A || Ducking&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 55 || Stomp A || Voice Mix&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 56 || Stomp A || Voice 1 Pitch&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 57 || Stomp A || Voice 2 Pitch&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 58 || Stomp A || Detune&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 60 || Stomp A || Smooth Chords&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 61 || Stomp A || Pure Tuning&lt;br /&gt;
|-&lt;br /&gt;
| 50 || 64 || Stomp A || Key&lt;br /&gt;
|-&lt;br /&gt;
| 51 || * || Stomp B || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 52 || * || Stomp C || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 53 || * || Stomp D || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 56 || * || Effect X || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 58 || * || Effect Mod || Same as Stomp A&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 0 || Delay || Type (see below)&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 2 || Delay || On/Off (cuts tails)&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 3 || Delay || Mix&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 4 || Delay || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 5 || Delay || Time&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 6 || Delay || Ratio&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 7 || Delay || Clock Left&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 8 || Delay || Clock Right&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 9 || Delay || Feedback&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 10 || Delay || Bandwidth&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 11 || Delay || Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 12 || Delay || Modulation&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 13 || Delay || On/Off (keeps tails)&lt;br /&gt;
|-&lt;br /&gt;
| 74 || 14 || Delay || Ducking&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 0 || Reverb || Type (see below)&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 2 || Reverb || On/Off (cuts tails)&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 3 || Reverb || Mix&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 4 || Reverb || Volume&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 5 || Reverb || Del/Rev Balance&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 6 || Reverb || Time&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 7 || Reverb || Damping&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 8 || Reverb || Bandwidth&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 9 || Reverb || Frequency&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 10 || Reverb || Pre-Delay&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 11 || Reverb || On/Off (keeps tails)&lt;br /&gt;
|-&lt;br /&gt;
| 75 || 12 || Reverb || Ducking&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 0 || System/Global || Main Output Volume&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 1 || System/Global || Headphone Output Volume&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 2 || System/Global || Monitor Output Volume&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 3 || System/Global || Direct Output Volume&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 11 || System/Global || SPDIF Input Enable&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 12 || System/Global || Main Output EQ Bass&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 13 || System/Global || Main Output EQ Mids&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 14 || System/Global || Main Output EQ Treble&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 15 || System/Global || Main Output EQ Presence&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 17 || System/Global || Monitor Output EQ Bass&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 18 || System/Global || Monitor Output EQ Mids&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 19 || System/Global || Monitor Output EQ Treble&lt;br /&gt;
|-&lt;br /&gt;
| 127 || 20 || System/Global || Monitor Output EQ Presence&lt;br /&gt;
|}&lt;br /&gt;
|&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
|+ Value to Effect Type Mapping&lt;br /&gt;
|-&lt;br /&gt;
! Value !! Effect Type&lt;br /&gt;
|-&lt;br /&gt;
| 0 || Null/Empty&lt;br /&gt;
|-&lt;br /&gt;
| 1 || Wah Wah&lt;br /&gt;
|-&lt;br /&gt;
| 2 || Wah Low Pass&lt;br /&gt;
|-&lt;br /&gt;
| 3 || Wah High Pass&lt;br /&gt;
|-&lt;br /&gt;
|    4 || Wah Vowel Filter&lt;br /&gt;
|-&lt;br /&gt;
|    6 || Wah Phaser&lt;br /&gt;
|-&lt;br /&gt;
|    7 || Wah Flanger&lt;br /&gt;
|-&lt;br /&gt;
|    8 || Wah Rate Reducer&lt;br /&gt;
|-&lt;br /&gt;
|    9 || Wah Ring Modulator&lt;br /&gt;
|-&lt;br /&gt;
|    10 || Wah Freq Shifter&lt;br /&gt;
|-&lt;br /&gt;
|    12 || Wah Formant Shift&lt;br /&gt;
|-&lt;br /&gt;
|    17 || Bit Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    18 || Recti Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    19 || Soft Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    20 || Hard Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    21 || Wave Shaper&lt;br /&gt;
|-&lt;br /&gt;
|    33 || Green Scream&lt;br /&gt;
|-&lt;br /&gt;
|    34 || Plus DS&lt;br /&gt;
|-&lt;br /&gt;
|    35 || One DS&lt;br /&gt;
|-&lt;br /&gt;
|    36 || Muffin&lt;br /&gt;
|-&lt;br /&gt;
|    37 || Mouse&lt;br /&gt;
|-&lt;br /&gt;
|    38 || Fuzz DS&lt;br /&gt;
|-&lt;br /&gt;
|    39 || Metal DS&lt;br /&gt;
|-&lt;br /&gt;
|    113 || Treble Booster&lt;br /&gt;
|-&lt;br /&gt;
|    114 || Lead Booster&lt;br /&gt;
|-&lt;br /&gt;
|    115 || Pure Booster&lt;br /&gt;
|-&lt;br /&gt;
|    116 || Wah Pedal Booster&lt;br /&gt;
|-&lt;br /&gt;
|    97 || Graphic Equalizer&lt;br /&gt;
|-&lt;br /&gt;
|    98 || Studio Equalizer&lt;br /&gt;
|-&lt;br /&gt;
|    99 || Metal Equalizer&lt;br /&gt;
|-&lt;br /&gt;
|    101 || Stereo Widener&lt;br /&gt;
|-&lt;br /&gt;
|    49 || Compressor&lt;br /&gt;
|-&lt;br /&gt;
|    57 || Gate 2:1&lt;br /&gt;
|-&lt;br /&gt;
|    58 || Gate 4:1&lt;br /&gt;
|-&lt;br /&gt;
|    65 || Vintage Chorus&lt;br /&gt;
|-&lt;br /&gt;
|    66 || Hyper Chorus&lt;br /&gt;
|-&lt;br /&gt;
|    67 || Air Chorus&lt;br /&gt;
|-&lt;br /&gt;
|    71 || Micro Pitch|-&lt;br /&gt;
|-&lt;br /&gt;
|    68 || Vibrato&lt;br /&gt;
|-&lt;br /&gt;
|    69 || Rotary Speaker&lt;br /&gt;
|-&lt;br /&gt;
|    70 || Tremolo&lt;br /&gt;
|-&lt;br /&gt;
|    81 || Phaser&lt;br /&gt;
|-&lt;br /&gt;
|    82 || Phaser Vibe&lt;br /&gt;
|-&lt;br /&gt;
|    83 || Phaser Oneway&lt;br /&gt;
|-&lt;br /&gt;
|    89 || Flanger&lt;br /&gt;
|-&lt;br /&gt;
|    91 || Flanger Oneway&lt;br /&gt;
|-&lt;br /&gt;
|    121 || Loop Mono&lt;br /&gt;
|-&lt;br /&gt;
|    122 || Loop Stereo&lt;br /&gt;
|-&lt;br /&gt;
|    123 || Loop Distortion&lt;br /&gt;
|-&lt;br /&gt;
|    129 || Transpose&lt;br /&gt;
|-&lt;br /&gt;
|    11 || Pedal Pitch&lt;br /&gt;
|-&lt;br /&gt;
| 130 || Chromatic Pitch&lt;br /&gt;
|-&lt;br /&gt;
| 131 || Harmonic Pitch&lt;br /&gt;
|}&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== MIDI SysEx ====&lt;br /&gt;
MIDI also has the ability to send [https://en.wikipedia.org/wiki/MIDI#System_Exclusive_messages SysEx (System Exclusive)] messages.  SysEx messages are proprietary protocols that each manufacturer can create for each of their devices.  They use a common beginning and ending indicators, as well as manufacturer and device identifiers, so that devices that cannot interpret them know to ignore the message; and they can be incorporated into streams of MIDI messages between lots of devices in a MIDI ring without causing chaos.&lt;br /&gt;
&lt;br /&gt;
The SysEx common format is:&lt;br /&gt;
# 1 byte for SysEx Start (&amp;lt;code&amp;gt;0xF0&amp;lt;/code&amp;gt;)&lt;br /&gt;
# 3 bytes for Manufacturer ID (&amp;lt;code&amp;gt;0x002033&amp;lt;/code&amp;gt; for Kemper)&lt;br /&gt;
# 1 byte for product type (&amp;lt;code&amp;gt;0x02&amp;lt;/code&amp;gt; for Kemper Profiling Amp)&lt;br /&gt;
# 1 byte for device ID (&amp;lt;code&amp;gt;0x7F&amp;lt;/code&amp;gt; for Omni)&lt;br /&gt;
# x bytes for the message (this is the device-specific part)&lt;br /&gt;
# 1 byte for SysEx End (&amp;lt;code&amp;gt;0xF7&amp;lt;/code&amp;gt;)&lt;br /&gt;
&lt;br /&gt;
Example: &amp;lt;code&amp;gt;F0-00-20-33-02-7F-...-F7&amp;lt;/code&amp;gt;, where ... is variable.&lt;br /&gt;
&lt;br /&gt;
The Kemper MIDI SysEx protocol gets pretty intense, and I'll leave it to those interested to refer to the [http://www.kemper-amps.com/page/render/lang/en/p/170/id/27/cat/30/do/Kemper_Profiling_Amplifier___Downloads.html Kemper MIDI documentation].  For most users, SysEx will never be necessary.  Where this really comes in handy is for software programs that want to communicate with KPA via MIDI.  The big items that SysEx offer beyond NRPN above are string manipulation and requesting parameter values from the KPA.  These would allow a program to act as an editor, or an advanced floorboard to maintain two-way communication with the KPA, displaying the KPA's current values and keeping on/off states in sync.&lt;br /&gt;
&lt;br /&gt;
The x bytes above have a common scheme for Kemper SysEx messages, where the first byte is the function code.  This is followed by an instance code, which is always &amp;lt;code&amp;gt;0x00&amp;lt;/code&amp;gt;.  This is followed by the address, then the data.&lt;br /&gt;
&lt;br /&gt;
Depending on the function code, the address may be 2 bytes or 4 bytes, and the data can be variable length.  '''The 2 byte addresses use the NRPN addresses above.'''  I am not sure what the extended addresses referenced below are - the MIDI documentation does not list any.  Similarly, '''all 2 byte values use integer values of 0 - 16,384 for min to max''', although this may correspond to different display values on the KPA (for instance, a value of 0 might be &amp;quot;-5.0&amp;quot;, 8,192 might be &amp;quot;&amp;lt;0.0&amp;gt;&amp;quot;, and  16,384 would be &amp;quot;+5.0&amp;quot; - this depends on what the parameter actually is).  '''Strings use single byte characters encoded using [http://www.asciitable.com/ ASCII].'''&lt;br /&gt;
&lt;br /&gt;
I am not sure what the addresses for the string values are, but the documentation does say that the numeric settings' addresses overlap with the strings.  So, to get all the tags for an Amplifier profile, I would imagine you'd use the first address for Amplifier parameters listed in the NRPN reference above, and iterate +1 for all available tags.  ''However, from my research, this does not match how the tags are structured in the .kipr files when they are saved.''&lt;br /&gt;
&lt;br /&gt;
{|class=&amp;quot;wikitable&amp;quot;&lt;br /&gt;
! Function Code !! Function !! Address Size !! Data Size !! Notes !! Example&lt;br /&gt;
|-&lt;br /&gt;
| 0x01 || Single Parameter Change || 2 bytes || 2 bytes || Same as doing an NRPN change || &lt;br /&gt;
&amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
01-00-4A-04-40-00-&lt;br /&gt;
F7    Addr  Data&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x02 || Multi Parameter Change || 2 bytes || 2n bytes || Address is the starting address; you can send as many pairs of data bytes as you want to change - each pair will write to the next address in sequence || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
02-00-4A-00-00-03-00-01-..-..-&lt;br /&gt;
F7    Addr  Data1 Data2 ...&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x03 || String Parameter Change || 2 bytes || n bytes + final 0x00 byte || Strings must have a final null (0x00) byte to terminate the string.  String data is 1 byte per character, encoded as ASCII.  String addresses overlap with parameter addresses. || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
03-00-00-01-48-65-6C-6C-6F-00-&lt;br /&gt;
F7          H  e  l  l  o&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x04 || BLOB Change || 2 bytes || 2 byte offset + 2 byte size + n byte data || Only a null (0x00) offset is currently supported.  Not sure what this would be used for except overwriting amp/cab profile data?&lt;br /&gt;
|-  &lt;br /&gt;
| 0x06 || Extended Parameter Change || 5 bytes || 2n bytes || Same as 0x02 but uses 5 bytes for address&lt;br /&gt;
|-&lt;br /&gt;
| 0x07 || Extended String Change || 5 bytes || n bytes + 0x00 End Byte || Same as 0x03 but uses 5 bytes for address&lt;br /&gt;
|-&lt;br /&gt;
| 0x41 || Single Parameter Request || 2 bytes || 0 bytes || returns the corresponding 0x01 SysEx message || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
41-00-4A-04-&lt;br /&gt;
F7    Addr&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x42 || Multiple Parameter Request || 2 bytes || 0 bytes || returns the corresponding 0x02 SysEx message.  May contain up to 128 values as byte pairs. || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
42-00-4A-00-&lt;br /&gt;
F7    Addr&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x43 || String Request || 2 bytes || 0 bytes || returns the corresponding 0x03 SysEx message || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
43-00-00-01-&lt;br /&gt;
F7    Addr&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
| 0x47 || Extended String Request || 5 bytes || 0 bytes || returns the corresponding 0x07 SysEx message, but may return the corresponding 0x03 message if the address is &amp;lt; 16,384 &lt;br /&gt;
|-&lt;br /&gt;
| 0x7C || Request Parameter as String || 2 bytes || 2 bytes || this returns an 0x3C response that otherwise matches the request, plus the string response after the 2 byte data portion.  The string response is the KPA's string representation of that parameter value.  For instance, Delay Volume value 8,192 is the midpoint value, which displays in the KPA as &amp;quot;&amp;lt;0.0&amp;gt;&amp;quot;. || &amp;lt;pre&amp;gt;F0-00-20-33-02-7F-&lt;br /&gt;
7C-00-4A-04-40-00-&lt;br /&gt;
F7    Addr  Data&lt;br /&gt;
returns &lt;br /&gt;
F0-00-20-33-02-7F-&lt;br /&gt;
3C-00-4A-04-40-00-3C-30-2E-30-3E-00-&lt;br /&gt;
F7                &amp;lt;  0  .  0  &amp;gt;&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Kemper Remote ==&lt;br /&gt;
{{Crumbs|blue|4&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
The '''Kemper Remote''' is the official foot controller for the KPA.  It connects via the '''LAN port''' on the back of the KPA, supporting '''2-way communication''' as well as '''power over a single cable'''.  It features 14 footswitches (2 for bank/performance up/down, 5 for performance slots, 4 for toggling effects on/off, a tap tempo, a tuner, and a looper).  Up to 4 expression pedals can be connected directly to the Remote.&lt;br /&gt;
&lt;br /&gt;
Each effect footswitch can be assigned to toggle on/off up to 4 effects, and what each footswitch controls is saved per rig.&lt;br /&gt;
&lt;br /&gt;
Currently, the Remote is the only foot controller capable of accessing the KPA's looper although there are plans to incorporate access into general MIDI access.&lt;br /&gt;
&lt;br /&gt;
I don't actually have a Kemper Remote, so if I'm missing functionality that creates an advantage over other foot controllers, add it here please.&lt;br /&gt;
&lt;br /&gt;
== DAW ==&lt;br /&gt;
{{Crumbs|blue|5&lt;br /&gt;
|Kemper KPA External Control#Expression Pedals|Expression Pedals&lt;br /&gt;
|Kemper KPA External Control#Analog Footswitches|Analog Footswitches&lt;br /&gt;
|Kemper KPA External Control#Using a MIDI Footcontroller|MIDI Footcontrollers&lt;br /&gt;
|Kemper KPA External Control#Kemper Remote|Kemper Remote&lt;br /&gt;
|Kemper KPA External Control#DAW|DAW&lt;br /&gt;
}}&lt;br /&gt;
DAWs can either directly or through plug-ins send the MIDI messages needed to have near full control of the Kemper.  They will not be limited strictly to CC's or NRPN - using SysEx, the full parameter list to the KPA is open.  Alternatively, you could simply send the CC values you want to control.  Volume is actually the least necessary parameter - you can more easily control the volume of tracks inside your DAW.  EQ perhaps as well.  Compression may also have better options in the DAW.  Delay, Reverb, and Mod effects is up to you.  Things like Gain or rig changes would be things you'd need to access this way.  With automated rig changing, you could set up all the changes necessary for a whole song, or even an entire setlist.&lt;br /&gt;
&lt;br /&gt;
== Morphing ==&lt;br /&gt;
OS 4.0 introduces '''Morphing''', a feature where any continuous parameter can be defined the following:&lt;br /&gt;
* a '''base value'''&lt;br /&gt;
* a '''morphed value'''&lt;br /&gt;
* a '''rise time*'''&lt;br /&gt;
* a '''descend time*'''&lt;br /&gt;
''* these affect triggering morphing from a footswitch''&lt;br /&gt;
&lt;br /&gt;
On pages 5-10 of the System Menu, expression pedals and footswitches can be assigned the morphing feature.  It can also be easily assigned to any effect button for the Kemper Remote.&lt;br /&gt;
&lt;br /&gt;
Multiple (any or all) continuous parameters, including those in the Amp and Cab blocks can be assigned a morph value.  While some view this feature as a multiple-parameter gimmick, if nothing else it allows continuous control over ''any'' continuous parameter, greatly expanding the out the box functionality of any expression pedal.  Morph values can be set higher or lower than the base value.  The expression pedal heel position corresponds to the base value, and the toe position the morphed value.&lt;br /&gt;
&lt;br /&gt;
The morphing procedure is to tap the Rig button.  It has a bottom LED and top LED - the LEDs switch when Rig is tapped.  The bottom is the base value, and the top is the morphed.  So press Rig until the bottom LED is on; set your base parameters; then press Rig so the top LED is on and set your morph parameters.  That's all there is to it.  The assigned morph pedals or switches will now control those parameters.&lt;br /&gt;
&lt;br /&gt;
Morph settings are saved per rig.  To erase a morph for a given parameter, either reset the morph value to match the base value, or sweep the base value through the range of the morph value (if base is 1.0 and morph is 4.0, sweeping the base value from &amp;lt; 1.0 to &amp;gt; 4.0 will clear the morph entirely).&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
{{Kemper Guide Crumbs|6}}&lt;br /&gt;
&lt;br /&gt;
[[Category:Guitar]]&lt;br /&gt;
[[Category:Gear]]&lt;br /&gt;
[[Category:Modelers]]&lt;br /&gt;
[[Category:Guides]]&lt;br /&gt;
[[Category:Kemper]]&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=Choosing_a_Pick&amp;diff=8731</id>
		<title>Choosing a Pick</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=Choosing_a_Pick&amp;diff=8731"/>
				<updated>2016-09-12T14:36:36Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: /* Brands */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{Top-Level Crumbs|4}}&lt;br /&gt;
{{Gear Crumbs|2}}&lt;br /&gt;
{{Buyer's Guide Crumbs|1}}&lt;br /&gt;
&lt;br /&gt;
There are numerous considerations for choosing a pick: shape, size, thickness, tip, material/durability, and grip.  There are also special picks, such as thumb and finger picks.  My advice is to buy one each of a wide variety of picks.  It might cost you $20-30 for this initial order, from which you may only find 2-3 that you like.  But that's better than using a suboptimal pick.  The ideal pick for you is based on your personal traits like how you grip the pick, how large your hand is, how hard you grip the pick, etc., as well as related to your gear, such as string gauge and tuning, or your playing style (mostly strumming vs. lead or riff playing).  Picks will also impact tone, so that has a bearing on the one(s) you settle on.&lt;br /&gt;
&lt;br /&gt;
I play [http://www.jimdunlop.com/product/john-petrucci-jazz-iii Dunlop John Petrucci Jazz III picks], and highly recommend them to others.&lt;br /&gt;
&lt;br /&gt;
== Brands ==&lt;br /&gt;
[http://www.jimdunlop.com/ Jim Dunlop] is the biggest name I know of in for picks.  [http://www.fender.com/accessories/picks/ Fender] and other guitar manufacturers make picks, as well as no-name companies whose picks are simply rebranded.  Fender picks aren't bad (they are certainly pretty!), but I'd stay away from anything else.  Picks are relatively inexpensive and are used as a promotional tool rather than a serious product.  This is why I like Dunlop and other brands below dedicated to selling picks - they survive by making quality picks, not trying to rope you into buying something else.  That said, new companies can always appear; and there are several boutique vendors that use stones and gems for ultra-durable, high-price picks. Companies like Winspear have recently emerged selling extra-thick (and expensive) picks, boasting better tone and ease of picking through each string.&lt;br /&gt;
&lt;br /&gt;
* [http://www.jimdunlop.com/products/guitar-picks Dunlop]&lt;br /&gt;
* [http://www.fender.com/accessories/picks/ Fender]&lt;br /&gt;
* [http://www.v-picks.com/ V-Picks]&lt;br /&gt;
* [http://www.redbeartrading.com/ Red Bear Trading]&lt;br /&gt;
* [http://www.winspearpicks.com/ Winspear]&lt;br /&gt;
&lt;br /&gt;
== Aesthetics ==&lt;br /&gt;
My advice is to try to ignore pick aesthetics entirely.  You want the sound of yourself playing guitar to be beautiful, which means using a pick with excellent comfort and control.  The look of a small piece of plastic that spends 99% of its time covered by your thumb/fingers is relatively insignificant.&lt;br /&gt;
&lt;br /&gt;
== Shape ==&lt;br /&gt;
The standard pick shape is similar to an isoseles triangle with rounded edges and even more rounded tips.  The pointier of the 3 tips is what is used to pluck the strings.  Most picks follow this paradigm.&lt;br /&gt;
&lt;br /&gt;
[http://www.redbeartrading.com/flatpicks.html Here is the shape catalog for Red Bear Trading].  The first 2 picks on the third row are the &amp;quot;Classic&amp;quot; shape, as described as above.  Notice the wide variety of shapes available.  They can be wider or thinner and have more rounded or completely straight edges.&lt;br /&gt;
&lt;br /&gt;
Shape plays an impact both on comfort and feel.  By feel, I mean what it feels like moving the pick through the string during a typical picking motion.  The sharper the angle of the side of the pick in relation to the string, the quicker and easier the pick will move through the string.  There's a balance here: imagine playing a string with a credit card; as long as you keep the card perpendicular to the guitar body, you can't pick the string.  You are just pushing on it, but you can't push through because it won't slide off the edge.  But you can control the angle of the card; naturally, you will keep your hand tension roughly constant.  As you push on the string, it is putting greater and greater tension on the pick (or credit card).  Thus, you allow the pick to angle relative to the string, and slide off.&lt;br /&gt;
&lt;br /&gt;
Picks that are narrower and hit the string with a more perpendicular edge will &amp;quot;catch&amp;quot; the string better, allowing you to really dig in and get a strong stroke.  But they may require more effort per stroke and be difficult to use for fast picking.  Picks that are a bit wider or have a special shape where the edges are sharply angled will slide off the string before being able to displace it much at all, leaving a weak stroke.  These may allow you to quickly and easily complete strokes, but if the strokes are too weak, you won't have enough clarity in your playing.&lt;br /&gt;
&lt;br /&gt;
Also pay attention to the other two tips of the triangle.  Some picks are very rounded on the part opposite the tip used to pick the strings, while others are literally perfect triangles.  I like to have a bit of a rounded part on top.  This way, when I grip the pick, I grip on top of those two other points, but I'm not on the edge of the pick.  Those two point are where you will get the most torque on the pick.  Without the round extension sticking out between those points, you'd be on the edge of the pick, and that means you don't have as much torque on the other axis which keeps your pick perpendicular to the body so you can really dig into the strings when you want.&lt;br /&gt;
&lt;br /&gt;
With a larger pick, you won't likely grip on the other two points of the triangle.  It might not be a bit deal, but I find it a little awkward.  But as mentioned, go buy a bunch of different shapes, sizes, etc. and try them out first.  What's uncomfortable for some is perfect for others, which is why there is such a large variety.&lt;br /&gt;
&lt;br /&gt;
== Size ==&lt;br /&gt;
Picks range from smaller than a thumbprint to almost as large as your palm.  Size plays into many of the things mentioned above - if a pick is large, you're going to grip it differently and that will affect how you control it.&lt;br /&gt;
&lt;br /&gt;
For a given pick shape and thickness, there is a size that will work best for you, where you gain the most comfort and control.  If too large, it will be awkward to grip.  If too small, it will be awkward to control and maintain a grip.&lt;br /&gt;
&lt;br /&gt;
== Thickness ==&lt;br /&gt;
I like thick picks, and I cannot lie.  Most of the picks you'll randomly encounter are pretty thin (.7 mm or smaller).  In contrast, the JP Jazz III I like is 1.5 mm - over 2x as thick.&lt;br /&gt;
&lt;br /&gt;
Thickness affects how much you can dig into the string during your picking stroke.  Remember from [[Basic Technique]] that from a technique-perspective, you can use pick angle, the location on the pick you hit the string with, and grip strength to vary this.  Well, pick thickness will override all these aspects to some degree.  As mentioned above, the more pressure you apply to the string through the pick, the more pressure the string applies back to your pick and to your hand.  With a thick pick, you can tighten up your grip and push really hard against that string without it sliding off the pick.  When it eventually does, you'll get a big &amp;quot;Biiinnnngg!&amp;quot;.  With a thin pick, it doesn't matter how tight your grip is - the pick itself will bend and the string will slide off of it before you can put too much pressure on it.&lt;br /&gt;
&lt;br /&gt;
So really, thick picks give you more control, but at the same time demand a bit better technique to get consistent dynamics.  Thinner picks are often a bit easier for beginners, and also make strumming chords a bit easier.&lt;br /&gt;
&lt;br /&gt;
Thinner picks tend to be larger and factor into account that the bend of the pick will be part of the stroke.  So you generally use more of the pick tip when you pick the strings, and this means a larger picking motion per note.  Thus, thinner picks tend to be worse for speed playing, requiring larger and more dedicated strokes for each note, while smaller, thicker picks can get similar pop from the string with a smaller and faster stroke.&lt;br /&gt;
&lt;br /&gt;
== Tip ==&lt;br /&gt;
The tip is the part of the pick you use to pluck the string.  Generally, the only consideration is how sharp the tip is.&lt;br /&gt;
&lt;br /&gt;
A sharp tip gives a slightly brighter (more chimey/metallic) tone, but the release as the string slides off the pick can feel a bit awkward.  A very sharp tip gives you a bit more control - all the factors about your picking stroke have more impact.  While a duller point is going to let the string slide off the tip once you've applied a certain amount of tension, a sharper tip lets you carry that a little further.  Or you can loosen your grip to allow it to slide off.&lt;br /&gt;
&lt;br /&gt;
I don't like a very sharp tip.  I find it's more difficult to be consistent with timing and adds unnecessary requirements on picking technique for no real gain.  I do like the tip to be a clear point, though.  About as sharp as a ballpoint pen or plastic fork tip is where I like it.  Also, unless you have a pick made from special material, that sharp tip is going to wear down fast, and you're left with a more standard tip, anyway.&lt;br /&gt;
&lt;br /&gt;
A dull tip simply doesn't have enough control for me - I always feel like I'm sliding through each stroke, rather than being able to apply some real pop to accented notes.&lt;br /&gt;
&lt;br /&gt;
Rather than go out and buy picks with all kinds of different tips, you can use a nail file to sharpen or dull a tip.&lt;br /&gt;
&lt;br /&gt;
== Material/Durability ==&lt;br /&gt;
Picks are made from a variety of materials.  Most are plastic, but there are variants of the actual plastic used which contribute to their feel and durability.  See [http://en.wikipedia.org/wiki/Guitar_pick#Materials Wikipedia - Guitar Picks] for more info.  Pick material will affect tone, feel, and durability.&lt;br /&gt;
&lt;br /&gt;
Durability matters because those edges and tip shape you like will change as you use the pick.  Eventually the pick edges may develop notches, which you have to file out to get a smooth pick stroke especially on the thinner strings.  The tip may lose its point and turn into a big nub.  Then your tone can get a bit dull.&lt;br /&gt;
&lt;br /&gt;
For most occasions, this isn't such a big deal.  Just throw the pick away and start on a fresh one.  But depending on your playing style and how you set up your instrument, this may occur way too often.  Plus it involves more overhead - you'd have to make sure you always have a cache of picks ready for a practice session or gig.  Also, economics can come into play - you don't want to be burning through picks if they're expensive.&lt;br /&gt;
&lt;br /&gt;
=== Metal ===&lt;br /&gt;
Some picks are made of metal.  These are rigid - they have no &amp;quot;give&amp;quot; to them, similar to a rather thick plastic pick.  They have a much brighter tone to them than a plastic pick.  Try using a coin to pick the strings to get an idea of the tone.&lt;br /&gt;
&lt;br /&gt;
The main thing here is the tone, but other considerations are also how they affect the strings causing them to wear more easily and concerns about scratching your guitar's finish.&lt;br /&gt;
&lt;br /&gt;
=== Nylon ===&lt;br /&gt;
Nylon is a popular choice for picks - it is a very smooth material, allowing a very natural picking stroke, where the string gracefully slides off the pick edge and tip.  The problem I've found is that they wear very fast.  And in the case of thinner picks, while initially flexible eventually they can actually crack and break.&lt;br /&gt;
&lt;br /&gt;
=== Tortex/Delrin ===&lt;br /&gt;
Tortex is a material made by [http://www.jimdunlop.com/products/guitar-picks Dunlop] designed to replicate tortoise shell (see below).  It is actually (I believe) Delrin, a particular kind of plastic.  It promotes low friction and high durability.&lt;br /&gt;
&lt;br /&gt;
I have tried quite a few Tortex picks and never really liked them particularly.  They felt a little chaulky and felt like they slipped in my hand a little.&lt;br /&gt;
&lt;br /&gt;
=== Ultex/Ultem ===&lt;br /&gt;
This is what the JP Jazz III picks are made from.  It is a very hard plastic, but they seem to be easier to mold than the Tortex/Delrin ones.  I've noticed Ultex picks have a wider variety of surfaces (for grip) and can be rounded across the whole body, whereas the Tortex are generally completely flat with no surfacing.&lt;br /&gt;
&lt;br /&gt;
It is not indestructible - I find they wear faster than I'd like to be honest.  However, they definitely last longer than the nylon ones, have a good grip, come in the size/shape I like, and are relatively cheap.&lt;br /&gt;
&lt;br /&gt;
=== Acrylic ===&lt;br /&gt;
I believe [http://v-picks.com V-Picks] is the biggest manufacturer of these kind of picks.  I haven't tried them myself, but they claim to be smoother and more durable than the types above.  Plus they can be made clear or other unique designs.  They aren't terribly expensive compared to the options below, but do cost more than your usual plastic picks.  Definitely worth checking out.&lt;br /&gt;
&lt;br /&gt;
=== Tortoise Shell ===&lt;br /&gt;
Tortoise Shell was a popular material for picks several decades ago, but harvesting and trading tortoise shell is now illegal due to wildlife preservation concners (similar to ivory in elephants and rhinos).&lt;br /&gt;
&lt;br /&gt;
[http://www.redbeartrading.com/ Red Bear] actually produces picks that they claim is the same material as tortoise shell, but without harming any animals in the process.  I haven't tried one of these - they are a bit price prohibitive, being around $30 per pick.  Many players swear by them.  I can only assume they are similar to the gemstone option below - fairly indestructable and very smooth.&lt;br /&gt;
&lt;br /&gt;
The big risk here is that you're spending so much money on something so small and easily lost.  You can always keep some cheap picks on hand as a backup, but because they're going to feel different, it might not be a truly comparable backup (although this is usually the case for backups).&lt;br /&gt;
&lt;br /&gt;
=== Gemstone ===&lt;br /&gt;
I have an original Star Pick, which is made of some rare-Earth gemstone.  It is ultra smooth and durable.  The problem is that I only have one and am not sure if it could ever be replaced.  If you are able to find one of these, I definitely recommend them.  Just be sure to check reviews and make sure you are getting something actually made of real gemstone and that the durability and smoothness is up to snuff.  They will not be cheap.&lt;br /&gt;
&lt;br /&gt;
Again, like above, the main fear is keeping track of something small and expensive, as well as finding suitable backups.&lt;br /&gt;
&lt;br /&gt;
== Grip ==&lt;br /&gt;
When it comes to pick and grip, there is the right hand grip of the pick and the surface of the pick itself.  This section discusses the latter.&lt;br /&gt;
&lt;br /&gt;
Both material and design go into the grip of a pick.  Some materials are simply slicker or less absorbant than others.  This can make the pick more slick and difficult to grip, especially in humid climates or when sweating such as during a gig or intense practice session.  I found nylon to be the worst material here.  Tortex is likely a bit more absorbant but I still found them a bit awkward to grip.&lt;br /&gt;
&lt;br /&gt;
Picks are often designed to improve grip.  Methods include molding them with contours for your thumb, creating a rough or similar surface, drilling holes through them, and coating the non-tip parts in rubber.  I find a subtle rough surfacing does wonders.  Thumb/finger contours I never liked - they force you to grip the pick a specific way and make the picks too bulky.  I've never tried holes, but I imagine they are better than nothing, although they may aggravate your skin after a while.  Rubber seems like a good solution, but will also affect your right hand grip...and can add more expense per pick.&lt;br /&gt;
&lt;br /&gt;
Again, buy many different options and experiment to figure out what's best for you.&lt;br /&gt;
&lt;br /&gt;
== Special Picks ==&lt;br /&gt;
In addition to &amp;quot;normal&amp;quot; flat picks with a single tip, there are special picks that are held or played differently than a standard picking technique.&lt;br /&gt;
&lt;br /&gt;
=== Thumb ===&lt;br /&gt;
Some picks feature a loop of plastic you slide your thumb inside, so that you don't need to grip the pick with the index or other right hand finger.  This leaves the player with the pick tone, but frees up the other fingers to finger pick strings or tap.  Some players prefer it for simple comfort reasons.&lt;br /&gt;
&lt;br /&gt;
I'm not a huge fan of thumb picks for a few reasons.  First, you have less variety than you do with standard flat picks.  Second, I don't find it comfortable to &amp;quot;wear&amp;quot; the pick.  And third, I find I have a bit less control.  If I grip the thumb pick like a normal pick, the last two concerns are mostly alleviated; but then the thumb pick offers no real benefit over a flat pick.&lt;br /&gt;
&lt;br /&gt;
=== Finger ===&lt;br /&gt;
Finger picks are worn over the tip of each finger.  They are used in a [[Finger Picking|finger-picking technique]], but give the player a picked tone rather than the duller sound of a finger.&lt;br /&gt;
&lt;br /&gt;
=== Multi-Tip ===&lt;br /&gt;
Some picks feature multiple tips, so that each stroke actually picks the string multiple times.&lt;br /&gt;
&lt;br /&gt;
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[[Category:Picks]]&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=Choosing_a_Pick&amp;diff=8730</id>
		<title>Choosing a Pick</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=Choosing_a_Pick&amp;diff=8730"/>
				<updated>2016-09-12T14:32:54Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: &lt;/p&gt;
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There are numerous considerations for choosing a pick: shape, size, thickness, tip, material/durability, and grip.  There are also special picks, such as thumb and finger picks.  My advice is to buy one each of a wide variety of picks.  It might cost you $20-30 for this initial order, from which you may only find 2-3 that you like.  But that's better than using a suboptimal pick.  The ideal pick for you is based on your personal traits like how you grip the pick, how large your hand is, how hard you grip the pick, etc., as well as related to your gear, such as string gauge and tuning, or your playing style (mostly strumming vs. lead or riff playing).  Picks will also impact tone, so that has a bearing on the one(s) you settle on.&lt;br /&gt;
&lt;br /&gt;
I play [http://www.jimdunlop.com/product/john-petrucci-jazz-iii Dunlop John Petrucci Jazz III picks], and highly recommend them to others.&lt;br /&gt;
&lt;br /&gt;
== Brands ==&lt;br /&gt;
[http://www.jimdunlop.com/ Jim Dunlop] is the biggest name I know of in picks.  [http://www.fender.com/accessories/picks/ Fender] and other guitar manufacturers make picks, as well as no-name companies whose picks are simply rebranded.  Fender picks aren't bad (they are certainly pretty!), but I'd stay away from anything else.  Picks are relatively inexpensive and are used as a promotional tool rather than a serious product.  This is why I like Dunlop and other brands below dedicated to selling picks - they survive by making quality picks, not trying to rope you into buying something else.  That said, new companies can always appear, and there are several boutique vendors that use stones or gems for ultra-durable, high-price picks.&lt;br /&gt;
&lt;br /&gt;
* [http://www.jimdunlop.com/products/guitar-picks Dunlop]&lt;br /&gt;
* [http://www.fender.com/accessories/picks/ Fender]&lt;br /&gt;
* [http://www.v-picks.com/ V-Picks]&lt;br /&gt;
* [http://www.redbeartrading.com/ Red Bear Trading]&lt;br /&gt;
* [http://www.winspearpicks.com/ Winspear]&lt;br /&gt;
&lt;br /&gt;
== Aesthetics ==&lt;br /&gt;
My advice is to try to ignore pick aesthetics entirely.  You want the sound of yourself playing guitar to be beautiful, which means using a pick with excellent comfort and control.  The look of a small piece of plastic that spends 99% of its time covered by your thumb/fingers is relatively insignificant.&lt;br /&gt;
&lt;br /&gt;
== Shape ==&lt;br /&gt;
The standard pick shape is similar to an isoseles triangle with rounded edges and even more rounded tips.  The pointier of the 3 tips is what is used to pluck the strings.  Most picks follow this paradigm.&lt;br /&gt;
&lt;br /&gt;
[http://www.redbeartrading.com/flatpicks.html Here is the shape catalog for Red Bear Trading].  The first 2 picks on the third row are the &amp;quot;Classic&amp;quot; shape, as described as above.  Notice the wide variety of shapes available.  They can be wider or thinner and have more rounded or completely straight edges.&lt;br /&gt;
&lt;br /&gt;
Shape plays an impact both on comfort and feel.  By feel, I mean what it feels like moving the pick through the string during a typical picking motion.  The sharper the angle of the side of the pick in relation to the string, the quicker and easier the pick will move through the string.  There's a balance here: imagine playing a string with a credit card; as long as you keep the card perpendicular to the guitar body, you can't pick the string.  You are just pushing on it, but you can't push through because it won't slide off the edge.  But you can control the angle of the card; naturally, you will keep your hand tension roughly constant.  As you push on the string, it is putting greater and greater tension on the pick (or credit card).  Thus, you allow the pick to angle relative to the string, and slide off.&lt;br /&gt;
&lt;br /&gt;
Picks that are narrower and hit the string with a more perpendicular edge will &amp;quot;catch&amp;quot; the string better, allowing you to really dig in and get a strong stroke.  But they may require more effort per stroke and be difficult to use for fast picking.  Picks that are a bit wider or have a special shape where the edges are sharply angled will slide off the string before being able to displace it much at all, leaving a weak stroke.  These may allow you to quickly and easily complete strokes, but if the strokes are too weak, you won't have enough clarity in your playing.&lt;br /&gt;
&lt;br /&gt;
Also pay attention to the other two tips of the triangle.  Some picks are very rounded on the part opposite the tip used to pick the strings, while others are literally perfect triangles.  I like to have a bit of a rounded part on top.  This way, when I grip the pick, I grip on top of those two other points, but I'm not on the edge of the pick.  Those two point are where you will get the most torque on the pick.  Without the round extension sticking out between those points, you'd be on the edge of the pick, and that means you don't have as much torque on the other axis which keeps your pick perpendicular to the body so you can really dig into the strings when you want.&lt;br /&gt;
&lt;br /&gt;
With a larger pick, you won't likely grip on the other two points of the triangle.  It might not be a bit deal, but I find it a little awkward.  But as mentioned, go buy a bunch of different shapes, sizes, etc. and try them out first.  What's uncomfortable for some is perfect for others, which is why there is such a large variety.&lt;br /&gt;
&lt;br /&gt;
== Size ==&lt;br /&gt;
Picks range from smaller than a thumbprint to almost as large as your palm.  Size plays into many of the things mentioned above - if a pick is large, you're going to grip it differently and that will affect how you control it.&lt;br /&gt;
&lt;br /&gt;
For a given pick shape and thickness, there is a size that will work best for you, where you gain the most comfort and control.  If too large, it will be awkward to grip.  If too small, it will be awkward to control and maintain a grip.&lt;br /&gt;
&lt;br /&gt;
== Thickness ==&lt;br /&gt;
I like thick picks, and I cannot lie.  Most of the picks you'll randomly encounter are pretty thin (.7 mm or smaller).  In contrast, the JP Jazz III I like is 1.5 mm - over 2x as thick.&lt;br /&gt;
&lt;br /&gt;
Thickness affects how much you can dig into the string during your picking stroke.  Remember from [[Basic Technique]] that from a technique-perspective, you can use pick angle, the location on the pick you hit the string with, and grip strength to vary this.  Well, pick thickness will override all these aspects to some degree.  As mentioned above, the more pressure you apply to the string through the pick, the more pressure the string applies back to your pick and to your hand.  With a thick pick, you can tighten up your grip and push really hard against that string without it sliding off the pick.  When it eventually does, you'll get a big &amp;quot;Biiinnnngg!&amp;quot;.  With a thin pick, it doesn't matter how tight your grip is - the pick itself will bend and the string will slide off of it before you can put too much pressure on it.&lt;br /&gt;
&lt;br /&gt;
So really, thick picks give you more control, but at the same time demand a bit better technique to get consistent dynamics.  Thinner picks are often a bit easier for beginners, and also make strumming chords a bit easier.&lt;br /&gt;
&lt;br /&gt;
Thinner picks tend to be larger and factor into account that the bend of the pick will be part of the stroke.  So you generally use more of the pick tip when you pick the strings, and this means a larger picking motion per note.  Thus, thinner picks tend to be worse for speed playing, requiring larger and more dedicated strokes for each note, while smaller, thicker picks can get similar pop from the string with a smaller and faster stroke.&lt;br /&gt;
&lt;br /&gt;
== Tip ==&lt;br /&gt;
The tip is the part of the pick you use to pluck the string.  Generally, the only consideration is how sharp the tip is.&lt;br /&gt;
&lt;br /&gt;
A sharp tip gives a slightly brighter (more chimey/metallic) tone, but the release as the string slides off the pick can feel a bit awkward.  A very sharp tip gives you a bit more control - all the factors about your picking stroke have more impact.  While a duller point is going to let the string slide off the tip once you've applied a certain amount of tension, a sharper tip lets you carry that a little further.  Or you can loosen your grip to allow it to slide off.&lt;br /&gt;
&lt;br /&gt;
I don't like a very sharp tip.  I find it's more difficult to be consistent with timing and adds unnecessary requirements on picking technique for no real gain.  I do like the tip to be a clear point, though.  About as sharp as a ballpoint pen or plastic fork tip is where I like it.  Also, unless you have a pick made from special material, that sharp tip is going to wear down fast, and you're left with a more standard tip, anyway.&lt;br /&gt;
&lt;br /&gt;
A dull tip simply doesn't have enough control for me - I always feel like I'm sliding through each stroke, rather than being able to apply some real pop to accented notes.&lt;br /&gt;
&lt;br /&gt;
Rather than go out and buy picks with all kinds of different tips, you can use a nail file to sharpen or dull a tip.&lt;br /&gt;
&lt;br /&gt;
== Material/Durability ==&lt;br /&gt;
Picks are made from a variety of materials.  Most are plastic, but there are variants of the actual plastic used which contribute to their feel and durability.  See [http://en.wikipedia.org/wiki/Guitar_pick#Materials Wikipedia - Guitar Picks] for more info.  Pick material will affect tone, feel, and durability.&lt;br /&gt;
&lt;br /&gt;
Durability matters because those edges and tip shape you like will change as you use the pick.  Eventually the pick edges may develop notches, which you have to file out to get a smooth pick stroke especially on the thinner strings.  The tip may lose its point and turn into a big nub.  Then your tone can get a bit dull.&lt;br /&gt;
&lt;br /&gt;
For most occasions, this isn't such a big deal.  Just throw the pick away and start on a fresh one.  But depending on your playing style and how you set up your instrument, this may occur way too often.  Plus it involves more overhead - you'd have to make sure you always have a cache of picks ready for a practice session or gig.  Also, economics can come into play - you don't want to be burning through picks if they're expensive.&lt;br /&gt;
&lt;br /&gt;
=== Metal ===&lt;br /&gt;
Some picks are made of metal.  These are rigid - they have no &amp;quot;give&amp;quot; to them, similar to a rather thick plastic pick.  They have a much brighter tone to them than a plastic pick.  Try using a coin to pick the strings to get an idea of the tone.&lt;br /&gt;
&lt;br /&gt;
The main thing here is the tone, but other considerations are also how they affect the strings causing them to wear more easily and concerns about scratching your guitar's finish.&lt;br /&gt;
&lt;br /&gt;
=== Nylon ===&lt;br /&gt;
Nylon is a popular choice for picks - it is a very smooth material, allowing a very natural picking stroke, where the string gracefully slides off the pick edge and tip.  The problem I've found is that they wear very fast.  And in the case of thinner picks, while initially flexible eventually they can actually crack and break.&lt;br /&gt;
&lt;br /&gt;
=== Tortex/Delrin ===&lt;br /&gt;
Tortex is a material made by [http://www.jimdunlop.com/products/guitar-picks Dunlop] designed to replicate tortoise shell (see below).  It is actually (I believe) Delrin, a particular kind of plastic.  It promotes low friction and high durability.&lt;br /&gt;
&lt;br /&gt;
I have tried quite a few Tortex picks and never really liked them particularly.  They felt a little chaulky and felt like they slipped in my hand a little.&lt;br /&gt;
&lt;br /&gt;
=== Ultex/Ultem ===&lt;br /&gt;
This is what the JP Jazz III picks are made from.  It is a very hard plastic, but they seem to be easier to mold than the Tortex/Delrin ones.  I've noticed Ultex picks have a wider variety of surfaces (for grip) and can be rounded across the whole body, whereas the Tortex are generally completely flat with no surfacing.&lt;br /&gt;
&lt;br /&gt;
It is not indestructible - I find they wear faster than I'd like to be honest.  However, they definitely last longer than the nylon ones, have a good grip, come in the size/shape I like, and are relatively cheap.&lt;br /&gt;
&lt;br /&gt;
=== Acrylic ===&lt;br /&gt;
I believe [http://v-picks.com V-Picks] is the biggest manufacturer of these kind of picks.  I haven't tried them myself, but they claim to be smoother and more durable than the types above.  Plus they can be made clear or other unique designs.  They aren't terribly expensive compared to the options below, but do cost more than your usual plastic picks.  Definitely worth checking out.&lt;br /&gt;
&lt;br /&gt;
=== Tortoise Shell ===&lt;br /&gt;
Tortoise Shell was a popular material for picks several decades ago, but harvesting and trading tortoise shell is now illegal due to wildlife preservation concners (similar to ivory in elephants and rhinos).&lt;br /&gt;
&lt;br /&gt;
[http://www.redbeartrading.com/ Red Bear] actually produces picks that they claim is the same material as tortoise shell, but without harming any animals in the process.  I haven't tried one of these - they are a bit price prohibitive, being around $30 per pick.  Many players swear by them.  I can only assume they are similar to the gemstone option below - fairly indestructable and very smooth.&lt;br /&gt;
&lt;br /&gt;
The big risk here is that you're spending so much money on something so small and easily lost.  You can always keep some cheap picks on hand as a backup, but because they're going to feel different, it might not be a truly comparable backup (although this is usually the case for backups).&lt;br /&gt;
&lt;br /&gt;
=== Gemstone ===&lt;br /&gt;
I have an original Star Pick, which is made of some rare-Earth gemstone.  It is ultra smooth and durable.  The problem is that I only have one and am not sure if it could ever be replaced.  If you are able to find one of these, I definitely recommend them.  Just be sure to check reviews and make sure you are getting something actually made of real gemstone and that the durability and smoothness is up to snuff.  They will not be cheap.&lt;br /&gt;
&lt;br /&gt;
Again, like above, the main fear is keeping track of something small and expensive, as well as finding suitable backups.&lt;br /&gt;
&lt;br /&gt;
== Grip ==&lt;br /&gt;
When it comes to pick and grip, there is the right hand grip of the pick and the surface of the pick itself.  This section discusses the latter.&lt;br /&gt;
&lt;br /&gt;
Both material and design go into the grip of a pick.  Some materials are simply slicker or less absorbant than others.  This can make the pick more slick and difficult to grip, especially in humid climates or when sweating such as during a gig or intense practice session.  I found nylon to be the worst material here.  Tortex is likely a bit more absorbant but I still found them a bit awkward to grip.&lt;br /&gt;
&lt;br /&gt;
Picks are often designed to improve grip.  Methods include molding them with contours for your thumb, creating a rough or similar surface, drilling holes through them, and coating the non-tip parts in rubber.  I find a subtle rough surfacing does wonders.  Thumb/finger contours I never liked - they force you to grip the pick a specific way and make the picks too bulky.  I've never tried holes, but I imagine they are better than nothing, although they may aggravate your skin after a while.  Rubber seems like a good solution, but will also affect your right hand grip...and can add more expense per pick.&lt;br /&gt;
&lt;br /&gt;
Again, buy many different options and experiment to figure out what's best for you.&lt;br /&gt;
&lt;br /&gt;
== Special Picks ==&lt;br /&gt;
In addition to &amp;quot;normal&amp;quot; flat picks with a single tip, there are special picks that are held or played differently than a standard picking technique.&lt;br /&gt;
&lt;br /&gt;
=== Thumb ===&lt;br /&gt;
Some picks feature a loop of plastic you slide your thumb inside, so that you don't need to grip the pick with the index or other right hand finger.  This leaves the player with the pick tone, but frees up the other fingers to finger pick strings or tap.  Some players prefer it for simple comfort reasons.&lt;br /&gt;
&lt;br /&gt;
I'm not a huge fan of thumb picks for a few reasons.  First, you have less variety than you do with standard flat picks.  Second, I don't find it comfortable to &amp;quot;wear&amp;quot; the pick.  And third, I find I have a bit less control.  If I grip the thumb pick like a normal pick, the last two concerns are mostly alleviated; but then the thumb pick offers no real benefit over a flat pick.&lt;br /&gt;
&lt;br /&gt;
=== Finger ===&lt;br /&gt;
Finger picks are worn over the tip of each finger.  They are used in a [[Finger Picking|finger-picking technique]], but give the player a picked tone rather than the duller sound of a finger.&lt;br /&gt;
&lt;br /&gt;
=== Multi-Tip ===&lt;br /&gt;
Some picks feature multiple tips, so that each stroke actually picks the string multiple times.&lt;br /&gt;
&lt;br /&gt;
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{{Buyer's Guide Crumbs|1}}&lt;br /&gt;
&lt;br /&gt;
[[Category:Guitar]]&lt;br /&gt;
[[Category:Gear]]&lt;br /&gt;
[[Category:Picks]]&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=Contents&amp;diff=8729</id>
		<title>Contents</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=Contents&amp;diff=8729"/>
				<updated>2016-09-12T03:52:48Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;== Miscellaneous ==&lt;br /&gt;
* [[Main Page]]&lt;br /&gt;
* [[Introduction]]&lt;br /&gt;
* [[How Stringed Instruments Work]]&lt;br /&gt;
&lt;br /&gt;
== Lessons ==&lt;br /&gt;
{{crumbs|blue|1&lt;br /&gt;
|Contents#Lessons|Lessons&lt;br /&gt;
|Contents#Exercises|Exercises&lt;br /&gt;
|Contents#Reference|Reference&lt;br /&gt;
|Contents#Gear and Setup|Gear&lt;br /&gt;
|Contents#Getting Gig Ready|Gig Prep&lt;br /&gt;
|Contents#DAW/Recording|Recording&lt;br /&gt;
|Contents#Sound|Sound&lt;br /&gt;
|Contents#Musical Skills|Skills&lt;br /&gt;
|Contents#Glossary|Glossary&lt;br /&gt;
|Contents#Wiki|Wiki}}&lt;br /&gt;
&lt;br /&gt;
Here are the main pages for this site - guitar lessons.  These are designed to be digested in order, although some skipping around is possible.  These assume you are starting from an absolute void of both guitar and general music knowledge; if you have experience with either, you may find yourself skipping ahead or skimming through the early pages.  Please read the [[Introduction]] before proceeding.&lt;br /&gt;
&lt;br /&gt;
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=== Beginner Lessons ===&lt;br /&gt;
{{Top-Level Crumbs2|1}}&lt;br /&gt;
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|Contents#Beginner Lessons|Beginner&lt;br /&gt;
|Contents#Intermediate Lessons|Intermediate&lt;br /&gt;
|Contents#Advanced Lessons|Advanced&lt;br /&gt;
|Contents#Technique Lessons|Techniques&lt;br /&gt;
|Contents#Style Lessons|Styles}}&lt;br /&gt;
&lt;br /&gt;
These lessons are designed to take you from knowing absolutely nothing about guitar and music to being able to make basic chord progressions in the key of C Major.&lt;br /&gt;
&lt;br /&gt;
# [[Guitar Parts and Functions]]&lt;br /&gt;
# [[Holding the Guitar and Pick]]&lt;br /&gt;
# [[Basic Technique]]&lt;br /&gt;
# [[Tuning and Harmonics]]&lt;br /&gt;
# [[Music Theory Basics]]&lt;br /&gt;
# [[Position]]&lt;br /&gt;
# [[1st String]]&lt;br /&gt;
# [[1st and 2nd Strings - Intervals]]&lt;br /&gt;
# [[2nd and 3rd Strings]]&lt;br /&gt;
# [[4th, 5th, and 6th Strings]]&lt;br /&gt;
# [[C Major in Open Position and Alternate Picking]]&lt;br /&gt;
# [[C Major Chord]]&lt;br /&gt;
# [[G Major Chord]]&lt;br /&gt;
# [[F Major Chord]]&lt;br /&gt;
# [[E Minor, D Minor, and A Minor Chords]]&lt;br /&gt;
# [[Music Theory - Diatonic Chord Progressions]]&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
=== Intermediate Lessons===&lt;br /&gt;
{{Top-Level Crumbs2|1}}&lt;br /&gt;
{{crumbs|blue2|2&lt;br /&gt;
|Contents#Beginner Lessons|Beginner&lt;br /&gt;
|Contents#Intermediate Lessons|Intermediate&lt;br /&gt;
|Contents#Advanced Lessons|Advanced&lt;br /&gt;
|Contents#Technique Lessons|Techniques&lt;br /&gt;
|Contents#Style Lessons|Styles}} &lt;br /&gt;
&lt;br /&gt;
Here we branch off towards more complex chords and alternate keys, including natural and harmonic minor, as well as expanding the positions on the guitar we can comfortably play inside.&lt;br /&gt;
&lt;br /&gt;
I also encourage you to explore the [[#Technique Lessons|technique lessons]] at this point.  They will help you gain expressiveness, speed, and a fuller understanding of what it takes to be a good guitarist.  They can be consumed independently in any order, although I start with the most essential techniques and move towards more specialized ones.&lt;br /&gt;
&lt;br /&gt;
# [[B Diminished]]&lt;br /&gt;
# [[Other Open String Chords]]&lt;br /&gt;
# [[Music Theory - Minor Keys]]&lt;br /&gt;
# [[Harmonic Minor and Augmented Chords]]&lt;br /&gt;
# [[Barre Chords]]&lt;br /&gt;
# [[Suspended Chords]]&lt;br /&gt;
# [[Applying Rhythm to Chords]]&lt;br /&gt;
# [[Circle of Fifths]]&lt;br /&gt;
# [[G Major and E Minor]]&lt;br /&gt;
# [[5th Position]]&lt;br /&gt;
# [[Scales for all Positions]]&lt;br /&gt;
# [[CAGED]]&lt;br /&gt;
# [[7th Chords]]&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
=== Advanced Lessons===&lt;br /&gt;
{{Top-Level Crumbs2|1}}&lt;br /&gt;
{{crumbs|blue2|3&lt;br /&gt;
|Contents#Beginner Lessons|Beginner&lt;br /&gt;
|Contents#Intermediate Lessons|Intermediate&lt;br /&gt;
|Contents#Advanced Lessons|Advanced&lt;br /&gt;
|Contents#Technique Lessons|Techniques&lt;br /&gt;
|Contents#Style Lessons|Styles}} &lt;br /&gt;
&lt;br /&gt;
These contain the knowledge needed to gain a full understanding of and master the instrument.  I also recommend venturing into the [[#Style Lessons|style lessons]] below.&lt;br /&gt;
&lt;br /&gt;
# [[Voice Leading]]&lt;br /&gt;
# [[Modulation]]&lt;br /&gt;
# [[Chromatic Chords]]&lt;br /&gt;
# [[Modes]]&lt;br /&gt;
# [[Exotic Scales]]&lt;br /&gt;
# [[Solo'ing]]&lt;br /&gt;
# [[Extended Chords]]&lt;br /&gt;
# [[Advanced Rhythm|Advanced Rhythm - Odd-Time, Syncopation, Polymeter, and Polyrhythm]]&lt;br /&gt;
# [[Quartal Harmony]]&lt;br /&gt;
# [[Atonality and Serialism]]&lt;br /&gt;
# [[Equal Temperament, Alternate Tunings, and Microtonality]]&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
=== Technique Lessons ===&lt;br /&gt;
{{Top-Level Crumbs2|1}}&lt;br /&gt;
{{crumbs|blue2|4&lt;br /&gt;
|Contents#Beginner Lessons|Beginner&lt;br /&gt;
|Contents#Intermediate Lessons|Intermediate&lt;br /&gt;
|Contents#Advanced Lessons|Advanced&lt;br /&gt;
|Contents#Technique Lessons|Techniques&lt;br /&gt;
|Contents#Style Lessons|Styles}} &lt;br /&gt;
&lt;br /&gt;
Here are common techniques used when playing guitar.  These are technical, not musical.  In other words, they are not compositional techniques, but focused on either timbre or efficiency of motion.  They allow the guitar to ''sound differently'' or can be used to increase one's ''playing speed'', but they won't help you learn ''which'' notes to play.  It is essential to master most of these to ''fully express'' yourself musically.&lt;br /&gt;
&lt;br /&gt;
* [[Touch, Dynamics, and Accents]]&lt;br /&gt;
* [[Legato (Hammer-on, Pull-off)]]&lt;br /&gt;
* [[Bending]]&lt;br /&gt;
* [[Vibrato]]&lt;br /&gt;
* [[Palm Muting]]&lt;br /&gt;
* [[Artificial Harmonics]]&lt;br /&gt;
* [[Whammy Bar]]&lt;br /&gt;
* [[Tapping]]&lt;br /&gt;
* [[Sweep Picking]]&lt;br /&gt;
* [[Slapping]]&lt;br /&gt;
* [[Thumping]]&lt;br /&gt;
* [[Double and Triple Stops]]&lt;br /&gt;
* [[Finger Picking]]&lt;br /&gt;
* [[Pick Slides]]&lt;br /&gt;
* [[Slide Guitar]]&lt;br /&gt;
* [[Swells]]&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
=== Style Lessons ===&lt;br /&gt;
{{Top-Level Crumbs2|1}}&lt;br /&gt;
{{crumbs|blue2|5&lt;br /&gt;
|Contents#Beginner Lessons|Beginner&lt;br /&gt;
|Contents#Intermediate Lessons|Intermediate&lt;br /&gt;
|Contents#Advanced Lessons|Advanced&lt;br /&gt;
|Contents#Technique Lessons|Techniques&lt;br /&gt;
|Contents#Style Lessons|Styles}} &lt;br /&gt;
&lt;br /&gt;
This section explores different styles of music commonly associated with guitar, noting both compositional and technical conventions.&lt;br /&gt;
&lt;br /&gt;
* [[Rock]]&lt;br /&gt;
* [[Blues]]&lt;br /&gt;
* [[Funk]]&lt;br /&gt;
* [[Jazz]]&lt;br /&gt;
* [[Folk]]&lt;br /&gt;
* [[Thrash]]&lt;br /&gt;
* [[Djent]]&lt;br /&gt;
* [[Classical]]&lt;br /&gt;
* [[Flamenco (Spanish)]]&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
== Exercises ==&lt;br /&gt;
{{crumbs|blue|2&lt;br /&gt;
|Contents#Lessons|Lessons&lt;br /&gt;
|Contents#Exercises|Exercises&lt;br /&gt;
|Contents#Reference|Reference&lt;br /&gt;
|Contents#Gear and Setup|Gear&lt;br /&gt;
|Contents#Getting Gig Ready|Gig Prep&lt;br /&gt;
|Contents#DAW/Recording|Recording&lt;br /&gt;
|Contents#Sound|Sound&lt;br /&gt;
|Contents#Musical Skills|Skills&lt;br /&gt;
|Contents#Glossary|Glossary&lt;br /&gt;
|Contents#Wiki|Wiki}}&lt;br /&gt;
Contains lots of material you can use to practice.&lt;br /&gt;
&lt;br /&gt;
* [[Warmup Exercises]]&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
===Technical===&lt;br /&gt;
{{Top-Level Crumbs2|2}}&lt;br /&gt;
{{crumbs|blue2|1&lt;br /&gt;
|Contents#Technical|Technical&lt;br /&gt;
|Contents#Techniques Exercises|Techniques&lt;br /&gt;
|Contents#Songs, Solos, and Licks|Songs/Licks}}&lt;br /&gt;
&lt;br /&gt;
These focus on developing your left and right hands, not necessarily within a musical context.&lt;br /&gt;
&lt;br /&gt;
* [[Basic Technique Exercises]]&lt;br /&gt;
* [[Advanced Technique Exercises]]&lt;br /&gt;
* [[Alternate Picking]]&lt;br /&gt;
* [[Common Scale Exercises]]&lt;br /&gt;
* [[Rhythm Exercises]]&lt;br /&gt;
* [[Position-Shifting Exercises]]&lt;br /&gt;
* [[String Skipping Exercises]]&lt;br /&gt;
* [[Arpeggio Exercises]]&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
===Techniques Exercises===&lt;br /&gt;
{{Top-Level Crumbs2|2}}&lt;br /&gt;
{{crumbs|blue2|2&lt;br /&gt;
|Contents#Technical|Technical&lt;br /&gt;
|Contents#Techniques Exercises|Techniques&lt;br /&gt;
|Contents#Songs, Solos, and Licks|Songs/Licks}}&lt;br /&gt;
&lt;br /&gt;
These focus on perfecting various techniques from a technical standpoint.&lt;br /&gt;
&lt;br /&gt;
* [[Legato Exercises]]&lt;br /&gt;
* [[Tapping Exercises]]&lt;br /&gt;
* [[Harmonics Exercises]] (natural and artificial)&lt;br /&gt;
* [[Sweep Picking Exercises]]&lt;br /&gt;
* [[Slapping/Thumping Exercises]]&lt;br /&gt;
* [[Whammy Bar Exercises]]&lt;br /&gt;
* [[Double Stop and Chicken Pickin Exercises]]&lt;br /&gt;
* [[Fingerstyle Exercises]]&lt;br /&gt;
* [[Slide Guitar Exercises]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
===Songs, Solos, and Licks===&lt;br /&gt;
{{Top-Level Crumbs2|2}}&lt;br /&gt;
{{crumbs|blue2|3&lt;br /&gt;
|Contents#Technical|Technical&lt;br /&gt;
|Contents#Techniques Exercises|Techniques&lt;br /&gt;
|Contents#Songs, Solos, and Licks|Songs/Licks}}&lt;br /&gt;
&lt;br /&gt;
Here are actual songs that can be used to practice various styles and techniques, putting all that knowledge to practical uses.&lt;br /&gt;
&lt;br /&gt;
* [[Beginner Songs]]&lt;br /&gt;
* [[Intermediate Songs]]&lt;br /&gt;
* [[Advanced Songs]]&lt;br /&gt;
* [[Rock Songs]]&lt;br /&gt;
* [[Blues Songs]]&lt;br /&gt;
* [[Thrash Songs]]&lt;br /&gt;
* [[Common Lead Licks]]&lt;br /&gt;
* [[Example Solos]]&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
== Reference ==&lt;br /&gt;
{{crumbs|blue|3&lt;br /&gt;
|Contents#Lessons|Lessons&lt;br /&gt;
|Contents#Exercises|Exercises&lt;br /&gt;
|Contents#Reference|Reference&lt;br /&gt;
|Contents#Gear and Setup|Gear&lt;br /&gt;
|Contents#Getting Gig Ready|Gig Prep&lt;br /&gt;
|Contents#DAW/Recording|Recording&lt;br /&gt;
|Contents#Sound|Sound&lt;br /&gt;
|Contents#Musical Skills|Skills&lt;br /&gt;
|Contents#Glossary|Glossary&lt;br /&gt;
|Contents#Wiki|Wiki}}&lt;br /&gt;
&lt;br /&gt;
Contains quick reference material, such as chord shapes, scales mapped across the entire fretboard, etc.&lt;br /&gt;
&lt;br /&gt;
* [[Ref: Intervals]]&lt;br /&gt;
* [[Ref: Common Scales]]&lt;br /&gt;
* [[Ref: Circle of Fifths]]&lt;br /&gt;
* [[Ref: Fret Maps for all Keys]]&lt;br /&gt;
* [[Ref: CAGED Chord Charts]]&lt;br /&gt;
* [[Ref: Diatonic Chords for all Keys]]&lt;br /&gt;
* [[Ref: Diatonic Keys for Triads]]&lt;br /&gt;
* [[Ref: Chord Fingerings/Voicings]]&lt;br /&gt;
* [[Ref: Chord Names/Notes/Spellings]]&lt;br /&gt;
* [[Ref: Common Chord Progressions]]&lt;br /&gt;
* [[Ref: Modes]]&lt;br /&gt;
* [[Ref: Counting Rhythm]]&lt;br /&gt;
* [[Ref: Common Arpeggios]]&lt;br /&gt;
* [[Ref: Reading Tab]]&lt;br /&gt;
* [[Ref: Reading Chord Charts, Scale Maps, and Strumming Notation]]&lt;br /&gt;
* [[Injury|Injuries and Tips to Avoid and Recover from them]]&lt;br /&gt;
&lt;br /&gt;
=== Recommended Resources ===&lt;br /&gt;
Here are some videos, books, and articles I recommend checking out.&lt;br /&gt;
&lt;br /&gt;
* [http://www.youtube.com/watch?v=L68rxhMq6Kw&amp;amp;list=UUcLsvLJOecfCL6RplXhaO4Q Ben Eller's Why You Suck at Guitar Youtube Series]&lt;br /&gt;
* [http://www.sevenstring.org/forum/music-theory-lessons-techniques/ Sevenstring.org Music Theory sub-forum]&lt;br /&gt;
* [http://www.amazon.com/Selections-Rolling-Stone-Magazines-Greatest/dp/0739052217/ref=sr_1_1?ie=UTF8&amp;amp;qid=1398975305&amp;amp;sr=8-1&amp;amp;keywords=rolling+stone+tab Giant tab book of Rock Hits] [http://www.amazon.com/Selections-Rolling-Stone-Magazines-Greatest/dp/0739052209/ref=pd_bxgy_b_img_y Vol 1]&lt;br /&gt;
* [http://www.amazon.com/The-Real-Book-Edition-Instruments/dp/B000VZSOI4/ref=sr_1_3?ie=UTF8&amp;amp;qid=1398975264&amp;amp;sr=8-3&amp;amp;keywords=real+book The Real Book]&lt;br /&gt;
* [http://www.guitarasylumtv.com/&amp;amp;sa=U&amp;amp;ei=M6xiU9PaBMu3yASYoYKIBg&amp;amp;ved=0CB0QFjAA&amp;amp;usg=AFQjCNGtUU6VW0pfKRLTW8lcK9Gr4f-9Vw Rusty Cooley's Guitar Assylum TV]&lt;br /&gt;
* [http://www.youtube.com/watch?v=NnVeB6jvgnM&amp;amp;list=PLCA91BB1EE39C8051 Joe Satriani Youtube lessons (particularly the SatchZone series)]&lt;br /&gt;
* [http://www.youtube.com/watch%3Fv%3D6VApk-vvhp8&amp;amp;sa=U&amp;amp;ei=TaxiU6-RF46OyATm5YGIAQ&amp;amp;ved=0CCIQtwIwAQ&amp;amp;usg=AFQjCNF7DmuJUieuyxjy8tAxQOFZkEvqcQ John Petrucci's Rock Discipline]&lt;br /&gt;
* [http://www.vai.com/ Steve Vai's Little Black Notes section on Vai.com]&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
== Gear and Setup ==&lt;br /&gt;
{{crumbs|blue|4&lt;br /&gt;
|Contents#Lessons|Lessons&lt;br /&gt;
|Contents#Exercises|Exercises&lt;br /&gt;
|Contents#Reference|Reference&lt;br /&gt;
|Contents#Gear and Setup|Gear&lt;br /&gt;
|Contents#Getting Gig Ready|Gig Prep&lt;br /&gt;
|Contents#DAW/Recording|Recording&lt;br /&gt;
|Contents#Sound|Sound&lt;br /&gt;
|Contents#Musical Skills|Skills&lt;br /&gt;
|Contents#Glossary|Glossary&lt;br /&gt;
|Contents#Wiki|Wiki}}&lt;br /&gt;
&lt;br /&gt;
Advice on buying/tweaking your gear and setting up your instrument.&lt;br /&gt;
&lt;br /&gt;
=== Tone ===&lt;br /&gt;
{{crumbs|blue|4&lt;br /&gt;
|Contents#Lessons|Lessons&lt;br /&gt;
|Contents#Exercises|Exercises&lt;br /&gt;
|Contents#Reference|Reference&lt;br /&gt;
|Contents#Gear and Setup|Gear&lt;br /&gt;
|Contents#Getting Gig Ready|Gig Prep&lt;br /&gt;
|Contents#DAW/Recording|Recording&lt;br /&gt;
|Contents#Sound|Sound&lt;br /&gt;
|Contents#Musical Skills|Skills&lt;br /&gt;
|Contents#Glossary|Glossary&lt;br /&gt;
|Contents#Wiki|Wiki}}&lt;br /&gt;
{{crumbs|blue2|1&lt;br /&gt;
|Contents#Tone|Tone&lt;br /&gt;
|Contents#Buyer's Guide|Buyer's Guide&lt;br /&gt;
|Contents#User Guides|User Guides&lt;br /&gt;
|Contents#Effects|Effects}}&lt;br /&gt;
&lt;br /&gt;
* [[Tone]]&lt;br /&gt;
* [[Dialing in Distortion Tone]]&lt;br /&gt;
* [[Strings]]&lt;br /&gt;
* [[Setup/Adjustments]]&lt;br /&gt;
* [[Gear Myths and Pitfalls|Myths and Pitfalls]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Buyer's Guides ===&lt;br /&gt;
{{crumbs|blue|4&lt;br /&gt;
|Contents#Lessons|Lessons&lt;br /&gt;
|Contents#Exercises|Exercises&lt;br /&gt;
|Contents#Reference|Reference&lt;br /&gt;
|Contents#Gear and Setup|Gear&lt;br /&gt;
|Contents#Getting Gig Ready|Gig Prep&lt;br /&gt;
|Contents#DAW/Recording|Recording&lt;br /&gt;
|Contents#Sound|Sound&lt;br /&gt;
|Contents#Musical Skills|Skills&lt;br /&gt;
|Contents#Glossary|Glossary&lt;br /&gt;
|Contents#Wiki|Wiki}}&lt;br /&gt;
{{crumbs|blue2|2&lt;br /&gt;
|Contents#Tone|Tone&lt;br /&gt;
|Contents#Buyer's Guide|Buyer's Guide&lt;br /&gt;
|Contents#User Guides|User Guides&lt;br /&gt;
|Contents#Effects|Effects}}&lt;br /&gt;
&lt;br /&gt;
* [[Choosing a Pick]]&lt;br /&gt;
* [[Choosing a Guitar]]&lt;br /&gt;
* [[Choosing Pickups]]&lt;br /&gt;
** [[Special Pickups]]&lt;br /&gt;
* [[Choosing an Amp]]&lt;br /&gt;
* [[Choosing a Speaker Cabinet]]&lt;br /&gt;
* [[Choosing a Modeler/FRFR]]&lt;br /&gt;
* [[Foot Controllers]]&lt;br /&gt;
* [[Choosing Cables]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== User Guides ===&lt;br /&gt;
{{crumbs|blue|4&lt;br /&gt;
|Contents#Lessons|Lessons&lt;br /&gt;
|Contents#Exercises|Exercises&lt;br /&gt;
|Contents#Reference|Reference&lt;br /&gt;
|Contents#Gear and Setup|Gear&lt;br /&gt;
|Contents#Getting Gig Ready|Gig Prep&lt;br /&gt;
|Contents#DAW/Recording|Recording&lt;br /&gt;
|Contents#Sound|Sound&lt;br /&gt;
|Contents#Musical Skills|Skills&lt;br /&gt;
|Contents#Glossary|Glossary&lt;br /&gt;
|Contents#Wiki|Wiki}}&lt;br /&gt;
{{crumbs|blue2|3&lt;br /&gt;
|Contents#Tone|Tone&lt;br /&gt;
|Contents#Buyer's Guide|Buyer's Guide&lt;br /&gt;
|Contents#User Guides|User Guides&lt;br /&gt;
|Contents#Effects|Effects}}&lt;br /&gt;
&lt;br /&gt;
* [[Specific Gear Guides/Advice]]&lt;br /&gt;
** [[Kemper Profiling Amp Guide|Kemper ''Profiling Amp'' Guide]]&lt;br /&gt;
** [[Line 6 Pod HD Guide|Line 6 ''Pod HD'' Guide]]&lt;br /&gt;
** [[Specific Gear Guides/Advice#Mesa/Boogie Dual Rectifier|Mesa/Boogie ''Dual Rectifier'']]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Effects ===&lt;br /&gt;
{{crumbs|blue|4&lt;br /&gt;
|Contents#Lessons|Lessons&lt;br /&gt;
|Contents#Exercises|Exercises&lt;br /&gt;
|Contents#Reference|Reference&lt;br /&gt;
|Contents#Gear and Setup|Gear&lt;br /&gt;
|Contents#Getting Gig Ready|Gig Prep&lt;br /&gt;
|Contents#DAW/Recording|Recording&lt;br /&gt;
|Contents#Sound|Sound&lt;br /&gt;
|Contents#Musical Skills|Skills&lt;br /&gt;
|Contents#Glossary|Glossary&lt;br /&gt;
|Contents#Wiki|Wiki}}&lt;br /&gt;
{{crumbs|blue2|4&lt;br /&gt;
|Contents#Tone|Tone&lt;br /&gt;
|Contents#Buyer's Guide|Buyer's Guide&lt;br /&gt;
|Contents#User Guides|User Guides&lt;br /&gt;
|Contents#Effects|Effects}}&lt;br /&gt;
&lt;br /&gt;
* [[Types of Effects]]&lt;br /&gt;
* [[Effects Ordering/Position]]&lt;br /&gt;
* [[Noise Gate]]&lt;br /&gt;
* [[Compression]]&lt;br /&gt;
* [[Wah Pedals]]&lt;br /&gt;
* [[EQ]]&lt;br /&gt;
* [[Modulation Effects]]&lt;br /&gt;
* [[Delay]]&lt;br /&gt;
* [[Reverb]]&lt;br /&gt;
* [[Pitch Shifting]]&lt;br /&gt;
* [[Boost]]&lt;br /&gt;
* [[Distortion Effects]]&lt;br /&gt;
* [[Synth Effects]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Getting Gig Ready ==&lt;br /&gt;
{{crumbs|blue|5&lt;br /&gt;
|Contents#Lessons|Lessons&lt;br /&gt;
|Contents#Exercises|Exercises&lt;br /&gt;
|Contents#Reference|Reference&lt;br /&gt;
|Contents#Gear and Setup|Gear&lt;br /&gt;
|Contents#Getting Gig Ready|Gig Prep&lt;br /&gt;
|Contents#DAW/Recording|Recording&lt;br /&gt;
|Contents#Sound|Sound&lt;br /&gt;
|Contents#Musical Skills|Skills&lt;br /&gt;
|Contents#Glossary|Glossary&lt;br /&gt;
|Contents#Wiki|Wiki}}&lt;br /&gt;
&lt;br /&gt;
* [[Equipment Checklist, Setup]]&lt;br /&gt;
* [[Advanced Tuning]]&lt;br /&gt;
* [[Surviving Broken Strings]]&lt;br /&gt;
* [[Calming the Nerves]]&lt;br /&gt;
* [[Warm-Up Exercises|Warming Up]]&lt;br /&gt;
* [[Balancing Playability vs. Performance]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==DAW/Recording==&lt;br /&gt;
{{crumbs|blue|6&lt;br /&gt;
|Contents#Lessons|Lessons&lt;br /&gt;
|Contents#Exercises|Exercises&lt;br /&gt;
|Contents#Gear and Setup|Gear&lt;br /&gt;
|Contents#Reference|Reference&lt;br /&gt;
|Contents#Getting Gig Ready|Gig Prep&lt;br /&gt;
|Contents#DAW/Recording|Recording&lt;br /&gt;
|Contents#Sound|Sound&lt;br /&gt;
|Contents#Musical Skills|Skills&lt;br /&gt;
|Contents#Glossary|Glossary&lt;br /&gt;
|Contents#Wiki|Wiki}}&lt;br /&gt;
&lt;br /&gt;
Most of what you need to know to start home recording.&lt;br /&gt;
* [[Understanding Digital Audio]]&lt;br /&gt;
* [[Mixing Boards/Consoles]]&lt;br /&gt;
* [[Interface Setup]] (incl. Latency)&lt;br /&gt;
* [[Computer Setup]]&lt;br /&gt;
* [[DAW Basics]]&lt;br /&gt;
* [[Keyboard Macros/Hotkeys]]&lt;br /&gt;
* [[Popular Virtual Instruments/Plugins]]&lt;br /&gt;
* [[Tracking Audio|Tracking Audio (Comp tracks/Takes)]]&lt;br /&gt;
* [[Reamping]]&lt;br /&gt;
* [[MIDI]]&lt;br /&gt;
* [[Virtual Instruments]]&lt;br /&gt;
* [[Tracking MIDI|Tracking MIDI (Quantization)]]&lt;br /&gt;
* [[Editing Tracks]]&lt;br /&gt;
* [[Automation]]&lt;br /&gt;
* [[Tempo]]&lt;br /&gt;
* [[Synthesizers]]&lt;br /&gt;
* [[Samplers]]&lt;br /&gt;
* [[Sequencers]]&lt;br /&gt;
* [[Editing Drums]]&lt;br /&gt;
* [[Bounce/Render]]&lt;br /&gt;
* [[Mixing]]&lt;br /&gt;
* [[Mastering]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Sound ==&lt;br /&gt;
{{crumbs|blue|7&lt;br /&gt;
|Contents#Lessons|Lessons&lt;br /&gt;
|Contents#Exercises|Exercises&lt;br /&gt;
|Contents#Reference|Reference&lt;br /&gt;
|Contents#Gear and Setup|Gear&lt;br /&gt;
|Contents#Getting Gig Ready|Gig Prep&lt;br /&gt;
|Contents#DAW/Recording|Recording&lt;br /&gt;
|Contents#Sound|Sound&lt;br /&gt;
|Contents#Musical Skills|Skills&lt;br /&gt;
|Contents#Glossary|Glossary&lt;br /&gt;
|Contents#Wiki|Wiki}}&lt;br /&gt;
&lt;br /&gt;
These pages discuss the very nature of sound and how we can manipulate it.&lt;br /&gt;
&lt;br /&gt;
* [[Sound]]&lt;br /&gt;
* [[Transients]]&lt;br /&gt;
* [[Overtones]]&lt;br /&gt;
* [[Frequency Domain]]&lt;br /&gt;
* [[EQ or Filters]]&lt;br /&gt;
* [[ADSR and Envelope Filters]]&lt;br /&gt;
* [[Distortion]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Musical Skills ==&lt;br /&gt;
{{crumbs|blue|8&lt;br /&gt;
|Contents#Lessons|Lessons&lt;br /&gt;
|Contents#Exercises|Exercises&lt;br /&gt;
|Contents#Reference|Reference&lt;br /&gt;
|Contents#Gear and Setup|Gear&lt;br /&gt;
|Contents#Getting Gig Ready|Gig Prep&lt;br /&gt;
|Contents#DAW/Recording|Recording&lt;br /&gt;
|Contents#Sound|Sound&lt;br /&gt;
|Contents#Musical Skills|Skills&lt;br /&gt;
|Contents#Glossary|Glossary&lt;br /&gt;
|Contents#Wiki|Wiki}}&lt;br /&gt;
&lt;br /&gt;
Techniques to improve musical skills that relate to detecting and conveying musical information.&lt;br /&gt;
* [[Classical Notation and Sight-Reading]]&lt;br /&gt;
* [[Ear Training]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Composition ===&lt;br /&gt;
* [[Counterpoint]]&lt;br /&gt;
* [[Common Song Structures]]&lt;br /&gt;
* [[Tension and Release]]&lt;br /&gt;
* [[Meter]]&lt;br /&gt;
* [[Arrangement]]&lt;br /&gt;
* [[Writing Melodies]]&lt;br /&gt;
* [[Mood vs. Key]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==Glossary==&lt;br /&gt;
{{crumbs|blue|9&lt;br /&gt;
|Contents#Lessons|Lessons&lt;br /&gt;
|Contents#Exercises|Exercises&lt;br /&gt;
|Contents#Reference|Reference&lt;br /&gt;
|Contents#Gear and Setup|Gear&lt;br /&gt;
|Contents#Getting Gig Ready|Gig Prep&lt;br /&gt;
|Contents#DAW/Recording|Recording&lt;br /&gt;
|Contents#Sound|Sound&lt;br /&gt;
|Contents#Musical Skills|Skills&lt;br /&gt;
|Contents#Glossary|Glossary&lt;br /&gt;
|Contents#Wiki|Wiki}}&lt;br /&gt;
&lt;br /&gt;
* [[Glossary]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Wiki ==&lt;br /&gt;
{{crumbs|blue|10&lt;br /&gt;
|Contents#Lessons|Lessons&lt;br /&gt;
|Contents#Exercises|Exercises&lt;br /&gt;
|Contents#Reference|Reference&lt;br /&gt;
|Contents#Gear and Setup|Gear&lt;br /&gt;
|Contents#Getting Gig Ready|Gig Prep&lt;br /&gt;
|Contents#DAW/Recording|Recording&lt;br /&gt;
|Contents#Sound|Sound&lt;br /&gt;
|Contents#Musical Skills|Skills&lt;br /&gt;
|Contents#Glossary|Glossary&lt;br /&gt;
|Contents#Wiki|Wiki}}&lt;br /&gt;
&lt;br /&gt;
Everything you need to know about posting here.&lt;br /&gt;
* [[Site Policies]]&lt;br /&gt;
* [[Site Conventions]]&lt;br /&gt;
* [http://www.mediawiki.org/wiki/Manual:FAQ MediaWiki FAQ]&lt;br /&gt;
* [http://www.mediawiki.org/wiki/Help:Formatting Wiki Markup Formatting/Syntax]&lt;br /&gt;
* [[Wiki Templates|Templates]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
[[Category:Contents]]&lt;br /&gt;
[[Category:Guitar]]&lt;br /&gt;
[[Category:Lessons]]&lt;br /&gt;
[[Category:Technique]]&lt;br /&gt;
[[Category:Exercises]]&lt;br /&gt;
[[Category:Sound]]&lt;br /&gt;
[[Category:Gear]]&lt;br /&gt;
[[Category:DAW]]&lt;br /&gt;
[[Category:Reference]]&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=Contents&amp;diff=8728</id>
		<title>Contents</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=Contents&amp;diff=8728"/>
				<updated>2016-09-12T03:51:33Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{crumbs|blue|0&lt;br /&gt;
|Contents#Lessons|Lessons&lt;br /&gt;
|Contents#Exercises|Exercises&lt;br /&gt;
|Contents#Reference|Reference&lt;br /&gt;
|Contents#Gear and Setup|Gear&lt;br /&gt;
|Contents#Getting Gig Ready|Gig Prep&lt;br /&gt;
|Contents#DAW/Recording|Recording&lt;br /&gt;
|Contents#Sound|Sound|Contents#Musical Skills|Skills&lt;br /&gt;
|Contents#Glossary|Glossary&lt;br /&gt;
|Contents#Wiki|Wiki}}&lt;br /&gt;
&lt;br /&gt;
* [[Main Page]]&lt;br /&gt;
* [[Introduction]]&lt;br /&gt;
* [[How Stringed Instruments Work]]&lt;br /&gt;
&lt;br /&gt;
== Lessons ==&lt;br /&gt;
{{crumbs|blue|1&lt;br /&gt;
|Contents#Lessons|Lessons&lt;br /&gt;
|Contents#Exercises|Exercises&lt;br /&gt;
|Contents#Reference|Reference&lt;br /&gt;
|Contents#Gear and Setup|Gear&lt;br /&gt;
|Contents#Getting Gig Ready|Gig Prep&lt;br /&gt;
|Contents#DAW/Recording|Recording&lt;br /&gt;
|Contents#Sound|Sound&lt;br /&gt;
|Contents#Musical Skills|Skills&lt;br /&gt;
|Contents#Glossary|Glossary&lt;br /&gt;
|Contents#Wiki|Wiki}}&lt;br /&gt;
&lt;br /&gt;
Here are the main pages for this site - guitar lessons.  These are designed to be digested in order, although some skipping around is possible.  These assume you are starting from an absolute void of both guitar and general music knowledge; if you have experience with either, you may find yourself skipping ahead or skimming through the early pages.  Please read the [[Introduction]] before proceeding.&lt;br /&gt;
&lt;br /&gt;
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=== Beginner Lessons ===&lt;br /&gt;
{{Top-Level Crumbs2|1}}&lt;br /&gt;
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|Contents#Beginner Lessons|Beginner&lt;br /&gt;
|Contents#Intermediate Lessons|Intermediate&lt;br /&gt;
|Contents#Advanced Lessons|Advanced&lt;br /&gt;
|Contents#Technique Lessons|Techniques&lt;br /&gt;
|Contents#Style Lessons|Styles}}&lt;br /&gt;
&lt;br /&gt;
These lessons are designed to take you from knowing absolutely nothing about guitar and music to being able to make basic chord progressions in the key of C Major.&lt;br /&gt;
&lt;br /&gt;
# [[Guitar Parts and Functions]]&lt;br /&gt;
# [[Holding the Guitar and Pick]]&lt;br /&gt;
# [[Basic Technique]]&lt;br /&gt;
# [[Tuning and Harmonics]]&lt;br /&gt;
# [[Music Theory Basics]]&lt;br /&gt;
# [[Position]]&lt;br /&gt;
# [[1st String]]&lt;br /&gt;
# [[1st and 2nd Strings - Intervals]]&lt;br /&gt;
# [[2nd and 3rd Strings]]&lt;br /&gt;
# [[4th, 5th, and 6th Strings]]&lt;br /&gt;
# [[C Major in Open Position and Alternate Picking]]&lt;br /&gt;
# [[C Major Chord]]&lt;br /&gt;
# [[G Major Chord]]&lt;br /&gt;
# [[F Major Chord]]&lt;br /&gt;
# [[E Minor, D Minor, and A Minor Chords]]&lt;br /&gt;
# [[Music Theory - Diatonic Chord Progressions]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Intermediate Lessons===&lt;br /&gt;
{{Top-Level Crumbs2|1}}&lt;br /&gt;
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|Contents#Beginner Lessons|Beginner&lt;br /&gt;
|Contents#Intermediate Lessons|Intermediate&lt;br /&gt;
|Contents#Advanced Lessons|Advanced&lt;br /&gt;
|Contents#Technique Lessons|Techniques&lt;br /&gt;
|Contents#Style Lessons|Styles}} &lt;br /&gt;
&lt;br /&gt;
Here we branch off towards more complex chords and alternate keys, including natural and harmonic minor, as well as expanding the positions on the guitar we can comfortably play inside.&lt;br /&gt;
&lt;br /&gt;
I also encourage you to explore the [[#Technique Lessons|technique lessons]] at this point.  They will help you gain expressiveness, speed, and a fuller understanding of what it takes to be a good guitarist.  They can be consumed independently in any order, although I start with the most essential techniques and move towards more specialized ones.&lt;br /&gt;
&lt;br /&gt;
# [[B Diminished]]&lt;br /&gt;
# [[Other Open String Chords]]&lt;br /&gt;
# [[Music Theory - Minor Keys]]&lt;br /&gt;
# [[Harmonic Minor and Augmented Chords]]&lt;br /&gt;
# [[Barre Chords]]&lt;br /&gt;
# [[Suspended Chords]]&lt;br /&gt;
# [[Applying Rhythm to Chords]]&lt;br /&gt;
# [[Circle of Fifths]]&lt;br /&gt;
# [[G Major and E Minor]]&lt;br /&gt;
# [[5th Position]]&lt;br /&gt;
# [[Scales for all Positions]]&lt;br /&gt;
# [[CAGED]]&lt;br /&gt;
# [[7th Chords]]&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
=== Advanced Lessons===&lt;br /&gt;
{{Top-Level Crumbs2|1}}&lt;br /&gt;
{{crumbs|blue2|3&lt;br /&gt;
|Contents#Beginner Lessons|Beginner&lt;br /&gt;
|Contents#Intermediate Lessons|Intermediate&lt;br /&gt;
|Contents#Advanced Lessons|Advanced&lt;br /&gt;
|Contents#Technique Lessons|Techniques&lt;br /&gt;
|Contents#Style Lessons|Styles}} &lt;br /&gt;
&lt;br /&gt;
These contain the knowledge needed to gain a full understanding of and master the instrument.  I also recommend venturing into the [[#Style Lessons|style lessons]] below.&lt;br /&gt;
&lt;br /&gt;
# [[Voice Leading]]&lt;br /&gt;
# [[Modulation]]&lt;br /&gt;
# [[Chromatic Chords]]&lt;br /&gt;
# [[Modes]]&lt;br /&gt;
# [[Exotic Scales]]&lt;br /&gt;
# [[Solo'ing]]&lt;br /&gt;
# [[Extended Chords]]&lt;br /&gt;
# [[Advanced Rhythm|Advanced Rhythm - Odd-Time, Syncopation, Polymeter, and Polyrhythm]]&lt;br /&gt;
# [[Quartal Harmony]]&lt;br /&gt;
# [[Atonality and Serialism]]&lt;br /&gt;
# [[Equal Temperament, Alternate Tunings, and Microtonality]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Technique Lessons ===&lt;br /&gt;
{{Top-Level Crumbs2|1}}&lt;br /&gt;
{{crumbs|blue2|4&lt;br /&gt;
|Contents#Beginner Lessons|Beginner&lt;br /&gt;
|Contents#Intermediate Lessons|Intermediate&lt;br /&gt;
|Contents#Advanced Lessons|Advanced&lt;br /&gt;
|Contents#Technique Lessons|Techniques&lt;br /&gt;
|Contents#Style Lessons|Styles}} &lt;br /&gt;
&lt;br /&gt;
Here are common techniques used when playing guitar.  These are technical, not musical.  In other words, they are not compositional techniques, but focused on either timbre or efficiency of motion.  They allow the guitar to ''sound differently'' or can be used to increase one's ''playing speed'', but they won't help you learn ''which'' notes to play.  It is essential to master most of these to ''fully express'' yourself musically.&lt;br /&gt;
&lt;br /&gt;
* [[Touch, Dynamics, and Accents]]&lt;br /&gt;
* [[Legato (Hammer-on, Pull-off)]]&lt;br /&gt;
* [[Bending]]&lt;br /&gt;
* [[Vibrato]]&lt;br /&gt;
* [[Palm Muting]]&lt;br /&gt;
* [[Artificial Harmonics]]&lt;br /&gt;
* [[Whammy Bar]]&lt;br /&gt;
* [[Tapping]]&lt;br /&gt;
* [[Sweep Picking]]&lt;br /&gt;
* [[Slapping]]&lt;br /&gt;
* [[Thumping]]&lt;br /&gt;
* [[Double and Triple Stops]]&lt;br /&gt;
* [[Finger Picking]]&lt;br /&gt;
* [[Pick Slides]]&lt;br /&gt;
* [[Slide Guitar]]&lt;br /&gt;
* [[Swells]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Style Lessons ===&lt;br /&gt;
{{Top-Level Crumbs2|1}}&lt;br /&gt;
{{crumbs|blue2|5&lt;br /&gt;
|Contents#Beginner Lessons|Beginner&lt;br /&gt;
|Contents#Intermediate Lessons|Intermediate&lt;br /&gt;
|Contents#Advanced Lessons|Advanced&lt;br /&gt;
|Contents#Technique Lessons|Techniques&lt;br /&gt;
|Contents#Style Lessons|Styles}} &lt;br /&gt;
&lt;br /&gt;
This section explores different styles of music commonly associated with guitar, noting both compositional and technical conventions.&lt;br /&gt;
&lt;br /&gt;
* [[Rock]]&lt;br /&gt;
* [[Blues]]&lt;br /&gt;
* [[Funk]]&lt;br /&gt;
* [[Jazz]]&lt;br /&gt;
* [[Folk]]&lt;br /&gt;
* [[Thrash]]&lt;br /&gt;
* [[Djent]]&lt;br /&gt;
* [[Classical]]&lt;br /&gt;
* [[Flamenco (Spanish)]]&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
== Exercises ==&lt;br /&gt;
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|Contents#Lessons|Lessons&lt;br /&gt;
|Contents#Exercises|Exercises&lt;br /&gt;
|Contents#Reference|Reference&lt;br /&gt;
|Contents#Gear and Setup|Gear&lt;br /&gt;
|Contents#Getting Gig Ready|Gig Prep&lt;br /&gt;
|Contents#DAW/Recording|Recording&lt;br /&gt;
|Contents#Sound|Sound&lt;br /&gt;
|Contents#Musical Skills|Skills&lt;br /&gt;
|Contents#Glossary|Glossary&lt;br /&gt;
|Contents#Wiki|Wiki}}&lt;br /&gt;
Contains lots of material you can use to practice.&lt;br /&gt;
&lt;br /&gt;
* [[Warmup Exercises]]&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
===Technical===&lt;br /&gt;
{{Top-Level Crumbs2|2}}&lt;br /&gt;
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|Contents#Technical|Technical&lt;br /&gt;
|Contents#Techniques Exercises|Techniques&lt;br /&gt;
|Contents#Songs, Solos, and Licks|Songs/Licks}}&lt;br /&gt;
&lt;br /&gt;
These focus on developing your left and right hands, not necessarily within a musical context.&lt;br /&gt;
&lt;br /&gt;
* [[Basic Technique Exercises]]&lt;br /&gt;
* [[Advanced Technique Exercises]]&lt;br /&gt;
* [[Alternate Picking]]&lt;br /&gt;
* [[Common Scale Exercises]]&lt;br /&gt;
* [[Rhythm Exercises]]&lt;br /&gt;
* [[Position-Shifting Exercises]]&lt;br /&gt;
* [[String Skipping Exercises]]&lt;br /&gt;
* [[Arpeggio Exercises]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
===Techniques Exercises===&lt;br /&gt;
{{Top-Level Crumbs2|2}}&lt;br /&gt;
{{crumbs|blue2|2&lt;br /&gt;
|Contents#Technical|Technical&lt;br /&gt;
|Contents#Techniques Exercises|Techniques&lt;br /&gt;
|Contents#Songs, Solos, and Licks|Songs/Licks}}&lt;br /&gt;
&lt;br /&gt;
These focus on perfecting various techniques from a technical standpoint.&lt;br /&gt;
&lt;br /&gt;
* [[Legato Exercises]]&lt;br /&gt;
* [[Tapping Exercises]]&lt;br /&gt;
* [[Harmonics Exercises]] (natural and artificial)&lt;br /&gt;
* [[Sweep Picking Exercises]]&lt;br /&gt;
* [[Slapping/Thumping Exercises]]&lt;br /&gt;
* [[Whammy Bar Exercises]]&lt;br /&gt;
* [[Double Stop and Chicken Pickin Exercises]]&lt;br /&gt;
* [[Fingerstyle Exercises]]&lt;br /&gt;
* [[Slide Guitar Exercises]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
===Songs, Solos, and Licks===&lt;br /&gt;
{{Top-Level Crumbs2|2}}&lt;br /&gt;
{{crumbs|blue2|3&lt;br /&gt;
|Contents#Technical|Technical&lt;br /&gt;
|Contents#Techniques Exercises|Techniques&lt;br /&gt;
|Contents#Songs, Solos, and Licks|Songs/Licks}}&lt;br /&gt;
&lt;br /&gt;
Here are actual songs that can be used to practice various styles and techniques, putting all that knowledge to practical uses.&lt;br /&gt;
&lt;br /&gt;
* [[Beginner Songs]]&lt;br /&gt;
* [[Intermediate Songs]]&lt;br /&gt;
* [[Advanced Songs]]&lt;br /&gt;
* [[Rock Songs]]&lt;br /&gt;
* [[Blues Songs]]&lt;br /&gt;
* [[Thrash Songs]]&lt;br /&gt;
* [[Common Lead Licks]]&lt;br /&gt;
* [[Example Solos]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Reference ==&lt;br /&gt;
{{crumbs|blue|3&lt;br /&gt;
|Contents#Lessons|Lessons&lt;br /&gt;
|Contents#Exercises|Exercises&lt;br /&gt;
|Contents#Reference|Reference&lt;br /&gt;
|Contents#Gear and Setup|Gear&lt;br /&gt;
|Contents#Getting Gig Ready|Gig Prep&lt;br /&gt;
|Contents#DAW/Recording|Recording&lt;br /&gt;
|Contents#Sound|Sound&lt;br /&gt;
|Contents#Musical Skills|Skills&lt;br /&gt;
|Contents#Glossary|Glossary&lt;br /&gt;
|Contents#Wiki|Wiki}}&lt;br /&gt;
&lt;br /&gt;
Contains quick reference material, such as chord shapes, scales mapped across the entire fretboard, etc.&lt;br /&gt;
&lt;br /&gt;
* [[Ref: Intervals]]&lt;br /&gt;
* [[Ref: Common Scales]]&lt;br /&gt;
* [[Ref: Circle of Fifths]]&lt;br /&gt;
* [[Ref: Fret Maps for all Keys]]&lt;br /&gt;
* [[Ref: CAGED Chord Charts]]&lt;br /&gt;
* [[Ref: Diatonic Chords for all Keys]]&lt;br /&gt;
* [[Ref: Diatonic Keys for Triads]]&lt;br /&gt;
* [[Ref: Chord Fingerings/Voicings]]&lt;br /&gt;
* [[Ref: Chord Names/Notes/Spellings]]&lt;br /&gt;
* [[Ref: Common Chord Progressions]]&lt;br /&gt;
* [[Ref: Modes]]&lt;br /&gt;
* [[Ref: Counting Rhythm]]&lt;br /&gt;
* [[Ref: Common Arpeggios]]&lt;br /&gt;
* [[Ref: Reading Tab]]&lt;br /&gt;
* [[Ref: Reading Chord Charts, Scale Maps, and Strumming Notation]]&lt;br /&gt;
* [[Injury|Injuries and Tips to Avoid and Recover from them]]&lt;br /&gt;
&lt;br /&gt;
=== Recommended Resources ===&lt;br /&gt;
Here are some videos, books, and articles I recommend checking out.&lt;br /&gt;
&lt;br /&gt;
* [http://www.youtube.com/watch?v=L68rxhMq6Kw&amp;amp;list=UUcLsvLJOecfCL6RplXhaO4Q Ben Eller's Why You Suck at Guitar Youtube Series]&lt;br /&gt;
* [http://www.sevenstring.org/forum/music-theory-lessons-techniques/ Sevenstring.org Music Theory sub-forum]&lt;br /&gt;
* [http://www.amazon.com/Selections-Rolling-Stone-Magazines-Greatest/dp/0739052217/ref=sr_1_1?ie=UTF8&amp;amp;qid=1398975305&amp;amp;sr=8-1&amp;amp;keywords=rolling+stone+tab Giant tab book of Rock Hits] [http://www.amazon.com/Selections-Rolling-Stone-Magazines-Greatest/dp/0739052209/ref=pd_bxgy_b_img_y Vol 1]&lt;br /&gt;
* [http://www.amazon.com/The-Real-Book-Edition-Instruments/dp/B000VZSOI4/ref=sr_1_3?ie=UTF8&amp;amp;qid=1398975264&amp;amp;sr=8-3&amp;amp;keywords=real+book The Real Book]&lt;br /&gt;
* [http://www.guitarasylumtv.com/&amp;amp;sa=U&amp;amp;ei=M6xiU9PaBMu3yASYoYKIBg&amp;amp;ved=0CB0QFjAA&amp;amp;usg=AFQjCNGtUU6VW0pfKRLTW8lcK9Gr4f-9Vw Rusty Cooley's Guitar Assylum TV]&lt;br /&gt;
* [http://www.youtube.com/watch?v=NnVeB6jvgnM&amp;amp;list=PLCA91BB1EE39C8051 Joe Satriani Youtube lessons (particularly the SatchZone series)]&lt;br /&gt;
* [http://www.youtube.com/watch%3Fv%3D6VApk-vvhp8&amp;amp;sa=U&amp;amp;ei=TaxiU6-RF46OyATm5YGIAQ&amp;amp;ved=0CCIQtwIwAQ&amp;amp;usg=AFQjCNF7DmuJUieuyxjy8tAxQOFZkEvqcQ John Petrucci's Rock Discipline]&lt;br /&gt;
* [http://www.vai.com/ Steve Vai's Little Black Notes section on Vai.com]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Gear and Setup ==&lt;br /&gt;
{{crumbs|blue|4&lt;br /&gt;
|Contents#Lessons|Lessons&lt;br /&gt;
|Contents#Exercises|Exercises&lt;br /&gt;
|Contents#Reference|Reference&lt;br /&gt;
|Contents#Gear and Setup|Gear&lt;br /&gt;
|Contents#Getting Gig Ready|Gig Prep&lt;br /&gt;
|Contents#DAW/Recording|Recording&lt;br /&gt;
|Contents#Sound|Sound&lt;br /&gt;
|Contents#Musical Skills|Skills&lt;br /&gt;
|Contents#Glossary|Glossary&lt;br /&gt;
|Contents#Wiki|Wiki}}&lt;br /&gt;
&lt;br /&gt;
Advice on buying/tweaking your gear and setting up your instrument.&lt;br /&gt;
&lt;br /&gt;
=== Tone ===&lt;br /&gt;
{{crumbs|blue|4&lt;br /&gt;
|Contents#Lessons|Lessons&lt;br /&gt;
|Contents#Exercises|Exercises&lt;br /&gt;
|Contents#Reference|Reference&lt;br /&gt;
|Contents#Gear and Setup|Gear&lt;br /&gt;
|Contents#Getting Gig Ready|Gig Prep&lt;br /&gt;
|Contents#DAW/Recording|Recording&lt;br /&gt;
|Contents#Sound|Sound&lt;br /&gt;
|Contents#Musical Skills|Skills&lt;br /&gt;
|Contents#Glossary|Glossary&lt;br /&gt;
|Contents#Wiki|Wiki}}&lt;br /&gt;
{{crumbs|blue2|1&lt;br /&gt;
|Contents#Tone|Tone&lt;br /&gt;
|Contents#Buyer's Guide|Buyer's Guide&lt;br /&gt;
|Contents#User Guides|User Guides&lt;br /&gt;
|Contents#Effects|Effects}}&lt;br /&gt;
&lt;br /&gt;
* [[Tone]]&lt;br /&gt;
* [[Dialing in Distortion Tone]]&lt;br /&gt;
* [[Strings]]&lt;br /&gt;
* [[Setup/Adjustments]]&lt;br /&gt;
* [[Gear Myths and Pitfalls|Myths and Pitfalls]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Buyer's Guides ===&lt;br /&gt;
{{crumbs|blue|4&lt;br /&gt;
|Contents#Lessons|Lessons&lt;br /&gt;
|Contents#Exercises|Exercises&lt;br /&gt;
|Contents#Reference|Reference&lt;br /&gt;
|Contents#Gear and Setup|Gear&lt;br /&gt;
|Contents#Getting Gig Ready|Gig Prep&lt;br /&gt;
|Contents#DAW/Recording|Recording&lt;br /&gt;
|Contents#Sound|Sound&lt;br /&gt;
|Contents#Musical Skills|Skills&lt;br /&gt;
|Contents#Glossary|Glossary&lt;br /&gt;
|Contents#Wiki|Wiki}}&lt;br /&gt;
{{crumbs|blue2|2&lt;br /&gt;
|Contents#Tone|Tone&lt;br /&gt;
|Contents#Buyer's Guide|Buyer's Guide&lt;br /&gt;
|Contents#User Guides|User Guides&lt;br /&gt;
|Contents#Effects|Effects}}&lt;br /&gt;
&lt;br /&gt;
* [[Choosing a Pick]]&lt;br /&gt;
* [[Choosing a Guitar]]&lt;br /&gt;
* [[Choosing Pickups]]&lt;br /&gt;
** [[Special Pickups]]&lt;br /&gt;
* [[Choosing an Amp]]&lt;br /&gt;
* [[Choosing a Speaker Cabinet]]&lt;br /&gt;
* [[Choosing a Modeler/FRFR]]&lt;br /&gt;
* [[Foot Controllers]]&lt;br /&gt;
* [[Choosing Cables]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== User Guides ===&lt;br /&gt;
{{crumbs|blue|4&lt;br /&gt;
|Contents#Lessons|Lessons&lt;br /&gt;
|Contents#Exercises|Exercises&lt;br /&gt;
|Contents#Reference|Reference&lt;br /&gt;
|Contents#Gear and Setup|Gear&lt;br /&gt;
|Contents#Getting Gig Ready|Gig Prep&lt;br /&gt;
|Contents#DAW/Recording|Recording&lt;br /&gt;
|Contents#Sound|Sound&lt;br /&gt;
|Contents#Musical Skills|Skills&lt;br /&gt;
|Contents#Glossary|Glossary&lt;br /&gt;
|Contents#Wiki|Wiki}}&lt;br /&gt;
{{crumbs|blue2|3&lt;br /&gt;
|Contents#Tone|Tone&lt;br /&gt;
|Contents#Buyer's Guide|Buyer's Guide&lt;br /&gt;
|Contents#User Guides|User Guides&lt;br /&gt;
|Contents#Effects|Effects}}&lt;br /&gt;
&lt;br /&gt;
* [[Specific Gear Guides/Advice]]&lt;br /&gt;
** [[Kemper Profiling Amp Guide|Kemper ''Profiling Amp'' Guide]]&lt;br /&gt;
** [[Line 6 Pod HD Guide|Line 6 ''Pod HD'' Guide]]&lt;br /&gt;
** [[Specific Gear Guides/Advice#Mesa/Boogie Dual Rectifier|Mesa/Boogie ''Dual Rectifier'']]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Effects ===&lt;br /&gt;
{{crumbs|blue|4&lt;br /&gt;
|Contents#Lessons|Lessons&lt;br /&gt;
|Contents#Exercises|Exercises&lt;br /&gt;
|Contents#Reference|Reference&lt;br /&gt;
|Contents#Gear and Setup|Gear&lt;br /&gt;
|Contents#Getting Gig Ready|Gig Prep&lt;br /&gt;
|Contents#DAW/Recording|Recording&lt;br /&gt;
|Contents#Sound|Sound&lt;br /&gt;
|Contents#Musical Skills|Skills&lt;br /&gt;
|Contents#Glossary|Glossary&lt;br /&gt;
|Contents#Wiki|Wiki}}&lt;br /&gt;
{{crumbs|blue2|4&lt;br /&gt;
|Contents#Tone|Tone&lt;br /&gt;
|Contents#Buyer's Guide|Buyer's Guide&lt;br /&gt;
|Contents#User Guides|User Guides&lt;br /&gt;
|Contents#Effects|Effects}}&lt;br /&gt;
&lt;br /&gt;
* [[Types of Effects]]&lt;br /&gt;
* [[Effects Ordering/Position]]&lt;br /&gt;
* [[Noise Gate]]&lt;br /&gt;
* [[Compression]]&lt;br /&gt;
* [[Wah Pedals]]&lt;br /&gt;
* [[EQ]]&lt;br /&gt;
* [[Modulation Effects]]&lt;br /&gt;
* [[Delay]]&lt;br /&gt;
* [[Reverb]]&lt;br /&gt;
* [[Pitch Shifting]]&lt;br /&gt;
* [[Boost]]&lt;br /&gt;
* [[Distortion Effects]]&lt;br /&gt;
* [[Synth Effects]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Getting Gig Ready ==&lt;br /&gt;
{{crumbs|blue|5&lt;br /&gt;
|Contents#Lessons|Lessons&lt;br /&gt;
|Contents#Exercises|Exercises&lt;br /&gt;
|Contents#Reference|Reference&lt;br /&gt;
|Contents#Gear and Setup|Gear&lt;br /&gt;
|Contents#Getting Gig Ready|Gig Prep&lt;br /&gt;
|Contents#DAW/Recording|Recording&lt;br /&gt;
|Contents#Sound|Sound&lt;br /&gt;
|Contents#Musical Skills|Skills&lt;br /&gt;
|Contents#Glossary|Glossary&lt;br /&gt;
|Contents#Wiki|Wiki}}&lt;br /&gt;
&lt;br /&gt;
* [[Equipment Checklist, Setup]]&lt;br /&gt;
* [[Advanced Tuning]]&lt;br /&gt;
* [[Surviving Broken Strings]]&lt;br /&gt;
* [[Calming the Nerves]]&lt;br /&gt;
* [[Warm-Up Exercises|Warming Up]]&lt;br /&gt;
* [[Balancing Playability vs. Performance]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==DAW/Recording==&lt;br /&gt;
{{crumbs|blue|6&lt;br /&gt;
|Contents#Lessons|Lessons&lt;br /&gt;
|Contents#Exercises|Exercises&lt;br /&gt;
|Contents#Gear and Setup|Gear&lt;br /&gt;
|Contents#Reference|Reference&lt;br /&gt;
|Contents#Getting Gig Ready|Gig Prep&lt;br /&gt;
|Contents#DAW/Recording|Recording&lt;br /&gt;
|Contents#Sound|Sound&lt;br /&gt;
|Contents#Musical Skills|Skills&lt;br /&gt;
|Contents#Glossary|Glossary&lt;br /&gt;
|Contents#Wiki|Wiki}}&lt;br /&gt;
&lt;br /&gt;
Most of what you need to know to start home recording.&lt;br /&gt;
* [[Understanding Digital Audio]]&lt;br /&gt;
* [[Mixing Boards/Consoles]]&lt;br /&gt;
* [[Interface Setup]] (incl. Latency)&lt;br /&gt;
* [[Computer Setup]]&lt;br /&gt;
* [[DAW Basics]]&lt;br /&gt;
* [[Keyboard Macros/Hotkeys]]&lt;br /&gt;
* [[Popular Virtual Instruments/Plugins]]&lt;br /&gt;
* [[Tracking Audio|Tracking Audio (Comp tracks/Takes)]]&lt;br /&gt;
* [[Reamping]]&lt;br /&gt;
* [[MIDI]]&lt;br /&gt;
* [[Virtual Instruments]]&lt;br /&gt;
* [[Tracking MIDI|Tracking MIDI (Quantization)]]&lt;br /&gt;
* [[Editing Tracks]]&lt;br /&gt;
* [[Automation]]&lt;br /&gt;
* [[Tempo]]&lt;br /&gt;
* [[Synthesizers]]&lt;br /&gt;
* [[Samplers]]&lt;br /&gt;
* [[Sequencers]]&lt;br /&gt;
* [[Editing Drums]]&lt;br /&gt;
* [[Bounce/Render]]&lt;br /&gt;
* [[Mixing]]&lt;br /&gt;
* [[Mastering]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Sound ==&lt;br /&gt;
{{crumbs|blue|7&lt;br /&gt;
|Contents#Lessons|Lessons&lt;br /&gt;
|Contents#Exercises|Exercises&lt;br /&gt;
|Contents#Reference|Reference&lt;br /&gt;
|Contents#Gear and Setup|Gear&lt;br /&gt;
|Contents#Getting Gig Ready|Gig Prep&lt;br /&gt;
|Contents#DAW/Recording|Recording&lt;br /&gt;
|Contents#Sound|Sound&lt;br /&gt;
|Contents#Musical Skills|Skills&lt;br /&gt;
|Contents#Glossary|Glossary&lt;br /&gt;
|Contents#Wiki|Wiki}}&lt;br /&gt;
&lt;br /&gt;
These pages discuss the very nature of sound and how we can manipulate it.&lt;br /&gt;
&lt;br /&gt;
* [[Sound]]&lt;br /&gt;
* [[Transients]]&lt;br /&gt;
* [[Overtones]]&lt;br /&gt;
* [[Frequency Domain]]&lt;br /&gt;
* [[EQ or Filters]]&lt;br /&gt;
* [[ADSR and Envelope Filters]]&lt;br /&gt;
* [[Distortion]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Musical Skills ==&lt;br /&gt;
{{crumbs|blue|8&lt;br /&gt;
|Contents#Lessons|Lessons&lt;br /&gt;
|Contents#Exercises|Exercises&lt;br /&gt;
|Contents#Reference|Reference&lt;br /&gt;
|Contents#Gear and Setup|Gear&lt;br /&gt;
|Contents#Getting Gig Ready|Gig Prep&lt;br /&gt;
|Contents#DAW/Recording|Recording&lt;br /&gt;
|Contents#Sound|Sound&lt;br /&gt;
|Contents#Musical Skills|Skills&lt;br /&gt;
|Contents#Glossary|Glossary&lt;br /&gt;
|Contents#Wiki|Wiki}}&lt;br /&gt;
&lt;br /&gt;
Techniques to improve musical skills that relate to detecting and conveying musical information.&lt;br /&gt;
* [[Classical Notation and Sight-Reading]]&lt;br /&gt;
* [[Ear Training]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Composition ===&lt;br /&gt;
* [[Counterpoint]]&lt;br /&gt;
* [[Common Song Structures]]&lt;br /&gt;
* [[Tension and Release]]&lt;br /&gt;
* [[Meter]]&lt;br /&gt;
* [[Arrangement]]&lt;br /&gt;
* [[Writing Melodies]]&lt;br /&gt;
* [[Mood vs. Key]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==Glossary==&lt;br /&gt;
{{crumbs|blue|9&lt;br /&gt;
|Contents#Lessons|Lessons&lt;br /&gt;
|Contents#Exercises|Exercises&lt;br /&gt;
|Contents#Reference|Reference&lt;br /&gt;
|Contents#Gear and Setup|Gear&lt;br /&gt;
|Contents#Getting Gig Ready|Gig Prep&lt;br /&gt;
|Contents#DAW/Recording|Recording&lt;br /&gt;
|Contents#Sound|Sound&lt;br /&gt;
|Contents#Musical Skills|Skills&lt;br /&gt;
|Contents#Glossary|Glossary&lt;br /&gt;
|Contents#Wiki|Wiki}}&lt;br /&gt;
&lt;br /&gt;
* [[Glossary]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Wiki ==&lt;br /&gt;
{{crumbs|blue|10&lt;br /&gt;
|Contents#Lessons|Lessons&lt;br /&gt;
|Contents#Exercises|Exercises&lt;br /&gt;
|Contents#Reference|Reference&lt;br /&gt;
|Contents#Gear and Setup|Gear&lt;br /&gt;
|Contents#Getting Gig Ready|Gig Prep&lt;br /&gt;
|Contents#DAW/Recording|Recording&lt;br /&gt;
|Contents#Sound|Sound&lt;br /&gt;
|Contents#Musical Skills|Skills&lt;br /&gt;
|Contents#Glossary|Glossary&lt;br /&gt;
|Contents#Wiki|Wiki}}&lt;br /&gt;
&lt;br /&gt;
Everything you need to know about posting here.&lt;br /&gt;
* [[Site Policies]]&lt;br /&gt;
* [[Site Conventions]]&lt;br /&gt;
* [http://www.mediawiki.org/wiki/Manual:FAQ MediaWiki FAQ]&lt;br /&gt;
* [http://www.mediawiki.org/wiki/Help:Formatting Wiki Markup Formatting/Syntax]&lt;br /&gt;
* [[Wiki Templates|Templates]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
[[Category:Contents]]&lt;br /&gt;
[[Category:Guitar]]&lt;br /&gt;
[[Category:Lessons]]&lt;br /&gt;
[[Category:Technique]]&lt;br /&gt;
[[Category:Exercises]]&lt;br /&gt;
[[Category:Sound]]&lt;br /&gt;
[[Category:Gear]]&lt;br /&gt;
[[Category:DAW]]&lt;br /&gt;
[[Category:Reference]]&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=Ref:_Common_Chord_Progressions&amp;diff=8727</id>
		<title>Ref: Common Chord Progressions</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=Ref:_Common_Chord_Progressions&amp;diff=8727"/>
				<updated>2016-09-11T22:28:30Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{Top-Level Crumbs|3}}&lt;br /&gt;
&lt;br /&gt;
{{Reference Crumbs|10}}&lt;br /&gt;
&lt;br /&gt;
This page contains common chord progressions you could expect to find in various pieces.&lt;br /&gt;
&lt;br /&gt;
As you may expect, slight discrepancies in ordering, as well as using [[7th Chords|7th chords]] or [[Extended Chords|extended chords]] in place of a triad can blow up the number of permutations possible to an extremely large number.  For brevity, I'm trying to avoid writing any extensions, unless they are necessary for the progression.  For example, since V7 is a common extension of the V chord, I would not list every progression that uses V twice, once with V and once with V7.&lt;br /&gt;
&lt;br /&gt;
I am also focusing on harmony, not rhythm.  For example, a simple I - IV - V - I progression could be written:&lt;br /&gt;
* I - I - IV - V - I&lt;br /&gt;
* I - IV - IV - V - I&lt;br /&gt;
* I - IV - V - V - I&lt;br /&gt;
which shows the duration of each chord.  However, this leads to infinite possibilities, yet the harmonic movement is the same.  Thus, only chord changes are shown, and you can apply whatever rhythm/duration you like.&lt;br /&gt;
&lt;br /&gt;
Also, the ordering of chords in terms of starting and stopping can get large as well. When repeating any of these progressions, the harmony follows the same pattern of I - IV - V - I:&lt;br /&gt;
* I - IV - V&lt;br /&gt;
* IV - V - I &lt;br /&gt;
* I - IV - V - I&lt;br /&gt;
&lt;br /&gt;
If the progression can be slightly altered (such as leaving off the final I chord to create a half cadence), this will be noted on that line, as follows:&lt;br /&gt;
* I - IV - V - I ''(leave off final I chord for a half cadence)''&lt;br /&gt;
&lt;br /&gt;
Finally, I try to write out common substitute chords as separate progressions (vii{{dim}} in place of V, vi in place of IV, etc.); however, I'm not trying to list out every possible permutation of substitutes, just the more common ones. Example:&lt;br /&gt;
* I - IV - V - I&lt;br /&gt;
* I - vi - V - I&lt;br /&gt;
* I - ii - V - I&lt;br /&gt;
* I - IV - vii{{dim}} - I&lt;br /&gt;
&lt;br /&gt;
= Diatonic =&lt;br /&gt;
These progressions strictly use the diatonic notes of the key for its chords.&lt;br /&gt;
&lt;br /&gt;
== Circle Progressions ==&lt;br /&gt;
The Circle Progression is derived by descending in 5ths (or ascending in 4ths), such that every chord in the key is played.&lt;br /&gt;
&lt;br /&gt;
===== Major Key =====&lt;br /&gt;
* I - IV - vii{{dim}} - iii - vi - ii - V - I&lt;br /&gt;
===== Minor Key =====&lt;br /&gt;
* i - iv - VII - III - VI - ii{{dim}} - v - i&lt;br /&gt;
===== Harmonic Minor Key =====&lt;br /&gt;
* i - iv - vii{{dim}} - III+ - VI - ii{{dim}} - V - i&lt;br /&gt;
&lt;br /&gt;
== 3 Chord Progressions ==&lt;br /&gt;
===== Major Key =====&lt;br /&gt;
* I - IV - V&lt;br /&gt;
* I - V - IV&lt;br /&gt;
&lt;br /&gt;
== 4 Chord Progressions ==&lt;br /&gt;
* I - V - vi - IV&lt;br /&gt;
* I - IV - ii - V&lt;br /&gt;
* I - ii - V - IV&lt;br /&gt;
&lt;br /&gt;
= Non-Diatonic =&lt;br /&gt;
== Borrowed Chords ==&lt;br /&gt;
===== Major Key =====&lt;br /&gt;
* IV - {{b}}III - I&lt;br /&gt;
* I - {{b}}VII - {{b}}VI - {{b}}VII&lt;br /&gt;
* I - {{b}}VII - IV - {{b}}VII&lt;br /&gt;
&lt;br /&gt;
{{Reference Crumbs|10}}&lt;br /&gt;
&lt;br /&gt;
[[Category:Guitar]]&lt;br /&gt;
[[Category:Reference]]&lt;br /&gt;
[[Category:Harmony]]&lt;br /&gt;
[[Category:Chords]]&lt;br /&gt;
[[Category:Under Construction]]&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=Ref:_Chord_Fingerings/Voicings&amp;diff=8726</id>
		<title>Ref: Chord Fingerings/Voicings</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=Ref:_Chord_Fingerings/Voicings&amp;diff=8726"/>
				<updated>2016-09-11T22:27:24Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{Top-Level Crumbs|3}}&lt;br /&gt;
&lt;br /&gt;
{{Reference Crumbs|8}}&lt;br /&gt;
&lt;br /&gt;
== Triads ==&lt;br /&gt;
{{crumbs|blue|1&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Triads|Triads&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sevenths|Sevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Ninths|Ninths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Elevenths|Elevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Thirteenths|Thirteenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Suspensions|Suspensions&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sixths|Sixths}}&lt;br /&gt;
&lt;br /&gt;
{{crumbs|blue2|0&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Major Triads|Major&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor Triads|Minor&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Diminished Triads|Diminished&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Augmented Triads|Augmented}}&lt;br /&gt;
&lt;br /&gt;
: '''R - 3 - 5'''&lt;br /&gt;
&lt;br /&gt;
=== Major Triads ===&lt;br /&gt;
{{crumbs|blue|1&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Triads|Triads&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sevenths|Sevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Ninths|Ninths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Elevenths|Elevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Thirteenths|Thirteenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Suspensions|Suspensions&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sixths|Sixths}}&lt;br /&gt;
&lt;br /&gt;
{{crumbs|blue2|1&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Major Triads|Major&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor Triads|Minor&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Diminished Triads|Diminished&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Augmented Triads|Augmented}}&lt;br /&gt;
&lt;br /&gt;
: '''R - M3 - P5'''&lt;br /&gt;
: &amp;lt;tt&amp;gt;|x|-|-|-|o|-|-|o|-|-|-|-|x|&amp;lt;/tt&amp;gt;&lt;br /&gt;
: &amp;lt;tt&amp;gt; 0     3   5   7   9     12&amp;lt;/tt&amp;gt;&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| All Notes for Arpeggio&lt;br /&gt;
|-&lt;br /&gt;
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&amp;lt;/pre&amp;gt;&lt;br /&gt;
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|-|-|-|1|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
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&amp;lt;/pre&amp;gt;&lt;br /&gt;
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&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
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|3|-|-|5|&lt;br /&gt;
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|3|-|-|5|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|-|3|-|-|&lt;br /&gt;
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|-|-|3|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| Root Position&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
 '''3'''  |i|-|-|-|&lt;br /&gt;
 '''1'''  |)|m|-|-|&lt;br /&gt;
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 ''' '''  |-|-|-|-|&lt;br /&gt;
| &lt;br /&gt;
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|  &lt;br /&gt;
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|}&lt;br /&gt;
{|&lt;br /&gt;
|  &lt;br /&gt;
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| &lt;br /&gt;
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|}&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| 1st Inversion&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
 '''3'''  |i|-|-|-|&lt;br /&gt;
 '''1'''  |)|m|-|-|&lt;br /&gt;
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|      &lt;br /&gt;
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|}&lt;br /&gt;
{|&lt;br /&gt;
|      &lt;br /&gt;
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|      &lt;br /&gt;
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|      &lt;br /&gt;
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|}&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| 2nd Inversion&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
 '''3'''  |i|-|-|-|&lt;br /&gt;
 '''1'''  |)|m|-|-|&lt;br /&gt;
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 ''' '''  |-|-|-|-|&lt;br /&gt;
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|&lt;br /&gt;
 '''5'''  |i|-|-|&lt;br /&gt;
 '''3'''  |)|-|r|&lt;br /&gt;
 '''1'''  |)|-|r|&lt;br /&gt;
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|&lt;br /&gt;
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 ''' '''  |-|-|-|-|&lt;br /&gt;
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|}&lt;br /&gt;
{|&lt;br /&gt;
|&lt;br /&gt;
 '''1'''  |i|-|-|&lt;br /&gt;
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 ''' '''  |-|-|-|&lt;br /&gt;
|&lt;br /&gt;
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 ''' '''  |-|-|-|-|&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Minor Triads ===&lt;br /&gt;
{{crumbs|blue|1&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Triads|Triads&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sevenths|Sevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Ninths|Ninths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Elevenths|Elevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Thirteenths|Thirteenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Suspensions|Suspensions&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sixths|Sixths}}&lt;br /&gt;
&lt;br /&gt;
{{crumbs|blue2|2&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Major Triads|Major&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor Triads|Minor&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Diminished Triads|Diminished&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Augmented Triads|Augmented}}&lt;br /&gt;
&lt;br /&gt;
: '''R - m3 - P5'''&lt;br /&gt;
: &amp;lt;tt&amp;gt;|x|-|-|o|-|-|-|o|-|-|-|-|x|&amp;lt;/tt&amp;gt;&lt;br /&gt;
: &amp;lt;tt&amp;gt; 0     3   5   7   9     12&amp;lt;/tt&amp;gt;&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| All Notes for Arpeggio&lt;br /&gt;
|-&lt;br /&gt;
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&amp;lt;/pre&amp;gt;&lt;br /&gt;
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{|&lt;br /&gt;
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&amp;lt;/pre&amp;gt;&lt;br /&gt;
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&amp;lt;/pre&amp;gt;&lt;br /&gt;
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&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| Root Position&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
 ''' '''  |-|-|-|-|&lt;br /&gt;
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| &lt;br /&gt;
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    |-|-|-|&lt;br /&gt;
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|}&lt;br /&gt;
{|&lt;br /&gt;
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|-&lt;br /&gt;
|&lt;br /&gt;
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| &lt;br /&gt;
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|  &lt;br /&gt;
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|}&lt;br /&gt;
{|&lt;br /&gt;
|  &lt;br /&gt;
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 '''1'''  |i|-|-|-|&lt;br /&gt;
 '''5'''  |i|-|-|-|&lt;br /&gt;
 '''3'''  |-|m|-|-|&lt;br /&gt;
 ''' '''  |-|-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 ''' '''  |-|-|-|-|&lt;br /&gt;
 ''' '''  |-|-|-|-|&lt;br /&gt;
 '''3'''  |i|-|-|-|&lt;br /&gt;
 '''1'''  |-|-|r|-|&lt;br /&gt;
 '''5'''  |-|-|m|-|&lt;br /&gt;
 '''3'''  |-|-|-|p|&lt;br /&gt;
|  &lt;br /&gt;
 ''' '''  |-|-|-|-|&lt;br /&gt;
 '''1'''  |-|-|-|p|&lt;br /&gt;
 '''5'''  |-|-|r|-|&lt;br /&gt;
 '''1'''  |i|-|-|-|&lt;br /&gt;
 ''' '''  |-|-|-|-|&lt;br /&gt;
 '''3'''  |-|m|-|-|&lt;br /&gt;
|}&lt;br /&gt;
{|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| 2nd Inversion&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
 ''' '''  |-|-|-|-|&lt;br /&gt;
 '''1'''  |-|r|-|-|&lt;br /&gt;
 '''5'''  |i|-|-|-|&lt;br /&gt;
 '''3'''  |-|m|-|-|&lt;br /&gt;
 ''' '''  |-|-|-|-|&lt;br /&gt;
 '''5'''  |-|-|-|p|&lt;br /&gt;
| &lt;br /&gt;
 '''1'''  |i|-|-|&lt;br /&gt;
 '''3'''  |)|m|-|&lt;br /&gt;
 '''1'''  |)|-|r|&lt;br /&gt;
 '''5'''  |)|-|r|&lt;br /&gt;
 '''1'''  |i|-|-|&lt;br /&gt;
 '''5'''  |i|-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''1'''  |i|-|-|&lt;br /&gt;
 '''5'''  |i|-|-|&lt;br /&gt;
 '''3'''  |i|-|-|&lt;br /&gt;
 '''1'''  |-|-|p|&lt;br /&gt;
 '''5'''  |-|-|r|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
| &lt;br /&gt;
 '''3'''  |-|m|-|-|&lt;br /&gt;
 '''1'''  |-|-|-|p|&lt;br /&gt;
 '''5'''  |-|-|r|-|&lt;br /&gt;
 '''1'''  |i|-|-|-|&lt;br /&gt;
 '''5'''  |i|-|-|-|&lt;br /&gt;
 ''' '''  |-|-|-|-|&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Diminished Triads ===&lt;br /&gt;
{{crumbs|blue|1&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Triads|Triads&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sevenths|Sevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Ninths|Ninths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Elevenths|Elevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Thirteenths|Thirteenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Suspensions|Suspensions&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sixths|Sixths}}&lt;br /&gt;
&lt;br /&gt;
{{crumbs|blue2|3&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Major Triads|Major&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor Triads|Minor&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Diminished Triads|Diminished&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Augmented Triads|Augmented}}&lt;br /&gt;
&lt;br /&gt;
: '''R - m3 - d5'''&lt;br /&gt;
: &amp;lt;tt&amp;gt;|x|-|-|o|-|-|o|-|-|-|-|-|x|&amp;lt;/tt&amp;gt;&lt;br /&gt;
: &amp;lt;tt&amp;gt; 0     3   5   7   9     12&amp;lt;/tt&amp;gt;&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| All Notes for Arpeggio&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|1|-|-|3|&lt;br /&gt;
|-|-|-|-|&lt;br /&gt;
|3|-|-|5|&lt;br /&gt;
|-|-|1|-|&lt;br /&gt;
|-|5|-|-|&lt;br /&gt;
|1|-|-|3|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|-|1|-|-|&lt;br /&gt;
|-|5|-|-|-|&lt;br /&gt;
|-|-|3|-|-|&lt;br /&gt;
|-|-|-|-|1|&lt;br /&gt;
|3|-|-|5|-|&lt;br /&gt;
|-|-|1|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|-|-|-|1|&lt;br /&gt;
|3|-|-|5|-|&lt;br /&gt;
|-|1|-|-|3|&lt;br /&gt;
|5|-|-|-|-|&lt;br /&gt;
|-|-|3|-|-|&lt;br /&gt;
|-|-|-|-|1|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|5|-|-|-|-|&lt;br /&gt;
|-|-|3|-|-|&lt;br /&gt;
|-|-|-|1|-|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|-|1|-|-|3|&lt;br /&gt;
|5|-|-|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
{|&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|5|-|-|-|&lt;br /&gt;
|1|-|-|3|-|&lt;br /&gt;
|-|-|-|-|1|&lt;br /&gt;
|3|-|-|5|-|&lt;br /&gt;
|-|-|1|-|-|&lt;br /&gt;
|-|5|-|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|3|-|-|5|-|&lt;br /&gt;
|-|-|1|-|-|&lt;br /&gt;
|-|5|-|-|-|&lt;br /&gt;
|-|-|3|-|-|&lt;br /&gt;
|-|-|-|-|1|&lt;br /&gt;
|3|-|-|5|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|-|3|-|-|&lt;br /&gt;
|-|-|-|-|1|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|-|1|-|-|3|&lt;br /&gt;
|5|-|-|-|-|&lt;br /&gt;
|-|-|3|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| Root Position&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
 '''5''' |i|-|-|&lt;br /&gt;
 '''3''' |-|-|p|&lt;br /&gt;
 ''' ''' |-|-|-|&lt;br /&gt;
 '''5''' |-|-|r|&lt;br /&gt;
 '''1''' |-|m|-|&lt;br /&gt;
 ''' ''' |-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 ''' ''' |-|-|-|&lt;br /&gt;
 '''3''' |-|r|-|&lt;br /&gt;
 '''1''' |-|-|p|&lt;br /&gt;
 '''5''' |-|m|-|&lt;br /&gt;
 '''1''' |i|-|-|&lt;br /&gt;
 ''' ''' |-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 ''' ''' |-|-|-|&lt;br /&gt;
 ''' ''' |-|-|-|&lt;br /&gt;
 '''3''' |i|-|-|&lt;br /&gt;
 '''1''' |)|-|p|&lt;br /&gt;
 '''5''' |)|m|-|&lt;br /&gt;
 '''1''' |i|-|-|&lt;br /&gt;
|&lt;br /&gt;
 ''' ''' |-|-|-|&lt;br /&gt;
 '''5''' |i|-|-|&lt;br /&gt;
 '''3''' |-|r|-|&lt;br /&gt;
 ''' ''' |-|-|-|&lt;br /&gt;
 '''5''' |-|-|p|&lt;br /&gt;
 '''1''' |-|m|-|&lt;br /&gt;
|}&lt;br /&gt;
{|&lt;br /&gt;
|&lt;br /&gt;
 ''' ''' |-|-|-|-|-|&lt;br /&gt;
 ''' ''' |-|-|-|-|-|&lt;br /&gt;
 '''5''' |i|-|-|-|-|&lt;br /&gt;
 '''3''' |-|-|m|-|-|&lt;br /&gt;
 '''1''' |-|-|-|-|p|&lt;br /&gt;
 ''' ''' |-|-|-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''1''' |-|r|-|-|&lt;br /&gt;
 '''5''' |i|-|-|-|&lt;br /&gt;
 '''3''' |-|m|-|-|&lt;br /&gt;
 '''1''' |-|-|-|p|&lt;br /&gt;
 ''' ''' |-|-|-|-|&lt;br /&gt;
 ''' ''' |-|-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''5''' |i|-|-|-|&lt;br /&gt;
 '''3''' |-|-|r|-|&lt;br /&gt;
 '''1''' |-|-|-|p|&lt;br /&gt;
 ''' ''' |-|-|-|-|&lt;br /&gt;
 ''' ''' |-|-|-|-|&lt;br /&gt;
 ''' ''' |-|-|-|-|&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Augmented Triads ===&lt;br /&gt;
{{crumbs|blue|1&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Triads|Triads&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sevenths|Sevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Ninths|Ninths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Elevenths|Elevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Thirteenths|Thirteenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Suspensions|Suspensions&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sixths|Sixths}}&lt;br /&gt;
&lt;br /&gt;
{{crumbs|blue2|4&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Major Triads|Major&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor Triads|Minor&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Diminished Triads|Diminished&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Augmented Triads|Augmented}}&lt;br /&gt;
&lt;br /&gt;
: '''R - M3 - A5'''&lt;br /&gt;
: &amp;lt;tt&amp;gt;|x|-|-|-|o|-|-|-|o|-|-|-|x|&amp;lt;/tt&amp;gt;&lt;br /&gt;
: &amp;lt;tt&amp;gt; 0     3   5   7   9     12&amp;lt;/tt&amp;gt;&lt;br /&gt;
&lt;br /&gt;
Augmented chords consist of root, major third, and augmented 5th.  An augmented fifth is equivalent to two major thirds.  An augmented fifth + a major third = an octave.  Therefore, the distance between root and 3rd, 3rd and 5th, and 5th and octave are all the same - a major third.&lt;br /&gt;
&lt;br /&gt;
There are no real 7th chords - augmented chords tend to be associated with the whole-tone scale, which only has 6, not 7 notes.  In the 7-note scale, you have 1st (C), 3rd (E), 5th (G), 7th (B), 9th (D), 11th (F), and 13th (A) before you reach the 15th (C), which is 2 octaves above the 1st.  In the 6-note scale, you have 1st (C), 3rd (E), 5th (G{{s}}), 7th (C).  The 7th note is the octave, and the chord simply repeats.&lt;br /&gt;
&lt;br /&gt;
There aren't distinct inversion shapes - the first inversion of C aug (C E G{{s}}) is (E G{{s}} C), which is equivalent to (E G{{s}} B{{s}}) or E aug.  So the inversions are identical to using a different root note.  In other words, the inversions' shapes are identical to the root position shapes below.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| All Notes for Arpeggio&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|x|-|-|-|x|&lt;br /&gt;
|-|x|-|-|-|&lt;br /&gt;
|-|x|-|-|-|&lt;br /&gt;
|-|-|x|-|-|&lt;br /&gt;
|-|-|-|x|-|&lt;br /&gt;
|x|-|-|-|x|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|x|-|-|-|&lt;br /&gt;
|-|-|x|-|-|&lt;br /&gt;
|-|-|x|-|-|&lt;br /&gt;
|-|-|-|x|-|&lt;br /&gt;
|x|-|-|-|x|&lt;br /&gt;
|-|x|-|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|-|x|-|-|&lt;br /&gt;
|-|-|-|x|-|&lt;br /&gt;
|-|-|-|x|-|&lt;br /&gt;
|x|-|-|-|x|&lt;br /&gt;
|-|x|-|-|-|&lt;br /&gt;
|-|-|x|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|-|-|x|-|&lt;br /&gt;
|x|-|-|-|x|&lt;br /&gt;
|x|-|-|-|x|&lt;br /&gt;
|-|x|-|-|-|&lt;br /&gt;
|-|-|x|-|-|&lt;br /&gt;
|-|-|-|x|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| Root or Inverted&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
 ''' '''  |-|-|-|-|&lt;br /&gt;
 '''3'''  |i|-|-|-|&lt;br /&gt;
 '''1'''  |i|-|-|-|&lt;br /&gt;
 '''5'''  |-|m|-|-|&lt;br /&gt;
 '''3'''  |-|-|r|-|&lt;br /&gt;
 '''1'''  |-|-|-|p|&lt;br /&gt;
|&lt;br /&gt;
 '''1'''  |i|-|-|-|&lt;br /&gt;
 ''' '''  |)|-|-|-|&lt;br /&gt;
 '''3'''  |)|m|-|-|&lt;br /&gt;
 '''1'''  |)|-|r|-|&lt;br /&gt;
 '''5'''  |)|-|-|p|&lt;br /&gt;
 '''1'''  |i|-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''3'''  |i|-|-|-|&lt;br /&gt;
 '''1'''  |-|m|-|-|&lt;br /&gt;
 '''5'''  |-|m|-|-|&lt;br /&gt;
 '''3'''  |-|-|r|-|&lt;br /&gt;
 '''1'''  |-|-|-|p|&lt;br /&gt;
 ''' '''  |-|-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''1'''  |i|-|-|-|&lt;br /&gt;
 '''5'''  |-|r|-|-|&lt;br /&gt;
 '''3'''  |-|m|-|-|&lt;br /&gt;
 '''1'''  |-|-|p|-|&lt;br /&gt;
 ''' '''  |-|-|-|-|&lt;br /&gt;
 ''' '''  |-|-|-|-|&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Sevenths ==&lt;br /&gt;
{{crumbs|blue|2&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Triads|Triads&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sevenths|Sevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Ninths|Ninths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Elevenths|Elevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Thirteenths|Thirteenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Suspensions|Suspensions&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sixths|Sixths}}&lt;br /&gt;
&lt;br /&gt;
{{crumbs|blue2|0&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Major 7th|Maj 7&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Dominant 7th|Dom 7&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor 7th|Min 7&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Fully Diminished|Full Dim&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Half Diminished|Half Dim&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor/Major 7|Min/Maj 7}}&lt;br /&gt;
&lt;br /&gt;
: '''R - 3 - 5 - 7'''&lt;br /&gt;
&lt;br /&gt;
=== Major 7th ===&lt;br /&gt;
{{crumbs|blue|2&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Triads|Triads&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sevenths|Sevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Ninths|Ninths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Elevenths|Elevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Thirteenths|Thirteenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Suspensions|Suspensions&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sixths|Sixths}}&lt;br /&gt;
&lt;br /&gt;
{{crumbs|blue2|1&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Major 7th|Maj 7&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Dominant 7th|Dom 7&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor 7th|Min 7&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Fully Diminished|Full Dim&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Half Diminished|Half Dim&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor/Major 7|Min/Maj 7}}&lt;br /&gt;
&lt;br /&gt;
: '''R - M3 - P5 - M7'''&lt;br /&gt;
: &amp;lt;tt&amp;gt;|x|-|-|-|o|-|-|o|-|-|-|o|x|&amp;lt;/tt&amp;gt;&lt;br /&gt;
: &amp;lt;tt&amp;gt; 0     3   5   7   9     12&amp;lt;/tt&amp;gt;&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| All Notes for Arpeggio&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|1|-|-|-|3|&lt;br /&gt;
|5|-|-|-|7|&lt;br /&gt;
|-|3|-|-|5|&lt;br /&gt;
|-|7|1|-|-|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|1|-|-|-|3|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|7|1|-|-|&lt;br /&gt;
|-|5|-|-|&lt;br /&gt;
|-|-|3|-|&lt;br /&gt;
|-|-|7|1|&lt;br /&gt;
|3|-|-|5|&lt;br /&gt;
|7|1|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|-|7|1|-|&lt;br /&gt;
|3|-|-|5|-|&lt;br /&gt;
|1|-|-|-|3|&lt;br /&gt;
|5|-|-|-|7|&lt;br /&gt;
|-|-|3|-|-|&lt;br /&gt;
|-|-|7|1|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
{|&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|5|-|-|-|7|&lt;br /&gt;
|-|-|3|-|-|&lt;br /&gt;
|-|7|1|-|-|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|1|-|-|-|3|&lt;br /&gt;
|5|-|-|-|7|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|5|-|-|&lt;br /&gt;
|-|-|-|3|&lt;br /&gt;
|-|-|7|1|&lt;br /&gt;
|3|-|-|5|&lt;br /&gt;
|7|1|-|-|&lt;br /&gt;
|-|5|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|3|-|-|5|&lt;br /&gt;
|7|1|-|-|&lt;br /&gt;
|5|-|-|-|&lt;br /&gt;
|-|-|3|-|&lt;br /&gt;
|-|-|7|1|&lt;br /&gt;
|3|-|-|5|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|-|3|-|-|&lt;br /&gt;
|-|-|7|1|-|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|1|-|-|-|3|&lt;br /&gt;
|5|-|-|-|7|&lt;br /&gt;
|-|-|3|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| Root Position&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
 '''3'''  |i|-|-|-|&lt;br /&gt;
 '''7'''  |i|-|-|-|&lt;br /&gt;
 '''5'''  |i|-|-|-|&lt;br /&gt;
 '''3'''  |-|-|r|-|&lt;br /&gt;
 '''1'''  |-|-|-|p|&lt;br /&gt;
 ''' '''  |-|-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''5'''  |i|-|-|&lt;br /&gt;
 '''3'''  |)|-|p|&lt;br /&gt;
 '''7'''  |)|m|-|&lt;br /&gt;
 '''5'''  |)|-|r|&lt;br /&gt;
 '''1'''  |i|-|-|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
 '''5'''  |-|r|-|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
 '''7'''  |-|-|p|&lt;br /&gt;
 '''3'''  |i|-|-|&lt;br /&gt;
 '''1'''  |-|m|-|&lt;br /&gt;
|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
 '''5'''  |i|-|-|&lt;br /&gt;
 '''3'''  |)|r|-|&lt;br /&gt;
 '''7'''  |)|m|-|&lt;br /&gt;
 '''5'''  |)|-|p|&lt;br /&gt;
 '''1'''  |i|-|-|&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
|&lt;br /&gt;
 '''7'''  |i|-|-|-|&lt;br /&gt;
 ''' '''  |)|-|-|-|&lt;br /&gt;
 '''3'''  |)|-|m|-|&lt;br /&gt;
 '''1'''  |-|)|-|p|&lt;br /&gt;
 '''5'''  |-|)|-|r|&lt;br /&gt;
 '''1'''  |-|i|-|-|&lt;br /&gt;
| &lt;br /&gt;
 '''3'''  |-|-|r|&lt;br /&gt;
 '''7'''  |-|-|r|&lt;br /&gt;
 '''5'''  |-|-|r|&lt;br /&gt;
 '''1'''  |i|-|-|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''7'''  |i|-|-|-|&lt;br /&gt;
 '''5'''  |-|m|-|-|&lt;br /&gt;
 '''3'''  |-|-|r|-|&lt;br /&gt;
 '''1'''  |-|-|-|p|&lt;br /&gt;
 ''' '''  |-|-|-|-|&lt;br /&gt;
 ''' '''  |-|-|-|-|&lt;br /&gt;
|-&lt;br /&gt;
| &amp;lt;small&amp;gt;''barre acr frets&amp;lt;br&amp;gt;mute 2nd string''&amp;lt;/small&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
{|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| 1st Inversion&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
 '''3'''  |i|-|-|-|&lt;br /&gt;
 '''7'''  |i|-|-|-|&lt;br /&gt;
 '''5'''  |i|-|-|-|&lt;br /&gt;
 '''3'''  |)|-|r|-|&lt;br /&gt;
 '''1'''  |)|-|-|p|&lt;br /&gt;
 '''3'''  |i|-|-|-|&lt;br /&gt;
|  &lt;br /&gt;
 '''1'''  |-|r|-|&lt;br /&gt;
 '''5'''  |-|m|-|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
 '''7'''  |-|-|p|&lt;br /&gt;
 '''3'''  |i|-|-|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
| &lt;br /&gt;
 '''3'''  |-|-|r|&lt;br /&gt;
 '''7'''  |-|-|r|&lt;br /&gt;
 '''5'''  |-|-|r|&lt;br /&gt;
 '''1'''  |i|-|-|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
 '''3'''  |-|-|m|&lt;br /&gt;
|  &lt;br /&gt;
 '''7'''  |i|-|-|-|&lt;br /&gt;
 '''5'''  |)|m|-|-|&lt;br /&gt;
 '''3'''  |)|-|r|-|&lt;br /&gt;
 '''1'''  |)|-|-|p|&lt;br /&gt;
 '''3'''  |i|-|-|-|&lt;br /&gt;
 ''' '''  |-|-|-|-|&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Dominant 7th ===&lt;br /&gt;
{{crumbs|blue|2&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Triads|Triads&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sevenths|Sevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Ninths|Ninths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Elevenths|Elevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Thirteenths|Thirteenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Suspensions|Suspensions&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sixths|Sixths}}&lt;br /&gt;
&lt;br /&gt;
{{crumbs|blue2|2&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Major 7th|Maj 7&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Dominant 7th|Dom 7&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor 7th|Min 7&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Fully Diminished|Full Dim&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Half Diminished|Half Dim&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor/Major 7|Min/Maj 7}}&lt;br /&gt;
&lt;br /&gt;
: '''R - M3 - P5 - m7'''&lt;br /&gt;
: &amp;lt;tt&amp;gt;|x|-|-|-|o|-|-|o|-|-|o|-|x|&amp;lt;/tt&amp;gt;&lt;br /&gt;
: &amp;lt;tt&amp;gt; 0     3   5   7   9     12&amp;lt;/tt&amp;gt;&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| All Notes for Arpeggio&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|1|-|-|-|3|&lt;br /&gt;
|5|-|-|7|-|&lt;br /&gt;
|-|3|-|-|5|&lt;br /&gt;
|7|-|1|-|-|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|1|-|-|-|3|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|7|-|1|-|-|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|-|-|-|3|-|&lt;br /&gt;
|-|-|7|-|1|&lt;br /&gt;
|-|3|-|-|5|&lt;br /&gt;
|7|-|1|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|7|-|1|-|&lt;br /&gt;
|3|-|-|5|-|&lt;br /&gt;
|1|-|-|-|3|&lt;br /&gt;
|5|-|-|7|-|&lt;br /&gt;
|-|-|3|-|-|&lt;br /&gt;
|-|7|-|1|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
{|&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|5|-|-|7|-|&lt;br /&gt;
|-|-|3|-|-|&lt;br /&gt;
|7|-|1|-|-|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|1|-|-|-|3|&lt;br /&gt;
|5|-|-|7|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|1|-|-|-|3|&lt;br /&gt;
|-|-|7|-|1|&lt;br /&gt;
|-|3|-|-|5|&lt;br /&gt;
|7|-|1|-|-|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|3|-|-|5|&lt;br /&gt;
|-|1|-|-|&lt;br /&gt;
|5|-|-|7|&lt;br /&gt;
|-|-|3|-|&lt;br /&gt;
|-|7|-|1|&lt;br /&gt;
|3|-|-|5|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|-|3|-|-|&lt;br /&gt;
|-|7|-|1|-|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|1|-|-|-|3|&lt;br /&gt;
|5|-|-|7|-|&lt;br /&gt;
|-|-|3|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
{|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;|Root Position&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
 '''5'''  |-|p|&lt;br /&gt;
 ''' '''  |-|-|&lt;br /&gt;
 '''7'''  |-|r|&lt;br /&gt;
 '''3'''  |i|-|&lt;br /&gt;
 '''1'''  |-|m|&lt;br /&gt;
 ''' '''  |-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''5'''  |i|-|-|&lt;br /&gt;
 '''3'''  |)|-|p|&lt;br /&gt;
 '''7'''  |i|-|-|&lt;br /&gt;
 '''5'''  |)|-|r|&lt;br /&gt;
 '''1'''  |i|-|-|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''7'''  |-|-|-|p|&lt;br /&gt;
 '''3'''  |-|-|r|-|&lt;br /&gt;
 '''1'''  |-|-|r|-|&lt;br /&gt;
 '''5'''  |-|-|r|-|&lt;br /&gt;
 '''1'''  |i|-|-|-|&lt;br /&gt;
 ''' '''  |-|-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 ''' '''  |-|-|&lt;br /&gt;
 '''5'''  |-|p|&lt;br /&gt;
 ''' '''  |-|-|&lt;br /&gt;
 '''7'''  |-|r|&lt;br /&gt;
 '''3'''  |i|-|&lt;br /&gt;
 '''1'''  |-|m|&lt;br /&gt;
|}&lt;br /&gt;
{|&lt;br /&gt;
|&lt;br /&gt;
 '''7'''  |-|m|-|-|&lt;br /&gt;
 '''5'''  |i|-|-|-|&lt;br /&gt;
 '''1'''  |i|-|-|-|&lt;br /&gt;
 '''5'''  |i|-|-|-|&lt;br /&gt;
 '''3'''  |-|-|r|-|&lt;br /&gt;
 '''1'''  |-|-|-|p|&lt;br /&gt;
|&lt;br /&gt;
 '''1'''  |i|-|-|&lt;br /&gt;
 '''5'''  |i|-|-|&lt;br /&gt;
 '''3'''  |)|r|-|&lt;br /&gt;
 '''7'''  |i|-|-|&lt;br /&gt;
 '''5'''  |)|-|p|&lt;br /&gt;
 '''1'''  |i|-|-|&lt;br /&gt;
| &lt;br /&gt;
 '''3'''  |-|-|p|&lt;br /&gt;
 '''7'''  |-|m|-|&lt;br /&gt;
 '''5'''  |-|-|r|&lt;br /&gt;
 '''1'''  |i|-|-|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''7'''  |i|-|-|-|-|&lt;br /&gt;
 '''5'''  |-|-|m|-|-|&lt;br /&gt;
 '''3'''  |-|-|-|r|-|&lt;br /&gt;
 '''1'''  |-|-|-|-|p|&lt;br /&gt;
 ''' '''  |-|-|-|-|-|&lt;br /&gt;
 ''' '''  |-|-|-|-|-|&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Minor 7th ===&lt;br /&gt;
{{crumbs|blue|2&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Triads|Triads&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sevenths|Sevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Ninths|Ninths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Elevenths|Elevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Thirteenths|Thirteenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Suspensions|Suspensions&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sixths|Sixths}}&lt;br /&gt;
&lt;br /&gt;
{{crumbs|blue2|3&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Major 7th|Maj 7&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Dominant 7th|Dom 7&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor 7th|Min 7&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Fully Diminished|Full Dim&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Half Diminished|Half Dim&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor/Major 7|Min/Maj 7}}&lt;br /&gt;
&lt;br /&gt;
: '''R - m3 - P5 - m7'''&lt;br /&gt;
: &amp;lt;tt&amp;gt;|x|-|-|o|-|-|-|o|-|-|o|-|x|&amp;lt;/tt&amp;gt;&lt;br /&gt;
: &amp;lt;tt&amp;gt; 0     3   5   7   9     12&amp;lt;/tt&amp;gt;&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| All Notes for Arpeggio&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|1|-|-|3|-|&lt;br /&gt;
|5|-|-|7|-|&lt;br /&gt;
|3|-|-|-|5|&lt;br /&gt;
|7|-|1|-|-|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|1|-|-|3|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|7|-|1|-|-|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|-|-|3|-|-|&lt;br /&gt;
|-|-|7|-|1|&lt;br /&gt;
|3|-|-|-|5|&lt;br /&gt;
|7|-|1|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|-|7|-|1|&lt;br /&gt;
|3|-|-|-|5|&lt;br /&gt;
|-|1|-|-|3|&lt;br /&gt;
|-|5|-|-|7|&lt;br /&gt;
|-|-|3|-|-|&lt;br /&gt;
|-|-|7|-|1|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
{|&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|5|-|-|7|&lt;br /&gt;
|-|3|-|-|&lt;br /&gt;
|7|-|1|-|&lt;br /&gt;
|-|-|5|-|&lt;br /&gt;
|1|-|-|3|&lt;br /&gt;
|5|-|-|7|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|1|-|-|3|-|&lt;br /&gt;
|-|-|7|-|1|&lt;br /&gt;
|3|-|-|-|5|&lt;br /&gt;
|7|-|1|-|-|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|3|-|-|-|5|&lt;br /&gt;
|7|-|1|-|-|&lt;br /&gt;
|-|5|-|-|7|&lt;br /&gt;
|-|-|3|-|-|&lt;br /&gt;
|-|-|7|-|1|&lt;br /&gt;
|3|-|-|-|5|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|3|-|-|&lt;br /&gt;
|-|7|-|1|&lt;br /&gt;
|-|-|5|-|&lt;br /&gt;
|1|-|-|3|&lt;br /&gt;
|5|-|-|7|&lt;br /&gt;
|-|3|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| Root Position&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
 '''5'''  |-|-|p|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
 '''7'''  |-|-|r|&lt;br /&gt;
 '''3'''  |i|-|-|&lt;br /&gt;
 '''1'''  |-|-|m|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''5'''  |i|-|-|&lt;br /&gt;
 '''3'''  |)|m|-|&lt;br /&gt;
 '''7'''  |i|-|-|&lt;br /&gt;
 '''5'''  |)|-|r|&lt;br /&gt;
 '''1'''  |i|-|-|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
 '''5'''  |-|-|p|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
 '''7'''  |-|-|r|&lt;br /&gt;
 '''3'''  |i|-|-|&lt;br /&gt;
 '''1'''  |-|-|m|&lt;br /&gt;
|&lt;br /&gt;
 '''1'''  |i|-|-|&lt;br /&gt;
 '''5'''  |i|-|-|&lt;br /&gt;
 '''3'''  |i|-|-|&lt;br /&gt;
 '''7'''  |i|-|-|&lt;br /&gt;
 '''5'''  |)|-|p|&lt;br /&gt;
 '''1'''  |i|-|-|&lt;br /&gt;
|}&lt;br /&gt;
{|&lt;br /&gt;
|&lt;br /&gt;
 '''3'''  |-|r|-|&lt;br /&gt;
 '''7'''  |-|m|-|&lt;br /&gt;
 '''5'''  |-|-|p|&lt;br /&gt;
 '''1'''  |i|-|-|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''7'''  |i|-|-|-|-|&lt;br /&gt;
 '''5'''  |-|-|r|-|-|&lt;br /&gt;
 '''3'''  |-|-|m|-|-|&lt;br /&gt;
 '''1'''  |-|-|-|-|p|&lt;br /&gt;
 ''' '''  |-|-|-|-|-|&lt;br /&gt;
 ''' '''  |-|-|-|-|-|&lt;br /&gt;
|}&lt;br /&gt;
{|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| 1st Inversion&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
 '''1'''  |-|-|p|&lt;br /&gt;
 '''5'''  |-|-|r|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
 '''7'''  |-|-|m|&lt;br /&gt;
 '''3'''  |i|-|-|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
| &lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
 '''7'''  |-|r|-|&lt;br /&gt;
 '''5'''  |-|-|p|&lt;br /&gt;
 '''1'''  |i|-|-|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
 '''3'''  |-|m|-|&lt;br /&gt;
|  &lt;br /&gt;
 '''7'''  |i|-|-|-|-|&lt;br /&gt;
 '''5'''  |)|-|m|-|-|&lt;br /&gt;
 ''' '''  |)|-|-|-|-|&lt;br /&gt;
 '''1'''  |)|-|-|-|p|&lt;br /&gt;
 '''3'''  |i|-|-|-|-|&lt;br /&gt;
 ''' '''  |-|-|-|-|-|&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Fully Diminished ===&lt;br /&gt;
{{crumbs|blue|2&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Triads|Triads&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sevenths|Sevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Ninths|Ninths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Elevenths|Elevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Thirteenths|Thirteenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Suspensions|Suspensions&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sixths|Sixths}}&lt;br /&gt;
&lt;br /&gt;
{{crumbs|blue2|4&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Major 7th|Maj 7&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Dominant 7th|Dom 7&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor 7th|Min 7&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Fully Diminished|Full Dim&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Half Diminished|Half Dim&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor/Major 7|Min/Maj 7}}&lt;br /&gt;
&lt;br /&gt;
: '''R - m3 - d5 - M6''' ...or... '''R - m3 - d5 - d7'''&lt;br /&gt;
: &amp;lt;tt&amp;gt;|x|-|-|o|-|-|o|-|-|o|-|-|x|&amp;lt;/tt&amp;gt;&lt;br /&gt;
: &amp;lt;tt&amp;gt; 0     3   5   7   9     12&amp;lt;/tt&amp;gt;&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| All Notes for Arpeggio&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|x|-|-|x|&lt;br /&gt;
|x|-|-|x|-|&lt;br /&gt;
|-|x|-|-|-|&lt;br /&gt;
|x|-|-|x|-|&lt;br /&gt;
|-|-|x|-|-|&lt;br /&gt;
|-|x|-|-|x|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|-|x|-|-|&lt;br /&gt;
|-|x|-|-|x|&lt;br /&gt;
|-|-|x|-|-|&lt;br /&gt;
|-|x|-|-|x|&lt;br /&gt;
|x|-|-|x|-|&lt;br /&gt;
|-|-|x|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
{|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| Root and Inversions&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
 ''' ''' |-|-|&lt;br /&gt;
 '''5''' |i|-|&lt;br /&gt;
 '''3''' |)|r|&lt;br /&gt;
 '''7''' |i|-|&lt;br /&gt;
 ''' ''' |-|-|&lt;br /&gt;
 '''1''' |-|m|&lt;br /&gt;
|&lt;br /&gt;
 '''5''' |i|-|-|&lt;br /&gt;
 '''3''' |)|-|p|&lt;br /&gt;
 '''7''' |i|-|-|&lt;br /&gt;
 '''5''' |-|-|r|&lt;br /&gt;
 '''1''' |-|m|-|&lt;br /&gt;
 ''' ''' |-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''3''' |-|r|&lt;br /&gt;
 '''7''' |i|-|&lt;br /&gt;
 '''5''' |)|m|&lt;br /&gt;
 '''1''' |i|-|&lt;br /&gt;
 ''' ''' |-|-|&lt;br /&gt;
 ''' ''' |-|-|&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Half Diminished ===&lt;br /&gt;
{{crumbs|blue|2&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Triads|Triads&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sevenths|Sevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Ninths|Ninths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Elevenths|Elevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Thirteenths|Thirteenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Suspensions|Suspensions&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sixths|Sixths}}&lt;br /&gt;
&lt;br /&gt;
{{crumbs|blue2|5&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Major 7th|Maj 7&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Dominant 7th|Dom 7&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor 7th|Min 7&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Fully Diminished|Full Dim&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Half Diminished|Half Dim&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor/Major 7|Min/Maj 7}}&lt;br /&gt;
&lt;br /&gt;
: '''R - m3 - d5 - m7'''&lt;br /&gt;
: &amp;lt;tt&amp;gt;|x|-|-|o|-|-|o|-|-|-|o|-|x|&amp;lt;/tt&amp;gt;&lt;br /&gt;
: &amp;lt;tt&amp;gt; 0     3   5   7   9     12&amp;lt;/tt&amp;gt;&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| All Notes for Arpeggio&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|1|-|-|3|&lt;br /&gt;
|-|-|-|7|&lt;br /&gt;
|3|-|-|5|&lt;br /&gt;
|7|-|1|-|&lt;br /&gt;
|-|5|-|-|&lt;br /&gt;
|1|-|-|3|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|7|-|1|-|-|&lt;br /&gt;
|-|5|-|-|-|&lt;br /&gt;
|-|-|3|-|-|&lt;br /&gt;
|-|-|7|-|1|&lt;br /&gt;
|3|-|-|5|-|&lt;br /&gt;
|7|-|1|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|-|7|-|1|&lt;br /&gt;
|3|-|-|5|-|&lt;br /&gt;
|-|1|-|-|3|&lt;br /&gt;
|5|-|-|-|7|&lt;br /&gt;
|-|-|3|-|-|&lt;br /&gt;
|-|-|7|-|1|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|5|-|-|-|7|&lt;br /&gt;
|-|-|3|-|-|&lt;br /&gt;
|-|7|-|1|-|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|-|1|-|-|3|&lt;br /&gt;
|5|-|-|-|7|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
{|&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|5|-|-|&lt;br /&gt;
|1|-|-|3|&lt;br /&gt;
|-|-|7|-|&lt;br /&gt;
|3|-|-|5|&lt;br /&gt;
|7|-|1|-|&lt;br /&gt;
|-|5|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|3|-|-|5|-|&lt;br /&gt;
|7|-|1|-|-|&lt;br /&gt;
|5|-|-|-|7|&lt;br /&gt;
|-|-|3|-|-|&lt;br /&gt;
|-|-|7|-|1|&lt;br /&gt;
|3|-|-|5|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|-|3|-|-|&lt;br /&gt;
|-|-|7|-|1|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|-|1|-|-|3|&lt;br /&gt;
|5|-|-|-|7|&lt;br /&gt;
|-|-|3|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
{|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| Root Position&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
 ''' ''' |-|-|&lt;br /&gt;
 '''5''' |i|-|&lt;br /&gt;
 '''3''' |-|p|&lt;br /&gt;
 '''7''' |-|r|&lt;br /&gt;
 ''' ''' |-|-|&lt;br /&gt;
 '''1''' |-|m|&lt;br /&gt;
|&lt;br /&gt;
 ''' ''' |-|-|&lt;br /&gt;
 '''3''' |-|p|&lt;br /&gt;
 '''7''' |i|-|&lt;br /&gt;
 '''5''' |)|r|&lt;br /&gt;
 '''1''' |i|-|&lt;br /&gt;
 ''' ''' |-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''3''' |-|r|&lt;br /&gt;
 '''7''' |-|r|&lt;br /&gt;
 '''5''' |-|r|&lt;br /&gt;
 '''1''' |i|-|&lt;br /&gt;
 ''' ''' |-|-|&lt;br /&gt;
 ''' ''' |-|-|&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Minor/Major 7 ===&lt;br /&gt;
{{crumbs|blue|2&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Triads|Triads&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sevenths|Sevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Ninths|Ninths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Elevenths|Elevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Thirteenths|Thirteenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Suspensions|Suspensions&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sixths|Sixths}}&lt;br /&gt;
&lt;br /&gt;
{{crumbs|blue2|6&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Major 7th|Maj 7&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Dominant 7th|Dom 7&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor 7th|Min 7&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Fully Diminished|Full Dim&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Half Diminished|Half Dim&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor/Major 7|Min/Maj 7}}&lt;br /&gt;
&lt;br /&gt;
: '''R - m3 - P5 - M7'''&lt;br /&gt;
: &amp;lt;tt&amp;gt;|x|-|-|o|-|-|-|o|-|-|-|o|x|&amp;lt;/tt&amp;gt;&lt;br /&gt;
: &amp;lt;tt&amp;gt; 0     3   5   7   9     12&amp;lt;/tt&amp;gt;&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| All Notes for Arpeggio&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|1|-|-|3|-|&lt;br /&gt;
|5|-|-|-|7|&lt;br /&gt;
|3|-|-|-|5|&lt;br /&gt;
|-|7|1|-|-|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|1|-|-|3|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|7|1|-|-|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|-|-|3|-|-|&lt;br /&gt;
|-|-|-|7|1|&lt;br /&gt;
|3|-|-|-|5|&lt;br /&gt;
|-|7|1|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|-|-|7|1|&lt;br /&gt;
|3|-|-|-|5|&lt;br /&gt;
|7|1|-|-|3|&lt;br /&gt;
|-|5|-|-|-|&lt;br /&gt;
|-|-|3|-|-|&lt;br /&gt;
|-|-|-|7|1|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|5|-|-|-|7|&lt;br /&gt;
|-|3|-|-|-|&lt;br /&gt;
|-|7|1|-|-|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|1|-|-|3|-|&lt;br /&gt;
|5|-|-|-|7|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
{|&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|1|-|-|3|-|&lt;br /&gt;
|-|-|-|7|1|&lt;br /&gt;
|3|-|-|-|5|&lt;br /&gt;
|-|7|1|-|-|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|3|-|-|-|5|&lt;br /&gt;
|-|7|1|-|-|&lt;br /&gt;
|-|5|-|-|-|&lt;br /&gt;
|-|-|3|-|-|&lt;br /&gt;
|-|-|-|7|1|&lt;br /&gt;
|3|-|-|-|5|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|3|-|-|-|&lt;br /&gt;
|-|-|7|1|-|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|1|-|-|3|-|&lt;br /&gt;
|5|-|-|-|7|&lt;br /&gt;
|-|3|-|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| Root Position&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
 ''' ''' |-|-|&lt;br /&gt;
 '''5''' |i|-|&lt;br /&gt;
 '''3''' |i|-|&lt;br /&gt;
 '''7''' |)|r|&lt;br /&gt;
 ''' ''' |)|-|&lt;br /&gt;
 '''1''' |i|-|&lt;br /&gt;
|&lt;br /&gt;
 '''5''' |i|-|-|&lt;br /&gt;
 '''3''' |)|r|-|&lt;br /&gt;
 '''7''' |)|m|-|&lt;br /&gt;
 '''5''' |)|-|p|&lt;br /&gt;
 '''1''' |i|-|-|&lt;br /&gt;
 ''' ''' |-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''3''' |-|m|-|&lt;br /&gt;
 '''7''' |-|-|p|&lt;br /&gt;
 '''5''' |-|-|r|&lt;br /&gt;
 '''1''' |i|-|-|&lt;br /&gt;
 ''' ''' |-|-|-|&lt;br /&gt;
 ''' ''' |-|-|-|&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Ninths ==&lt;br /&gt;
{{crumbs|blue|3&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Triads|Triads&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sevenths|Sevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Ninths|Ninths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Elevenths|Elevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Thirteenths|Thirteenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Suspensions|Suspensions&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sixths|Sixths}}&lt;br /&gt;
&lt;br /&gt;
{{crumbs|blue2|0&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Dominant 9th|Dom 9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Dominant Minor 9th|Dom Min 9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Major 9th|Maj 9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor 9th|Min 9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Augmented 9th|Aug 9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#6/9|6/9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Major Added 9th|Maj add9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor Added 9th|Min add9}}&lt;br /&gt;
&lt;br /&gt;
: '''R - 3 - (5) - 7 - 9'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
=== Dominant 9th ===&lt;br /&gt;
{{crumbs|blue|3&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Triads|Triads&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sevenths|Sevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Ninths|Ninths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Elevenths|Elevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Thirteenths|Thirteenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Suspensions|Suspensions&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sixths|Sixths}}&lt;br /&gt;
&lt;br /&gt;
{{crumbs|blue2|1&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Dominant 9th|Dom 9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Dominant Minor 9th|Dom Min 9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Major 9th|Maj 9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor 9th|Min 9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Augmented 9th|Aug 9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#6/9|6/9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Major Added 9th|Maj add9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor Added 9th|Min add9}}&lt;br /&gt;
&lt;br /&gt;
: '''R - M3 - P5 - m7 - M9'''&lt;br /&gt;
: &amp;lt;tt&amp;gt;|x|-|o|-|o|-|-|o|-|-|o|-|x|&amp;lt;/tt&amp;gt;&lt;br /&gt;
: &amp;lt;tt&amp;gt; 0     3   5   7   9     12&amp;lt;/tt&amp;gt;&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| All Notes for Arpeggio&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|1|-|9|-|3|&lt;br /&gt;
|5|-|-|7|-|&lt;br /&gt;
|-|3|-|-|5|&lt;br /&gt;
|7|-|1|-|9|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|1|-|9|-|3|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|7|-|1|-|9|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|-|9|-|3|-|&lt;br /&gt;
|-|-|7|-|1|&lt;br /&gt;
|-|3|-|-|5|&lt;br /&gt;
|7|-|1|-|9|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|7|-|1|-|&lt;br /&gt;
|3|-|-|5|-|&lt;br /&gt;
|1|-|9|-|3|&lt;br /&gt;
|5|-|-|7|-|&lt;br /&gt;
|9|-|3|-|-|&lt;br /&gt;
|-|7|-|1|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
{|&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|5|-|-|7|-|&lt;br /&gt;
|-|-|3|-|-|&lt;br /&gt;
|7|-|1|-|9|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|1|-|9|-|3|&lt;br /&gt;
|5|-|-|7|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|1|-|9|-|3|&lt;br /&gt;
|-|-|7|-|1|&lt;br /&gt;
|-|3|-|-|5|&lt;br /&gt;
|7|-|1|-|9|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|3|-|-|5|&lt;br /&gt;
|-|1|-|9|&lt;br /&gt;
|5|-|-|7|&lt;br /&gt;
|9|-|3|-|&lt;br /&gt;
|-|7|-|1|&lt;br /&gt;
|3|-|-|5|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|9|-|3|-|-|&lt;br /&gt;
|-|7|-|1|-|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|1|-|9|-|3|&lt;br /&gt;
|5|-|-|7|-|&lt;br /&gt;
|9|-|3|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| Root Position&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
 '''5''' |-|r| &lt;br /&gt;
 '''9''' |-|r|&lt;br /&gt;
 '''7''' |-|r|&lt;br /&gt;
 '''3''' |i|-|&lt;br /&gt;
 '''1''' |-|m|&lt;br /&gt;
 ''' ''' |-|-|&lt;br /&gt;
|&lt;br /&gt;
 ''' ''' |-|-| &lt;br /&gt;
 '''5''' |-|p|&lt;br /&gt;
 '''9''' |i|-|&lt;br /&gt;
 '''7''' |)|r|&lt;br /&gt;
 '''3''' |i|-|&lt;br /&gt;
 '''1''' |-|m|&lt;br /&gt;
|&lt;br /&gt;
 '''9''' |-|-|p| &lt;br /&gt;
 '''5''' |i|-|-|&lt;br /&gt;
 '''3''' |)|m|-|&lt;br /&gt;
 '''7''' |i|-|-|&lt;br /&gt;
 '''5''' |)|-|r|&lt;br /&gt;
 '''1''' |i|-|-|&lt;br /&gt;
|&lt;br /&gt;
 ''' ''' |-|-|-|-| &lt;br /&gt;
 '''3''' |i|-|-|-|&lt;br /&gt;
 '''9''' |-|-|m|-|&lt;br /&gt;
 '''7''' |-|-|-|p|&lt;br /&gt;
 ''' ''' |-|-|-|-|&lt;br /&gt;
 '''1''' |-|-|-|r|&lt;br /&gt;
|}&lt;br /&gt;
{|&lt;br /&gt;
|&lt;br /&gt;
 '''3''' |i|-|-|-| &lt;br /&gt;
 '''9''' |-|-|-|p|&lt;br /&gt;
 '''7''' |-|-|-|r|&lt;br /&gt;
 ''' ''' |-|-|-|-|&lt;br /&gt;
 '''1''' |-|-|-|m|&lt;br /&gt;
 ''' ''' |-|-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''9''' |-|r|-| &lt;br /&gt;
 '''7''' |-|-|p|&lt;br /&gt;
 '''3''' |i|-|-|&lt;br /&gt;
 '''1''' |-|m|-|&lt;br /&gt;
 ''' ''' |-|-|-|&lt;br /&gt;
 ''' ''' |-|-|-|&lt;br /&gt;
|}&lt;br /&gt;
{|&lt;br /&gt;
! 1st Inversion&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
 '''R''' |-|p| &lt;br /&gt;
 '''5''' |-|r|&lt;br /&gt;
 '''9''' |i|-|&lt;br /&gt;
 '''7''' |)|m|&lt;br /&gt;
 '''3''' |i|-|&lt;br /&gt;
 ''' ''' |-|-|&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Dominant Minor 9th ===&lt;br /&gt;
{{crumbs|blue|3&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Triads|Triads&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sevenths|Sevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Ninths|Ninths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Elevenths|Elevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Thirteenths|Thirteenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Suspensions|Suspensions&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sixths|Sixths}}&lt;br /&gt;
&lt;br /&gt;
{{crumbs|blue2|2&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Dominant 9th|Dom 9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Dominant Minor 9th|Dom Min 9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Major 9th|Maj 9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor 9th|Min 9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Augmented 9th|Aug 9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#6/9|6/9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Major Added 9th|Maj add9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor Added 9th|Min add9}}&lt;br /&gt;
&lt;br /&gt;
: '''R - M3 - (P5) - m7 - m9'''&lt;br /&gt;
: &amp;lt;tt&amp;gt;|x|o|-|-|o|-|-|?|-|-|o|-|x|&amp;lt;/tt&amp;gt;&lt;br /&gt;
: &amp;lt;tt&amp;gt; 0     3   5   7   9     12&amp;lt;/tt&amp;gt;&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| All Notes for Arpeggio&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|1|9|-|-|3|&lt;br /&gt;
|5|-|-|7|-|&lt;br /&gt;
|-|3|-|-|5|&lt;br /&gt;
|7|-|1|9|-|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|1|9|-|-|3|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|7|-|1|9|-|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|9|-|-|3|-|&lt;br /&gt;
|-|-|7|-|1|&lt;br /&gt;
|-|3|-|-|5|&lt;br /&gt;
|7|-|1|9|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|-|-|1|9|&lt;br /&gt;
|3|-|-|5|-|&lt;br /&gt;
|1|9|-|-|3|&lt;br /&gt;
|5|-|-|-|-|&lt;br /&gt;
|-|-|3|-|-|&lt;br /&gt;
|-|-|-|1|9|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|5|-|-|7|-|&lt;br /&gt;
|-|-|3|-|-|&lt;br /&gt;
|7|-|1|9|-|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|1|9|-|-|3|&lt;br /&gt;
|5|-|-|7|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
{|&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|-|9|-|-|3|&lt;br /&gt;
|-|-|7|-|1|&lt;br /&gt;
|-|3|-|-|5|&lt;br /&gt;
|7|-|1|9|-|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|3|-|-|5|-|&lt;br /&gt;
|-|1|9|-|-|&lt;br /&gt;
|5|-|-|7|-|&lt;br /&gt;
|-|-|3|-|-|&lt;br /&gt;
|-|7|-|1|9|&lt;br /&gt;
|3|-|-|5|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|-|3|-|-|&lt;br /&gt;
|-|7|-|1|9|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|1|9|-|-|3|&lt;br /&gt;
|5|-|-|7|-|&lt;br /&gt;
|-|-|3|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| Root Position&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
 '''5''' |-|p| &lt;br /&gt;
 '''9''' |i|-|&lt;br /&gt;
 '''7''' |)|r|&lt;br /&gt;
 '''3''' |i|-|&lt;br /&gt;
 '''1''' |-|m|&lt;br /&gt;
 ''' ''' |-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''9''' |i|-|-| &lt;br /&gt;
 '''7''' |)|-|p|&lt;br /&gt;
 '''3''' |i|-|-|&lt;br /&gt;
 '''1''' |-|m|-|&lt;br /&gt;
 ''' ''' |-|-|-|&lt;br /&gt;
 ''' ''' |-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''9''' |-|p| &lt;br /&gt;
 '''5''' |i|-|&lt;br /&gt;
 '''3''' |)|r|&lt;br /&gt;
 '''7''' |i|-|&lt;br /&gt;
 ''' ''' |-|-|&lt;br /&gt;
 '''1''' |t|-|&lt;br /&gt;
|&lt;br /&gt;
 ''' ''' |-|-|-|-| &lt;br /&gt;
 '''3''' |i|-|-|-|&lt;br /&gt;
 '''9''' |-|m|-|-|&lt;br /&gt;
 '''7''' |-|-|-|p|&lt;br /&gt;
 ''' ''' |-|-|-|-|&lt;br /&gt;
 '''1''' |-|-|-|r|&lt;br /&gt;
|&lt;br /&gt;
 '''3''' |i|-|-|-| &lt;br /&gt;
 '''9''' |-|-|m|-|&lt;br /&gt;
 '''7''' |-|-|-|p|&lt;br /&gt;
 ''' ''' |-|-|-|-|&lt;br /&gt;
 '''1''' |-|-|-|r|&lt;br /&gt;
 ''' ''' |-|-|-|-|&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Major 9th ===&lt;br /&gt;
{{crumbs|blue|3&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Triads|Triads&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sevenths|Sevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Ninths|Ninths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Elevenths|Elevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Thirteenths|Thirteenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Suspensions|Suspensions&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sixths|Sixths}}&lt;br /&gt;
&lt;br /&gt;
{{crumbs|blue2|3&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Dominant 9th|Dom 9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Dominant Minor 9th|Dom Min 9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Major 9th|Maj 9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor 9th|Min 9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Augmented 9th|Aug 9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#6/9|6/9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Major Added 9th|Maj add9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor Added 9th|Min add9}}&lt;br /&gt;
&lt;br /&gt;
: '''R - M3 - (P5) - M7 - M9'''&lt;br /&gt;
: &amp;lt;tt&amp;gt;|x|-|o|-|o|-|-|?|-|-|-|o|x|&amp;lt;/tt&amp;gt;&lt;br /&gt;
: &amp;lt;tt&amp;gt; 0     3   5   7   9     12&amp;lt;/tt&amp;gt;&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| All Notes for Arpeggio&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|1|-|9|-|3|&lt;br /&gt;
|5|-|-|-|7|&lt;br /&gt;
|-|3|-|-|5|&lt;br /&gt;
|-|7|1|-|9|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|1|-|9|-|3|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|7|1|-|9|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|9|-|3|-|-|&lt;br /&gt;
|-|-|-|7|1|&lt;br /&gt;
|-|3|-|-|5|&lt;br /&gt;
|-|7|1|-|9|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|-|7|1|-|&lt;br /&gt;
|3|-|-|5|-|&lt;br /&gt;
|1|-|9|-|3|&lt;br /&gt;
|5|-|-|-|7|&lt;br /&gt;
|9|-|3|-|-|&lt;br /&gt;
|-|-|7|1|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
{|&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|5|-|-|-|7|&lt;br /&gt;
|-|-|3|-|-|&lt;br /&gt;
|-|7|1|-|9|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|1|-|9|-|3|&lt;br /&gt;
|5|-|-|-|7|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|5|-|-|&lt;br /&gt;
|9|-|-|3|&lt;br /&gt;
|-|-|7|1|&lt;br /&gt;
|3|-|-|5|&lt;br /&gt;
|7|1|-|9|&lt;br /&gt;
|-|5|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|3|-|-|5|-|&lt;br /&gt;
|7|1|-|9|-|&lt;br /&gt;
|5|-|-|-|7|&lt;br /&gt;
|9|-|3|-|-|&lt;br /&gt;
|-|-|7|1|-|&lt;br /&gt;
|3|-|-|5|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|9|-|3|-|-|&lt;br /&gt;
|-|-|7|1|-|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|1|-|9|-|3|&lt;br /&gt;
|5|-|-|-|7|&lt;br /&gt;
|9|-|3|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
|colspan=&amp;quot;2&amp;quot;| Root Position&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
 '''3''' |-|-|-|-|p| &lt;br /&gt;
 '''7''' |-|-|-|-|p|&lt;br /&gt;
 '''5''' |-|-|-|-|p|&lt;br /&gt;
 '''9''' |-|-|-|-|p|&lt;br /&gt;
 '''5''' |-|-|m|-|-|&lt;br /&gt;
 '''1''' |i|-|-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 ''' ''' |-|-|-| &lt;br /&gt;
 '''5''' |-|r|-|&lt;br /&gt;
 '''9''' |i|-|-|&lt;br /&gt;
 '''7''' |)|-|p|&lt;br /&gt;
 '''3''' |i|-|-|&lt;br /&gt;
 '''1''' |-|m|-|&lt;br /&gt;
|&lt;br /&gt;
 ''' ''' |-|-|-| &lt;br /&gt;
 '''9''' |-|r|-|&lt;br /&gt;
 '''7''' |-|-|p|&lt;br /&gt;
 '''3''' |i|-|-|&lt;br /&gt;
 '''1''' |-|m|-|&lt;br /&gt;
 ''' ''' |-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''9''' |-|r|-|-| &lt;br /&gt;
 '''7''' |-|-|-|p|&lt;br /&gt;
 '''3''' |i|-|-|-|&lt;br /&gt;
 '''1''' |-|m|-|-|&lt;br /&gt;
 ''' ''' |-|-|-|-|&lt;br /&gt;
 ''' ''' |-|-|-|-|&lt;br /&gt;
|}&lt;br /&gt;
{|&lt;br /&gt;
|&lt;br /&gt;
 '''3''' |i|-|-|-| &lt;br /&gt;
 '''7''' |i|-|-|-|&lt;br /&gt;
 '''5''' |i|-|-|-|&lt;br /&gt;
 '''9''' |i|-|-|-|&lt;br /&gt;
 '''1''' |-|-|-|p|&lt;br /&gt;
 ''' ''' |-|-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''9''' |-|-|p|&lt;br /&gt;
 '''5''' |i|-|-|&lt;br /&gt;
 '''3''' |)|r|-|&lt;br /&gt;
 '''7''' |)|m|-|&lt;br /&gt;
 ''' ''' |)|-|-|&lt;br /&gt;
 '''1''' |i|-|-|&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Minor 9th ===&lt;br /&gt;
{{crumbs|blue|3&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Triads|Triads&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sevenths|Sevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Ninths|Ninths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Elevenths|Elevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Thirteenths|Thirteenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Suspensions|Suspensions&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sixths|Sixths}}&lt;br /&gt;
&lt;br /&gt;
{{crumbs|blue2|4&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Dominant 9th|Dom 9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Dominant Minor 9th|Dom Min 9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Major 9th|Maj 9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor 9th|Min 9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Augmented 9th|Aug 9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#6/9|6/9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Major Added 9th|Maj add9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor Added 9th|Min add9}}&lt;br /&gt;
&lt;br /&gt;
: '''R - m3 - (P5) - m7 - M9'''&lt;br /&gt;
: &amp;lt;tt&amp;gt;|x|-|o|o|-|-|-|?|-|-|o|-|x|&amp;lt;/tt&amp;gt;&lt;br /&gt;
: &amp;lt;tt&amp;gt; 0     3   5   7   9     12&amp;lt;/tt&amp;gt;&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| All Notes for Arpeggio&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|1|-|9|3|-|&lt;br /&gt;
|5|-|-|7|-|&lt;br /&gt;
|3|-|-|-|5|&lt;br /&gt;
|7|-|1|-|9|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|1|-|9|3|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|7|-|1|-|9|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|-|9|3|-|-|&lt;br /&gt;
|-|-|7|-|1|&lt;br /&gt;
|3|-|-|-|5|&lt;br /&gt;
|7|-|1|-|9|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|7|-|1|&lt;br /&gt;
|-|-|-|5|&lt;br /&gt;
|1|-|9|3|&lt;br /&gt;
|5|-|-|7|&lt;br /&gt;
|9|3|-|-|&lt;br /&gt;
|-|7|-|1|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|5|-|-|7|-|&lt;br /&gt;
|9|3|-|-|-|&lt;br /&gt;
|7|-|1|-|9|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|1|-|9|3|-|&lt;br /&gt;
|5|-|-|7|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
{|&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|1|-|9|3|-|&lt;br /&gt;
|-|-|7|-|1|&lt;br /&gt;
|3|-|-|-|5|&lt;br /&gt;
|7|-|1|-|9|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|3|-|-|-|5|&lt;br /&gt;
|-|-|1|-|9|&lt;br /&gt;
|-|5|-|-|7|&lt;br /&gt;
|-|9|3|-|-|&lt;br /&gt;
|-|-|7|-|1|&lt;br /&gt;
|3|-|-|-|5|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|9|3|-|-|&lt;br /&gt;
|-|7|-|1|&lt;br /&gt;
|-|-|5|-|&lt;br /&gt;
|1|-|9|3|&lt;br /&gt;
|5|-|-|7|&lt;br /&gt;
|9|3|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| Root Position&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
 '''5''' |-|-|r| &lt;br /&gt;
 '''9''' |-|-|r|&lt;br /&gt;
 '''7''' |-|-|r|&lt;br /&gt;
 '''3''' |i|-|-|&lt;br /&gt;
 '''1''' |-|-|m|&lt;br /&gt;
 ''' ''' |-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''9''' |-|-|r|-| &lt;br /&gt;
 '''7''' |-|-|-|p|&lt;br /&gt;
 '''3''' |i|-|-|-|&lt;br /&gt;
 '''1''' |-|-|m|-|&lt;br /&gt;
 ''' ''' |-|-|-|-|&lt;br /&gt;
 ''' ''' |-|-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''9''' |-|-|p| &lt;br /&gt;
 '''5''' |i|-|-|&lt;br /&gt;
 '''3''' |i|-|-|&lt;br /&gt;
 '''7''' |i|-|-|&lt;br /&gt;
 '''5''' |)|-|r|&lt;br /&gt;
 '''1''' |i|-|-|&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Augmented 9th ===&lt;br /&gt;
{{crumbs|blue|3&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Triads|Triads&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sevenths|Sevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Ninths|Ninths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Elevenths|Elevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Thirteenths|Thirteenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Suspensions|Suspensions&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sixths|Sixths}}&lt;br /&gt;
&lt;br /&gt;
{{crumbs|blue2|5&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Dominant 9th|Dom 9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Dominant Minor 9th|Dom Min 9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Major 9th|Maj 9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor 9th|Min 9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Augmented 9th|Aug 9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#6/9|6/9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Major Added 9th|Maj add9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor Added 9th|Min add9}}&lt;br /&gt;
&lt;br /&gt;
: '''R - M3 - (P5) - m7 - A9'''&lt;br /&gt;
: &amp;lt;tt&amp;gt;|x|-|-|o|o|-|-|?|-|-|o|-|x|&amp;lt;/tt&amp;gt;&lt;br /&gt;
: &amp;lt;tt&amp;gt; 0     3   5   7   9     12&amp;lt;/tt&amp;gt;&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| All Notes for Arpeggio&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|1|-|-|9|3|&lt;br /&gt;
|5|-|-|7|-|&lt;br /&gt;
|9|3|-|-|5|&lt;br /&gt;
|7|-|1|-|-|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|1|-|-|9|3|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|7|-|1|-|-|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|-|-|9|3|-|&lt;br /&gt;
|-|-|7|-|1|&lt;br /&gt;
|9|3|-|-|5|&lt;br /&gt;
|7|-|1|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|7|-|1|&lt;br /&gt;
|3|-|-|5|&lt;br /&gt;
|1|-|-|9|&lt;br /&gt;
|5|-|-|7|&lt;br /&gt;
|-|9|3|-|&lt;br /&gt;
|-|7|-|1|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|5|-|-|7|-|&lt;br /&gt;
|-|9|3|-|-|&lt;br /&gt;
|7|-|1|-|-|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|1|-|-|9|3|&lt;br /&gt;
|5|-|-|7|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
{|&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|1|-|-|9|3|&lt;br /&gt;
|-|-|7|-|1|&lt;br /&gt;
|9|3|-|-|5|&lt;br /&gt;
|7|-|1|-|-|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|9|3|-|-|5|&lt;br /&gt;
|-|-|1|-|-|&lt;br /&gt;
|-|5|-|-|7|&lt;br /&gt;
|-|-|9|3|-|&lt;br /&gt;
|-|-|7|-|1|&lt;br /&gt;
|9|3|-|-|5|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|9|3|-|-|&lt;br /&gt;
|-|7|-|1|-|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|1|-|-|9|3|&lt;br /&gt;
|5|-|-|7|-|&lt;br /&gt;
|-|9|3|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| Root Position&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
 ''' ''' |-|-|-| &lt;br /&gt;
 '''9''' |-|-|p|&lt;br /&gt;
 '''7''' |-|r|-|&lt;br /&gt;
 '''3''' |i|-|-|&lt;br /&gt;
 '''1''' |-|m|-|&lt;br /&gt;
 ''' ''' |-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''9''' |-|-|p| &lt;br /&gt;
 '''7''' |-|-|r|&lt;br /&gt;
 '''3''' |i|-|-|&lt;br /&gt;
 '''1''' |-|m|-|&lt;br /&gt;
 ''' ''' |-|-|-|&lt;br /&gt;
 ''' ''' |-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''9''' |-|-|-|p| &lt;br /&gt;
 '''7''' |-|-|-|p|&lt;br /&gt;
 '''3''' |-|m|-|-|&lt;br /&gt;
 ''' ''' |-|-|-|-|&lt;br /&gt;
 '''5''' |-|-|r|-|&lt;br /&gt;
 '''1''' |i|-|-|-|&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== 6/9 ===&lt;br /&gt;
{{crumbs|blue|3&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Triads|Triads&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sevenths|Sevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Ninths|Ninths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Elevenths|Elevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Thirteenths|Thirteenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Suspensions|Suspensions&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sixths|Sixths}}&lt;br /&gt;
&lt;br /&gt;
{{crumbs|blue2|6&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Dominant 9th|Dom 9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Dominant Minor 9th|Dom Min 9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Major 9th|Maj 9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor 9th|Min 9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Augmented 9th|Aug 9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#6/9|6/9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Major Added 9th|Maj add9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor Added 9th|Min add9}}&lt;br /&gt;
&lt;br /&gt;
: '''R - M3 - P5 - M6 - M9'''&lt;br /&gt;
: &amp;lt;tt&amp;gt;|x|-|o|-|o|-|-|o|-|o|-|-|x|&amp;lt;/tt&amp;gt;&lt;br /&gt;
: &amp;lt;tt&amp;gt; 0     3   5   7   9     12&amp;lt;/tt&amp;gt;&lt;br /&gt;
&lt;br /&gt;
This is the same set of notes as the [[Ref:_Common_Scales#Major_Pentatonic|Major Pentatonic Scale]].&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| All Notes for Arpeggio&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|1|-|9|-|3|&lt;br /&gt;
|5|-|6|-|-|&lt;br /&gt;
|-|3|-|-|5|&lt;br /&gt;
|-|-|1|-|9|&lt;br /&gt;
|-|-|5|-|6|&lt;br /&gt;
|1|-|9|-|3|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|1|-|9|&lt;br /&gt;
|-|5|-|6|&lt;br /&gt;
|9|-|3|-|&lt;br /&gt;
|6|-|-|1|&lt;br /&gt;
|3|-|-|5|&lt;br /&gt;
|-|1|-|9|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|6|-|-|1|-|&lt;br /&gt;
|3|-|-|5|-|&lt;br /&gt;
|1|-|9|-|3|&lt;br /&gt;
|5|-|6|-|-|&lt;br /&gt;
|9|-|3|-|-|&lt;br /&gt;
|6|-|-|1|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
{|&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|5|-|6|-|-|&lt;br /&gt;
|-|-|3|-|-|&lt;br /&gt;
|-|-|1|-|9|&lt;br /&gt;
|-|-|5|-|6|&lt;br /&gt;
|1|-|9|-|3|&lt;br /&gt;
|5|-|6|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|5|-|6|&lt;br /&gt;
|-|9|-|3|&lt;br /&gt;
|6|-|-|1|&lt;br /&gt;
|3|-|-|5|&lt;br /&gt;
|-|1|-|9|&lt;br /&gt;
|-|5|-|6|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|3|-|-|5|&lt;br /&gt;
|-|1|-|9|&lt;br /&gt;
|5|-|6|-|&lt;br /&gt;
|9|-|3|-|&lt;br /&gt;
|6|-|-|1|&lt;br /&gt;
|3|-|-|5|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|9|-|3|-|-|&lt;br /&gt;
|6|-|-|1|-|&lt;br /&gt;
|-|-|5|-|6|&lt;br /&gt;
|1|-|9|-|3|&lt;br /&gt;
|5|-|6|-|-|&lt;br /&gt;
|9|-|3|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| Root Position&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
 '''5''' |-|p|&lt;br /&gt;
 '''9''' |-|r|&lt;br /&gt;
 '''6''' |i|-|&lt;br /&gt;
 '''3''' |i|-|&lt;br /&gt;
 '''1''' |-|m|&lt;br /&gt;
 ''' ''' |-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''1''' |-|p|&lt;br /&gt;
 '''5''' |-|r|&lt;br /&gt;
 '''9''' |i|-|&lt;br /&gt;
 '''6''' |i|-|&lt;br /&gt;
 '''3''' |i|-|&lt;br /&gt;
 '''1''' |-|m|&lt;br /&gt;
|&lt;br /&gt;
 '''6''' |i|-|-|-|&lt;br /&gt;
 '''3''' |i|-|-|-|&lt;br /&gt;
 '''9''' |)|-|r|-|&lt;br /&gt;
 '''5''' |i|-|-|-|&lt;br /&gt;
 ''' ''' |-|-|-|-|&lt;br /&gt;
 '''1''' |-|-|-|p|&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Major Added 9th ===&lt;br /&gt;
{{crumbs|blue|3&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Triads|Triads&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sevenths|Sevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Ninths|Ninths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Elevenths|Elevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Thirteenths|Thirteenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Suspensions|Suspensions&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sixths|Sixths}}&lt;br /&gt;
&lt;br /&gt;
{{crumbs|blue2|7&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Dominant 9th|Dom 9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Dominant Minor 9th|Dom Min 9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Major 9th|Maj 9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor 9th|Min 9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Augmented 9th|Aug 9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#6/9|6/9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Major Added 9th|Maj add9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor Added 9th|Min add9}}&lt;br /&gt;
&lt;br /&gt;
: '''R - M3 - P5 - M9'''&lt;br /&gt;
: &amp;lt;tt&amp;gt;|x|-|o|-|o|-|-|o|-|-|-|-|x|&amp;lt;/tt&amp;gt;&lt;br /&gt;
: &amp;lt;tt&amp;gt; 0     3   5   7   9     12&amp;lt;/tt&amp;gt;&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| All Notes for Arpeggio&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|1|-|9|-|3|&lt;br /&gt;
|5|-|-|-|-|&lt;br /&gt;
|-|3|-|-|5|&lt;br /&gt;
|-|-|1|-|9|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|1|-|9|-|3|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|1|-|9|&lt;br /&gt;
|-|5|-|-|&lt;br /&gt;
|9|-|3|-|&lt;br /&gt;
|-|-|-|1|&lt;br /&gt;
|3|-|-|5|&lt;br /&gt;
|-|1|-|9|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|-|-|1|-|&lt;br /&gt;
|3|-|-|5|-|&lt;br /&gt;
|1|-|9|-|3|&lt;br /&gt;
|5|-|-|-|-|&lt;br /&gt;
|9|-|3|-|-|&lt;br /&gt;
|-|-|-|1|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
{|&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|5|-|-|-|-|&lt;br /&gt;
|-|-|3|-|-|&lt;br /&gt;
|-|-|1|-|9|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|1|-|9|-|3|&lt;br /&gt;
|5|-|-|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|5|-|-|&lt;br /&gt;
|-|9|-|3|&lt;br /&gt;
|-|-|-|1|&lt;br /&gt;
|3|-|-|5|&lt;br /&gt;
|-|1|-|9|&lt;br /&gt;
|-|5|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|3|-|-|5|&lt;br /&gt;
|-|1|-|9|&lt;br /&gt;
|5|-|-|-|&lt;br /&gt;
|9|-|3|-|&lt;br /&gt;
|-|-|-|1|&lt;br /&gt;
|3|-|-|5|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|9|-|3|-|-|&lt;br /&gt;
|-|-|-|1|-|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|1|-|9|-|3|&lt;br /&gt;
|5|-|-|-|-|&lt;br /&gt;
|9|-|3|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
|colspan=&amp;quot;3&amp;quot;| Root Position&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
 '''1''' |i|-|-|-|-| &lt;br /&gt;
 '''5''' |i|-|-|-|-|&lt;br /&gt;
 '''3''' |)|m|-|-|-|&lt;br /&gt;
 '''9''' |)|-|-|-|p|&lt;br /&gt;
 '''5''' |)|-|r|-|-|&lt;br /&gt;
 '''1''' |i|-|-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''5''' |-|p|&lt;br /&gt;
 '''9''' |-|r|&lt;br /&gt;
 ''' ''' |-|-|&lt;br /&gt;
 '''3''' |i|-|&lt;br /&gt;
 '''1''' |-|m|&lt;br /&gt;
 ''' ''' |-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''5''' |i|-|-|-|-| &lt;br /&gt;
 '''3''' |)|-|r|-|-|&lt;br /&gt;
 '''9''' |)|-|-|-|p|&lt;br /&gt;
 '''5''' |)|-|m|-|-|&lt;br /&gt;
 '''1''' |i|-|-|-|-|&lt;br /&gt;
 ''' ''' |-|-|-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''9''' |-|-|p|&lt;br /&gt;
 '''5''' |i|-|-|&lt;br /&gt;
 '''3''' |-|m|-|&lt;br /&gt;
 '''1''' |-|-|r|&lt;br /&gt;
 ''' ''' |-|-|-|&lt;br /&gt;
 ''' ''' |-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 ''' ''' |-|-|-|-| &lt;br /&gt;
 '''9''' |-|-|-|p|&lt;br /&gt;
 '''5''' |i|-|-|-|&lt;br /&gt;
 '''3''' |-|-|m|-|&lt;br /&gt;
 '''1''' |-|-|-|r|&lt;br /&gt;
 ''' ''' |-|-|-|-|&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Minor Added 9th ===&lt;br /&gt;
{{crumbs|blue|3&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Triads|Triads&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sevenths|Sevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Ninths|Ninths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Elevenths|Elevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Thirteenths|Thirteenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Suspensions|Suspensions&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sixths|Sixths}}&lt;br /&gt;
&lt;br /&gt;
{{crumbs|blue2|8&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Dominant 9th|Dom 9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Dominant Minor 9th|Dom Min 9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Major 9th|Maj 9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor 9th|Min 9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Augmented 9th|Aug 9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#6/9|6/9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Major Added 9th|Maj add9&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor Added 9th|Min add9}}&lt;br /&gt;
&lt;br /&gt;
: '''R - m3 - P5 - M9'''&lt;br /&gt;
: &amp;lt;tt&amp;gt;|x|-|o|o|-|-|-|o|-|-|-|-|x|&amp;lt;/tt&amp;gt;&lt;br /&gt;
: &amp;lt;tt&amp;gt; 0     3   5   7   9     12&amp;lt;/tt&amp;gt;&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| All Notes for Arpeggio&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|1|-|9|3|-|&lt;br /&gt;
|5|-|-|-|-|&lt;br /&gt;
|3|-|-|-|5|&lt;br /&gt;
|-|-|1|-|9|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|1|-|9|3|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|-|1|-|9|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|-|9|3|-|-|&lt;br /&gt;
|-|-|-|-|1|&lt;br /&gt;
|3|-|-|-|5|&lt;br /&gt;
|-|-|1|-|9|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|-|-|1|&lt;br /&gt;
|-|-|-|5|&lt;br /&gt;
|1|-|9|3|&lt;br /&gt;
|5|-|-|-|&lt;br /&gt;
|9|3|-|-|&lt;br /&gt;
|-|-|-|1|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
{|&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|5|-|-|-|&lt;br /&gt;
|9|3|-|-|&lt;br /&gt;
|-|-|1|-|&lt;br /&gt;
|-|-|5|-|&lt;br /&gt;
|1|-|9|3|&lt;br /&gt;
|5|-|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
|1|-|9|3|-|&lt;br /&gt;
|-|-|-|-|1|&lt;br /&gt;
|3|-|-|-|5|&lt;br /&gt;
|-|-|1|-|9|&lt;br /&gt;
|-|-|5|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|3|-|-|-|5|&lt;br /&gt;
|-|-|1|-|9|&lt;br /&gt;
|-|5|-|-|-|&lt;br /&gt;
|-|9|3|-|-|&lt;br /&gt;
|-|-|-|-|1|&lt;br /&gt;
|3|-|-|-|5|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|9|3|-|-|&lt;br /&gt;
|-|-|-|1|&lt;br /&gt;
|-|-|5|-|&lt;br /&gt;
|1|-|9|3|&lt;br /&gt;
|5|-|-|-|&lt;br /&gt;
|9|3|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
|colspan=&amp;quot;3&amp;quot;| Root Position&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
 '''1''' |i|-|-|-|-| &lt;br /&gt;
 '''5''' |i|-|-|-|-|&lt;br /&gt;
 '''3''' |i|-|-|-|-|&lt;br /&gt;
 '''9''' |)|-|-|-|p|&lt;br /&gt;
 '''5''' |)|-|m|-|-|&lt;br /&gt;
 '''1''' |i|-|-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''5''' |-|-|p|&lt;br /&gt;
 '''9''' |-|-|r|&lt;br /&gt;
 ''' ''' |-|-|-|&lt;br /&gt;
 '''3''' |i|-|-|&lt;br /&gt;
 '''1''' |-|-|m|&lt;br /&gt;
 ''' ''' |-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''5''' |i|-|-|-|-| &lt;br /&gt;
 '''3''' |)|m|-|-|-|&lt;br /&gt;
 '''9''' |)|-|-|-|p|&lt;br /&gt;
 '''5''' |)|-|r|-|-|&lt;br /&gt;
 '''1''' |i|-|-|-|-|&lt;br /&gt;
 ''' ''' |-|-|-|-|-|&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Elevenths ==&lt;br /&gt;
{{crumbs|blue|4&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Triads|Triads&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sevenths|Sevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Ninths|Ninths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Elevenths|Elevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Thirteenths|Thirteenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Suspensions|Suspensions&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sixths|Sixths}}&lt;br /&gt;
&lt;br /&gt;
{{crumbs|blue2|0&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#11th (Diatonic)|Diatonic 11th&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Dominant 11th|Dominant 11th&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Dominant .E2.99.AF11th (Jazz Dominant 11th)|Jazz Dominant 11th&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor 11th|Minor 11th&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Major 11th (Lydian)|Major 11th}}&lt;br /&gt;
&lt;br /&gt;
: '''R - (3) - (5) - 7 - 9 - 11'''&lt;br /&gt;
The Major 3rd is virtually always omitted due to its dissonant m9 (m2 above the octave) interval with the diatonic 11th.  If the augmented 11th or minor 3rd is used, then it can optionally be present.  This is marked by &amp;lt;nowiki&amp;gt;[M3]&amp;lt;/nowiki&amp;gt; below.&lt;br /&gt;
&lt;br /&gt;
=== 11th (Diatonic) ===&lt;br /&gt;
{{crumbs|blue|4&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Triads|Triads&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sevenths|Sevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Ninths|Ninths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Elevenths|Elevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Thirteenths|Thirteenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Suspensions|Suspensions&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sixths|Sixths}}&lt;br /&gt;
&lt;br /&gt;
{{crumbs|blue2|1&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#11th (Diatonic)|Diatonic 11th&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Dominant 11th|Dominant 11th&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Dominant .E2.99.AF11th (Jazz Dominant 11th)|Jazz Dominant 11th&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor 11th|Minor 11th&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Major 11th (Lydian)|Major 11th}}&lt;br /&gt;
&lt;br /&gt;
: '''R - [M3] - (P5) - M7 - (M9) - P11'''&lt;br /&gt;
: &amp;lt;tt&amp;gt;|x|-|?|-|-|o|-|?|-|-|-|o|x|&amp;lt;/tt&amp;gt;&lt;br /&gt;
: &amp;lt;tt&amp;gt; 0     3   5   7   9     12&amp;lt;/tt&amp;gt;&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
! Root Position&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
 ''' '''  |-|-|-|-|&lt;br /&gt;
 '''11''' |i|-|-|-|&lt;br /&gt;
 '''9'''  |-|m|-|-|&lt;br /&gt;
 '''7'''  |-|-|-|p|&lt;br /&gt;
 ''' '''  |-|-|-|-|&lt;br /&gt;
 '''1'''  |-|-|r|-|&lt;br /&gt;
|&lt;br /&gt;
 '''9'''  |-|-|p|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
 '''11''' |-|-|r|&lt;br /&gt;
 '''7'''  |-|m|-|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
 '''1'''  |i|-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''11''' |i|-|-|-|&lt;br /&gt;
 '''9'''  |-|-|r|-|&lt;br /&gt;
 '''7'''  |-|-|-|p|&lt;br /&gt;
 ''' '''  |-|-|-|-|&lt;br /&gt;
 '''1'''  |-|-|m|-|&lt;br /&gt;
 ''' '''  |-|-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''11''' |-|-|-|p|&lt;br /&gt;
 '''7'''  |-|-|r|-|&lt;br /&gt;
 '''5'''  |-|-|m|-|&lt;br /&gt;
 '''1'''  |i|-|-|-|&lt;br /&gt;
 ''' '''  |-|-|-|-|&lt;br /&gt;
 ''' '''  |-|-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
 '''11''' |-|-|p|&lt;br /&gt;
 '''7'''  |-|m|-|&lt;br /&gt;
 '''5'''  |-|-|r|&lt;br /&gt;
 '''1'''  |i|-|-|&lt;br /&gt;
|}&lt;br /&gt;
{|&lt;br /&gt;
! 2nd Inversion&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
 '''7'''  |i|-|-|-|&lt;br /&gt;
 '''11''' |i|-|-|-|&lt;br /&gt;
 '''9'''  |i|-|-|-|&lt;br /&gt;
 '''1'''  |-|-|-|p|&lt;br /&gt;
 '''5'''  |-|-|-|r|&lt;br /&gt;
 ''' '''  |-|-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 ''' '''  |-|-|&lt;br /&gt;
 '''9'''  |i|-|&lt;br /&gt;
 '''7'''  |)|r|&lt;br /&gt;
 '''11''' |)|m|&lt;br /&gt;
 '''1'''  |i|-|&lt;br /&gt;
 '''5'''  |i|-|&lt;br /&gt;
|}&lt;br /&gt;
{|&lt;br /&gt;
! '''4th Inversion'''&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
 '''1'''  |i|-|-|-|-| &lt;br /&gt;
 '''7'''  |-|-|-|-|p|&lt;br /&gt;
 '''11''' |-|-|-|r|-|&lt;br /&gt;
 ''' '''  |-|-|-|-|-|&lt;br /&gt;
 '''5'''  |-|-|m|-|-|&lt;br /&gt;
 '''9'''  |-|-|m|-|-|&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Dominant 11th ===&lt;br /&gt;
{{crumbs|blue|4&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Triads|Triads&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sevenths|Sevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Ninths|Ninths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Elevenths|Elevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Thirteenths|Thirteenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Suspensions|Suspensions&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sixths|Sixths}}&lt;br /&gt;
&lt;br /&gt;
{{crumbs|blue2|2&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#11th (Diatonic)|Diatonic 11th&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Dominant 11th|Dominant 11th&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Dominant .E2.99.AF11th (Jazz Dominant 11th)|Jazz Dominant 11th&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor 11th|Minor 11th&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Major 11th (Lydian)|Major 11th}}&lt;br /&gt;
&lt;br /&gt;
: '''R - [M3] - (P5) - m7 - (M9) - P11'''&lt;br /&gt;
: &amp;lt;tt&amp;gt;|x|-|?|-|-|o|-|?|-|-|o|-|x|&amp;lt;/tt&amp;gt;&lt;br /&gt;
: &amp;lt;tt&amp;gt; 0     3   5   7   9     12&amp;lt;/tt&amp;gt;&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
! Root Position&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
 '''11''' |i|-|-|&lt;br /&gt;
 '''9'''  |-|m|-|&lt;br /&gt;
 '''7'''  |-|-|p|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
 '''1'''  |-|-|r|&lt;br /&gt;
|&lt;br /&gt;
 '''11''' |i|-|-|&lt;br /&gt;
 '''9'''  |-|-|p|&lt;br /&gt;
 '''7'''  |-|-|r|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
 '''1'''  |-|-|m|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Dominant {{s}}11th (Jazz Dominant 11th) ===&lt;br /&gt;
{{crumbs|blue|4&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Triads|Triads&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sevenths|Sevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Ninths|Ninths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Elevenths|Elevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Thirteenths|Thirteenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Suspensions|Suspensions&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sixths|Sixths}}&lt;br /&gt;
&lt;br /&gt;
{{crumbs|blue2|3&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#11th (Diatonic)|Diatonic 11th&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Dominant 11th|Dominant 11th&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Dominant .E2.99.AF11th (Jazz Dominant 11th)|Jazz Dominant 11th&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor 11th|Minor 11th&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Major 11th (Lydian)|Major 11th}}&lt;br /&gt;
&lt;br /&gt;
: '''R - M3 - (P5) - m7 - (M9) - A11'''&lt;br /&gt;
: &amp;lt;tt&amp;gt;|x|-|?|-|o|-|o|?|-|-|o|-|x|&amp;lt;/tt&amp;gt;&lt;br /&gt;
: &amp;lt;tt&amp;gt; 0     3   5   7   9     12&amp;lt;/tt&amp;gt;&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
! Root Position&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
 ''' '''  |-|-|&lt;br /&gt;
 '''11''' |i|-|&lt;br /&gt;
 '''9'''  |i|-|&lt;br /&gt;
 '''7'''  |)|r|&lt;br /&gt;
 '''3'''  |i|-|&lt;br /&gt;
 '''1'''  |-|m|&lt;br /&gt;
|&lt;br /&gt;
 '''11''' |i|-|&lt;br /&gt;
 '''9'''  |)|p|&lt;br /&gt;
 '''7'''  |)|r|&lt;br /&gt;
 '''3'''  |i|-|&lt;br /&gt;
 '''1'''  |-|m|&lt;br /&gt;
 ''' '''  |-|-|&lt;br /&gt;
|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
 '''11''' |i|-|-|&lt;br /&gt;
 '''3'''  |-|-|p|&lt;br /&gt;
 '''7'''  |-|r|-|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
 '''1'''  |-|m|-|&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Minor 11th ===&lt;br /&gt;
{{crumbs|blue|4&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Triads|Triads&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sevenths|Sevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Ninths|Ninths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Elevenths|Elevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Thirteenths|Thirteenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Suspensions|Suspensions&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sixths|Sixths}}&lt;br /&gt;
&lt;br /&gt;
{{crumbs|blue2|4&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#11th (Diatonic)|Diatonic 11th&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Dominant 11th|Dominant 11th&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Dominant .E2.99.AF11th (Jazz Dominant 11th)|Jazz Dominant 11th&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor 11th|Minor 11th&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Major 11th (Lydian)|Major 11th}}&lt;br /&gt;
&lt;br /&gt;
: '''R - m3 - (P5) - m7 - (M9) - P11'''&lt;br /&gt;
: &amp;lt;tt&amp;gt;|x|-|?|o|-|o|-|?|-|-|o|-|x|&amp;lt;/tt&amp;gt;&lt;br /&gt;
: &amp;lt;tt&amp;gt; 0     3   5   7   9     12&amp;lt;/tt&amp;gt;&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
! Root Position&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
 '''11''' |i|-|-|&lt;br /&gt;
 '''9'''  |)|m|-|&lt;br /&gt;
 '''7'''  |)|-|p|&lt;br /&gt;
 '''3'''  |i|-|-|&lt;br /&gt;
 '''1'''  |-|-|r|&lt;br /&gt;
|&lt;br /&gt;
 '''5'''  |i|-|&lt;br /&gt;
 '''3'''  |)|r|&lt;br /&gt;
 '''7'''  |i|-|&lt;br /&gt;
 '''11''' |i|-|&lt;br /&gt;
 '''1'''  |i|-|&lt;br /&gt;
 ''' '''  |-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''7'''  |i|-|-|&lt;br /&gt;
 '''11''' |i|-|-|&lt;br /&gt;
 '''3'''  |)|-|p|&lt;br /&gt;
 '''7'''  |)|-|r|&lt;br /&gt;
 '''3'''  |i|-|-|&lt;br /&gt;
 '''1'''  |-|-|m|&lt;br /&gt;
|&lt;br /&gt;
 '''9'''  |-|-|r|&lt;br /&gt;
 '''5'''  |i|-|-|&lt;br /&gt;
 '''3'''  |i|-|-|&lt;br /&gt;
 '''7'''  |i|-|-|&lt;br /&gt;
 '''11''' |i|-|-|&lt;br /&gt;
 '''1'''  |i|-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''11''' |i|-|-|&lt;br /&gt;
 '''1'''  |i|-|-|&lt;br /&gt;
 '''7'''  |)|-|p|&lt;br /&gt;
 '''3'''  |i|-|-|&lt;br /&gt;
 '''1'''  |-|-|r|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
|}&lt;br /&gt;
{|&lt;br /&gt;
! 2nd Inversion&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
 '''7'''  |i|-|-|-|-| &lt;br /&gt;
 '''11''' |i|-|-|-|-|&lt;br /&gt;
 '''3'''  |-|-|m|-|-|&lt;br /&gt;
 '''1'''  |-|-|-|-|p|&lt;br /&gt;
 '''5'''  |-|-|-|-|r|&lt;br /&gt;
 ''' '''  |-|-|-|-|-|&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Major 11th (Lydian) ===&lt;br /&gt;
{{crumbs|blue|4&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Triads|Triads&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sevenths|Sevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Ninths|Ninths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Elevenths|Elevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Thirteenths|Thirteenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Suspensions|Suspensions&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sixths|Sixths}}&lt;br /&gt;
&lt;br /&gt;
{{crumbs|blue2|5&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#11th (Diatonic)|Diatonic 11th&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Dominant 11th|Dominant 11th&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Dominant .E2.99.AF11th (Jazz Dominant 11th)|Jazz Dominant 11th&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor 11th|Minor 11th&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Major 11th (Lydian)|Major 11th}}&lt;br /&gt;
&lt;br /&gt;
: '''R - (M3) - (P5) - M7 - (M9) - A11'''&lt;br /&gt;
: &amp;lt;tt&amp;gt;|x|-|?|-|?|-|o|?|-|-|-|o|x|&amp;lt;/tt&amp;gt;&lt;br /&gt;
: &amp;lt;tt&amp;gt; 0     3   5   7   9     12&amp;lt;/tt&amp;gt;&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
! Root Position&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
 '''11''' |i|-|-|&lt;br /&gt;
 '''9'''  |i|-|-|&lt;br /&gt;
 '''7'''  |-|-|r|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
 '''1'''  |-|m|-|&lt;br /&gt;
|&lt;br /&gt;
 ''' '''  |-|-|-|-|&lt;br /&gt;
 ''' '''  |-|-|-|-|&lt;br /&gt;
 '''11''' |-|-|-|p|&lt;br /&gt;
 '''7'''  |-|m|-|-|&lt;br /&gt;
 '''5'''  |-|-|r|-|&lt;br /&gt;
 '''1'''  |i|-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''1'''  |i|-|-|-|&lt;br /&gt;
 '''5'''  |i|-|-|-|&lt;br /&gt;
 '''11''' |)|-|-|p|&lt;br /&gt;
 '''7'''  |)|m|-|-|&lt;br /&gt;
 ''' '''  |)|-|-|-|&lt;br /&gt;
 '''1'''  |i|-|-|-|&lt;br /&gt;
|}&lt;br /&gt;
{|&lt;br /&gt;
|&lt;br /&gt;
 '''11''' |-|-|-|-|p| &lt;br /&gt;
 '''7'''  |-|-|r|-|-|&lt;br /&gt;
 '''5'''  |-|-|m|-|-|&lt;br /&gt;
 '''1'''  |i|-|-|-|-|&lt;br /&gt;
 ''' '''  |-|-|-|-|-|&lt;br /&gt;
 ''' '''  |-|-|-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''11''' |i|-|-|&lt;br /&gt;
 '''1'''  |)|r|-|&lt;br /&gt;
 '''7'''  |)|-|p|&lt;br /&gt;
 '''3'''  |i|-|-|&lt;br /&gt;
 '''1'''  |-|m|-|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''9'''  |-|-|p|&lt;br /&gt;
 '''5'''  |i|-|-|&lt;br /&gt;
 ''' '''  |)|-|-|&lt;br /&gt;
 '''7'''  |)|r|-|&lt;br /&gt;
 '''11''' |)|m|-|&lt;br /&gt;
 '''1'''  |i|-|-|&lt;br /&gt;
|}&lt;br /&gt;
{|&lt;br /&gt;
! 2nd Inversion&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
 '''7'''  |i|-|-|-|&lt;br /&gt;
 '''11''' |i|-|-|-|&lt;br /&gt;
 '''3'''  |-|-|m|-|&lt;br /&gt;
 '''1'''  |-|-|-|p|&lt;br /&gt;
 '''5'''  |-|-|-|r|&lt;br /&gt;
 ''' '''  |-|-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 ''' '''  |-|-|&lt;br /&gt;
 '''9'''  |i|-|&lt;br /&gt;
 '''7'''  |)|r|&lt;br /&gt;
 '''11''' |)|m|&lt;br /&gt;
 '''1'''  |i|-|&lt;br /&gt;
 '''5'''  |i|-|&lt;br /&gt;
|&lt;br /&gt;
 '''1'''  |i|-|-|-|-| &lt;br /&gt;
 '''7'''  |-|-|-|-|p|&lt;br /&gt;
 '''11''' |-|-|-|r|-|&lt;br /&gt;
 ''' '''  |-|-|-|-|-|&lt;br /&gt;
 '''5'''  |-|-|m|-|-|&lt;br /&gt;
 ''' '''  |-|-|-|-|-|&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Thirteenths ==&lt;br /&gt;
{{crumbs|blue|5&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Triads|Triads&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sevenths|Sevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Ninths|Ninths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Elevenths|Elevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Thirteenths|Thirteenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Suspensions|Suspensions&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sixths|Sixths}}&lt;br /&gt;
&lt;br /&gt;
{{crumbs|blue2|0&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Dominant 13th|Dominant 13th&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor 13th|Minor 13th&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Major 13th|Major 13th}}&lt;br /&gt;
&lt;br /&gt;
: '''R - 3 - (5) - 7 - (9) - (11) - 13'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
=== Dominant 13th ===&lt;br /&gt;
{{crumbs|blue|5&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Triads|Triads&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sevenths|Sevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Ninths|Ninths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Elevenths|Elevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Thirteenths|Thirteenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Suspensions|Suspensions&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sixths|Sixths}}&lt;br /&gt;
&lt;br /&gt;
{{crumbs|blue2|1&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Dominant 13th|Dominant 13th&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor 13th|Minor 13th&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Major 13th|Major 13th}}&lt;br /&gt;
&lt;br /&gt;
: '''R - M3 - (P5) - m7 - (M9) - (P11) - M13'''&lt;br /&gt;
: &amp;lt;tt&amp;gt;|x|-|?|-|o|?|-|?|-|o|o|-|x|&amp;lt;/tt&amp;gt;&lt;br /&gt;
: &amp;lt;tt&amp;gt; 0     3   5   7   9     12&amp;lt;/tt&amp;gt;&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
|colspan=&amp;quot;2&amp;quot;| Root Position&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
 '''13''' |-|-|p|&lt;br /&gt;
 '''3'''  |-|r|-|&lt;br /&gt;
 '''7'''  |m|-|-|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
 '''1'''  |i|-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''13''' |-|-|p|&lt;br /&gt;
 '''3'''  |-|-|r|&lt;br /&gt;
 '''7'''  |i|-|-|&lt;br /&gt;
 '''5'''  |)|-|m|&lt;br /&gt;
 '''1'''  |i|-|-|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''13''' |-|-|-|p|&lt;br /&gt;
 '''9'''  |-|r|-|-|&lt;br /&gt;
 '''7'''  |-|r|-|-|&lt;br /&gt;
 '''3'''  |i|-|-|-|&lt;br /&gt;
 '''1'''  |-|m|-|-|&lt;br /&gt;
 ''' '''  |-|-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''13''' |-|-|p|&lt;br /&gt;
 '''3'''  |-|-|p|&lt;br /&gt;
 '''7'''  |m|-|-|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
 '''1'''  |i|-|-|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Minor 13th ===&lt;br /&gt;
{{crumbs|blue|5&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Triads|Triads&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sevenths|Sevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Ninths|Ninths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Elevenths|Elevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Thirteenths|Thirteenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Suspensions|Suspensions&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sixths|Sixths}}&lt;br /&gt;
&lt;br /&gt;
{{crumbs|blue2|2&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Dominant 13th|Dominant 13th&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor 13th|Minor 13th&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Major 13th|Major 13th}}&lt;br /&gt;
&lt;br /&gt;
: '''R - m3 - (P5) - m7 - (M9) - (P11) - M13'''&lt;br /&gt;
: &amp;lt;tt&amp;gt;|x|-|?|o|-|?|-|?|-|o|o|-|x|&amp;lt;/tt&amp;gt;&lt;br /&gt;
: &amp;lt;tt&amp;gt; 0     3   5   7   9     12&amp;lt;/tt&amp;gt;&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| Root Position&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
 '''13''' |-|-|p|&lt;br /&gt;
 '''3'''  |i|-|-|&lt;br /&gt;
 '''7'''  |i|-|-|&lt;br /&gt;
 '''5'''  |)|-|r|&lt;br /&gt;
 '''1'''  |i|-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''13''' |-|-|p|&lt;br /&gt;
 '''3'''  |-|m|-|&lt;br /&gt;
 '''7'''  |i|-|-|&lt;br /&gt;
 '''5'''  |)|-|r|&lt;br /&gt;
 '''1'''  |i|-|-|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''13''' |-|-|-|-|p| &lt;br /&gt;
 '''9'''  |-|-|r|-|-|&lt;br /&gt;
 '''7'''  |-|-|r|-|-|&lt;br /&gt;
 '''3'''  |i|-|-|-|-|&lt;br /&gt;
 '''1'''  |-|-|m|-|-|&lt;br /&gt;
 ''' '''  |-|-|-|-|-|&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Major 13th ===&lt;br /&gt;
{{crumbs|blue|5&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Triads|Triads&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sevenths|Sevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Ninths|Ninths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Elevenths|Elevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Thirteenths|Thirteenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Suspensions|Suspensions&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sixths|Sixths}}&lt;br /&gt;
&lt;br /&gt;
{{crumbs|blue2|3&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Dominant 13th|Dominant 13th&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor 13th|Minor 13th&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Major 13th|Major 13th}}&lt;br /&gt;
&lt;br /&gt;
: '''R - M3 - (P5) - M7 - (M9) - (P11) - M13'''&lt;br /&gt;
: &amp;lt;tt&amp;gt;|x|-|?|-|o|?|-|?|-|o|-|o|x|&amp;lt;/tt&amp;gt;&lt;br /&gt;
: &amp;lt;tt&amp;gt; 0     3   5   7   9     12&amp;lt;/tt&amp;gt;&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| Root Position&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
 '''13''' |-|-|p|&lt;br /&gt;
 '''3'''  |-|r|-|&lt;br /&gt;
 '''7'''  |-|m|-|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
 '''1'''  |i|-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''13''' |-|-|p|&lt;br /&gt;
 '''3'''  |-|-|r|&lt;br /&gt;
 '''7'''  |-|m|-|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
 '''1'''  |i|-|-|&lt;br /&gt;
 ''' '''  |-|-|-|&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Suspensions ==&lt;br /&gt;
{{crumbs|blue|6&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Triads|Triads&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sevenths|Sevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Ninths|Ninths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Elevenths|Elevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Thirteenths|Thirteenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Suspensions|Suspensions&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sixths|Sixths}}&lt;br /&gt;
&lt;br /&gt;
{{crumbs|blue2|0&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Suspended 2nd|Suspended 2nd&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Suspended 4th|Suspended 4th}}&lt;br /&gt;
&lt;br /&gt;
: '''R - M2/P4 - 5'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
=== Suspended 2nd ===&lt;br /&gt;
{{crumbs|blue|6&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Triads|Triads&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sevenths|Sevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Ninths|Ninths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Elevenths|Elevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Thirteenths|Thirteenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Suspensions|Suspensions&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sixths|Sixths}}&lt;br /&gt;
&lt;br /&gt;
{{crumbs|blue2|1&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Suspended 2nd|Suspended 2nd&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Suspended 4th|Suspended 4th}}&lt;br /&gt;
&lt;br /&gt;
: '''R - M2 - 5'''&lt;br /&gt;
: &amp;lt;tt&amp;gt;|x|-|o|-|-|-|-|o|-|-|-|-|x|&amp;lt;/tt&amp;gt;&lt;br /&gt;
: &amp;lt;tt&amp;gt; 0     3   5   7   9     12&amp;lt;/tt&amp;gt;&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| Root Position&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
 '''1''' |i|-|-|-|-|&lt;br /&gt;
 '''5''' |i|-|-|-|-|&lt;br /&gt;
 ''' ''' |)|-|-|-|-|&lt;br /&gt;
 '''2''' |)|-|-|-|p|&lt;br /&gt;
 '''5''' |)|-|r|-|-|&lt;br /&gt;
 '''1''' |i|-|-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''5''' |i|-|-|&lt;br /&gt;
 '''2''' |i|-|-|&lt;br /&gt;
 '''1''' |)|-|p|&lt;br /&gt;
 '''5''' |)|-|r|&lt;br /&gt;
 '''1''' |i|-|-|&lt;br /&gt;
 ''' ''' |-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''2''' |i|-|-|-|&lt;br /&gt;
 '''1''' |)|-|-|p|&lt;br /&gt;
 '''5''' |)|-|r|-|&lt;br /&gt;
 '''1''' |i|-|-|-|&lt;br /&gt;
 ''' ''' |-|-|-|-|&lt;br /&gt;
 ''' ''' |-|-|-|-|&lt;br /&gt;
|-&lt;br /&gt;
| ''mute 3rd string''&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
* ''When using inversions, the sus2 and sus4 chords may have identical shapes.''&lt;br /&gt;
&lt;br /&gt;
=== Suspended 4th ===&lt;br /&gt;
{{crumbs|blue|6&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Triads|Triads&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sevenths|Sevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Ninths|Ninths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Elevenths|Elevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Thirteenths|Thirteenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Suspensions|Suspensions&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sixths|Sixths}}&lt;br /&gt;
&lt;br /&gt;
{{crumbs|blue2|2&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Suspended 2nd|Suspended 2nd&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Suspended 4th|Suspended 4th}}&lt;br /&gt;
&lt;br /&gt;
: '''R - P4 - 5'''&lt;br /&gt;
: &amp;lt;tt&amp;gt;|x|-|-|-|-|o|-|o|-|-|-|-|x|&amp;lt;/tt&amp;gt;&lt;br /&gt;
: &amp;lt;tt&amp;gt; 0     3   5   7   9     12&amp;lt;/tt&amp;gt;&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| Root Position&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
 '''1''' |i|-|-|&lt;br /&gt;
 '''5''' |i|-|-|&lt;br /&gt;
 '''4''' |)|-|p|&lt;br /&gt;
 '''1''' |)|-|r|&lt;br /&gt;
 '''5''' |)|-|m|&lt;br /&gt;
 '''1''' |i|-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''5''' |i|-|-|-|&lt;br /&gt;
 '''4''' |)|-|-|p|&lt;br /&gt;
 '''1''' |)|-|r|-|&lt;br /&gt;
 '''5''' |)|-|r|-|&lt;br /&gt;
 '''1''' |i|-|-|-|&lt;br /&gt;
 ''' ''' |-|-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''4''' |-|-|-|p|&lt;br /&gt;
 '''1''' |-|-|-|p|&lt;br /&gt;
 '''5''' |-|-|r|-|&lt;br /&gt;
 '''1''' |i|-|-|-|&lt;br /&gt;
 ''' ''' |-|-|-|-|&lt;br /&gt;
 ''' ''' |-|-|-|-|&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
* ''When using inversions, the sus2 and sus4 chords may have identical shapes.''&lt;br /&gt;
&lt;br /&gt;
== Sixths ==&lt;br /&gt;
{{crumbs|blue|7&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Triads|Triads&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sevenths|Sevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Ninths|Ninths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Elevenths|Elevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Thirteenths|Thirteenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Suspensions|Suspensions&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sixths|Sixths}}&lt;br /&gt;
&lt;br /&gt;
{{crumbs|blue2|0&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Major 6th|Major 6th&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor 6th|Minor 6th}}&lt;br /&gt;
&lt;br /&gt;
: '''R - 3 - 5 - 6'''&lt;br /&gt;
&lt;br /&gt;
The only real enharmonically unique 6th chords are more technically called ''add 6th'' chords, simply adding the 6th on a basic triad.  Other chords have 6 in the name, but aren't unique. The Neapolitan 6th is simply a 1st inversion major triad.  The 6/9 chord is covered above as a variant of a ninth chord.&lt;br /&gt;
&lt;br /&gt;
3rd inversion actually is actually a half diminished or minor 7th chord, with '''R - m3 - d5/P5 - m7'''.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
=== Major 6th ===&lt;br /&gt;
{{crumbs|blue|7&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Triads|Triads&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sevenths|Sevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Ninths|Ninths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Elevenths|Elevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Thirteenths|Thirteenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Suspensions|Suspensions&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sixths|Sixths}}&lt;br /&gt;
 &lt;br /&gt;
{{crumbs|blue2|1&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Major 6th|Major 6th&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor 6th|Minor 6th}}&lt;br /&gt;
: '''R - M3 - P5 - M6'''&lt;br /&gt;
: &amp;lt;tt&amp;gt;|x|-|-|-|o|-|-|o|-|o|-|-|x|&amp;lt;/tt&amp;gt;&lt;br /&gt;
: &amp;lt;tt&amp;gt; 0     3   5   7   9     12&amp;lt;/tt&amp;gt;&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| Root Position&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
 ''' ''' |-|-|-|&lt;br /&gt;
 '''5''' |-|r|-|&lt;br /&gt;
 '''3''' |-|-|p|&lt;br /&gt;
 '''6''' |i|-|-|&lt;br /&gt;
 ''' ''' |-|-|-|&lt;br /&gt;
 '''R''' |-|m|-|&lt;br /&gt;
|&lt;br /&gt;
 ''' ''' |-|-|-|-|&lt;br /&gt;
 '''3''' |-|-|-|p|&lt;br /&gt;
 '''6''' |i|-|-|-|&lt;br /&gt;
 '''5''' |-|-|-|r|&lt;br /&gt;
 '''R''' |-|m|-|-|&lt;br /&gt;
 ''' ''' |-|-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''3''' |-|-|p|&lt;br /&gt;
 '''6''' |i|-|-|&lt;br /&gt;
 '''5''' |)|-|r|&lt;br /&gt;
 '''R''' |i|-|-|&lt;br /&gt;
 ''' ''' |-|-|-|&lt;br /&gt;
 ''' ''' |-|-|-|&lt;br /&gt;
|-&lt;br /&gt;
| ''mute 5th string''&lt;br /&gt;
|-&lt;br /&gt;
| &amp;amp;nbsp;&lt;br /&gt;
|}&lt;br /&gt;
{|&lt;br /&gt;
! 1st Inversion !! 2nd Inv || 3rd Inv&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
 '''5''' |-|-|p|&lt;br /&gt;
 '''R''' |i|-|-|&lt;br /&gt;
 '''6''' |-|r|-|&lt;br /&gt;
 '''3''' |-|m|-|&lt;br /&gt;
 ''' ''' |-|-|-|&lt;br /&gt;
 ''' ''' |-|-|-|&lt;br /&gt;
|&lt;br /&gt;
 '''6''' |i|&lt;br /&gt;
 '''3''' |i|&lt;br /&gt;
 '''R''' |i|&lt;br /&gt;
 '''5''' |i|&lt;br /&gt;
 ''' ''' |-|&lt;br /&gt;
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|&lt;br /&gt;
 '''R''' |-|r|-|&lt;br /&gt;
 '''5''' |-|m|-|&lt;br /&gt;
 '''3''' |-|-|p|&lt;br /&gt;
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 ''' ''' |-|-|-|&lt;br /&gt;
 ''' ''' |-|-|-|&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
=== Minor 6th ===&lt;br /&gt;
{{crumbs|blue|7&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Triads|Triads&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sevenths|Sevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Ninths|Ninths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Elevenths|Elevenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Thirteenths|Thirteenths&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Suspensions|Suspensions&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Sixths|Sixths}}&lt;br /&gt;
&lt;br /&gt;
{{crumbs|blue2|2&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Major 6th|Major 6th&lt;br /&gt;
|Ref: Chord Fingerings/Voicings#Minor 6th|Minor 6th}}&lt;br /&gt;
&lt;br /&gt;
: '''R - m3 - P5 - M6'''&lt;br /&gt;
: &amp;lt;tt&amp;gt;|x|-|-|o|-|-|-|o|-|o|-|-|x|&amp;lt;/tt&amp;gt;&lt;br /&gt;
: &amp;lt;tt&amp;gt; 0     3   5   7   9     12&amp;lt;/tt&amp;gt;&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| Root Position&lt;br /&gt;
|-&lt;br /&gt;
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|&lt;br /&gt;
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 ''' ''' |-|-|-|&lt;br /&gt;
 ''' ''' |-|-|-|&lt;br /&gt;
|-&lt;br /&gt;
| ''mute 5th&amp;lt;br&amp;gt;string'' || ''mute 3rd&amp;lt;br&amp;gt;string''&lt;br /&gt;
|-&lt;br /&gt;
|&amp;amp;nbsp;&lt;br /&gt;
|}&lt;br /&gt;
{|&lt;br /&gt;
! 1st Inversion !! 2nd Inv || 3rd Inv&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
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 '''R''' |i|-|-|&lt;br /&gt;
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|&lt;br /&gt;
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|&lt;br /&gt;
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 '''5''' |-|r|&lt;br /&gt;
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 ''' ''' |-|-|&lt;br /&gt;
 ''' ''' |-|-|&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
{{Reference Crumbs|8}}&lt;br /&gt;
&lt;br /&gt;
[[Category:Guitar]]&lt;br /&gt;
[[Category:Reference]]&lt;br /&gt;
[[Category:Chords]]&lt;br /&gt;
[[Category: Extended Chords]]&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=Ref:_Common_Scales&amp;diff=8725</id>
		<title>Ref: Common Scales</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=Ref:_Common_Scales&amp;diff=8725"/>
				<updated>2016-09-11T22:14:56Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{Top-Level Crumbs|3}}&lt;br /&gt;
&lt;br /&gt;
{{Reference Crumbs|2}}&lt;br /&gt;
&lt;br /&gt;
== Heptatonic ==&lt;br /&gt;
&lt;br /&gt;
{{crumbs|blue|1&lt;br /&gt;
|Ref:_Common_Scales#Heptatonic|7-note&lt;br /&gt;
|Ref:_Common_Scales#Pentatonic|5-note&lt;br /&gt;
|Ref:_Common_Scales#Hexatonic|6-note&lt;br /&gt;
|Ref:_Common_Scales#Octatonic|8-note&lt;br /&gt;
|Ref:_Common_Scales#Chromatic|Chrom.}}&lt;br /&gt;
=== Major ===&lt;br /&gt;
{{crumbs|blue2|1&lt;br /&gt;
|Ref:_Common_Scales#Major|Major&lt;br /&gt;
|Ref:_Common_Scales#Natural Minor|Natural Min&lt;br /&gt;
|Ref:_Common_Scales#Harmonic Minor|Harmonic Min&lt;br /&gt;
|Ref:_Common_Scales#Harmonic Major|Harmonic Maj&lt;br /&gt;
|Ref:_Common_Scales#Melodic Minor|Melodic Min&lt;br /&gt;
|Ref:_Common_Scales#Jazz Minor|Jazz Minor&lt;br /&gt;
|Ref:_Common_Scales#Double Harmonic|Dbl. Harmonic&lt;br /&gt;
|Ref:_Common_Scales#Hungarian Minor|Hungarian Min}}&lt;br /&gt;
 {{U|R}} {{M2|M2}} {{M3|M3}} {{P4|P4}} {{P5|P5}} {{M6|M6}} {{M7|M7}} {{U|R}}&lt;br /&gt;
  w  w  h  w  w  w  h&lt;br /&gt;
&lt;br /&gt;
The major scale is defined by the whole whole half whole whole whole half (w w h w w w h) pattern of the distribution of its notes across one octave.  It has a strong tonality pulling towards the tonic note.&lt;br /&gt;
&lt;br /&gt;
Its diatonic chords are I, ii, iii, IV, V, vi, vii{{dim}}.&lt;br /&gt;
&lt;br /&gt;
   C Major&lt;br /&gt;
 E------------------------&lt;br /&gt;
 B-------------------0--1-&lt;br /&gt;
 G-------------0--2-------&lt;br /&gt;
 D----0--2--3-------------&lt;br /&gt;
 A-3----------------------&lt;br /&gt;
 E------------------------&lt;br /&gt;
   C  D  E  F  G  A  B  C&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
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|}&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Natural Minor ===&lt;br /&gt;
{{crumbs|blue2|2&lt;br /&gt;
|Ref:_Common_Scales#Major|Major&lt;br /&gt;
|Ref:_Common_Scales#Natural Minor|Natural Min&lt;br /&gt;
|Ref:_Common_Scales#Harmonic Minor|Harmonic Min&lt;br /&gt;
|Ref:_Common_Scales#Harmonic Major|Harmonic Maj&lt;br /&gt;
|Ref:_Common_Scales#Melodic Minor|Melodic Min&lt;br /&gt;
|Ref:_Common_Scales#Jazz Minor|Jazz Minor&lt;br /&gt;
|Ref:_Common_Scales#Double Harmonic|Dbl. Harmonic&lt;br /&gt;
|Ref:_Common_Scales#Hungarian Minor|Hungarian Min}}&lt;br /&gt;
 {{U|R}} {{M2|M2}} {{Mn3|m3}} {{P4|P4}} {{P5|P5}} {{Mn6|m6}} {{Mn7|m7}} {{U|R}}&lt;br /&gt;
  w  h  w  w  h  w  w&lt;br /&gt;
&lt;br /&gt;
Natural minor is a relative of the major scale (the Aeolian mode), consisting of the same notes but using a different note as the tonic.  Its whole-half pattern is (w h w w h w w).  Its relative major's tonic note is the 3rd note of the scale.  Reflexively, its tonic note is the 6th note of its relative major scale.&lt;br /&gt;
&lt;br /&gt;
Its diatonic chords are i, ii{{dim}}, III, iv, v, VI, VII. &lt;br /&gt;
&lt;br /&gt;
   A Natural Minor&lt;br /&gt;
 E------------------------&lt;br /&gt;
 B------------------------&lt;br /&gt;
 G-------------------0--2-&lt;br /&gt;
 D----------0--2--3-------&lt;br /&gt;
 A-0--2--3----------------&lt;br /&gt;
 E------------------------&lt;br /&gt;
   A  B  C  D  E  F  G  A&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
! C !! C/A !! A !! G&lt;br /&gt;
|-&lt;br /&gt;
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{{top}}&lt;br /&gt;
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=== Harmonic Minor ===&lt;br /&gt;
{{crumbs|blue2|3&lt;br /&gt;
|Ref:_Common_Scales#Major|Major&lt;br /&gt;
|Ref:_Common_Scales#Natural Minor|Natural Min&lt;br /&gt;
|Ref:_Common_Scales#Harmonic Minor|Harmonic Min&lt;br /&gt;
|Ref:_Common_Scales#Harmonic Major|Harmonic Maj&lt;br /&gt;
|Ref:_Common_Scales#Melodic Minor|Melodic Min&lt;br /&gt;
|Ref:_Common_Scales#Jazz Minor|Jazz Minor&lt;br /&gt;
|Ref:_Common_Scales#Double Harmonic|Dbl. Harmonic&lt;br /&gt;
|Ref:_Common_Scales#Hungarian Minor|Hungarian Min}}&lt;br /&gt;
 {{U|R}} {{M2|M2}} {{Mn3|m3}} {{P4|P4}} {{P5|P5}} {{Mn6|m6}} {{M7|M7}} {{U|R}}&lt;br /&gt;
  w  h  w  w  h  +  h&lt;br /&gt;
&lt;br /&gt;
Harmonic minor is a natural minor scale with a sharped 7th note.  This makes the 7th note the leading tone, giving stronger tonality to the scale.  In particular, it gives stronger tension to the Dominant (V) chord to resolve to the Tonic (i).  Its whole-half pattern is (w h w w h w+h h).&lt;br /&gt;
&lt;br /&gt;
Its diatonic chords are i, ii{{dim}}, III+, iv, V, VI, vii{{dim}}.&lt;br /&gt;
&lt;br /&gt;
   A Harmonic Minor&lt;br /&gt;
 E------------------------&lt;br /&gt;
 B------------------------&lt;br /&gt;
 G-------------------1--2-&lt;br /&gt;
 D----------0--2--3-------&lt;br /&gt;
 A-0--2--3----------------&lt;br /&gt;
 E------------------------&lt;br /&gt;
   A  B  C  D  E  F  G# A&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
! C !! C/A !! A !! G&lt;br /&gt;
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! G/E !! E !! D&lt;br /&gt;
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{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Harmonic Major ===&lt;br /&gt;
{{crumbs|blue2|4&lt;br /&gt;
|Ref:_Common_Scales#Major|Major&lt;br /&gt;
|Ref:_Common_Scales#Natural Minor|Natural Min&lt;br /&gt;
|Ref:_Common_Scales#Harmonic Minor|Harmonic Min&lt;br /&gt;
|Ref:_Common_Scales#Harmonic Major|Harmonic Maj&lt;br /&gt;
|Ref:_Common_Scales#Melodic Minor|Melodic Min&lt;br /&gt;
|Ref:_Common_Scales#Jazz Minor|Jazz Minor&lt;br /&gt;
|Ref:_Common_Scales#Double Harmonic|Dbl. Harmonic&lt;br /&gt;
|Ref:_Common_Scales#Hungarian Minor|Hungarian Min}}&lt;br /&gt;
 {{U|R}} {{M2|M2}} {{M3|M3}} {{P4|P4}} {{P5|P5}} {{Mn6|m6}} {{M7|M7}} {{U|R}}&lt;br /&gt;
  w  w  h  w  h  +  h&lt;br /&gt;
&lt;br /&gt;
Harmonic major is the Harmonic Minor scale with a sharped 3rd note, or the Major scale with a flatted 6th.&lt;br /&gt;
&lt;br /&gt;
Its diatonic chords are I, ii{{dim}}, iii, iv, V, VI+, vii{{dim}}. &lt;br /&gt;
&lt;br /&gt;
   A Harmonic Major&lt;br /&gt;
 E------------------------&lt;br /&gt;
 B------------------------&lt;br /&gt;
 G-------------------1--2-&lt;br /&gt;
 D----------0--2--3-------&lt;br /&gt;
 A-0--2--4----------------&lt;br /&gt;
 E------------------------&lt;br /&gt;
   A  B  C# D  E  F  G# A&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
! C !! C/A !! A !! G &lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
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{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Melodic Minor ===&lt;br /&gt;
{{crumbs|blue2|5&lt;br /&gt;
|Ref:_Common_Scales#Major|Major&lt;br /&gt;
|Ref:_Common_Scales#Natural Minor|Natural Min&lt;br /&gt;
|Ref:_Common_Scales#Harmonic Minor|Harmonic Min&lt;br /&gt;
|Ref:_Common_Scales#Harmonic Major|Harmonic Maj&lt;br /&gt;
|Ref:_Common_Scales#Melodic Minor|Melodic Min&lt;br /&gt;
|Ref:_Common_Scales#Jazz Minor|Jazz Minor&lt;br /&gt;
|Ref:_Common_Scales#Double Harmonic|Dbl. Harmonic&lt;br /&gt;
|Ref:_Common_Scales#Hungarian Minor|Hungarian Min}}&lt;br /&gt;
  Ascending&lt;br /&gt;
 {{U|R}} {{M2|M2}} {{Mn3|m3}} {{P4|P4}} {{P5|P5}} {{M6|M6}} {{M7|M7}} {{U|R}}&lt;br /&gt;
  w  h  w  w  w  w  h&lt;br /&gt;
 &lt;br /&gt;
  Descending&lt;br /&gt;
 {{U|R}} {{M2|M2}} {{Mn3|m3}} {{P4|P4}} {{P5|P5}} {{Mn6|m6}} {{Mn7|m7}} {{U|R}}&lt;br /&gt;
  w  h  w  w  h  w  w&lt;br /&gt;
&lt;br /&gt;
Melodic minor has different patterns when ascending vs. descending.  Descending it is identical to the natural minor scale; however, ascending it is the natural minor scale with sharped 6th ({{M6|M6}}) and 7th ({{M7|M7}}) notes.  This gives the ascending scale a whole-half pattern of (w h w w w w h), which contains the leading tone but no 1.5 steps like in the harmonic minor scale.&lt;br /&gt;
&lt;br /&gt;
Its diatonic chords are either the same as [[#Natural Minor]] or [[#Harmonic Minor]] but typically is played over Harmonic Minor:  i, ii{{dim}}, III+, iv, V, VI, vii{{dim}}. &lt;br /&gt;
&lt;br /&gt;
   A Melodic Minor&lt;br /&gt;
 E----------------------------------------------&lt;br /&gt;
 B----------------------------------------------&lt;br /&gt;
 G-------------------1--2--0--------------------&lt;br /&gt;
 D----------0--2--4-----------3--2--0-----------&lt;br /&gt;
 A-0--2--3-----------------------------3--2--0--&lt;br /&gt;
 E----------------------------------------------&lt;br /&gt;
   A  B  C  D  E  F# G# A  G  F  E  D  C  B  A&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
! Ascending&lt;br /&gt;
|-&lt;br /&gt;
! C !! C/A !! A !! G&lt;br /&gt;
|-&lt;br /&gt;
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|-&lt;br /&gt;
! Descending&lt;br /&gt;
|-&lt;br /&gt;
! C !! C/A !! A !! G&lt;br /&gt;
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|colspan=&amp;quot;4&amp;quot;|(&amp;lt;u&amp;gt;a&amp;lt;/u&amp;gt;scending or &amp;lt;u&amp;gt;d&amp;lt;/u&amp;gt;escending)&lt;br /&gt;
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=== Jazz Minor ===&lt;br /&gt;
{{crumbs|blue2|6&lt;br /&gt;
|Ref:_Common_Scales#Major|Major&lt;br /&gt;
|Ref:_Common_Scales#Natural Minor|Natural Min&lt;br /&gt;
|Ref:_Common_Scales#Harmonic Minor|Harmonic Min&lt;br /&gt;
|Ref:_Common_Scales#Harmonic Major|Harmonic Maj&lt;br /&gt;
|Ref:_Common_Scales#Melodic Minor|Melodic Min&lt;br /&gt;
|Ref:_Common_Scales#Jazz Minor|Jazz Minor&lt;br /&gt;
|Ref:_Common_Scales#Double Harmonic|Dbl. Harmonic&lt;br /&gt;
|Ref:_Common_Scales#Hungarian Minor|Hungarian Min}}&lt;br /&gt;
 {{U|R}} {{M2|M2}} {{Mn3|m3}} {{P4|P4}} {{P5|P5}} {{M6|M6}} {{M7|M7}} {{U|R}}&lt;br /&gt;
  w  h  w  w  w  w  h&lt;br /&gt;
&lt;br /&gt;
The ''Jazz Minor'' scale is identical to the ascending Melodic Minor scale, but uses the same notes descending.&lt;br /&gt;
&lt;br /&gt;
Its diatonic chords are i, ii, III+, IV, V, vi{{dim}}, vii{{dim}}. &lt;br /&gt;
&lt;br /&gt;
   A Jazz Minor&lt;br /&gt;
 E------------------------&lt;br /&gt;
 B------------------------&lt;br /&gt;
 G-------------------1--2-&lt;br /&gt;
 D----------0--2--4-------&lt;br /&gt;
 A-0--2--3----------------&lt;br /&gt;
 E------------------------&lt;br /&gt;
   A  B  C  D  E  F# G# A &lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
! C !! C/A !! A !! G &lt;br /&gt;
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&amp;lt;/pre&amp;gt;&lt;br /&gt;
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{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Double Harmonic ===&lt;br /&gt;
{{crumbs|blue2|7&lt;br /&gt;
|Ref:_Common_Scales#Major|Major&lt;br /&gt;
|Ref:_Common_Scales#Natural Minor|Natural Min&lt;br /&gt;
|Ref:_Common_Scales#Harmonic Minor|Harmonic Min&lt;br /&gt;
|Ref:_Common_Scales#Harmonic Major|Harmonic Maj&lt;br /&gt;
|Ref:_Common_Scales#Melodic Minor|Melodic Min&lt;br /&gt;
|Ref:_Common_Scales#Jazz Minor|Jazz Minor&lt;br /&gt;
|Ref:_Common_Scales#Double Harmonic|Dbl. Harmonic&lt;br /&gt;
|Ref:_Common_Scales#Hungarian Minor|Hungarian Min}}&lt;br /&gt;
 {{U|R}} {{Mn2|m2}} {{M3|M3}} {{P4|P4}} {{P5|P5}} {{Mn6|m6}} {{M7|M7}} {{U|R}}&lt;br /&gt;
  h  +  h  w  h  +  h&lt;br /&gt;
&lt;br /&gt;
This is called the double harmonic scale due to its dual harmonic tetrachords (h + h). It has a very exotic feel due to the augmented 2nds, as well as containing both the {{Mn2|m2}} and {{M7|M7}} notes around the root. It is most easily arrived at by flatting the 2nd of the Harmonic Major scale. It is also a mode of [[#Hungarian Minor]]. &lt;br /&gt;
&lt;br /&gt;
Its diatonic chords are I, II, iii, iv, V{{b}}5, VI, vii{{dim}}{{b}}3. &lt;br /&gt;
&lt;br /&gt;
   A Double Harmonic&lt;br /&gt;
 E------------------------&lt;br /&gt;
 B------------------------&lt;br /&gt;
 G-------------------1--2-&lt;br /&gt;
 D----------0--2--3-------&lt;br /&gt;
 A-0--1--4----------------&lt;br /&gt;
 E------------------------&lt;br /&gt;
   A  Bb C# D  E  F  G# A&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
! C !! C/A !! A !! G &lt;br /&gt;
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|colspan=&amp;quot;2&amp;quot;|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
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{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Hungarian Minor ===&lt;br /&gt;
{{crumbs|blue2|8&lt;br /&gt;
|Ref:_Common_Scales#Major|Major&lt;br /&gt;
|Ref:_Common_Scales#Natural Minor|Natural Min&lt;br /&gt;
|Ref:_Common_Scales#Harmonic Minor|Harmonic Min&lt;br /&gt;
|Ref:_Common_Scales#Harmonic Major|Harmonic Maj&lt;br /&gt;
|Ref:_Common_Scales#Melodic Minor|Melodic Min&lt;br /&gt;
|Ref:_Common_Scales#Jazz Minor|Jazz Minor&lt;br /&gt;
|Ref:_Common_Scales#Double Harmonic|Dbl. Harmonic&lt;br /&gt;
|Ref:_Common_Scales#Hungarian Minor|Hungarian Min}}&lt;br /&gt;
&lt;br /&gt;
 {{U|R}} {{M2|M2}} {{Mn3|m3}} {{tt|a4}} {{P5|P5}} {{Mn6|m6}} {{M7|M7}} {{U|R}}&lt;br /&gt;
  w  h  +  h  h  +  h&lt;br /&gt;
&lt;br /&gt;
Has 2 augmented 2nds and 2 consecutive half-steps for a very exotic feel.  It's most easily derived by sharping the perfect 4th of the Harmonic Minor scale.  All its half-steps make its tonality ambiguous.  It is also known as the Gypsy Minor scale, traditionally popular in Eastern Europe.  It works well over minor and minor/major 7th chords.  It is also a mode of the [[#Double Harmonic]] scale.&lt;br /&gt;
&lt;br /&gt;
Its diatonic chords are i, II{{7}}{{f}}5, III+, V, {{b}}VI{{maj}}{{7}}, vii6.&lt;br /&gt;
&lt;br /&gt;
   A Double Harmonic&lt;br /&gt;
 E------------------------&lt;br /&gt;
 B------------------------&lt;br /&gt;
 G-------------------1--2-&lt;br /&gt;
 D----------1--2--3-------&lt;br /&gt;
 A-0--2--3----------------&lt;br /&gt;
 E------------------------&lt;br /&gt;
   A  B  C  D# E  F  G# A&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
! C !! C/A !! A !! G &lt;br /&gt;
|-&lt;br /&gt;
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{{top}}&lt;br /&gt;
&lt;br /&gt;
== Pentatonic ==&lt;br /&gt;
{{crumbs|blue|2&lt;br /&gt;
|Ref:_Common_Scales#Heptatonic|7-note&lt;br /&gt;
|Ref:_Common_Scales#Pentatonic|5-note&lt;br /&gt;
|Ref:_Common_Scales#Hexatonic|6-note&lt;br /&gt;
|Ref:_Common_Scales#Octatonic|8-note&lt;br /&gt;
|Ref:_Common_Scales#Chromatic|Chrom.}}&lt;br /&gt;
&lt;br /&gt;
=== Major Pentatonic ===&lt;br /&gt;
{{crumbs|blue2|1&lt;br /&gt;
|Ref:_Common_Scales#Major Pentatonic|Major&lt;br /&gt;
|Ref:_Common_Scales#Minor Pentatonic|Minor&lt;br /&gt;
|Ref:_Common_Scales#Eastern Pentatonic - Yo|Yo&lt;br /&gt;
|Ref:_Common_Scales#Eastern Pentatonic - In|In&lt;br /&gt;
|Ref:_Common_Scales#Egyptian/Suspended Pentatonic|Sus.&lt;br /&gt;
|Ref:_Common_Scales#Pentatonic - Minor Blues|Blues}}&lt;br /&gt;
 {{U|R}} {{M2|M2}} {{M3|M3}} {{P5|P5}} {{M6|M6}} {{U|R}}&lt;br /&gt;
  w  w  +  w  +&lt;br /&gt;
&lt;br /&gt;
The major pentatonic scale is the same as the major scale, but without the 4th or 7th notes.  This drops all half steps from the whole-half pattern of the scale - (w w w+h w w+h).  We also lose the leading tone.  This reduces the tonality of the scale.&lt;br /&gt;
&lt;br /&gt;
   C Major Pentatonic&lt;br /&gt;
 E------------------&lt;br /&gt;
 B----------------1-&lt;br /&gt;
 G----------0--2----&lt;br /&gt;
 D----0--2----------&lt;br /&gt;
 A-3----------------&lt;br /&gt;
 E------------------&lt;br /&gt;
   C  D  E  G  A  C&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
! C !! A !! G &lt;br /&gt;
|-&lt;br /&gt;
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{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Minor Pentatonic ===&lt;br /&gt;
{{crumbs|blue2|2&lt;br /&gt;
|Ref:_Common_Scales#Major Pentatonic|Major&lt;br /&gt;
|Ref:_Common_Scales#Minor Pentatonic|Minor&lt;br /&gt;
|Ref:_Common_Scales#Eastern Pentatonic - Yo|Yo&lt;br /&gt;
|Ref:_Common_Scales#Eastern Pentatonic - In|In&lt;br /&gt;
|Ref:_Common_Scales#Egyptian/Suspended Pentatonic|Sus.&lt;br /&gt;
|Ref:_Common_Scales#Pentatonic - Minor Blues|Blues}}&lt;br /&gt;
 {{U|R}} {{Mn3|m3}} {{P4|P4}} {{P5|P5}} {{Mn7|m7}} {{U|R}}&lt;br /&gt;
  +  w  w  +  w&lt;br /&gt;
&lt;br /&gt;
The minor pentatonic scale is the same as the natural minor scale, but without the 2nd or 6th notes.  This drops all half steps from the whole-half pattern of the scale - (w+h w w w+h w).  This reduces the tonality of the scale.&lt;br /&gt;
&lt;br /&gt;
   A Minor Pentatonic&lt;br /&gt;
 E------------------&lt;br /&gt;
 B------------------&lt;br /&gt;
 G-------------0--2-&lt;br /&gt;
 D-------0--2-------&lt;br /&gt;
 A-0--3-------------&lt;br /&gt;
 E------------------&lt;br /&gt;
   A  C  D  E  G  A&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
! C !! A &lt;br /&gt;
|-&lt;br /&gt;
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&amp;lt;/pre&amp;gt;&lt;br /&gt;
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{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Eastern Pentatonic - Yo ===&lt;br /&gt;
{{crumbs|blue2|3&lt;br /&gt;
|Ref:_Common_Scales#Major Pentatonic|Major&lt;br /&gt;
|Ref:_Common_Scales#Minor Pentatonic|Minor&lt;br /&gt;
|Ref:_Common_Scales#Eastern Pentatonic - Yo|Yo&lt;br /&gt;
|Ref:_Common_Scales#Eastern Pentatonic - In|In&lt;br /&gt;
|Ref:_Common_Scales#Egyptian/Suspended Pentatonic|Sus.&lt;br /&gt;
|Ref:_Common_Scales#Pentatonic - Minor Blues|Blues}}&lt;br /&gt;
 {{U|R}} {{M2|M2}} {{P4|P4}} {{P5|P5}} {{M6|M6}} {{U|R}}&lt;br /&gt;
  w  +  w  w  +&lt;br /&gt;
&lt;br /&gt;
This scale is very similar to the major pentatonic scale; however, it uses a {{P4|P4}} instead of {{M3|M3}}. It does have a slightly Eastern feel to it, but it fits in nicely with Western music. It is actually a mode of the common minor and major pentatonic scales. &lt;br /&gt;
&lt;br /&gt;
   G Yo Pentatonic&lt;br /&gt;
 E------------------&lt;br /&gt;
 B------------------&lt;br /&gt;
 G----------------0-&lt;br /&gt;
 D----------0--2----&lt;br /&gt;
 A----0--3----------&lt;br /&gt;
 E-3----------------&lt;br /&gt;
   G  A  C  D  E  G&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
! C !! A &lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
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&amp;lt;/pre&amp;gt;&lt;br /&gt;
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&amp;lt;/pre&amp;gt;&lt;br /&gt;
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! G !! E !! D&lt;br /&gt;
|-&lt;br /&gt;
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&amp;lt;pre&amp;gt;&lt;br /&gt;
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&amp;lt;/pre&amp;gt;&lt;br /&gt;
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&amp;lt;/pre&amp;gt;&lt;br /&gt;
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&amp;lt;pre&amp;gt;&lt;br /&gt;
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&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Eastern Pentatonic - In ===&lt;br /&gt;
{{crumbs|blue2|4&lt;br /&gt;
|Ref:_Common_Scales#Major Pentatonic|Major&lt;br /&gt;
|Ref:_Common_Scales#Minor Pentatonic|Minor&lt;br /&gt;
|Ref:_Common_Scales#Eastern Pentatonic - Yo|Yo&lt;br /&gt;
|Ref:_Common_Scales#Eastern Pentatonic - In|In&lt;br /&gt;
|Ref:_Common_Scales#Egyptian/Suspended Pentatonic|Sus.&lt;br /&gt;
|Ref:_Common_Scales#Pentatonic - Minor Blues|Blues}}&lt;br /&gt;
 {{U|R}} {{Mn2|m2}} {{P4|P4}} {{P5|P5}} {{Mn6|m6}} {{U|R}}&lt;br /&gt;
  h  *  w  h  *&lt;br /&gt;
&lt;br /&gt;
Take the above scale and flat the 2nd and 6th. It has a similar feel to the Phrygian mode, containing a subset of its notes. Yet the {{M3|M3}} jumps really emphasize an exotic feel. &lt;br /&gt;
&lt;br /&gt;
  G In Pentatonic&lt;br /&gt;
 E------------------&lt;br /&gt;
 B------------------&lt;br /&gt;
 G----------------0-&lt;br /&gt;
 D----------0--1----&lt;br /&gt;
 A-------3----------&lt;br /&gt;
 E-3--4-------------&lt;br /&gt;
   G  Ab C  D  Eb G&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
! C !! A !! G &lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|-|o|-|o|&lt;br /&gt;
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|o|-|-|-|o|&lt;br /&gt;
|o|-|-|-|x|&lt;br /&gt;
|-|-|o|-|o|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
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&amp;lt;pre&amp;gt;&lt;br /&gt;
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&amp;lt;/pre&amp;gt;&lt;br /&gt;
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&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
! E !! D&lt;br /&gt;
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&amp;lt;/pre&amp;gt;&lt;br /&gt;
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|o|-|-|-|o|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
|colspan=&amp;quot;2&amp;quot;|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|-|-|-|-|o|-|o|o|&lt;br /&gt;
|-|-|-|-|-|x|o|-|-|&lt;br /&gt;
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|o|-|o|o|-|-|-|-|-|&lt;br /&gt;
|x|o|-|-|-|-|-|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Egyptian/Suspended Pentatonic ===&lt;br /&gt;
{{crumbs|blue2|5&lt;br /&gt;
|Ref:_Common_Scales#Major Pentatonic|Major&lt;br /&gt;
|Ref:_Common_Scales#Minor Pentatonic|Minor&lt;br /&gt;
|Ref:_Common_Scales#Eastern Pentatonic - Yo|Yo&lt;br /&gt;
|Ref:_Common_Scales#Eastern Pentatonic - In|In&lt;br /&gt;
|Ref:_Common_Scales#Egyptian/Suspended Pentatonic|Sus.&lt;br /&gt;
|Ref:_Common_Scales#Pentatonic - Minor Blues|Blues}}&lt;br /&gt;
&lt;br /&gt;
 {{U|R}} {{M2|M2}} {{P4|P4}} {{P5|P5}} {{Mn7|m7}} {{U|R}}&lt;br /&gt;
  w  +  w  +  w&lt;br /&gt;
&lt;br /&gt;
   D Egyptian/Suspended Pentatonic&lt;br /&gt;
 E------------------&lt;br /&gt;
 B-------------1--3-&lt;br /&gt;
 G-------0--2-------&lt;br /&gt;
 D-0--2-------------&lt;br /&gt;
 A------------------&lt;br /&gt;
 E------------------&lt;br /&gt;
   D  E  G  A  C  D&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
! C !! A !! G &lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|o|-|o|&lt;br /&gt;
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&amp;lt;/pre&amp;gt;&lt;br /&gt;
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&amp;lt;pre&amp;gt;&lt;br /&gt;
|o|-|-|o|&lt;br /&gt;
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&amp;lt;/pre&amp;gt;&lt;br /&gt;
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&amp;lt;/pre&amp;gt;&lt;br /&gt;
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! E !! D&lt;br /&gt;
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&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Pentatonic - Minor Blues ===&lt;br /&gt;
{{crumbs|blue2|6&lt;br /&gt;
|Ref:_Common_Scales#Major Pentatonic|Major&lt;br /&gt;
|Ref:_Common_Scales#Minor Pentatonic|Minor&lt;br /&gt;
|Ref:_Common_Scales#Eastern Pentatonic - Yo|Yo&lt;br /&gt;
|Ref:_Common_Scales#Eastern Pentatonic - In|In&lt;br /&gt;
|Ref:_Common_Scales#Egyptian/Suspended Pentatonic|Sus.&lt;br /&gt;
|Ref:_Common_Scales#Pentatonic - Minor Blues|Blues}}&lt;br /&gt;
&lt;br /&gt;
 {{U|R}} {{Mn3|m3}} {{P4|P4}} {{Mn6|m6}} {{Mn7|m7}} {{U|R}}&lt;br /&gt;
  +  w  +  w  w&lt;br /&gt;
&lt;br /&gt;
   E Minor Blues Pentatonic&lt;br /&gt;
 E----------------0-&lt;br /&gt;
 B----------1--3----&lt;br /&gt;
 G----0--2----------&lt;br /&gt;
 D-2----------------&lt;br /&gt;
 A------------------&lt;br /&gt;
 E------------------&lt;br /&gt;
   E  G  A  C  D  E&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
! C !! A !! G &lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
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&amp;lt;/pre&amp;gt;&lt;br /&gt;
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&amp;lt;/pre&amp;gt;&lt;br /&gt;
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&amp;lt;/pre&amp;gt;&lt;br /&gt;
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{{top}}&lt;br /&gt;
&lt;br /&gt;
== Hexatonic ==&lt;br /&gt;
{{crumbs|blue|3&lt;br /&gt;
|Ref:_Common_Scales#Heptatonic|7-note&lt;br /&gt;
|Ref:_Common_Scales#Pentatonic|5-note&lt;br /&gt;
|Ref:_Common_Scales#Hexatonic|6-note&lt;br /&gt;
|Ref:_Common_Scales#Octatonic|8-note&lt;br /&gt;
|Ref:_Common_Scales#Chromatic|Chrom.}}&lt;br /&gt;
&lt;br /&gt;
=== Blues Scale ===&lt;br /&gt;
{{crumbs|blue2|1&lt;br /&gt;
|Ref:_Common_Scales#Blues Scale|Blues&lt;br /&gt;
|Ref:_Common_Scales#Whole Tone or Hexatonic|Whole Tone&lt;br /&gt;
|Ref:_Common_Scales#Augmented|Augmented&lt;br /&gt;
|Ref:_Common_Scales#Prometheus|Prometheus&lt;br /&gt;
|Ref:_Common_Scales#Tritone|Tritone}}&lt;br /&gt;
&lt;br /&gt;
 {{U|R}} {{Mn3|m3}} {{P4|P4}} {{tt|d5}} {{P5|P5}} {{Mn7|m7}} {{U|R}}&lt;br /&gt;
  +  w  h  h  +  w&lt;br /&gt;
&lt;br /&gt;
The blues scale is the same as the minor pentatonic scale, plus the augmented 4th or diminished 5th.  It is derived from using the blue notes (notes a half-step below) on the 3rd, 5th, and 7th of the major scale.  While it takes a distinctly minor appearance, the {{Mn3|m3}} and {{Mn7|m7}} are often bent up to near the {{M3|M3}} and {{M7|M7}}.  Most blues songs are set against a major key.  Its whole-half pattern is (w+h w h h w+h w).&lt;br /&gt;
&lt;br /&gt;
   A Blues&lt;br /&gt;
 E---------------------&lt;br /&gt;
 B---------------------&lt;br /&gt;
 G----------------0--2-&lt;br /&gt;
 D-------0--1--2-------&lt;br /&gt;
 A-0--3----------------&lt;br /&gt;
 E---------------------&lt;br /&gt;
   A  C  D  Eb E  G  A&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
! C !! A !! G&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
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&amp;lt;/pre&amp;gt;&lt;br /&gt;
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&amp;lt;/pre&amp;gt;&lt;br /&gt;
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&amp;lt;/pre&amp;gt;&lt;br /&gt;
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! E !! D&lt;br /&gt;
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'''&amp;lt;pre&amp;gt;&lt;br /&gt;
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&amp;lt;/pre&amp;gt;'''&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
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&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Whole Tone or Hexatonic ===&lt;br /&gt;
{{crumbs|blue2|2&lt;br /&gt;
|Ref:_Common_Scales#Blues Scale|Blues&lt;br /&gt;
|Ref:_Common_Scales#Whole Tone or Hexatonic|Whole Tone&lt;br /&gt;
|Ref:_Common_Scales#Augmented|Augmented&lt;br /&gt;
|Ref:_Common_Scales#Prometheus|Prometheus&lt;br /&gt;
|Ref:_Common_Scales#Tritone|Tritone}}&lt;br /&gt;
&lt;br /&gt;
 {{U|R}} {{M2|M2}} {{M3|M3}} {{tt|a4}} {{Mn6|a5}} {{Mn7|a6}} {{U|R}}  =  {{U|R}} {{M2|M2}} {{M3|M3}} {{tt|d5}} {{Mn6|m6}} {{Mn7|m7}} {{U|R}}&lt;br /&gt;
  w  w  w  w  w  w&lt;br /&gt;
&lt;br /&gt;
The whole tone scale consists completely of whole steps, reaching the tonic in 6 notes.  All diatonic triads are augmented triads.  It has no tonality - every note in the scale has as much tension as any other note.&lt;br /&gt;
&lt;br /&gt;
   A Whole Tone&lt;br /&gt;
 E---------------------&lt;br /&gt;
 B---------------------&lt;br /&gt;
 G----------------0--2-&lt;br /&gt;
 D----------1--3-------&lt;br /&gt;
 A-0--2--4-------------&lt;br /&gt;
 E---------------------&lt;br /&gt;
   A  B  C# D# F  G  A&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
! Pattern 1 !! Pattern 2&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|x|-|x|-|&lt;br /&gt;
|x|-|x|-|x|&lt;br /&gt;
|x|-|x|-|*|&lt;br /&gt;
|-|x|-|x|-|&lt;br /&gt;
|x|-|x|-|x|&lt;br /&gt;
|-|x|-|x|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
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|x|-|x|-|x|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;2&amp;quot;| 3 nps&lt;br /&gt;
|-&lt;br /&gt;
|colspan=&amp;quot;2&amp;quot;|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|-|-|-|-|-|x|-|x|-|x|&lt;br /&gt;
|-|-|-|-|-|x|-|x|-|x|-|&lt;br /&gt;
|-|-|-|x|-|x|-|x|-|-|-|&lt;br /&gt;
|-|-|x|-|x|-|x|-|-|-|-|&lt;br /&gt;
|-|x|-|x|-|x|-|-|-|-|-|&lt;br /&gt;
|x|-|x|-|x|-|-|-|-|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
''* These patterns will work with any root, as the whole tone scale is fully symmetric.''&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Augmented ===&lt;br /&gt;
{{crumbs|blue2|3&lt;br /&gt;
|Ref:_Common_Scales#Blues Scale|Blues&lt;br /&gt;
|Ref:_Common_Scales#Whole Tone or Hexatonic|Whole Tone&lt;br /&gt;
|Ref:_Common_Scales#Augmented|Augmented&lt;br /&gt;
|Ref:_Common_Scales#Prometheus|Prometheus&lt;br /&gt;
|Ref:_Common_Scales#Tritone|Tritone}}&lt;br /&gt;
&lt;br /&gt;
 {{U|R}} {{Mn3|a2}} {{M3|M3}} {{P5|P5}} {{Mn6|m6}} {{M7|M7}} {{U|R}}&lt;br /&gt;
  +  h  +  h  +  h&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
! Pattern 1 !! Pattern 2&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|x|-|-|o|x|&lt;br /&gt;
|o|x|-|-|-|&lt;br /&gt;
|o|x|-|-|-|&lt;br /&gt;
|-|o|x|-|-|&lt;br /&gt;
|-|-|o|x|-|&lt;br /&gt;
|x|-|-|o|x|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|x|-|-|o|-|-|-|-|&lt;br /&gt;
|-|x|-|-|o|-|-|-|&lt;br /&gt;
|-|x|-|-|o|-|-|-|&lt;br /&gt;
|-|-|x|-|-|o|-|-|&lt;br /&gt;
|-|-|-|x|-|-|o|-|&lt;br /&gt;
|-|-|-|-|x|-|-|o|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
''* This scale is symmetric when dividing the octave into thirds.  Every other note can be the root, and the scale pattern is identical.''&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Prometheus ===&lt;br /&gt;
{{crumbs|blue2|4&lt;br /&gt;
|Ref:_Common_Scales#Blues Scale|Blues&lt;br /&gt;
|Ref:_Common_Scales#Whole Tone or Hexatonic|Whole Tone&lt;br /&gt;
|Ref:_Common_Scales#Augmented|Augmented&lt;br /&gt;
|Ref:_Common_Scales#Prometheus|Prometheus&lt;br /&gt;
|Ref:_Common_Scales#Tritone|Tritone}}&lt;br /&gt;
&lt;br /&gt;
 {{U|R}} {{M2|M2}} {{M3|M3}} {{tt|a4}} {{M6|M6}} {{Mn7|m7}} {{U|R}}&lt;br /&gt;
  w  w  w  +  h  w&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
! C !! C/A !! A !! G&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|o|-|o|-|-|&lt;br /&gt;
|-|x|-|o|-|&lt;br /&gt;
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|o|-|o|-|o|&lt;br /&gt;
|o|o|-|x|-|&lt;br /&gt;
|o|-|o|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|o|-|-|o|&lt;br /&gt;
|x|-|o|-|o|&lt;br /&gt;
|-|o|o|-|*|&lt;br /&gt;
|-|o|-|o|-|&lt;br /&gt;
|o|-|x|-|o|&lt;br /&gt;
|-|o|-|-|o|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|-|o|o|-|&lt;br /&gt;
|o|-|o|-|o|&lt;br /&gt;
|o|-|x|-|*|&lt;br /&gt;
|-|o|-|-|o|&lt;br /&gt;
|x|-|o|-|o|&lt;br /&gt;
|-|-|o|o|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|o|o|-|x|-|&lt;br /&gt;
|o|-|o|-|-|&lt;br /&gt;
|x|-|o|-|*|&lt;br /&gt;
|-|-|o|o|-|&lt;br /&gt;
|o|-|o|-|o|&lt;br /&gt;
|o|o|-|x|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
! G/E !! E !! D&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|o|-|x|-|o|&lt;br /&gt;
|-|o|-|-|o|&lt;br /&gt;
|-|o|-|o|-|&lt;br /&gt;
|-|o|o|-|x|&lt;br /&gt;
|-|o|-|o|-|&lt;br /&gt;
|o|-|x|-|o|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|x|-|o|-|o|&lt;br /&gt;
|-|-|o|o|-|&lt;br /&gt;
|-|o|-|o|-|&lt;br /&gt;
|o|-|x|-|o|&lt;br /&gt;
|-|o|-|-|o|&lt;br /&gt;
|x|-|o|-|o|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|o|-|o|-|o|&lt;br /&gt;
|*|o|-|x|-|&lt;br /&gt;
|-|o|-|-|o|&lt;br /&gt;
|x|-|o|-|o|&lt;br /&gt;
|-|-|o|o|-|&lt;br /&gt;
|o|-|o|-|o|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Tritone ===&lt;br /&gt;
{{crumbs|blue2|5&lt;br /&gt;
|Ref:_Common_Scales#Blues Scale|Blues&lt;br /&gt;
|Ref:_Common_Scales#Whole Tone or Hexatonic|Whole Tone&lt;br /&gt;
|Ref:_Common_Scales#Augmented|Augmented&lt;br /&gt;
|Ref:_Common_Scales#Prometheus|Prometheus&lt;br /&gt;
|Ref:_Common_Scales#Tritone|Tritone}}&lt;br /&gt;
&lt;br /&gt;
 {{U|R}} {{Mn2|m2}} {{Mn3|m3}} {{tt|a4}} {{P5|P5}} {{Mn7|a6}} {{U|R}}&lt;br /&gt;
  h  w  +  h  +  w&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
! C !! C/A !! A !! G&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|o|-|-|o|o|&lt;br /&gt;
|o|-|x|o|-|&lt;br /&gt;
|o|o|-|-|*|&lt;br /&gt;
|o|-|o|-|-|&lt;br /&gt;
|-|-|o|-|x|&lt;br /&gt;
|o|-|-|o|o|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|o|o|-|-|&lt;br /&gt;
|*|o|-|o|-|&lt;br /&gt;
|-|-|o|-|x|&lt;br /&gt;
|o|-|-|o|o|&lt;br /&gt;
|o|-|x|o|-|&lt;br /&gt;
|-|o|o|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|o|-|-|o|-|&lt;br /&gt;
|-|o|-|-|o|&lt;br /&gt;
|o|-|x|o|-|&lt;br /&gt;
|-|o|o|-|-|&lt;br /&gt;
|x|o|-|o|-|&lt;br /&gt;
|o|-|-|o|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|-|o|-|x|&lt;br /&gt;
|o|-|-|o|o|&lt;br /&gt;
|-|x|o|-|*|&lt;br /&gt;
|o|o|-|-|o|&lt;br /&gt;
|o|-|o|-|-|&lt;br /&gt;
|-|-|o|-|x|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
! G/E !! E !! D&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|o|-|x|o|-|&lt;br /&gt;
|-|o|o|-|-|&lt;br /&gt;
|o|-|o|-|-|&lt;br /&gt;
|-|-|o|-|x|&lt;br /&gt;
|o|-|-|o|o|&lt;br /&gt;
|o|-|x|o|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|x|o|-|o|-|&lt;br /&gt;
|o|-|-|o|-|&lt;br /&gt;
|o|-|-|o|*|&lt;br /&gt;
|o|-|x|o|-|&lt;br /&gt;
|-|o|o|-|-|&lt;br /&gt;
|x|o|-|o|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|o|-|-|o|&lt;br /&gt;
|-|o|-|x|o|&lt;br /&gt;
|-|o|o|-|-|&lt;br /&gt;
|x|o|-|o|-|&lt;br /&gt;
|o|-|-|o|-|&lt;br /&gt;
|-|o|-|-|o|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}  &lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Octatonic ==&lt;br /&gt;
{{crumbs|blue|4&lt;br /&gt;
|Ref:_Common_Scales#Heptatonic|7-note&lt;br /&gt;
|Ref:_Common_Scales#Pentatonic|5-note&lt;br /&gt;
|Ref:_Common_Scales#Hexatonic|6-note&lt;br /&gt;
|Ref:_Common_Scales#Octatonic|8-note&lt;br /&gt;
|Ref:_Common_Scales#Chromatic|Chrom.}}&lt;br /&gt;
&lt;br /&gt;
=== Whole-Half ===&lt;br /&gt;
{{crumbs|blue2|1&lt;br /&gt;
|Ref:_Common_Scales#Whole-Half|Whole-Half&lt;br /&gt;
|Ref:_Common_Scales#Half-Whole|Half-Whole}}&lt;br /&gt;
 {{U|R}} {{M2|M2}} {{Mn3|m3}} {{P4|P4}} {{tt|d5}} {{Mn6|m6}} {{M6|M6}} {{M7|M7}} {{U|R}}&lt;br /&gt;
  w  h  w  h  w  h  w  h&lt;br /&gt;
&lt;br /&gt;
An 8 note diminished scale that uses a repeating sequence of whole and half steps (making it a symmetric scale) to reach the octave. (w h w h w h w h).  Contains the fully diminished 7th chord.  Because the scale repeats its sequence every 2 notes, it has a very weak tonality.&lt;br /&gt;
&lt;br /&gt;
  A Whole-Half&lt;br /&gt;
 E----------------------------&lt;br /&gt;
 B----------------------------&lt;br /&gt;
 G----------------------1--2--&lt;br /&gt;
 D----------0--1--3--4--------&lt;br /&gt;
 A-0--2--3--------------------&lt;br /&gt;
 E----------------------------&lt;br /&gt;
   A  B  C  D  Eb F  Gb Ab A&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
! Pattern 1 !! Pattern 2 !! 3 nps&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|x|-|o|x|-|&lt;br /&gt;
|-|o|x|-|o|&lt;br /&gt;
|x|-|o|x|-|&lt;br /&gt;
|-|o|x|-|o|&lt;br /&gt;
|o|x|-|o|x|&lt;br /&gt;
|x|-|o|x|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|o|x|-|o|&lt;br /&gt;
|-|x|-|o|x|&lt;br /&gt;
|-|o|x|-|o|&lt;br /&gt;
|o|x|-|o|x|&lt;br /&gt;
|x|-|o|x|-|&lt;br /&gt;
|-|o|x|-|o|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|o|x|-|o|-|&lt;br /&gt;
|x|-|o|x|-|&lt;br /&gt;
|o|x|-|o|-|&lt;br /&gt;
|x|-|o|x|-|&lt;br /&gt;
|-|o|x|-|o|&lt;br /&gt;
|-|x|-|o|x|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| 4 nps&lt;br /&gt;
|-&lt;br /&gt;
|colspan=&amp;quot;3&amp;quot;|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|-|-|-|-|-|o|x|-|o|x|&lt;br /&gt;
|-|-|-|-|-|o|x|-|o|x|-|&lt;br /&gt;
|-|-|-|o|x|-|o|x|-|-|-|&lt;br /&gt;
|-|-|o|x|-|o|x|-|-|-|-|&lt;br /&gt;
|-|o|x|-|o|x|-|-|-|-|-|&lt;br /&gt;
|o|x|-|o|x|-|-|-|-|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
''* This scale is symmetric when dividing the octave into halves or quarters.  Every other note can be the root and produce the same pattern.''&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Half-Whole ===&lt;br /&gt;
{{crumbs|blue2|2&lt;br /&gt;
|Ref:_Common_Scales#Whole-Half|Whole-Half&lt;br /&gt;
|Ref:_Common_Scales#Half-Whole|Half-Whole}}&lt;br /&gt;
 {{U|R}} {{Mn2|m2}} {{Mn3|m3}} {{M3|d4}} {{tt|d5}} {{P5|P5}} {{M6|M6}} {{Mn7|m7}} {{U|R}}&lt;br /&gt;
  h  w  h  w  h  w  h  w&lt;br /&gt;
&lt;br /&gt;
An 8 note diminished scale that uses a repeating sequence of half and whole steps (making it a symmetric scale) to reach the octave. (h w h w h w h w).  Contains the fully diminished 7th chord.  Because the scale repeats its sequence every 2 notes, it has a very weak tonality.&lt;br /&gt;
&lt;br /&gt;
  A Half-Whole&lt;br /&gt;
 E----------------------------&lt;br /&gt;
 B----------------------------&lt;br /&gt;
 G----------------------0--2--&lt;br /&gt;
 D-------------1--2--4--------&lt;br /&gt;
 A-0--1--3--4-----------------&lt;br /&gt;
 E----------------------------&lt;br /&gt;
   A  Bb C  Db Eb E  Gb G  A&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
! Pattern 1 !! Pattern 2 !! 3 nps&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|o|-|x|o|-|&lt;br /&gt;
|-|x|o|-|x|&lt;br /&gt;
|o|-|x|o|-|&lt;br /&gt;
|-|x|o|-|x|&lt;br /&gt;
|x|o|-|x|o|&lt;br /&gt;
|o|-|x|o|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|x|o|-|x|&lt;br /&gt;
|-|o|-|x|o|&lt;br /&gt;
|-|x|o|-|x|&lt;br /&gt;
|x|o|-|x|o|&lt;br /&gt;
|o|-|x|o|-|&lt;br /&gt;
|-|x|o|-|x|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|x|o|-|x|-|&lt;br /&gt;
|o|-|x|o|-|&lt;br /&gt;
|x|o|-|x|-|&lt;br /&gt;
|o|-|x|o|-|&lt;br /&gt;
|-|x|o|-|x|&lt;br /&gt;
|-|o|-|x|o|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|-&lt;br /&gt;
!colspan=&amp;quot;3&amp;quot;| 4 nps&lt;br /&gt;
|-&lt;br /&gt;
|colspan=&amp;quot;3&amp;quot;|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|-|-|-|-|-|-|x|o|-|x|o|&lt;br /&gt;
|-|-|-|-|-|x|o|-|x|o|-|&lt;br /&gt;
|-|-|-|x|o|-|x|o|-|-|-|&lt;br /&gt;
|-|-|x|o|-|x|o|-|-|-|-|&lt;br /&gt;
|-|x|o|-|x|o|-|-|-|-|-|&lt;br /&gt;
|x|o|-|x|o|-|-|-|-|-|-|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
''* This scale is symmetric when dividing the octave into halves or quarters.  Every other note can be the root and produce the same pattern.''&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Chromatic ==&lt;br /&gt;
{{crumbs|blue|5&lt;br /&gt;
|Ref:_Common_Scales#Heptatonic|7-note&lt;br /&gt;
|Ref:_Common_Scales#Pentatonic|5-note&lt;br /&gt;
|Ref:_Common_Scales#Hexatonic|6-note&lt;br /&gt;
|Ref:_Common_Scales#Octatonic|8-note&lt;br /&gt;
|Ref:_Common_Scales#Chromatic|Chrom.}}&lt;br /&gt;
&lt;br /&gt;
 {{U|R}} {{Mn2|m2}} {{M2|M2}} {{Mn3|m3}} {{M3|M3}} {{P4|P4}} {{tt|tt}} {{P5|P5}} {{Mn6|m6}} {{M6|M6}} {{Mn7|m7}} {{M7|M7}} {{U|R}}&lt;br /&gt;
  h  h  h  h  h  h  h  h  h  h  h  h&lt;br /&gt;
&lt;br /&gt;
The chromatic scale consists of every note in the 12-tone scale, with its whole-half pattern consisting entirely of half steps.  It has no tonality - every note in the scale has as much tension as any other note.&lt;br /&gt;
&lt;br /&gt;
   A Chromatic&lt;br /&gt;
 E---------------------------------------&lt;br /&gt;
 B---------------------------------------&lt;br /&gt;
 G-------------------------------0--1--2-&lt;br /&gt;
 D----------------0--1--2--3--4----------&lt;br /&gt;
 A-0--1--2--3--4-------------------------&lt;br /&gt;
 E---------------------------------------&lt;br /&gt;
   A  A# B  C  C# D  D# E  F  F# G  G# A&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
! Fixed Pos. !! 4 nps&lt;br /&gt;
|-&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|x|x|x|x|x|&lt;br /&gt;
|x|x|x|x|x|&lt;br /&gt;
|x|x|x|x|-|&lt;br /&gt;
|x|x|x|x|x|&lt;br /&gt;
|x|x|x|x|x|&lt;br /&gt;
|x|x|x|x|x|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|&lt;br /&gt;
&amp;lt;pre&amp;gt;&lt;br /&gt;
|x|x|x|x|-|-|-|-|&lt;br /&gt;
|-|x|x|x|x|-|-|-|&lt;br /&gt;
|-|x|x|x|x|-|-|-|&lt;br /&gt;
|-|-|x|x|x|x|-|-|&lt;br /&gt;
|-|-|-|x|x|x|x|-|&lt;br /&gt;
|-|-|-|-|x|x|x|x|&lt;br /&gt;
&amp;lt;/pre&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
''* This scale is fully symmetric - any note can be the tonic and produce the same fingering pattern.''&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
{{Reference Crumbs|2}}&lt;br /&gt;
&lt;br /&gt;
[[Category:Guitar]]&lt;br /&gt;
[[Category:Scales]]&lt;br /&gt;
[[Category:Reference]]&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=Ref:_CAGED_Chord_Charts&amp;diff=8724</id>
		<title>Ref: CAGED Chord Charts</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=Ref:_CAGED_Chord_Charts&amp;diff=8724"/>
				<updated>2016-09-11T22:11:30Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;&amp;lt;div style=&amp;quot;margin-left:10px;&amp;quot;&amp;gt;{{altCrumbs|red&lt;br /&gt;
|{{crumb||Contents#Lessons|Lessons}}&lt;br /&gt;
|{{crumb||Contents#Exercises|Exercises}}&lt;br /&gt;
|{{crumb|x|Contents#Reference|Reference}}&lt;br /&gt;
|{{crumb||Contents#Gear and Setup|Gear}}&lt;br /&gt;
|{{crumb||Contents#Getting Gig Ready|Gig Prep}}&lt;br /&gt;
|{{crumb||Contents#DAW/Recording|Recording}}&lt;br /&gt;
|{{crumb||Contents#Sound|Sound|Contents#Musical Skills|Skills}}&lt;br /&gt;
|{{crumb||Contents#Glossary|Glossary}}&lt;br /&gt;
|{{crumb||Contents#Wiki|Wiki}} }}&lt;br /&gt;
&amp;lt;/div&amp;gt;&lt;br /&gt;
{{altCrumbs|orange&lt;br /&gt;
|{{crumb||Ref: Intervals|Intervals}}&lt;br /&gt;
|{{crumb||Ref: Common Scales|Scales}}&lt;br /&gt;
|{{crumb||Ref: Circle of Fifths|Circle of 5ths}}&lt;br /&gt;
|{{crumb||Ref: Fret Maps for all Keys|Fret Maps}}&lt;br /&gt;
|{{crumb|x|Ref: CAGED Chord Charts|CAGED Charts}}&lt;br /&gt;
|{{crumb||Ref: Diatonic Chords for all Keys|Diatonic Chords}}&lt;br /&gt;
|{{crumb||Ref: Chord Fingerings/Voicings|Chord Fingerings}}&lt;br /&gt;
|{{crumb||Ref: Chord Names/Notes/Spellings|Chord Naming}}&lt;br /&gt;
|{{crumb||Ref: Common Chord Progressions|Progressions}}&lt;br /&gt;
|{{crumb||Ref: Modes|Modes}}&lt;br /&gt;
|{{crumb||Ref: Counting Rhythm|Counting Rhythm}}&lt;br /&gt;
|{{crumb||Ref: Common Arpeggios|Arpeggios}}&lt;br /&gt;
|{{crumb||Ref: Reading Tab|Reading Tab}}&lt;br /&gt;
|{{crumb||Ref: Reading Chord Charts, Scale Maps, and Strumming Notation|Other Notation}} }}&lt;br /&gt;
&lt;br /&gt;
Note: Only chords that can be formed without double flats and double sharps are posted below.  All 12 pitches are represented, but some are represented multiple times as enharmonic variants.&lt;br /&gt;
== Major Triads ==&lt;br /&gt;
=== A{{f}} Major ===&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb|x|Ref:_CAGED_Chord_Charts#A.E2.99.AD Major|&amp;amp;nbsp;Ab&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Major|&amp;amp;nbsp;A&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Major|&amp;amp;nbsp;Bb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Major|&amp;amp;nbsp;B&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AD Major|&amp;amp;nbsp;Cb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Major|&amp;amp;nbsp;C&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Major|&amp;amp;nbsp;C#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Major|&amp;amp;nbsp;Db&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Major|&amp;amp;nbsp;D&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Major|&amp;amp;nbsp;Eb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Major|&amp;amp;nbsp;E&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AD Major|&amp;amp;nbsp;Fb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Major|&amp;amp;nbsp;F&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Major|&amp;amp;nbsp;F#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AD Major|&amp;amp;nbsp;Gb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Major|&amp;amp;nbsp;G&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Major|&amp;amp;nbsp;G#&amp;amp;nbsp;}} }}&lt;br /&gt;
&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Minor|Abm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Minor|Am}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Minor|Bbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Minor|Bm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Minor|Cm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Minor|C#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Minor|Dbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Minor|Dm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Minor|Ebm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Minor|Em}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AF Minor|E#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Minor|Fm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Minor|F#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Minor|Gm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Minor|G#m}} }}&lt;br /&gt;
&lt;br /&gt;
* [[Ref:_CAGED_Chord_Charts#A.E2.99.AD Minor|A{{b}} Minor]]&lt;br /&gt;
&lt;br /&gt;
                          |------C-------|                    |------C-------|&lt;br /&gt;
  ----A-------|                    |------A-------|&lt;br /&gt;
  --||--|--|--|Ab|--|--|--|C-|--|--|Eb|--|--|--|--|Ab|--|--|--|C-|--|--|Eb|--|&lt;br /&gt;
  --||C-|--|--|Eb|--|--|--|--|Ab|--|--|--|C-|--|--|Eb|--|--|--|--|Ab|--|--|--|&lt;br /&gt;
  --||Ab|--|--|--|C-|--|--|Eb|--|--|--|--|Ab|--|--|--|C-|--|--|Eb|--|--|--|--|&lt;br /&gt;
  --||Eb|--|--|--|--|Ab|--|--|--|C-|--|--|Eb|--|--|--|--|Ab|--|--|--|C-|--|--|&lt;br /&gt;
  --||--|--|C-|--|--|Eb|--|--|--|--|Ab|--|--|--|C-|--|--|Eb|--|--|--|--|Ab|--|&lt;br /&gt;
  --||--|--|--|Ab|--|--|--|C-|--|--|Eb|--|--|--|--|Ab|--|--|--|C-|--|--|Eb|--|&lt;br /&gt;
   0        *     *     *     *        **       *     *     *     *        **&lt;br /&gt;
     |------G-------|                    |-------G------|&lt;br /&gt;
              |-------E------|                    |-------E------|&lt;br /&gt;
                    |-------D------|                    |-------D------|&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== A Major ===&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Major|&amp;amp;nbsp;Ab&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb|x|Ref:_CAGED_Chord_Charts#A Major|&amp;amp;nbsp;A&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Major|&amp;amp;nbsp;Bb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Major|&amp;amp;nbsp;B&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AD Major|&amp;amp;nbsp;Cb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Major|&amp;amp;nbsp;C&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Major|&amp;amp;nbsp;C#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Major|&amp;amp;nbsp;Db&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Major|&amp;amp;nbsp;D&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Major|&amp;amp;nbsp;Eb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Major|&amp;amp;nbsp;E&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AD Major|&amp;amp;nbsp;Fb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Major|&amp;amp;nbsp;F&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Major|&amp;amp;nbsp;F#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AD Major|&amp;amp;nbsp;Gb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Major|&amp;amp;nbsp;G&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Major|&amp;amp;nbsp;G#&amp;amp;nbsp;}} }}&lt;br /&gt;
&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Minor|Abm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Minor|Am}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Minor|Bbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Minor|Bm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Minor|Cm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Minor|C#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Minor|Dbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Minor|Dm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Minor|Ebm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Minor|Em}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AF Minor|E#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Minor|Fm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Minor|F#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Minor|Gm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Minor|G#m}} }}&lt;br /&gt;
&lt;br /&gt;
* [[Ref:_CAGED_Chord_Charts#A Minor|A Minor]]&lt;br /&gt;
&lt;br /&gt;
  --C---|                    |------C-------|                    |------C-----&lt;br /&gt;
  -------A-------|                    |-------A------|&lt;br /&gt;
  E-||--|--|--|--|A-|--|--|--|C#|--|--|E-|--|--|--|--|A-|--|--|--|C#|--|--|E-|&lt;br /&gt;
  --||--|C#|--|--|E-|--|--|--|--|A-|--|--|--|C#|--|--|E-|--|--|--|--|A-|--|--|&lt;br /&gt;
  --||--|A-|--|--|--|C#|--|--|E-|--|--|--|--|A-|--|--|--|C#|--|--|E-|--|--|--|&lt;br /&gt;
  --||--|E-|--|--|--|--|A-|--|--|--|C#|--|--|E-|--|--|--|--|A-|--|--|--|C#|--|&lt;br /&gt;
  A-||--|--|--|C#|--|--|E-|--|--|--|--|A-|--|--|--|C#|--|--|E-|--|--|--|--|A-|&lt;br /&gt;
  E-||--|--|--|--|A-|--|--|--|C#|--|--|E-|--|--|--|--|A-|--|--|--|C#|--|--|E-|&lt;br /&gt;
   0        *     *     *     *        **       *     *     *     *        **&lt;br /&gt;
        |-------G------|                    |-------G------|&lt;br /&gt;
                 |-------E------|                    |-------E------|&lt;br /&gt;
                       |-------D------|                    |-------D------|&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
=== B{{f}} Major ===&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Major|&amp;amp;nbsp;Ab&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Major|&amp;amp;nbsp;A&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb|x|Ref:_CAGED_Chord_Charts#B.E2.99.AD Major|&amp;amp;nbsp;Bb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Major|&amp;amp;nbsp;B&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AD Major|&amp;amp;nbsp;Cb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Major|&amp;amp;nbsp;C&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Major|&amp;amp;nbsp;C#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Major|&amp;amp;nbsp;Db&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Major|&amp;amp;nbsp;D&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Major|&amp;amp;nbsp;Eb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Major|&amp;amp;nbsp;E&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AD Major|&amp;amp;nbsp;Fb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Major|&amp;amp;nbsp;F&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Major|&amp;amp;nbsp;F#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AD Major|&amp;amp;nbsp;Gb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Major|&amp;amp;nbsp;G&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Major|&amp;amp;nbsp;G#&amp;amp;nbsp;}} }}&lt;br /&gt;
&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Minor|Abm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Minor|Am}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Minor|Bbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Minor|Bm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Minor|Cm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Minor|C#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Minor|Dbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Minor|Dm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Minor|Ebm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Minor|Em}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AF Minor|E#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Minor|Fm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Minor|F#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Minor|Gm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Minor|G#m}} }}&lt;br /&gt;
&lt;br /&gt;
* [[Ref:_CAGED_Chord_Charts#B.E2.99.AD Minor|B{{b}} Minor]]&lt;br /&gt;
&lt;br /&gt;
  ---C-----|                    |------C-------|                    |----C----&lt;br /&gt;
     |------A-------|                    |------A-------|&lt;br /&gt;
  --||F-|--|--|--|--|Bb|--|--|--|D-|--|--|F-|--|--|--|--|Bb|--|--|--|D-|--|--|&lt;br /&gt;
  --||--|--|D-|--|--|F-|--|--|--|--|Bb|--|--|--|D-|--|--|F-|--|--|--|--|Bb|--|&lt;br /&gt;
  --||--|--|Bb|--|--|--|D-|--|--|F-|--|--|--|--|Bb|--|--|--|D-|--|--|F-|--|--|&lt;br /&gt;
  D-||--|--|F-|--|--|--|--|Bb|--|--|--|D-|--|--|F-|--|--|--|--|Bb|--|--|--|D-|&lt;br /&gt;
  --||Bb|--|--|--|D-|--|--|F-|--|--|--|--|Bb|--|--|--|D-|--|--|F-|--|--|--|--|&lt;br /&gt;
  --||F-|--|--|--|--|Bb|--|--|--|D-|--|--|F-|--|--|--|--|Bb|--|--|--|D-|--|--|&lt;br /&gt;
   0        *     *     *     *        **       *     *     *     *        **&lt;br /&gt;
           |------G-------|                    |------G-------|&lt;br /&gt;
                    |------E-------|                    |------E-------|&lt;br /&gt;
                          |------D-------|                    |------D-------|&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
=== B Major ===&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Major|&amp;amp;nbsp;Ab&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Major|&amp;amp;nbsp;A&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Major|&amp;amp;nbsp;Bb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb|x|Ref:_CAGED_Chord_Charts#B Major|&amp;amp;nbsp;B&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AD Major|&amp;amp;nbsp;Cb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Major|&amp;amp;nbsp;C&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Major|&amp;amp;nbsp;C#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Major|&amp;amp;nbsp;Db&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Major|&amp;amp;nbsp;D&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Major|&amp;amp;nbsp;Eb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Major|&amp;amp;nbsp;E&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AD Major|&amp;amp;nbsp;Fb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Major|&amp;amp;nbsp;F&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Major|&amp;amp;nbsp;F#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AD Major|&amp;amp;nbsp;Gb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Major|&amp;amp;nbsp;G&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Major|&amp;amp;nbsp;G#&amp;amp;nbsp;}} }}&lt;br /&gt;
&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Minor|Abm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Minor|Am}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Minor|Bbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Minor|Bm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Minor|Cm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Minor|C#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Minor|Dbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Minor|Dm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Minor|Ebm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Minor|Em}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AF Minor|E#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Minor|Fm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Minor|F#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Minor|Gm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Minor|G#m}} }}&lt;br /&gt;
&lt;br /&gt;
* [[Ref:_CAGED_Chord_Charts#B Minor|B Minor]]&lt;br /&gt;
&lt;br /&gt;
  -----C------|                    |------C--------|                   |---C--&lt;br /&gt;
        |------A-------|                    |------A-------|&lt;br /&gt;
  --||--|F#|--|--|--|--|B-|--|--|--|D#|--|--|F#|--|--|--|--|B-|--|--|--|D#|--|&lt;br /&gt;
  B-||--|--|--|D#|--|--|F#|--|--|--|--|B-|--|--|--|D#|--|--|F#|--|--|--|--|B-|&lt;br /&gt;
  --||--|--|--|B-|--|--|--|D#|--|--|F#|--|--|--|--|B-|--|--|--|D#|--|--|F#|--|&lt;br /&gt;
  --||D#|--|--|F#|--|--|--|--|B-|--|--|--|D#|--|--|F#|--|--|--|--|B-|--|--|--|&lt;br /&gt;
  --||--|B-|--|--|--|D#|--|--|F#|--|--|--|--|B-|--|--|--|D#|--|--|F#|--|--|--|&lt;br /&gt;
  --||--|F#|--|--|--|--|B-|--|--|--|D#|--|--|F#|--|--|--|--|B-|--|--|--|D#|--|&lt;br /&gt;
   0        *     *     *     *        **       *     *     *     *        **&lt;br /&gt;
              |------G-------|                    |------G-------|&lt;br /&gt;
                       |------E-------|                    |------E-------|&lt;br /&gt;
  --D---|                    |------D-------|                    |-----D------&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== C{{f}} Major ===&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Major|&amp;amp;nbsp;Ab&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Major|&amp;amp;nbsp;A&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Major|&amp;amp;nbsp;Bb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Major|&amp;amp;nbsp;B&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb|x|Ref:_CAGED_Chord_Charts#C.E2.99.AD Major|&amp;amp;nbsp;Cb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Major|&amp;amp;nbsp;C&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Major|&amp;amp;nbsp;C#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Major|&amp;amp;nbsp;Db&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Major|&amp;amp;nbsp;D&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Major|&amp;amp;nbsp;Eb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Major|&amp;amp;nbsp;E&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AD Major|&amp;amp;nbsp;Fb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Major|&amp;amp;nbsp;F&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Major|&amp;amp;nbsp;F#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AD Major|&amp;amp;nbsp;Gb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Major|&amp;amp;nbsp;G&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Major|&amp;amp;nbsp;G#&amp;amp;nbsp;}} }}&lt;br /&gt;
&lt;br /&gt;
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|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Minor|Bbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Minor|Bm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Minor|Cm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Minor|C#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Minor|Dbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Minor|Dm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Minor|Ebm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Minor|Em}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AF Minor|E#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Minor|Fm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Minor|F#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Minor|Gm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Minor|G#m}} }}&lt;br /&gt;
&lt;br /&gt;
* [[Ref:_CAGED_Chord_Charts#B Minor|B Minor]]&lt;br /&gt;
&lt;br /&gt;
  ----C-------|                    |------C-------|&lt;br /&gt;
        |------A-------|                    |------A-------|&lt;br /&gt;
  --||--|Gb|--|--|--|--|Cb|--|--|--|Eb|--|--|Gb|--|--|--|--|Cb|--|--|--|Eb|--|&lt;br /&gt;
  Cb||--|--|--|Eb|--|--|Gb|--|--|--|--|Cb|--|--|--|Eb|--|--|Gb|--|--|--|--|Cb|&lt;br /&gt;
  --||--|--|--|Cb|--|--|--|Eb|--|--|Gb|--|--|--|--|Cb|--|--|--|Eb|--|--|Gb|--|&lt;br /&gt;
  --||Eb|--|--|Gb|--|--|--|--|Cb|--|--|--|Eb|--|--|Gb|--|--|--|--|Cb|--|--|--|&lt;br /&gt;
  --||--|Cb|--|--|--|Eb|--|--|Gb|--|--|--|--|Cb|--|--|--|Eb|--|--|Gb|--|--|--|&lt;br /&gt;
  --||--|Gb|--|--|--|--|Cb|--|--|--|Eb|--|--|Gb|--|--|--|--|Cb|--|--|--|Eb|--|&lt;br /&gt;
   0        *     *     *     *        **       *     *     *     *        **&lt;br /&gt;
              |------G-------|                    |------G-------|&lt;br /&gt;
                       |------E-------|                    |------E-------|&lt;br /&gt;
  --D---|                    |------D-------|                    |----D-------&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== C Major ===&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Major|&amp;amp;nbsp;Ab&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Major|&amp;amp;nbsp;A&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Major|&amp;amp;nbsp;Bb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Major|&amp;amp;nbsp;B&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AD Major|&amp;amp;nbsp;Cb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb|x|Ref:_CAGED_Chord_Charts#C Major|&amp;amp;nbsp;C&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Major|&amp;amp;nbsp;C#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Major|&amp;amp;nbsp;Db&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Major|&amp;amp;nbsp;D&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Major|&amp;amp;nbsp;Eb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Major|&amp;amp;nbsp;E&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AD Major|&amp;amp;nbsp;Fb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Major|&amp;amp;nbsp;F&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Major|&amp;amp;nbsp;F#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AD Major|&amp;amp;nbsp;Gb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Major|&amp;amp;nbsp;G&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Major|&amp;amp;nbsp;G#&amp;amp;nbsp;}} }}&lt;br /&gt;
&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Minor|Abm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Minor|Am}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Minor|Bbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Minor|Bm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Minor|Cm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Minor|C#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Minor|Dbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Minor|Dm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Minor|Ebm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Minor|Em}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AF Minor|E#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Minor|Fm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Minor|F#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Minor|Gm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Minor|G#m}} }}&lt;br /&gt;
&lt;br /&gt;
* [[Ref:_CAGED_Chord_Charts#C Minor|C Minor]]&lt;br /&gt;
&lt;br /&gt;
  |------C-------|                    |------C-------|&lt;br /&gt;
           |------A-------|                    |------A-------|&lt;br /&gt;
  E-||--|--|G-|--|--|--|--|C-|--|--|--|E-|--|--|G-|--|--|--|--|C-|--|--|--|E-|&lt;br /&gt;
  --||C-|--|--|--|E-|--|--|G-|--|--|--|--|C-|--|--|--|E-|--|--|G-|--|--|--|--|&lt;br /&gt;
  G-||--|--|--|--|C-|--|--|--|E-|--|--|G-|--|--|--|--|C-|--|--|--|E-|--|--|G-|&lt;br /&gt;
  --||--|E-|--|--|G-|--|--|--|--|C-|--|--|--|E-|--|--|G-|--|--|--|--|C-|--|--|&lt;br /&gt;
  --||--|--|C-|--|--|--|E-|--|--|G-|--|--|--|--|C-|--|--|--|E-|--|--|G-|--|--|&lt;br /&gt;
  E-||--|--|G-|--|--|--|--|C-|--|--|--|E-|--|--|G-|--|--|--|--|C-|--|--|--|E-|&lt;br /&gt;
   0        *     *     *     *        **       *     *     *     *        **&lt;br /&gt;
                 |------G-------|                    |------G-------|&lt;br /&gt;
                          |------E-------|                    |------E-------|&lt;br /&gt;
  ---D-----|                    |------D-------|                    |---D-----&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== C{{s}} Major ===&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Major|&amp;amp;nbsp;Ab&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Major|&amp;amp;nbsp;A&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Major|&amp;amp;nbsp;Bb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Major|&amp;amp;nbsp;B&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AD Major|&amp;amp;nbsp;Cb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Major|&amp;amp;nbsp;C&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb|x|Ref:_CAGED_Chord_Charts#C.E2.99.AF Major|&amp;amp;nbsp;C#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Major|&amp;amp;nbsp;Db&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Major|&amp;amp;nbsp;D&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Major|&amp;amp;nbsp;Eb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Major|&amp;amp;nbsp;E&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AD Major|&amp;amp;nbsp;Fb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Major|&amp;amp;nbsp;F&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Major|&amp;amp;nbsp;F#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AD Major|&amp;amp;nbsp;Gb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Major|&amp;amp;nbsp;G&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Major|&amp;amp;nbsp;G#&amp;amp;nbsp;}} }}&lt;br /&gt;
&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Minor|Abm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Minor|Am}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Minor|Bbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Minor|Bm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Minor|Cm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Minor|C#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Minor|Dbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Minor|Dm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Minor|Ebm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Minor|Em}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AF Minor|E#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Minor|Fm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Minor|F#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Minor|Gm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Minor|G#m}} }}&lt;br /&gt;
&lt;br /&gt;
* [[Ref:_CAGED_Chord_Charts#C.E2.99.AF Minor|C{{s}} Minor]]&lt;br /&gt;
&lt;br /&gt;
     |------C-------|                    |------C-------|&lt;br /&gt;
              |------A-------|                    |------A-------|&lt;br /&gt;
  --||E#|--|--|G#|--|--|--|--|C#|--|--|--|E#|--|--|G#|--|--|--|--|C#|--|--|--|&lt;br /&gt;
  --||--|C#|--|--|--|E#|--|--|G#|--|--|--|--|C#|--|--|--|E#|--|--|G#|--|--|--|&lt;br /&gt;
  --||G#|--|--|--|--|C#|--|--|--|E#|--|--|G#|--|--|--|--|C#|--|--|--|E#|--|--|&lt;br /&gt;
  --||--|--|E#|--|--|G#|--|--|--|--|C#|--|--|--|E#|--|--|G#|--|--|--|--|C#|--|&lt;br /&gt;
  --||--|--|--|C#|--|--|--|E#|--|--|G#|--|--|--|--|C#|--|--|--|E#|--|--|G#|--|&lt;br /&gt;
  --||E#|--|--|G#|--|--|--|--|C#|--|--|--|E#|--|--|G#|--|--|--|--|C#|--|--|--|&lt;br /&gt;
   0        *     *     *     *        **       *     *     *     *        **&lt;br /&gt;
                    |------G-------|                    |------G-------|&lt;br /&gt;
  --E---|                    |------E-------|                    |---E--------&lt;br /&gt;
  -----D------|                    |------D-------|                    |---D--&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
=== D{{f}} Major ===&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Major|&amp;amp;nbsp;Ab&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Major|&amp;amp;nbsp;A&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Major|&amp;amp;nbsp;Bb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Major|&amp;amp;nbsp;B&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AD Major|&amp;amp;nbsp;Cb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Major|&amp;amp;nbsp;C&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Major|&amp;amp;nbsp;C#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb|x|Ref:_CAGED_Chord_Charts#D.E2.99.AD Major|&amp;amp;nbsp;Db&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Major|&amp;amp;nbsp;D&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Major|&amp;amp;nbsp;Eb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Major|&amp;amp;nbsp;E&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AD Major|&amp;amp;nbsp;Fb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Major|&amp;amp;nbsp;F&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Major|&amp;amp;nbsp;F#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AD Major|&amp;amp;nbsp;Gb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Major|&amp;amp;nbsp;G&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Major|&amp;amp;nbsp;G#&amp;amp;nbsp;}} }}&lt;br /&gt;
&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Minor|Abm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Minor|Am}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Minor|Bbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Minor|Bm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Minor|Cm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Minor|C#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Minor|Dbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Minor|Dm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Minor|Ebm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Minor|Em}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AF Minor|E#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Minor|Fm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Minor|F#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Minor|Gm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Minor|G#m}} }}&lt;br /&gt;
&lt;br /&gt;
* [[Ref:_CAGED_Chord_Charts#D.E2.99.AD Minor|D{{b}} Minor]]&lt;br /&gt;
&lt;br /&gt;
     |------C-------|                    |------C-------|&lt;br /&gt;
              |------A-------|                    |------A-------|&lt;br /&gt;
  --||F-|--|--|Ab|--|--|--|--|Db|--|--|--|F-|--|--|Ab|--|--|--|--|Db|--|--|--|&lt;br /&gt;
  --||--|Db|--|--|--|F-|--|--|Ab|--|--|--|--|Db|--|--|--|F-|--|--|Ab|--|--|--|&lt;br /&gt;
  --||Ab|--|--|--|--|Db|--|--|--|F-|--|--|Ab|--|--|--|--|Db|--|--|--|F-|--|--|&lt;br /&gt;
  --||--|--|F-|--|--|Ab|--|--|--|--|Db|--|--|--|F-|--|--|Ab|--|--|--|--|Db|--|&lt;br /&gt;
  --||--|--|--|Db|--|--|--|F-|--|--|Ab|--|--|--|--|Db|--|--|--|F-|--|--|Ab|--|&lt;br /&gt;
  --||F-|--|--|Ab|--|--|--|--|Db|--|--|--|F-|--|--|Ab|--|--|--|--|Db|--|--|--|&lt;br /&gt;
   0        *     *     *     *        **       *     *     *     *        **&lt;br /&gt;
                    |------G-------|                    |------G-------|&lt;br /&gt;
  --E---|                    |------E-------|                    |------E-----&lt;br /&gt;
  -----D------|                    |------D-------|                    |---D--&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
=== D Major ===&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Major|&amp;amp;nbsp;Ab&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Major|&amp;amp;nbsp;A&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Major|&amp;amp;nbsp;Bb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Major|&amp;amp;nbsp;B&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AD Major|&amp;amp;nbsp;Cb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Major|&amp;amp;nbsp;C&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Major|&amp;amp;nbsp;C#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Major|&amp;amp;nbsp;Db&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb|x|Ref:_CAGED_Chord_Charts#D Major|&amp;amp;nbsp;D&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Major|&amp;amp;nbsp;Eb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Major|&amp;amp;nbsp;E&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AD Major|&amp;amp;nbsp;Fb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Major|&amp;amp;nbsp;F&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Major|&amp;amp;nbsp;F#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AD Major|&amp;amp;nbsp;Gb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Major|&amp;amp;nbsp;G&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Major|&amp;amp;nbsp;G#&amp;amp;nbsp;}} }}&lt;br /&gt;
&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Minor|Abm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Minor|Am}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Minor|Bbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Minor|Bm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Minor|Cm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Minor|C#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Minor|Dbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Minor|Dm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Minor|Ebm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Minor|Em}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AF Minor|E#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Minor|Fm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Minor|F#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Minor|Gm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Minor|G#m}} }}&lt;br /&gt;
&lt;br /&gt;
* [[Ref:_CAGED_Chord_Charts#D Minor|D Minor]]&lt;br /&gt;
&lt;br /&gt;
        |------C-------|                    |------C-------|&lt;br /&gt;
                 |------A-------|                    |------A-------|&lt;br /&gt;
  --||--|F#|--|--|A-|--|--|--|--|D-|--|--|--|F#|--|--|A-|--|--|--|--|D-|--|--|&lt;br /&gt;
  --||--|--|D-|--|--|--|F#|--|--|A-|--|--|--|--|D-|--|--|--|F#|--|--|A-|--|--|&lt;br /&gt;
  --||--|A-|--|--|--|--|D-|--|--|--|F#|--|--|A-|--|--|--|--|D-|--|--|--|F#|--|&lt;br /&gt;
  D-||--|--|--|F#|--|--|A-|--|--|--|--|D-|--|--|--|F#|--|--|A-|--|--|--|--|D-|&lt;br /&gt;
  A-||--|--|--|--|D-|--|--|--|F#|--|--|A-|--|--|--|--|D-|--|--|--|F#|--|--|A-|&lt;br /&gt;
  --||--|F#|--|--|A-|--|--|--|--|D-|--|--|--|F#|--|--|A-|--|--|--|--|D-|--|--|&lt;br /&gt;
   0        *     *     *     *        **       *     *     *     *        **&lt;br /&gt;
                       |------G-------|                    |------G-------|&lt;br /&gt;
  ----E-------|                 |------E-------|                    |-----E---&lt;br /&gt;
  |------D-------|                    |------D-------|&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== E{{f}} Major ===&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Major|&amp;amp;nbsp;Ab&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Major|&amp;amp;nbsp;A&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Major|&amp;amp;nbsp;Bb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Major|&amp;amp;nbsp;B&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AD Major|&amp;amp;nbsp;Cb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Major|&amp;amp;nbsp;C&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Major|&amp;amp;nbsp;C#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Major|&amp;amp;nbsp;Db&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Major|&amp;amp;nbsp;D&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb|x|Ref:_CAGED_Chord_Charts#E.E2.99.AD Major|&amp;amp;nbsp;Eb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Major|&amp;amp;nbsp;E&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AD Major|&amp;amp;nbsp;Fb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Major|&amp;amp;nbsp;F&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Major|&amp;amp;nbsp;F#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AD Major|&amp;amp;nbsp;Gb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Major|&amp;amp;nbsp;G&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Major|&amp;amp;nbsp;G#&amp;amp;nbsp;}} }}&lt;br /&gt;
&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Minor|Abm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Minor|Am}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Minor|Bbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Minor|Bm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Minor|Cm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Minor|C#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Minor|Dbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Minor|Dm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Minor|Ebm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Minor|Em}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AF Minor|E#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Minor|Fm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Minor|F#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Minor|Gm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Minor|G#m}} }}&lt;br /&gt;
&lt;br /&gt;
* [[Ref:_CAGED_Chord_Charts#E.E2.99.AD Minor|E{{b}} Minor]]&lt;br /&gt;
&lt;br /&gt;
           |------C-------|                    |------C-------|&lt;br /&gt;
                    |------A-------|                    |------A-------|&lt;br /&gt;
  --||--|--|G-|--|--|Bb|--|--|--|--|Eb|--|--|--|G-|--|--|Bb|--|--|--|--|Eb|--|&lt;br /&gt;
  --||--|--|--|Eb|--|--|--|G-|--|--|Bb|--|--|--|--|Eb|--|--|--|G-|--|--|Bb|--|&lt;br /&gt;
  G-||--|--|Bb|--|--|--|--|Eb|--|--|--|G-|--|--|Bb|--|--|--|--|Eb|--|--|--|G-|&lt;br /&gt;
  --||Eb|--|--|--|G-|--|--|Bb|--|--|--|--|Eb|--|--|--|G-|--|--|Bb|--|--|--|--|&lt;br /&gt;
  --||Bb|--|--|--|--|Eb|--|--|--|G-|--|--|Bb|--|--|--|--|Eb|--|--|--|G-|--|--|&lt;br /&gt;
  --||--|--|G-|--|--|Bb|--|--|--|--|Eb|--|--|--|G-|--|--|Bb|--|--|--|--|Eb|--|&lt;br /&gt;
   0        *     *     *     *        **       *     *     *     *        **&lt;br /&gt;
                          |------G-------|                    |------G-------|&lt;br /&gt;
  ----E-------|                    |------E-------|                    |---E--&lt;br /&gt;
     |------D-------|                    |------D-------|&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== E Major ===&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Major|&amp;amp;nbsp;Ab&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Major|&amp;amp;nbsp;A&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Major|&amp;amp;nbsp;Bb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Major|&amp;amp;nbsp;B&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AD Major|&amp;amp;nbsp;Cb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Major|&amp;amp;nbsp;C&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Major|&amp;amp;nbsp;C#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Major|&amp;amp;nbsp;Db&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Major|&amp;amp;nbsp;D&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Major|&amp;amp;nbsp;Eb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb|x|Ref:_CAGED_Chord_Charts#E Major|&amp;amp;nbsp;E&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AD Major|&amp;amp;nbsp;Fb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Major|&amp;amp;nbsp;F&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Major|&amp;amp;nbsp;F#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AD Major|&amp;amp;nbsp;Gb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Major|&amp;amp;nbsp;G&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Major|&amp;amp;nbsp;G#&amp;amp;nbsp;}} }}&lt;br /&gt;
&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Minor|Abm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Minor|Am}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Minor|Bbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Minor|Bm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Minor|Cm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Minor|C#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Minor|Dbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Minor|Dm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Minor|Ebm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Minor|Em}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AF Minor|E#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Minor|Fm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Minor|F#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Minor|Gm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Minor|G#m}} }}&lt;br /&gt;
&lt;br /&gt;
* [[Ref:_CAGED_Chord_Charts#E Minor|E Minor]]&lt;br /&gt;
&lt;br /&gt;
              |------C-------|                    |------C-------|&lt;br /&gt;
                       |------A-------|                    |------A-------|&lt;br /&gt;
  E-||--|--|--|G#|--|--|B-|--|--|--|--|E-|--|--|--|G#|--|--|B-|--|--|--|--|E-|&lt;br /&gt;
  B-||--|--|--|--|E-|--|--|--|G#|--|--|B-|--|--|--|--|E-|--|--|--|G#|--|--|B-|&lt;br /&gt;
  --||G#|--|--|B-|--|--|--|--|E-|--|--|--|G#|--|--|B-|--|--|--|--|E-|--|--|--|&lt;br /&gt;
  --||--|E-|--|--|--|G#|--|--|B-|--|--|--|--|E-|--|--|--|G#|--|--|B-|--|--|--|&lt;br /&gt;
  --||--|B-|--|--|--|--|E-|--|--|--|G#|--|--|B-|--|--|--|--|E-|--|--|--|G#|--|&lt;br /&gt;
  E-||--|--|--|G#|--|--|B-|--|--|--|--|E-|--|--|--|G#|--|--|B-|--|--|--|--|E-|&lt;br /&gt;
   0        *     *     *     *        **       *     *     *     *        **&lt;br /&gt;
  --G---|                    |------G-------|                    |------G-----&lt;br /&gt;
  |------E-------|                    |------E-------|&lt;br /&gt;
        |------D-------|                    |------D-------|&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
=== F{{f}} Major ===&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Major|&amp;amp;nbsp;Ab&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Major|&amp;amp;nbsp;A&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Major|&amp;amp;nbsp;Bb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Major|&amp;amp;nbsp;B&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AD Major|&amp;amp;nbsp;Cb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Major|&amp;amp;nbsp;C&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Major|&amp;amp;nbsp;C#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Major|&amp;amp;nbsp;Db&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Major|&amp;amp;nbsp;D&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Major|&amp;amp;nbsp;Eb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Major|&amp;amp;nbsp;E&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb|x|Ref:_CAGED_Chord_Charts#F.E2.99.AD Major|&amp;amp;nbsp;Fb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Major|&amp;amp;nbsp;F&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Major|&amp;amp;nbsp;F#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AD Major|&amp;amp;nbsp;Gb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Major|&amp;amp;nbsp;G&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Major|&amp;amp;nbsp;G#&amp;amp;nbsp;}} }}&lt;br /&gt;
&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Minor|Abm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Minor|Am}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Minor|Bbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Minor|Bm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Minor|Cm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Minor|C#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Minor|Dbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Minor|Dm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Minor|Ebm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Minor|Em}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AF Minor|E#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Minor|Fm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Minor|F#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Minor|Gm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Minor|G#m}} }}&lt;br /&gt;
&lt;br /&gt;
* [[Ref:_CAGED_Chord_Charts#E Minor|E Minor]]&lt;br /&gt;
&lt;br /&gt;
              |------C-------|                    |------C-------|&lt;br /&gt;
                       |------A-------|                    |------A-------|&lt;br /&gt;
  Fb||--|--|--|Ab|--|--|Cb|--|--|--|--|Fb|--|--|--|Ab|--|--|Cb|--|--|--|--|Fb|&lt;br /&gt;
  Cb||--|--|--|--|Fb|--|--|--|Ab|--|--|Cb|--|--|--|--|Fb|--|--|--|Ab|--|--|Cb|&lt;br /&gt;
  --||Ab|--|--|Cb|--|--|--|--|Fb|--|--|--|Ab|--|--|Cb|--|--|--|--|Fb|--|--|--|&lt;br /&gt;
  --||--|Fb|--|--|--|Ab|--|--|Cb|--|--|--|--|Fb|--|--|--|Ab|--|--|Cb|--|--|--|&lt;br /&gt;
  --||--|Cb|--|--|--|--|Fb|--|--|--|Ab|--|--|Cb|--|--|--|--|Fb|--|--|--|Ab|--|&lt;br /&gt;
  Fb||--|--|--|Ab|--|--|Cb|--|--|--|--|Fb|--|--|--|Ab|--|--|Cb|--|--|--|--|Fb|&lt;br /&gt;
   0        *     *     *     *        **       *     *     *     *        **&lt;br /&gt;
  --G---|                    |------G-------|                    |-----G------&lt;br /&gt;
  |------E-------|                    |------E-------|&lt;br /&gt;
        |------D-------|                    |------D-------|&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== F Major ===&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Major|&amp;amp;nbsp;Ab&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Major|&amp;amp;nbsp;A&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Major|&amp;amp;nbsp;Bb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Major|&amp;amp;nbsp;B&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AD Major|&amp;amp;nbsp;Cb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Major|&amp;amp;nbsp;C&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Major|&amp;amp;nbsp;C#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Major|&amp;amp;nbsp;Db&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Major|&amp;amp;nbsp;D&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Major|&amp;amp;nbsp;Eb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Major|&amp;amp;nbsp;E&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AD Major|&amp;amp;nbsp;Fb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb|x|Ref:_CAGED_Chord_Charts#F Major|&amp;amp;nbsp;F&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Major|&amp;amp;nbsp;F#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AD Major|&amp;amp;nbsp;Gb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Major|&amp;amp;nbsp;G&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Major|&amp;amp;nbsp;G#&amp;amp;nbsp;}} }}&lt;br /&gt;
&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Minor|Abm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Minor|Am}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Minor|Bbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Minor|Bm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Minor|Cm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Minor|C#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Minor|Dbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Minor|Dm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Minor|Ebm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Minor|Em}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AF Minor|E#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Minor|Fm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Minor|F#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Minor|Gm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Minor|G#m}} }}&lt;br /&gt;
&lt;br /&gt;
* [[Ref:_CAGED_Chord_Charts#F Minor|F Minor]]&lt;br /&gt;
&lt;br /&gt;
                 |------C-------|                    |------C-------|&lt;br /&gt;
                          |------A-------|                    |------A-------|&lt;br /&gt;
  --||F-|--|--|--|A-|--|--|C-|--|--|--|--|F-|--|--|--|A-|--|--|C-|--|--|--|--|&lt;br /&gt;
  --||C-|--|--|--|--|F-|--|--|--|A-|--|--|C-|--|--|--|--|F-|--|--|--|A-|--|--|&lt;br /&gt;
  --||--|A-|--|--|C-|--|--|--|--|F-|--|--|--|A-|--|--|C-|--|--|--|--|F-|--|--|&lt;br /&gt;
  --||--|--|F-|--|--|--|A-|--|--|C-|--|--|--|--|F-|--|--|--|A-|--|--|C-|--|--|&lt;br /&gt;
  A-||--|--|C-|--|--|--|--|F-|--|--|--|A-|--|--|C-|--|--|--|--|F-|--|--|--|A-|&lt;br /&gt;
  --||F-|--|--|--|A-|--|--|C-|--|--|--|--|F-|--|--|--|A-|--|--|C-|--|--|--|--|&lt;br /&gt;
   0        *     *     *     *        **       *     *     *     *        **&lt;br /&gt;
  --G------|                    |------G-------|                    |---G----&lt;br /&gt;
     |------E-------|                    |------E-------|&lt;br /&gt;
           |------D-------|                    |------D-------|&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== F{{s}} Major ===&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Major|&amp;amp;nbsp;Ab&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Major|&amp;amp;nbsp;A&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Major|&amp;amp;nbsp;Bb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Major|&amp;amp;nbsp;B&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AD Major|&amp;amp;nbsp;Cb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Major|&amp;amp;nbsp;C&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Major|&amp;amp;nbsp;C#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Major|&amp;amp;nbsp;Db&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Major|&amp;amp;nbsp;D&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Major|&amp;amp;nbsp;Eb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Major|&amp;amp;nbsp;E&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AD Major|&amp;amp;nbsp;Fb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Major|&amp;amp;nbsp;F&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb|x|Ref:_CAGED_Chord_Charts#F.E2.99.AF Major|&amp;amp;nbsp;F#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AD Major|&amp;amp;nbsp;Gb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Major|&amp;amp;nbsp;G&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Major|&amp;amp;nbsp;G#&amp;amp;nbsp;}} }}&lt;br /&gt;
&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Minor|Abm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Minor|Am}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Minor|Bbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Minor|Bm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Minor|Cm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Minor|C#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Minor|Dbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Minor|Dm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Minor|Ebm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Minor|Em}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AF Minor|E#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Minor|Fm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Minor|F#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Minor|Gm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Minor|G#m}} }}&lt;br /&gt;
&lt;br /&gt;
* [[Ref:_CAGED_Chord_Charts#F.E2.99.AF Minor|F{{s}} Minor]]&lt;br /&gt;
&lt;br /&gt;
                    |------C-------|                    |------C-------|&lt;br /&gt;
  --A---|                    |------A-------|                    |------A-----&lt;br /&gt;
  --||--|F#|--|--|--|A#|--|--|C#|--|--|--|--|F#|--|--|--|A#|--|--|C#|--|--|--|&lt;br /&gt;
  --||--|C#|--|--|--|--|F#|--|--|--|A#|--|--|C#|--|--|--|--|F#|--|--|--|A#|--|&lt;br /&gt;
  --||--|--|A#|--|--|C#|--|--|--|--|F#|--|--|--|A#|--|--|C#|--|--|--|--|F#|--|&lt;br /&gt;
  --||--|--|--|F#|--|--|--|A#|--|--|C#|--|--|--|--|F#|--|--|--|A#|--|--|C#|--|&lt;br /&gt;
  --||A#|--|--|C#|--|--|--|--|F#|--|--|--|A#|--|--|C#|--|--|--|--|F#|--|--|--|&lt;br /&gt;
  --||--|F#|--|--|--|A#|--|--|C#|--|--|--|--|F#|--|--|--|A#|--|--|C#|--|--|--|&lt;br /&gt;
   0        *     *     *     *        **       *     *     *     *        **&lt;br /&gt;
  ----G-------|                    |------G-------|                    |---G--&lt;br /&gt;
        |------E-------|                    |------E-------|&lt;br /&gt;
              |------D-------|                    |------D-------|&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
=== G{{f}} Major ===&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Major|&amp;amp;nbsp;Ab&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Major|&amp;amp;nbsp;A&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Major|&amp;amp;nbsp;Bb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Major|&amp;amp;nbsp;B&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AD Major|&amp;amp;nbsp;Cb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Major|&amp;amp;nbsp;C&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Major|&amp;amp;nbsp;C#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Major|&amp;amp;nbsp;Db&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Major|&amp;amp;nbsp;D&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Major|&amp;amp;nbsp;Eb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Major|&amp;amp;nbsp;E&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AD Major|&amp;amp;nbsp;Fb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Major|&amp;amp;nbsp;F&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Major|&amp;amp;nbsp;F#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb|x|Ref:_CAGED_Chord_Charts#G.E2.99.AD Major|&amp;amp;nbsp;Gb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Major|&amp;amp;nbsp;G&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Major|&amp;amp;nbsp;G#&amp;amp;nbsp;}} }}&lt;br /&gt;
&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Minor|Abm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Minor|Am}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Minor|Bbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Minor|Bm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Minor|Cm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Minor|C#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Minor|Dbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Minor|Dm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Minor|Ebm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Minor|Em}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AF Minor|E#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Minor|Fm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Minor|F#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Minor|Gm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Minor|G#m}} }}&lt;br /&gt;
&lt;br /&gt;
* [[Ref:_CAGED_Chord_Charts#F.E2.99.AF Minor|F{{s}} Minor]]&lt;br /&gt;
&lt;br /&gt;
                    |------C-------|                    |------C-------|&lt;br /&gt;
  --A---|                    |------A-------|                    |------A-----&lt;br /&gt;
  --||--|Gb|--|--|--|Bb|--|--|Db|--|--|--|--|Gb|--|--|--|Bb|--|--|Db|--|--|--|&lt;br /&gt;
  --||--|Db|--|--|--|--|Gb|--|--|--|Bb|--|--|Db|--|--|--|--|Gb|--|--|--|Bb|--|&lt;br /&gt;
  --||--|--|Bb|--|--|Db|--|--|--|--|Gb|--|--|--|Bb|--|--|Db|--|--|--|--|Gb|--|&lt;br /&gt;
  --||--|--|--|Gb|--|--|--|Bb|--|--|Db|--|--|--|--|Gb|--|--|--|Bb|--|--|Db|--|&lt;br /&gt;
  --||Bb|--|--|Db|--|--|--|--|Gb|--|--|--|Bb|--|--|Db|--|--|--|--|Gb|--|--|--|&lt;br /&gt;
  --||--|Gb|--|--|--|Bb|--|--|Db|--|--|--|--|Gb|--|--|--|Bb|--|--|Db|--|--|--|&lt;br /&gt;
   0        *     *     *     *        **       *     *     *     *        **&lt;br /&gt;
  ----G-------|                    |------G-------|                    |---G--&lt;br /&gt;
        |------E-------|                    |------E-------|&lt;br /&gt;
              |------D-------|                    |------D-------|&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== G Major ===&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Major|&amp;amp;nbsp;Ab&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Major|&amp;amp;nbsp;A&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Major|&amp;amp;nbsp;Bb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Major|&amp;amp;nbsp;B&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AD Major|&amp;amp;nbsp;Cb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Major|&amp;amp;nbsp;C&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Major|&amp;amp;nbsp;C#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Major|&amp;amp;nbsp;Db&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Major|&amp;amp;nbsp;D&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Major|&amp;amp;nbsp;Eb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Major|&amp;amp;nbsp;E&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AD Major|&amp;amp;nbsp;Fb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Major|&amp;amp;nbsp;F&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Major|&amp;amp;nbsp;F#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AD Major|&amp;amp;nbsp;Gb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb|x|Ref:_CAGED_Chord_Charts#G Major|&amp;amp;nbsp;G&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Major|&amp;amp;nbsp;G#&amp;amp;nbsp;}} }}&lt;br /&gt;
&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Minor|Abm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Minor|Am}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Minor|Bbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Minor|Bm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Minor|Cm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Minor|C#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Minor|Dbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Minor|Dm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Minor|Ebm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Minor|Em}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AF Minor|E#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Minor|Fm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Minor|F#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Minor|Gm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Minor|G#m}} }}&lt;br /&gt;
&lt;br /&gt;
* [[Ref:_CAGED_Chord_Charts#G Minor|G Minor]]&lt;br /&gt;
&lt;br /&gt;
                       |------C-------|                    |------C-------|&lt;br /&gt;
  ---A-----|                    |------A-------|                    |----A----&lt;br /&gt;
  --||--|--|G-|--|--|--|B-|--|--|D-|--|--|--|--|G-|--|--|--|B-|--|--|D-|--|--|&lt;br /&gt;
  B-||--|--|D-|--|--|--|--|G-|--|--|--|B-|--|--|D-|--|--|--|--|G-|--|--|--|B-|&lt;br /&gt;
  G-||--|--|--|B-|--|--|D-|--|--|--|--|G-|--|--|--|B-|--|--|D-|--|--|--|--|G-|&lt;br /&gt;
  D-||--|--|--|--|G-|--|--|--|B-|--|--|D-|--|--|--|--|G-|--|--|--|B-|--|--|D-|&lt;br /&gt;
  --||--|B-|--|--|D-|--|--|--|--|G-|--|--|--|B-|--|--|D-|--|--|--|--|G-|--|--|&lt;br /&gt;
  --||--|--|G-|--|--|--|B-|--|--|D-|--|--|--|--|G-|--|--|--|B-|--|--|D-|--|--|&lt;br /&gt;
   0        *     *     *     *        **       *     *     *     *        **&lt;br /&gt;
  |------G-------|                    |------G-------|                    &lt;br /&gt;
           |------E-------|                    |------E-------|&lt;br /&gt;
                 |------D-------|                    |------D-------|&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
=== G{{s}} Major ===&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Major|&amp;amp;nbsp;Ab&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Major|&amp;amp;nbsp;A&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Major|&amp;amp;nbsp;Bb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Major|&amp;amp;nbsp;B&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AD Major|&amp;amp;nbsp;Cb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Major|&amp;amp;nbsp;C&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Major|&amp;amp;nbsp;C#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Major|&amp;amp;nbsp;Db&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Major|&amp;amp;nbsp;D&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Major|&amp;amp;nbsp;Eb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Major|&amp;amp;nbsp;E&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AD Major|&amp;amp;nbsp;Fb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Major|&amp;amp;nbsp;F&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Major|&amp;amp;nbsp;F#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AD Major|&amp;amp;nbsp;Gb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Major|&amp;amp;nbsp;G&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb|x|Ref:_CAGED_Chord_Charts#G.E2.99.AF Major|&amp;amp;nbsp;G#&amp;amp;nbsp;}} }}&lt;br /&gt;
&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Minor|Abm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Minor|Am}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Minor|Bbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Minor|Bm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Minor|Cm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Minor|C#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Minor|Dbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Minor|Dm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Minor|Ebm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Minor|Em}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AF Minor|E#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Minor|Fm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Minor|F#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Minor|Gm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Minor|G#m}} }}&lt;br /&gt;
&lt;br /&gt;
* [[Ref:_CAGED_Chord_Charts#G.E2.99.AF Minor|G{{s}} Minor]]&lt;br /&gt;
&lt;br /&gt;
                          |------C-------|                    |------C-------|&lt;br /&gt;
  |----A------|                    |------A-------|                    |--A---&lt;br /&gt;
  --||--|--|--|G#|--|--|--|B#|--|--|D#|--|--|--|--|G#|--|--|--|B#|--|--|D#|--|&lt;br /&gt;
  --||B#|--|--|D#|--|--|--|--|G#|--|--|--|B#|--|--|D#|--|--|--|--|G#|--|--|--|&lt;br /&gt;
  --||G#|--|--|--|B#|--|--|D#|--|--|--|--|G#|--|--|--|B#|--|--|D#|--|--|--|--|&lt;br /&gt;
  --||D#|--|--|--|--|G#|--|--|--|B#|--|--|D#|--|--|--|--|G#|--|--|--|B#|--|--|&lt;br /&gt;
  --||--|--|B#|--|--|D#|--|--|--|--|G#|--|--|--|B#|--|--|D#|--|--|--|--|G#|--|&lt;br /&gt;
  --||--|--|--|G#|--|--|--|B#|--|--|D#|--|--|--|--|G#|--|--|--|B#|--|--|D#|--|&lt;br /&gt;
   0        *     *     *     *        **       *     *     *     *        **&lt;br /&gt;
     |------G-------|                    |------G-------|                    &lt;br /&gt;
              |------E-------|                    |------E-------|&lt;br /&gt;
                    |------D-------|                    |------D-------|&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Minor Triads ==&lt;br /&gt;
=== A{{f}} Minor ===&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Major|&amp;amp;nbsp;Ab&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Major|&amp;amp;nbsp;A&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Major|&amp;amp;nbsp;Bb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Major|&amp;amp;nbsp;B&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AD Major|&amp;amp;nbsp;Cb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Major|&amp;amp;nbsp;C&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Major|&amp;amp;nbsp;C#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Major|&amp;amp;nbsp;Db&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Major|&amp;amp;nbsp;D&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Major|&amp;amp;nbsp;Eb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Major|&amp;amp;nbsp;E&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AD Major|&amp;amp;nbsp;Fb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Major|&amp;amp;nbsp;F&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Major|&amp;amp;nbsp;F#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AD Major|&amp;amp;nbsp;Gb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Major|&amp;amp;nbsp;G&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Major|&amp;amp;nbsp;G#&amp;amp;nbsp;}} }}&lt;br /&gt;
&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb|x|Ref:_CAGED_Chord_Charts#A.E2.99.AD Minor|Abm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Minor|Am}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Minor|Bbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Minor|Bm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Minor|Cm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Minor|C#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Minor|Dbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Minor|Dm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Minor|Ebm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Minor|Em}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AF Minor|E#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Minor|Fm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Minor|F#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Minor|Gm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Minor|G#m}} }}&lt;br /&gt;
&lt;br /&gt;
* [[Ref:_CAGED_Chord_Charts#A.E2.99.AD Major|&amp;amp;nbsp;A{{b}} Major]]&lt;br /&gt;
  &lt;br /&gt;
                       |------C-------|                    |-----C--------|&lt;br /&gt;
  -----A------|                    |------A-------|                    |---A--&lt;br /&gt;
  --||--|--|--|Ab|--|--|Cb|--|--|--|Eb|--|--|--|--|Ab|--|--|Cb|--|--|--|Eb|--|&lt;br /&gt;
  Cb||--|--|--|Eb|--|--|--|--|Ab|--|--|Cb|--|--|--|Eb|--|--|--|--|Ab|--|--|Cb|&lt;br /&gt;
  --||Ab|--|--|Cb|--|--|--|Eb|--|--|--|--|Ab|--|--|Cb|--|--|--|Eb|--|--|--|--|&lt;br /&gt;
  --||Eb|--|--|--|--|Ab|--|--|Cb|--|--|--|Eb|--|--|--|--|Ab|--|--|Cb|--|--|--|&lt;br /&gt;
  --||--|Cb|--|--|--|Eb|--|--|--|--|Ab|--|--|Cb|--|--|--|Eb|--|--|--|--|Ab|--|&lt;br /&gt;
  --||--|--|--|Ab|--|--|Cb|--|--|--|Eb|--|--|--|--|Ab|--|--|Cb|--|--|--|Eb|--|&lt;br /&gt;
   0        *     *     *     *        **       *     *     *     *        **&lt;br /&gt;
     |------G-------|                    |------G-------|&lt;br /&gt;
              |------E-------|                    |------E-------|&lt;br /&gt;
                    |------D-------|                    |------D-------|&lt;br /&gt;
{{top}}&lt;br /&gt;
=== A Minor ===&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Major|&amp;amp;nbsp;Ab&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Major|&amp;amp;nbsp;A&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Major|&amp;amp;nbsp;Bb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Major|&amp;amp;nbsp;B&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AD Major|&amp;amp;nbsp;Cb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Major|&amp;amp;nbsp;C&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Major|&amp;amp;nbsp;C#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Major|&amp;amp;nbsp;Db&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Major|&amp;amp;nbsp;D&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Major|&amp;amp;nbsp;Eb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Major|&amp;amp;nbsp;E&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AD Major|&amp;amp;nbsp;Fb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Major|&amp;amp;nbsp;F&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Major|&amp;amp;nbsp;F#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AD Major|&amp;amp;nbsp;Gb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Major|&amp;amp;nbsp;G&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Major|&amp;amp;nbsp;G#&amp;amp;nbsp;}} }}&lt;br /&gt;
&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Minor|Abm}}&lt;br /&gt;
|{{crumb|x|Ref:_CAGED_Chord_Charts#A Minor|Am}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Minor|Bbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Minor|Bm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Minor|Cm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Minor|C#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Minor|Dbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Minor|Dm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Minor|Ebm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Minor|Em}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AF Minor|E#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Minor|Fm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Minor|F#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Minor|Gm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Minor|G#m}} }}&lt;br /&gt;
&lt;br /&gt;
* [[Ref:_CAGED_Chord_Charts#A Major|&amp;amp;nbsp;A Major]]&lt;br /&gt;
  &lt;br /&gt;
                          |------C-------|                    |-----C--------|&lt;br /&gt;
  |------A-------|                    |------A-------|&lt;br /&gt;
  E-||--|--|--|--|A-|--|--|C-|--|--|--|E-|--|--|--|--|A-|--|--|C-|--|--|--|E-|&lt;br /&gt;
  --||C-|--|--|--|E-|--|--|--|--|A-|--|--|C-|--|--|--|E-|--|--|--|--|A-|--|--|&lt;br /&gt;
  --||--|A-|--|--|C-|--|--|--|E-|--|--|--|--|A-|--|--|C-|--|--|--|E-|--|--|--|&lt;br /&gt;
  --||--|E-|--|--|--|--|A-|--|--|C-|--|--|--|E-|--|--|--|--|A-|--|--|C-|--|--|&lt;br /&gt;
  A-||--|--|C-|--|--|--|E-|--|--|--|--|A-|--|--|C-|--|--|--|E-|--|--|--|--|A-|&lt;br /&gt;
  E-||--|--|--|--|A-|--|--|C-|--|--|--|E-|--|--|--|--|A-|--|--|C-|--|--|--|E-|&lt;br /&gt;
   0        *     *     *     *        **       *     *     *     *        **&lt;br /&gt;
        |------G-------|                    |------G-------|&lt;br /&gt;
                 |------E-------|                    |------E-------|&lt;br /&gt;
                       |------D-------|                    |------D-------|&lt;br /&gt;
{{top}}&lt;br /&gt;
=== A{{s}} Minor ===&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Major|&amp;amp;nbsp;Ab&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Major|&amp;amp;nbsp;A&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Major|&amp;amp;nbsp;Bb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Major|&amp;amp;nbsp;B&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AD Major|&amp;amp;nbsp;Cb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Major|&amp;amp;nbsp;C&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Major|&amp;amp;nbsp;C#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Major|&amp;amp;nbsp;Db&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Major|&amp;amp;nbsp;D&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Major|&amp;amp;nbsp;Eb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Major|&amp;amp;nbsp;E&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AD Major|&amp;amp;nbsp;Fb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Major|&amp;amp;nbsp;F&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Major|&amp;amp;nbsp;F#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AD Major|&amp;amp;nbsp;Gb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Major|&amp;amp;nbsp;G&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Major|&amp;amp;nbsp;G#&amp;amp;nbsp;}} }}&lt;br /&gt;
&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Minor|Abm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Minor|Am}}&lt;br /&gt;
|{{crumb|x|Ref:_CAGED_Chord_Charts#B.E2.99.AD Minor|Bbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Minor|Bm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Minor|Cm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Minor|C#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Minor|Dbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Minor|Dm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Minor|Ebm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Minor|Em}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AF Minor|E#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Minor|Fm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Minor|F#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Minor|Gm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Minor|G#m}} }}&lt;br /&gt;
&lt;br /&gt;
* [[Ref:_CAGED_Chord_Charts#B.E2.99.AD Major|&amp;amp;nbsp;B{{b}} Major]]&lt;br /&gt;
  --C---|                    |------C-------|                    |-----C------&lt;br /&gt;
     |------A-------|                    |------A-------|&lt;br /&gt;
  --||E#|--|--|--|--|A#|--|--|C#|--|--|--|E#|--|--|--|--|A#|--|--|C#|--|--|--|&lt;br /&gt;
  --||--|C#|--|--|--|E#|--|--|--|--|A#|--|--|C#|--|--|--|E#|--|--|--|--|A#|--|&lt;br /&gt;
  --||--|--|A#|--|--|C#|--|--|--|E#|--|--|--|--|A#|--|--|C#|--|--|--|E#|--|--|&lt;br /&gt;
  --||--|--|E#|--|--|--|--|A#|--|--|C#|--|--|--|E#|--|--|--|--|A#|--|--|C#|--|&lt;br /&gt;
  --||A#|--|--|C#|--|--|--|E#|--|--|--|--|A#|--|--|C#|--|--|--|E#|--|--|--|--|&lt;br /&gt;
  --||E#|--|--|--|--|A#|--|--|C#|--|--|--|E#|--|--|--|--|A#|--|--|C#|--|--|--|&lt;br /&gt;
   0        *     *     *     *        **       *     *     *     *        **&lt;br /&gt;
           |------G-------|                    |------G-------|&lt;br /&gt;
                    |------E-------|                    |------E-------|&lt;br /&gt;
                          |------D-------|                    |------D-------|&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== B{{f}} Minor ===&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Major|&amp;amp;nbsp;Ab&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Major|&amp;amp;nbsp;A&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Major|&amp;amp;nbsp;Bb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Major|&amp;amp;nbsp;B&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AD Major|&amp;amp;nbsp;Cb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Major|&amp;amp;nbsp;C&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Major|&amp;amp;nbsp;C#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Major|&amp;amp;nbsp;Db&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Major|&amp;amp;nbsp;D&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Major|&amp;amp;nbsp;Eb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Major|&amp;amp;nbsp;E&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AD Major|&amp;amp;nbsp;Fb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Major|&amp;amp;nbsp;F&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Major|&amp;amp;nbsp;F#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AD Major|&amp;amp;nbsp;Gb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Major|&amp;amp;nbsp;G&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Major|&amp;amp;nbsp;G#&amp;amp;nbsp;}} }}&lt;br /&gt;
&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Minor|Abm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Minor|Am}}&lt;br /&gt;
|{{crumb|x|Ref:_CAGED_Chord_Charts#B.E2.99.AD Minor|Bbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Minor|Bm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Minor|Cm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Minor|C#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Minor|Dbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Minor|Dm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Minor|Ebm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Minor|Em}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AF Minor|E#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Minor|Fm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Minor|F#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Minor|Gm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Minor|G#m}} }}&lt;br /&gt;
&lt;br /&gt;
* [[Ref:_CAGED_Chord_Charts#B.E2.99.AD Major|&amp;amp;nbsp;B{{f}} Major]]&lt;br /&gt;
  --C---|                    |------C-------|                    |-----C------&lt;br /&gt;
     |------A-------|                    |------A-------|&lt;br /&gt;
  --||F-|--|--|--|--|Bb|--|--|Db|--|--|--|F-|--|--|--|--|Bb|--|--|Db|--|--|--|&lt;br /&gt;
  --||--|Db|--|--|--|F-|--|--|--|--|Bb|--|--|Db|--|--|--|F-|--|--|--|--|Bb|--|&lt;br /&gt;
  --||--|--|Bb|--|--|Db|--|--|--|F-|--|--|--|--|Bb|--|--|Db|--|--|--|F-|--|--|&lt;br /&gt;
  --||--|--|F-|--|--|--|--|Bb|--|--|Db|--|--|--|F-|--|--|--|--|Bb|--|--|Db|--|&lt;br /&gt;
  --||Bb|--|--|Db|--|--|--|F-|--|--|--|--|Bb|--|--|Db|--|--|--|F-|--|--|--|--|&lt;br /&gt;
  --||F-|--|--|--|--|Bb|--|--|Db|--|--|--|F-|--|--|--|--|Bb|--|--|Db|--|--|--|&lt;br /&gt;
   0        *     *     *     *        **       *     *     *     *        **&lt;br /&gt;
           |------G-------|                    |------G-------|&lt;br /&gt;
                    |------E-------|                    |------E-------|&lt;br /&gt;
                          |------D-------|                    |------D-------|&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== B Minor ===&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Major|&amp;amp;nbsp;Ab&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Major|&amp;amp;nbsp;A&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Major|&amp;amp;nbsp;Bb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Major|&amp;amp;nbsp;B&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AD Major|&amp;amp;nbsp;Cb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Major|&amp;amp;nbsp;C&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Major|&amp;amp;nbsp;C#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Major|&amp;amp;nbsp;Db&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Major|&amp;amp;nbsp;D&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Major|&amp;amp;nbsp;Eb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Major|&amp;amp;nbsp;E&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AD Major|&amp;amp;nbsp;Fb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Major|&amp;amp;nbsp;F&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Major|&amp;amp;nbsp;F#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AD Major|&amp;amp;nbsp;Gb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Major|&amp;amp;nbsp;G&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Major|&amp;amp;nbsp;G#&amp;amp;nbsp;}} }}&lt;br /&gt;
&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Minor|Abm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Minor|Am}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Minor|Bbm}}&lt;br /&gt;
|{{crumb|x|Ref:_CAGED_Chord_Charts#B Minor|Bm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Minor|Cm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Minor|C#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Minor|Dbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Minor|Dm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Minor|Ebm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Minor|Em}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AF Minor|E#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Minor|Fm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Minor|F#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Minor|Gm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Minor|G#m}} }}&lt;br /&gt;
&lt;br /&gt;
* [[Ref:_CAGED_Chord_Charts#B Major|&amp;amp;nbsp;B Major]]&lt;br /&gt;
  ---C-----|                    |------C-------|                    |----C----&lt;br /&gt;
        |------A-------|                    |------A-------|&lt;br /&gt;
  --||--|F#|--|--|--|--|B-|--|--|D-|--|--|--|F#|--|--|--|--|B-|--|--|D-|--|--|&lt;br /&gt;
  B-||--|--|D-|--|--|--|F#|--|--|--|--|B-|--|--|D-|--|--|--|F#|--|--|--|--|B-|&lt;br /&gt;
  --||--|--|--|B-|--|--|D-|--|--|--|F#|--|--|--|--|B-|--|--|D-|--|--|--|F#|--|&lt;br /&gt;
  D-||--|--|--|F#|--|--|--|--|B-|--|--|D-|--|--|--|F#|--|--|--|--|B-|--|--|D-|&lt;br /&gt;
  --||--|B-|--|--|D-|--|--|--|F#|--|--|--|--|B-|--|--|D-|--|--|--|F#|--|--|--|&lt;br /&gt;
  --||--|F#|--|--|--|--|B-|--|--|D-|--|--|--|F#|--|--|--|--|B-|--|--|D-|--|--|&lt;br /&gt;
   0        *     *     *     *        **       *     *     *     *        **&lt;br /&gt;
              |------G-------|                    |------G-------|&lt;br /&gt;
                       |------E-------|                    |------E-------|&lt;br /&gt;
  --D---|                    |------D-------|                    |-----D------&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== C Minor ===&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Major|&amp;amp;nbsp;Ab&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Major|&amp;amp;nbsp;A&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Major|&amp;amp;nbsp;Bb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Major|&amp;amp;nbsp;B&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AD Major|&amp;amp;nbsp;Cb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Major|&amp;amp;nbsp;C&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Major|&amp;amp;nbsp;C#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Major|&amp;amp;nbsp;Db&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Major|&amp;amp;nbsp;D&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Major|&amp;amp;nbsp;Eb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Major|&amp;amp;nbsp;E&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AD Major|&amp;amp;nbsp;Fb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Major|&amp;amp;nbsp;F&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Major|&amp;amp;nbsp;F#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AD Major|&amp;amp;nbsp;Gb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Major|&amp;amp;nbsp;G&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Major|&amp;amp;nbsp;G#&amp;amp;nbsp;}} }}&lt;br /&gt;
&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Minor|Abm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Minor|Am}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Minor|Bbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Minor|Bm}}&lt;br /&gt;
|{{crumb|x|Ref:_CAGED_Chord_Charts#C Minor|Cm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Minor|C#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Minor|Dbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Minor|Dm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Minor|Ebm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Minor|Em}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AF Minor|E#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Minor|Fm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Minor|F#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Minor|Gm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Minor|G#m}} }}&lt;br /&gt;
&lt;br /&gt;
* [[Ref:_CAGED_Chord_Charts#C Major|&amp;amp;nbsp;C Major]]  &lt;br /&gt;
  |----C------|                    |------C-------|                    |--C---&lt;br /&gt;
           |------A-------|                    |------A-------|&lt;br /&gt;
  --||--|--|G-|--|--|--|--|C-|--|--|Eb|--|--|--|G-|--|--|--|--|C-|--|--|Eb|--|&lt;br /&gt;
  --||C-|--|--|Eb|--|--|--|G-|--|--|--|--|C-|--|--|Eb|--|--|--|G-|--|--|--|--|&lt;br /&gt;
  G-||--|--|--|--|C-|--|--|Eb|--|--|--|G-|--|--|--|--|C-|--|--|Eb|--|--|--|G-|&lt;br /&gt;
  --||Eb|--|--|--|G-|--|--|--|--|C-|--|--|Eb|--|--|--|G-|--|--|--|--|C-|--|--|&lt;br /&gt;
  --||--|--|C-|--|--|Eb|--|--|--|G-|--|--|--|--|C-|--|--|Eb|--|--|--|G-|--|--|&lt;br /&gt;
  --||--|--|G-|--|--|--|--|C-|--|--|Eb|--|--|--|G-|--|--|--|--|C-|--|--|Eb|--|&lt;br /&gt;
   0        *     *     *     *        **       *     *     *     *        **&lt;br /&gt;
                 |------G-------|                    |------G-------|&lt;br /&gt;
                          |------E-------|                    |------E-------|&lt;br /&gt;
  ----D----|                    |------D-------|                     |---D----&lt;br /&gt;
{{top}}&lt;br /&gt;
=== C{{s}} Minor ===&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Major|&amp;amp;nbsp;Ab&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Major|&amp;amp;nbsp;A&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Major|&amp;amp;nbsp;Bb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Major|&amp;amp;nbsp;B&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AD Major|&amp;amp;nbsp;Cb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Major|&amp;amp;nbsp;C&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Major|&amp;amp;nbsp;C#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Major|&amp;amp;nbsp;Db&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Major|&amp;amp;nbsp;D&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Major|&amp;amp;nbsp;Eb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Major|&amp;amp;nbsp;E&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AD Major|&amp;amp;nbsp;Fb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Major|&amp;amp;nbsp;F&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Major|&amp;amp;nbsp;F#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AD Major|&amp;amp;nbsp;Gb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Major|&amp;amp;nbsp;G&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Major|&amp;amp;nbsp;G#&amp;amp;nbsp;}} }}&lt;br /&gt;
&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Minor|Abm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Minor|Am}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Minor|Bbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Minor|Bm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Minor|Cm}}&lt;br /&gt;
|{{crumb|x|Ref:_CAGED_Chord_Charts#C.E2.99.AF Minor|C#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Minor|Dbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Minor|Dm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Minor|Ebm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Minor|Em}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AF Minor|E#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Minor|Fm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Minor|F#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Minor|Gm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Minor|G#m}} }}&lt;br /&gt;
&lt;br /&gt;
* [[Ref:_CAGED_Chord_Charts#C.E2.99.AF Major|&amp;amp;nbsp;C{{s}} Major]]&lt;br /&gt;
  |------C-------|                    |------C-------|&lt;br /&gt;
              |------A-------|                    |------A-------|&lt;br /&gt;
  E-||--|--|--|G#|--|--|--|--|C#|--|--|E-|--|--|--|G#|--|--|--|--|C#|--|--|E-|&lt;br /&gt;
  --||--|C#|--|--|E-|--|--|--|G#|--|--|--|--|C#|--|--|E-|--|--|--|G#|--|--|--|&lt;br /&gt;
  --||G#|--|--|--|--|C#|--|--|E-|--|--|--|G#|--|--|--|--|C#|--|--|E-|--|--|--|&lt;br /&gt;
  --||--|E-|--|--|--|G#|--|--|--|--|C#|--|--|E-|--|--|--|G#|--|--|--|--|C#|--|&lt;br /&gt;
  --||--|--|--|C#|--|--|E-|--|--|--|G#|--|--|--|--|C#|--|--|E-|--|--|--|G#|--|&lt;br /&gt;
  E-||--|--|--|G#|--|--|--|--|C#|--|--|E-|--|--|--|G#|--|--|--|--|C#|--|--|E-|&lt;br /&gt;
   0        *     *     *     *        **       *     *     *     *        **&lt;br /&gt;
                    |------G-------|                    |------G-------|&lt;br /&gt;
  --E---|                    |------E-------|                    |----E-------&lt;br /&gt;
  -----D------|                    |------D-------|                    |---D--&lt;br /&gt;
{{top}}&lt;br /&gt;
=== D{{b}} Minor ===&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Major|&amp;amp;nbsp;Ab&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Major|&amp;amp;nbsp;A&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Major|&amp;amp;nbsp;Bb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Major|&amp;amp;nbsp;B&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AD Major|&amp;amp;nbsp;Cb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Major|&amp;amp;nbsp;C&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Major|&amp;amp;nbsp;C#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Major|&amp;amp;nbsp;Db&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Major|&amp;amp;nbsp;D&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Major|&amp;amp;nbsp;Eb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Major|&amp;amp;nbsp;E&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AD Major|&amp;amp;nbsp;Fb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Major|&amp;amp;nbsp;F&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Major|&amp;amp;nbsp;F#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AD Major|&amp;amp;nbsp;Gb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Major|&amp;amp;nbsp;G&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Major|&amp;amp;nbsp;G#&amp;amp;nbsp;}} }}&lt;br /&gt;
&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Minor|Abm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Minor|Am}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Minor|Bbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Minor|Bm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Minor|Cm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Minor|C#m}}&lt;br /&gt;
|{{crumb|x|Ref:_CAGED_Chord_Charts#D.E2.99.AD Minor|Dbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Minor|Dm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Minor|Ebm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Minor|Em}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AF Minor|E#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Minor|Fm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Minor|F#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Minor|Gm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Minor|G#m}} }}&lt;br /&gt;
&lt;br /&gt;
* [[Ref:_CAGED_Chord_Charts#D.E2.99.AD Major|&amp;amp;nbsp;D{{f}} Major]]&lt;br /&gt;
&lt;br /&gt;
  |------C-------|                    |------C-------|&lt;br /&gt;
              |------A-------|                    |------A-------|&lt;br /&gt;
  Fb||--|--|--|Ab|--|--|--|--|Db|--|--|Fb|--|--|--|Ab|--|--|--|--|Db|--|--|Fb|&lt;br /&gt;
  --||--|Db|--|--|Fb|--|--|--|Ab|--|--|--|--|Db|--|--|Fb|--|--|--|Ab|--|--|--|&lt;br /&gt;
  --||Ab|--|--|--|--|Db|--|--|Fb|--|--|--|Ab|--|--|--|--|Db|--|--|Fb|--|--|--|&lt;br /&gt;
  --||--|Fb|--|--|--|Ab|--|--|--|--|Db|--|--|Fb|--|--|--|Ab|--|--|--|--|Db|--|&lt;br /&gt;
  --||--|--|--|Db|--|--|Fb|--|--|--|Ab|--|--|--|--|Db|--|--|Fb|--|--|--|Ab|--|&lt;br /&gt;
  Fb||--|--|--|Ab|--|--|--|--|Db|--|--|Fb|--|--|--|Ab|--|--|--|--|Db|--|--|Fb|&lt;br /&gt;
   0        *     *     *     *        **       *     *     *     *        **&lt;br /&gt;
                    |------G-------|                    |------G-------|&lt;br /&gt;
  --E---|                    |------E-------|                    |-----E------&lt;br /&gt;
  ----D-------|                    |------D-------|                    |---D--&lt;br /&gt;
{{top}}&lt;br /&gt;
=== D Minor ===&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Major|&amp;amp;nbsp;Ab&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Major|&amp;amp;nbsp;A&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Major|&amp;amp;nbsp;Bb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Major|&amp;amp;nbsp;B&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AD Major|&amp;amp;nbsp;Cb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Major|&amp;amp;nbsp;C&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Major|&amp;amp;nbsp;C#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Major|&amp;amp;nbsp;Db&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Major|&amp;amp;nbsp;D&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Major|&amp;amp;nbsp;Eb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Major|&amp;amp;nbsp;E&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AD Major|&amp;amp;nbsp;Fb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Major|&amp;amp;nbsp;F&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Major|&amp;amp;nbsp;F#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AD Major|&amp;amp;nbsp;Gb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Major|&amp;amp;nbsp;G&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Major|&amp;amp;nbsp;G#&amp;amp;nbsp;}} }}&lt;br /&gt;
&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Minor|Abm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Minor|Am}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Minor|Bbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Minor|Bm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Minor|Cm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Minor|C#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Minor|Dbm}}&lt;br /&gt;
|{{crumb|x|Ref:_CAGED_Chord_Charts#D Minor|Dm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Minor|Ebm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Minor|Em}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AF Minor|E#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Minor|Fm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Minor|F#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Minor|Gm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Minor|G#m}} }}&lt;br /&gt;
&lt;br /&gt;
* [[Ref:_CAGED_Chord_Charts#D Major|&amp;amp;nbsp;D Major]]&lt;br /&gt;
&lt;br /&gt;
     |------C-------|                    |------C-------|&lt;br /&gt;
                 |------A-------|                    |------A-------|&lt;br /&gt;
  --||F-|--|--|--|A-|--|--|--|--|D-|--|--|F-|--|--|--|A-|--|--|--|--|D-|--|--|&lt;br /&gt;
  --||--|--|D-|--|--|F-|--|--|--|A-|--|--|--|--|D-|--|--|F-|--|--|--|A-|--|--|&lt;br /&gt;
  --||--|A-|--|--|--|--|D-|--|--|F-|--|--|--|A-|--|--|--|--|D-|--|--|F-|--|--|&lt;br /&gt;
  D-||--|--|F-|--|--|--|A-|--|--|--|--|D-|--|--|F-|--|--|--|A-|--|--|--|--|D-|&lt;br /&gt;
  A-||--|--|--|--|D-|--|--|F-|--|--|--|A-|--|--|--|--|D-|--|--|F-|--|--|--|A-|&lt;br /&gt;
  --||F-|--|--|--|A-|--|--|--|--|D-|--|--|F-|--|--|--|A-|--|--|--|--|D-|--|--|&lt;br /&gt;
   0        *     *     *     *        **       *     *     *     *        **&lt;br /&gt;
                       |------G-------|                    |------G-------|&lt;br /&gt;
  ---E-----|                    |------E-------|                    |---E-----&lt;br /&gt;
  |------D-------|                    |------D-------|&lt;br /&gt;
{{top}}&lt;br /&gt;
=== D{{s}} Minor ===&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Major|&amp;amp;nbsp;Ab&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Major|&amp;amp;nbsp;A&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Major|&amp;amp;nbsp;Bb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Major|&amp;amp;nbsp;B&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AD Major|&amp;amp;nbsp;Cb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Major|&amp;amp;nbsp;C&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Major|&amp;amp;nbsp;C#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Major|&amp;amp;nbsp;Db&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Major|&amp;amp;nbsp;D&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Major|&amp;amp;nbsp;Eb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Major|&amp;amp;nbsp;E&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AD Major|&amp;amp;nbsp;Fb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Major|&amp;amp;nbsp;F&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Major|&amp;amp;nbsp;F#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AD Major|&amp;amp;nbsp;Gb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Major|&amp;amp;nbsp;G&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Major|&amp;amp;nbsp;G#&amp;amp;nbsp;}} }}&lt;br /&gt;
&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Minor|Abm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Minor|Am}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Minor|Bbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Minor|Bm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Minor|Cm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Minor|C#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Minor|Dbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Minor|Dm}}&lt;br /&gt;
|{{crumb|x|Ref:_CAGED_Chord_Charts#E.E2.99.AD Minor|Ebm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Minor|Em}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AF Minor|E#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Minor|Fm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Minor|F#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Minor|Gm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Minor|G#m}} }}&lt;br /&gt;
&lt;br /&gt;
* [[Ref:_CAGED_Chord_Charts#E.E2.99.AD Major|&amp;amp;nbsp;E{{b}} Major]]&lt;br /&gt;
&lt;br /&gt;
        |------C-------|                    |------C-------|&lt;br /&gt;
                    |------A-------|                    |------A-------|&lt;br /&gt;
  --||--|F#|--|--|--|A#|--|--|--|--|D#|--|--|F#|--|--|--|A#|--|--|--|--|D#|--|&lt;br /&gt;
  --||--|--|--|D#|--|--|F#|--|--|--|A#|--|--|--|--|D#|--|--|F#|--|--|--|A#|--|&lt;br /&gt;
  --||--|--|A#|--|--|--|--|D#|--|--|F#|--|--|--|A#|--|--|--|--|D#|--|--|F#|--|&lt;br /&gt;
  --||D#|--|--|F#|--|--|--|A#|--|--|--|--|D#|--|--|F#|--|--|--|A#|--|--|--|--|&lt;br /&gt;
  --||A#|--|--|--|--|D#|--|--|F#|--|--|--|A#|--|--|--|--|D#|--|--|F#|--|--|--|&lt;br /&gt;
  --||--|F#|--|--|--|A#|--|--|--|--|D#|--|--|F#|--|--|--|A#|--|--|--|--|D#|--|&lt;br /&gt;
   0        *     *     *     *        **       *     *     *     *        **&lt;br /&gt;
                          |------G-------|                    |------G-------|&lt;br /&gt;
  ----E-------|                    |------E-------|                    |---E--&lt;br /&gt;
     |------D-------|                    |------D-------|&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== E{{b}} Minor ===&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Major|&amp;amp;nbsp;Ab&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Major|&amp;amp;nbsp;A&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Major|&amp;amp;nbsp;Bb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Major|&amp;amp;nbsp;B&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AD Major|&amp;amp;nbsp;Cb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Major|&amp;amp;nbsp;C&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Major|&amp;amp;nbsp;C#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Major|&amp;amp;nbsp;Db&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Major|&amp;amp;nbsp;D&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Major|&amp;amp;nbsp;Eb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Major|&amp;amp;nbsp;E&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AD Major|&amp;amp;nbsp;Fb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Major|&amp;amp;nbsp;F&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Major|&amp;amp;nbsp;F#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AD Major|&amp;amp;nbsp;Gb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Major|&amp;amp;nbsp;G&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Major|&amp;amp;nbsp;G#&amp;amp;nbsp;}} }}&lt;br /&gt;
&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Minor|Abm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Minor|Am}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Minor|Bbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Minor|Bm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Minor|Cm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Minor|C#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Minor|Dbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Minor|Dm}}&lt;br /&gt;
|{{crumb|x|Ref:_CAGED_Chord_Charts#E.E2.99.AD Minor|Ebm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Minor|Em}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AF Minor|E#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Minor|Fm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Minor|F#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Minor|Gm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Minor|G#m}} }}&lt;br /&gt;
&lt;br /&gt;
* [[Ref:_CAGED_Chord_Charts#E.E2.99.AD Major|&amp;amp;nbsp;E{{f}} Major]]&lt;br /&gt;
&lt;br /&gt;
        |------C-------|                    |------C-------|&lt;br /&gt;
                    |------A-------|                    |------A-------|&lt;br /&gt;
  --||--|Gb|--|--|--|Bb|--|--|--|--|Eb|--|--|Gb|--|--|--|Bb|--|--|--|--|Eb|--|&lt;br /&gt;
  --||--|--|--|Eb|--|--|Gb|--|--|--|Bb|--|--|--|--|Eb|--|--|Gb|--|--|--|Bb|--|&lt;br /&gt;
  --||--|--|Bb|--|--|--|--|Eb|--|--|Gb|--|--|--|Bb|--|--|--|--|Eb|--|--|Gb|--|&lt;br /&gt;
  --||Eb|--|--|Gb|--|--|--|Bb|--|--|--|--|Eb|--|--|Gb|--|--|--|Bb|--|--|--|--|&lt;br /&gt;
  --||Bb|--|--|--|--|Eb|--|--|Gb|--|--|--|Bb|--|--|--|--|Eb|--|--|Gb|--|--|--|&lt;br /&gt;
  --||--|Gb|--|--|--|Bb|--|--|--|--|Eb|--|--|Gb|--|--|--|Bb|--|--|--|--|Eb|--|&lt;br /&gt;
   0        *     *     *     *        **       *     *     *     *        **&lt;br /&gt;
                          |------G-------|                    |------G-------|&lt;br /&gt;
  ----E-------|                    |------E-------|                    |---E--&lt;br /&gt;
     |------D-------|                    |------D-------|&lt;br /&gt;
{{top}}&lt;br /&gt;
=== E Minor ===&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Major|&amp;amp;nbsp;Ab&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Major|&amp;amp;nbsp;A&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Major|&amp;amp;nbsp;Bb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Major|&amp;amp;nbsp;B&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AD Major|&amp;amp;nbsp;Cb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Major|&amp;amp;nbsp;C&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Major|&amp;amp;nbsp;C#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Major|&amp;amp;nbsp;Db&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Major|&amp;amp;nbsp;D&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Major|&amp;amp;nbsp;Eb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Major|&amp;amp;nbsp;E&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AD Major|&amp;amp;nbsp;Fb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Major|&amp;amp;nbsp;F&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Major|&amp;amp;nbsp;F#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AD Major|&amp;amp;nbsp;Gb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Major|&amp;amp;nbsp;G&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Major|&amp;amp;nbsp;G#&amp;amp;nbsp;}} }}&lt;br /&gt;
&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Minor|Abm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Minor|Am}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Minor|Bbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Minor|Bm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Minor|Cm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Minor|C#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Minor|Dbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Minor|Dm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Minor|Ebm}}&lt;br /&gt;
|{{crumb|x|Ref:_CAGED_Chord_Charts#E Minor|Em}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AF Minor|E#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Minor|Fm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Minor|F#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Minor|Gm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Minor|G#m}} }}&lt;br /&gt;
&lt;br /&gt;
* [[Ref:_CAGED_Chord_Charts#E Major|&amp;amp;nbsp;E Major]]&lt;br /&gt;
&lt;br /&gt;
           |------C-------|                    |------C-------|&lt;br /&gt;
                       |------A-------|                    |------A-------|&lt;br /&gt;
  E-||--|--|G-|--|--|--|B-|--|--|--|--|E-|--|--|G-|--|--|--|B-|--|--|--|--|E-|&lt;br /&gt;
  B-||--|--|--|--|E-|--|--|G-|--|--|--|B-|--|--|--|--|E-|--|--|G-|--|--|--|B-|&lt;br /&gt;
  G-||--|--|--|B-|--|--|--|--|E-|--|--|G-|--|--|--|B-|--|--|--|--|E-|--|--|G-|&lt;br /&gt;
  --||--|E-|--|--|G-|--|--|--|B-|--|--|--|--|E-|--|--|G-|--|--|--|B-|--|--|--|&lt;br /&gt;
  --||--|B-|--|--|--|--|E-|--|--|G-|--|--|--|B-|--|--|--|--|E-|--|--|G-|--|--|&lt;br /&gt;
  E-||--|--|G-|--|--|--|B-|--|--|--|--|E-|--|--|G-|--|--|--|B-|--|--|--|--|E-|&lt;br /&gt;
   0        *     *     *     *        **       *     *     *     *        **&lt;br /&gt;
  --G---|                    |------G-------|                    |----G-------&lt;br /&gt;
  |------E-------|                    |------E-------|&lt;br /&gt;
        |------D-------|                    |------D-------|&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== E{{s}} Minor ===&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Major|&amp;amp;nbsp;Ab&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Major|&amp;amp;nbsp;A&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Major|&amp;amp;nbsp;Bb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Major|&amp;amp;nbsp;B&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AD Major|&amp;amp;nbsp;Cb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Major|&amp;amp;nbsp;C&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Major|&amp;amp;nbsp;C#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Major|&amp;amp;nbsp;Db&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Major|&amp;amp;nbsp;D&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Major|&amp;amp;nbsp;Eb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Major|&amp;amp;nbsp;E&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AD Major|&amp;amp;nbsp;Fb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Major|&amp;amp;nbsp;F&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Major|&amp;amp;nbsp;F#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AD Major|&amp;amp;nbsp;Gb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Major|&amp;amp;nbsp;G&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Major|&amp;amp;nbsp;G#&amp;amp;nbsp;}} }}&lt;br /&gt;
&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Minor|Abm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Minor|Am}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Minor|Bbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Minor|Bm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Minor|Cm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Minor|C#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Minor|Dbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Minor|Dm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Minor|Ebm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Minor|Em}}&lt;br /&gt;
|{{crumb|x|Ref:_CAGED_Chord_Charts#E.E2.99.AF Minor|E#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Minor|Fm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Minor|F#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Minor|Gm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Minor|G#m}} }}&lt;br /&gt;
&lt;br /&gt;
* [[Ref:_CAGED_Chord_Charts#F.E2.99.AD Major|&amp;amp;nbsp;F{{b}} Major]]&lt;br /&gt;
&lt;br /&gt;
              |------C-------|                    |------C-------|&lt;br /&gt;
                          |------A-------|                    |------A-------|&lt;br /&gt;
  --||E#|--|--|G#|--|--|--|B#|--|--|--|--|E#|--|--|G#|--|--|--|B#|--|--|--|--|&lt;br /&gt;
  --||B#|--|--|--|--|E#|--|--|G#|--|--|--|B#|--|--|--|--|E#|--|--|G#|--|--|--|&lt;br /&gt;
  --||G#|--|--|--|B#|--|--|--|--|E#|--|--|G#|--|--|--|B#|--|--|--|--|E#|--|--|&lt;br /&gt;
  --||--|--|E#|--|--|G#|--|--|--|B#|--|--|--|--|E#|--|--|G#|--|--|--|B#|--|--|&lt;br /&gt;
  --||--|--|B#|--|--|--|--|E#|--|--|G#|--|--|--|B#|--|--|--|--|E#|--|--|G#|--|&lt;br /&gt;
  --||E#|--|--|G#|--|--|--|B#|--|--|--|--|E#|--|--|G#|--|--|--|B#|--|--|--|--|&lt;br /&gt;
   0        *     *     *     *        **       *     *     *     *        **&lt;br /&gt;
  ---G-----|                    |------G-------|                    |----G----&lt;br /&gt;
     |------E-------|                    |------E-------|&lt;br /&gt;
           |------D-------|                    |------D-------| &lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== F Minor ===&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Major|&amp;amp;nbsp;Ab&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Major|&amp;amp;nbsp;A&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Major|&amp;amp;nbsp;Bb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Major|&amp;amp;nbsp;B&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AD Major|&amp;amp;nbsp;Cb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Major|&amp;amp;nbsp;C&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Major|&amp;amp;nbsp;C#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Major|&amp;amp;nbsp;Db&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Major|&amp;amp;nbsp;D&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Major|&amp;amp;nbsp;Eb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Major|&amp;amp;nbsp;E&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AD Major|&amp;amp;nbsp;Fb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Major|&amp;amp;nbsp;F&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Major|&amp;amp;nbsp;F#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AD Major|&amp;amp;nbsp;Gb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Major|&amp;amp;nbsp;G&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Major|&amp;amp;nbsp;G#&amp;amp;nbsp;}} }}&lt;br /&gt;
&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Minor|Abm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Minor|Am}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Minor|Bbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Minor|Bm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Minor|Cm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Minor|C#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Minor|Dbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Minor|Dm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Minor|Ebm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Minor|Em}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AF Minor|E#m}}&lt;br /&gt;
|{{crumb|x|Ref:_CAGED_Chord_Charts#F Minor|Fm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Minor|F#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Minor|Gm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Minor|G#m}} }}&lt;br /&gt;
&lt;br /&gt;
* [[Ref:_CAGED_Chord_Charts#F Major|&amp;amp;nbsp;F Major]]&lt;br /&gt;
&lt;br /&gt;
              |------C-------|                    |------C-------|&lt;br /&gt;
                          |------A-------|                    |------A-------|&lt;br /&gt;
  --||F-|--|--|Ab|--|--|--|C-|--|--|--|--|F-|--|--|Ab|--|--|--|C-|--|--|--|--|&lt;br /&gt;
  --||C-|--|--|--|--|F-|--|--|Ab|--|--|--|C-|--|--|--|--|F-|--|--|Ab|--|--|--|&lt;br /&gt;
  --||Ab|--|--|--|C-|--|--|--|--|F-|--|--|Ab|--|--|--|C-|--|--|--|--|F-|--|--|&lt;br /&gt;
  --||--|--|F-|--|--|Ab|--|--|--|C-|--|--|--|--|F-|--|--|Ab|--|--|--|C-|--|--|&lt;br /&gt;
  --||--|--|C-|--|--|--|--|F-|--|--|Ab|--|--|--|C-|--|--|--|--|F-|--|--|Ab|--|&lt;br /&gt;
  --||F-|--|--|Ab|--|--|--|C-|--|--|--|--|F-|--|--|Ab|--|--|--|C-|--|--|--|--|&lt;br /&gt;
   0        *     *     *     *        **       *     *     *     *        **&lt;br /&gt;
  --G------|                    |------G-------|                    |---G-----&lt;br /&gt;
     |------E-------|                    |------E-------|&lt;br /&gt;
           |------D-------|                    |------D-------|&lt;br /&gt;
{{top}}&lt;br /&gt;
=== F{{s}} Minor ===&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Major|&amp;amp;nbsp;Ab&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Major|&amp;amp;nbsp;A&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Major|&amp;amp;nbsp;Bb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Major|&amp;amp;nbsp;B&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AD Major|&amp;amp;nbsp;Cb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Major|&amp;amp;nbsp;C&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Major|&amp;amp;nbsp;C#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Major|&amp;amp;nbsp;Db&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Major|&amp;amp;nbsp;D&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Major|&amp;amp;nbsp;Eb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Major|&amp;amp;nbsp;E&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AD Major|&amp;amp;nbsp;Fb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Major|&amp;amp;nbsp;F&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Major|&amp;amp;nbsp;F#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AD Major|&amp;amp;nbsp;Gb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Major|&amp;amp;nbsp;G&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Major|&amp;amp;nbsp;G#&amp;amp;nbsp;}} }}&lt;br /&gt;
&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Minor|Abm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Minor|Am}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Minor|Bbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Minor|Bm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Minor|Cm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Minor|C#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Minor|Dbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Minor|Dm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Minor|Ebm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Minor|Em}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AF Minor|E#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Minor|Fm}}&lt;br /&gt;
|{{crumb|x|Ref:_CAGED_Chord_Charts#F.E2.99.AF Minor|F#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Minor|Gm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Minor|G#m}} }}&lt;br /&gt;
&lt;br /&gt;
* [[Ref:_CAGED_Chord_Charts#F.E2.99.AF Major|&amp;amp;nbsp;F{{s}} Major]]&lt;br /&gt;
&lt;br /&gt;
                 |------C-------|                    |------C-------|&lt;br /&gt;
  --A---|                    |------A-------|                    |------A----&lt;br /&gt;
  --||--|F#|--|--|A-|--|--|--|C#|--|--|--|--|F#|--|--|A-|--|--|--|C#|--|--|--|&lt;br /&gt;
  --||--|C#|--|--|--|--|F#|--|--|A-|--|--|--|C#|--|--|--|--|F#|--|--|A-|--|--|&lt;br /&gt;
  --||--|A-|--|--|--|C#|--|--|--|--|F#|--|--|A-|--|--|--|C#|--|--|--|--|F#|--|&lt;br /&gt;
  --||--|--|--|F#|--|--|A-|--|--|--|C#|--|--|--|--|F#|--|--|A-|--|--|--|C#|--|&lt;br /&gt;
  A-||--|--|--|C#|--|--|--|--|F#|--|--|A-|--|--|--|C#|--|--|--|--|F#|--|--|A-|&lt;br /&gt;
  --||--|F#|--|--|A-|--|--|--|C#|--|--|--|--|F#|--|--|A-|--|--|--|C#|--|--|--|&lt;br /&gt;
   0        *     *     *     *        **       *     *     *     *        **&lt;br /&gt;
  -----G------|                    |------G-------|                    |---G--&lt;br /&gt;
        |------E-------|                    |------E-------|&lt;br /&gt;
              |------D-------|                    |------D-------|&lt;br /&gt;
{{top}}&lt;br /&gt;
=== G Minor ===&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Major|&amp;amp;nbsp;Ab&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Major|&amp;amp;nbsp;A&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Major|&amp;amp;nbsp;Bb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Major|&amp;amp;nbsp;B&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AD Major|&amp;amp;nbsp;Cb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Major|&amp;amp;nbsp;C&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Major|&amp;amp;nbsp;C#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Major|&amp;amp;nbsp;Db&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Major|&amp;amp;nbsp;D&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Major|&amp;amp;nbsp;Eb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Major|&amp;amp;nbsp;E&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AD Major|&amp;amp;nbsp;Fb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Major|&amp;amp;nbsp;F&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Major|&amp;amp;nbsp;F#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AD Major|&amp;amp;nbsp;Gb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Major|&amp;amp;nbsp;G&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Major|&amp;amp;nbsp;G#&amp;amp;nbsp;}} }}&lt;br /&gt;
&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Minor|Abm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Minor|Am}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Minor|Bbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Minor|Bm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Minor|Cm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Minor|C#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Minor|Dbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Minor|Dm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Minor|Ebm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Minor|Em}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AF Minor|E#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Minor|Fm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Minor|F#m}}&lt;br /&gt;
|{{crumb|x|Ref:_CAGED_Chord_Charts#G Minor|Gm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Minor|G#m}} }}&lt;br /&gt;
&lt;br /&gt;
* [[Ref:_CAGED_Chord_Charts#G Major|&amp;amp;nbsp;G Major]]&lt;br /&gt;
&lt;br /&gt;
                    |------C-------|                    |------C-------|&lt;br /&gt;
  ---A-----|                    |------A-------|                    |----A----&lt;br /&gt;
  --||--|--|G-|--|--|Bb|--|--|--|D-|--|--|--|--|G-|--|--|Bb|--|--|--|D-|--|--|&lt;br /&gt;
  --||--|--|D-|--|--|--|--|G-|--|--|Bb|--|--|--|D-|--|--|--|--|G-|--|--|Bb|--|&lt;br /&gt;
  G-||--|--|Bb|--|--|--|D-|--|--|--|--|G-|--|--|Bb|--|--|--|D-|--|--|--|--|G-|&lt;br /&gt;
  D-||--|--|--|--|G-|--|--|Bb|--|--|--|D-|--|--|--|--|G-|--|--|Bb|--|--|--|D-|&lt;br /&gt;
  --||Bb|--|--|--|D-|--|--|--|--|G-|--|--|Bb|--|--|--|D-|--|--|--|--|G-|--|--|&lt;br /&gt;
  --||--|--|G-|--|--|Bb|--|--|--|D-|--|--|--|--|G-|--|--|Bb|--|--|--|D-|--|--|&lt;br /&gt;
   0        *     *     *     *        **       *     *     *     *        **&lt;br /&gt;
  |------G-------|                    |------G-------|                    &lt;br /&gt;
           |------E-------|                    |------E-------|&lt;br /&gt;
                 |------D-------|                    |------D-------|&lt;br /&gt;
{{top}}&lt;br /&gt;
=== G{{s}} Minor ===&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Major|&amp;amp;nbsp;Ab&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Major|&amp;amp;nbsp;A&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Major|&amp;amp;nbsp;Bb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Major|&amp;amp;nbsp;B&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AD Major|&amp;amp;nbsp;Cb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Major|&amp;amp;nbsp;C&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Major|&amp;amp;nbsp;C#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Major|&amp;amp;nbsp;Db&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Major|&amp;amp;nbsp;D&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Major|&amp;amp;nbsp;Eb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Major|&amp;amp;nbsp;E&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AD Major|&amp;amp;nbsp;Fb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Major|&amp;amp;nbsp;F&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Major|&amp;amp;nbsp;F#&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AD Major|&amp;amp;nbsp;Gb&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Major|&amp;amp;nbsp;G&amp;amp;nbsp;}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G.E2.99.AF Major|&amp;amp;nbsp;G#&amp;amp;nbsp;}} }}&lt;br /&gt;
&lt;br /&gt;
{{altCrumbs|blue&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A.E2.99.AD Minor|Abm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#A Minor|Am}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B.E2.99.AD Minor|Bbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#B Minor|Bm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C Minor|Cm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#C.E2.99.AF Minor|C#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D.E2.99.AD Minor|Dbm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#D Minor|Dm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AD Minor|Ebm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E Minor|Em}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#E.E2.99.AF Minor|E#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F Minor|Fm}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#F.E2.99.AF Minor|F#m}}&lt;br /&gt;
|{{crumb||Ref:_CAGED_Chord_Charts#G Minor|Gm}}&lt;br /&gt;
|{{crumb|x|Ref:_CAGED_Chord_Charts#G.E2.99.AF Minor|G#m}} }}&lt;br /&gt;
&lt;br /&gt;
* [[Ref:_CAGED_Chord_Charts#G.E2.99.AF Major|&amp;amp;nbsp;G{{s}} Major]]&lt;br /&gt;
  &lt;br /&gt;
                       |------C-------|                    |------C-------|&lt;br /&gt;
  |----A------|                    |------A-------|                    ---A---&lt;br /&gt;
  --||--|--|--|G#|--|--|B-|--|--|--|D#|--|--|--|--|G#|--|--|B-|--|--|--|D#|--|&lt;br /&gt;
  B-||--|--|--|D#|--|--|--|--|G#|--|--|B-|--|--|--|D#|--|--|--|--|G#|--|--|--|&lt;br /&gt;
  --||G#|--|--|B-|--|--|--|D#|--|--|--|--|G#|--|--|B-|--|--|--|D#|--|--|--|--|&lt;br /&gt;
  --||D#|--|--|--|--|G#|--|--|B-|--|--|--|D#|--|--|--|--|G#|--|--|B-|--|--|--|&lt;br /&gt;
  --||--|B-|--|--|--|D#|--|--|--|--|G#|--|--|B-|--|--|--|D#|--|--|--|--|G#|--|&lt;br /&gt;
  --||--|--|--|G#|--|--|B-|--|--|--|D#|--|--|--|--|G#|--|--|B-|--|--|--|D#|--|&lt;br /&gt;
   0        *     *     *     *        **       *     *     *     *        **&lt;br /&gt;
     |------G-------|                    |------G-------|                    &lt;br /&gt;
              |------E-------|                    |------E-------|&lt;br /&gt;
                    |------D-------|                    |------D-------|&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
{{altCrumbs|orange&lt;br /&gt;
|{{crumb||Ref: Intervals|Intervals}}&lt;br /&gt;
|{{crumb||Ref: Common Scales|Scales}}&lt;br /&gt;
|{{crumb||Ref: Circle of Fifths|Circle of 5ths}}&lt;br /&gt;
|{{crumb||Ref: Fret Maps for all Keys|Fret Maps}}&lt;br /&gt;
|{{crumb|x|Ref: CAGED Chord Charts|CAGED Charts}}&lt;br /&gt;
|{{crumb||Ref: Diatonic Chords for all Keys|Diatonic Chords}}&lt;br /&gt;
|{{crumb||Ref: Chord Fingerings/Voicings|Chord Fingerings}}&lt;br /&gt;
|{{crumb||Ref: Chord Names/Notes/Spellings|Chord Naming}}&lt;br /&gt;
|{{crumb||Ref: Common Chord Progressions|Progressions}}&lt;br /&gt;
|{{crumb||Ref: Modes|Modes}}&lt;br /&gt;
|{{crumb||Ref: Counting Rhythm|Counting Rhythm}}&lt;br /&gt;
|{{crumb||Ref: Common Arpeggios|Arpeggios}}&lt;br /&gt;
|{{crumb||Ref: Reading Tab|Reading Tab}}&lt;br /&gt;
|{{crumb||Ref: Reading Chord Charts, Scale Maps, and Strumming Notation|Other Notation}} }}&lt;br /&gt;
&lt;br /&gt;
[[Category:Guitar]]&lt;br /&gt;
[[Category:Reference]]&lt;br /&gt;
[[Category:Chords]]&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=Contents&amp;diff=8723</id>
		<title>Contents</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=Contents&amp;diff=8723"/>
				<updated>2016-09-11T16:05:55Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{crumbs|blue|0&lt;br /&gt;
|Contents#Lessons|Lessons&lt;br /&gt;
|Contents#Exercises|Exercises&lt;br /&gt;
|Contents#Reference|Reference&lt;br /&gt;
|Contents#Gear and Setup|Gear&lt;br /&gt;
|Contents#Getting Gig Ready|Gig Prep&lt;br /&gt;
|Contents#DAW/Recording|Recording&lt;br /&gt;
|Contents#Sound|Sound|Contents#Musical Skills|Skills&lt;br /&gt;
|Contents#Glossary|Glossary&lt;br /&gt;
|Contents#Wiki|Wiki}}&lt;br /&gt;
&lt;br /&gt;
* [[Main Page]]&lt;br /&gt;
* [[Introduction]]&lt;br /&gt;
* [[How Stringed Instruments Work]]&lt;br /&gt;
&lt;br /&gt;
==Guitar==&lt;br /&gt;
This contains all material related specifically for guitar, including [[Main_Page#Lessons|lessons]], [[Main_Page#Techniques|techniques]], [[Main_Page#Styles|styles]], [[Main_Page#Exercises|exercises]], [[Main_Page#Gear and Setup|gear and setup advice]], and [[Main_Page#Reference|reference]].&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
=== Lessons ===&lt;br /&gt;
{{crumbs|blue|1&lt;br /&gt;
|Contents#Lessons|Lessons&lt;br /&gt;
|Contents#Exercises|Exercises&lt;br /&gt;
|Contents#Reference|Reference&lt;br /&gt;
|Contents#Gear and Setup|Gear&lt;br /&gt;
|Contents#Getting Gig Ready|Gig Prep&lt;br /&gt;
|Contents#DAW/Recording|Recording&lt;br /&gt;
|Contents#Sound|Sound&lt;br /&gt;
|Contents#Musical Skills|Skills&lt;br /&gt;
|Contents#Glossary|Glossary&lt;br /&gt;
|Contents#Wiki|Wiki}}&lt;br /&gt;
&lt;br /&gt;
Here are the main pages for this site - guitar lessons.  These are designed to be digested in order, although some skipping around is possible.  These assume you are starting from an absolute void of both guitar and general music knowledge; if you have experience with either, you may find yourself skipping ahead or skimming through the early pages.  Please read the [[Introduction]] before proceeding.&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
==== Beginner Lessons ====&lt;br /&gt;
{{Top-Level Crumbs2|1}}&lt;br /&gt;
{{crumbs|blue2|1&lt;br /&gt;
|Contents#Beginner Lessons|Beginner&lt;br /&gt;
|Contents#Intermediate Lessons|Intermediate&lt;br /&gt;
|Contents#Advanced Lessons|Advanced&lt;br /&gt;
|Contents#Technique Lessons|Techniques&lt;br /&gt;
|Contents#Style Lessons|Styles}}&lt;br /&gt;
&lt;br /&gt;
These lessons are designed to take you from knowing absolutely nothing about guitar and music to being able to make basic chord progressions in the key of C Major.&lt;br /&gt;
&lt;br /&gt;
# [[Guitar Parts and Functions]]&lt;br /&gt;
# [[Holding the Guitar and Pick]]&lt;br /&gt;
# [[Basic Technique]]&lt;br /&gt;
# [[Tuning and Harmonics]]&lt;br /&gt;
# [[Music Theory Basics]]&lt;br /&gt;
# [[Position]]&lt;br /&gt;
# [[1st String]]&lt;br /&gt;
# [[1st and 2nd Strings - Intervals]]&lt;br /&gt;
# [[2nd and 3rd Strings]]&lt;br /&gt;
# [[4th, 5th, and 6th Strings]]&lt;br /&gt;
# [[C Major in Open Position and Alternate Picking]]&lt;br /&gt;
# [[C Major Chord]]&lt;br /&gt;
# [[G Major Chord]]&lt;br /&gt;
# [[F Major Chord]]&lt;br /&gt;
# [[E Minor, D Minor, and A Minor Chords]]&lt;br /&gt;
# [[Music Theory - Diatonic Chord Progressions]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== Intermediate Lessons====&lt;br /&gt;
{{Top-Level Crumbs2|1}}&lt;br /&gt;
{{crumbs|blue2|2&lt;br /&gt;
|Contents#Beginner Lessons|Beginner&lt;br /&gt;
|Contents#Intermediate Lessons|Intermediate&lt;br /&gt;
|Contents#Advanced Lessons|Advanced&lt;br /&gt;
|Contents#Technique Lessons|Techniques&lt;br /&gt;
|Contents#Style Lessons|Styles}} &lt;br /&gt;
&lt;br /&gt;
Here we branch off towards more complex chords and alternate keys, including natural and harmonic minor, as well as expanding the positions on the guitar we can comfortably play inside.&lt;br /&gt;
&lt;br /&gt;
I also encourage you to explore the [[#Technique Lessons|technique lessons]] at this point.  They will help you gain expressiveness, speed, and a fuller understanding of what it takes to be a good guitarist.  They can be consumed independently in any order, although I start with the most essential techniques and move towards more specialized ones.&lt;br /&gt;
&lt;br /&gt;
# [[B Diminished]]&lt;br /&gt;
# [[Other Open String Chords]]&lt;br /&gt;
# [[Music Theory - Minor Keys]]&lt;br /&gt;
# [[Harmonic Minor and Augmented Chords]]&lt;br /&gt;
# [[Barre Chords]]&lt;br /&gt;
# [[Suspended Chords]]&lt;br /&gt;
# [[Applying Rhythm to Chords]]&lt;br /&gt;
# [[Circle of Fifths]]&lt;br /&gt;
# [[G Major and E Minor]]&lt;br /&gt;
# [[5th Position]]&lt;br /&gt;
# [[Scales for all Positions]]&lt;br /&gt;
# [[CAGED]]&lt;br /&gt;
# [[7th Chords]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== Advanced Lessons====&lt;br /&gt;
{{Top-Level Crumbs2|1}}&lt;br /&gt;
{{crumbs|blue2|3&lt;br /&gt;
|Contents#Beginner Lessons|Beginner&lt;br /&gt;
|Contents#Intermediate Lessons|Intermediate&lt;br /&gt;
|Contents#Advanced Lessons|Advanced&lt;br /&gt;
|Contents#Technique Lessons|Techniques&lt;br /&gt;
|Contents#Style Lessons|Styles}} &lt;br /&gt;
&lt;br /&gt;
These contain the knowledge needed to gain a full understanding of and master the instrument.  I also recommend venturing into the [[#Style Lessons|style lessons]] below.&lt;br /&gt;
&lt;br /&gt;
# [[Voice Leading]]&lt;br /&gt;
# [[Modulation]]&lt;br /&gt;
# [[Chromatic Chords]]&lt;br /&gt;
# [[Modes]]&lt;br /&gt;
# [[Exotic Scales]]&lt;br /&gt;
# [[Solo'ing]]&lt;br /&gt;
# [[Extended Chords]]&lt;br /&gt;
# [[Advanced Rhythm|Advanced Rhythm - Odd-Time, Syncopation, Polymeter, and Polyrhythm]]&lt;br /&gt;
# [[Quartal Harmony]]&lt;br /&gt;
# [[Atonality and Serialism]]&lt;br /&gt;
# [[Equal Temperament, Alternate Tunings, and Microtonality]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== Technique Lessons ====&lt;br /&gt;
{{Top-Level Crumbs2|1}}&lt;br /&gt;
{{crumbs|blue2|4&lt;br /&gt;
|Contents#Beginner Lessons|Beginner&lt;br /&gt;
|Contents#Intermediate Lessons|Intermediate&lt;br /&gt;
|Contents#Advanced Lessons|Advanced&lt;br /&gt;
|Contents#Technique Lessons|Techniques&lt;br /&gt;
|Contents#Style Lessons|Styles}} &lt;br /&gt;
&lt;br /&gt;
Here are common techniques used when playing guitar.  These are technical, not musical.  In other words, they are not compositional techniques, but focused on either timbre or efficiency of motion.  They allow the guitar to ''sound differently'' or can be used to increase one's ''playing speed'', but they won't help you learn ''which'' notes to play.  It is essential to master most of these to ''fully express'' yourself musically.&lt;br /&gt;
&lt;br /&gt;
* [[Touch, Dynamics, and Accents]]&lt;br /&gt;
* [[Legato (Hammer-on, Pull-off)]]&lt;br /&gt;
* [[Bending]]&lt;br /&gt;
* [[Vibrato]]&lt;br /&gt;
* [[Palm Muting]]&lt;br /&gt;
* [[Artificial Harmonics]]&lt;br /&gt;
* [[Whammy Bar]]&lt;br /&gt;
* [[Tapping]]&lt;br /&gt;
* [[Sweep Picking]]&lt;br /&gt;
* [[Slapping]]&lt;br /&gt;
* [[Thumping]]&lt;br /&gt;
* [[Double and Triple Stops]]&lt;br /&gt;
* [[Finger Picking]]&lt;br /&gt;
* [[Pick Slides]]&lt;br /&gt;
* [[Slide Guitar]]&lt;br /&gt;
* [[Swells]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== Style Lessons ====&lt;br /&gt;
{{Top-Level Crumbs2|1}}&lt;br /&gt;
{{crumbs|blue2|5&lt;br /&gt;
|Contents#Beginner Lessons|Beginner&lt;br /&gt;
|Contents#Intermediate Lessons|Intermediate&lt;br /&gt;
|Contents#Advanced Lessons|Advanced&lt;br /&gt;
|Contents#Technique Lessons|Techniques&lt;br /&gt;
|Contents#Style Lessons|Styles}} &lt;br /&gt;
&lt;br /&gt;
This section explores different styles of music commonly associated with guitar, noting both compositional and technical conventions.&lt;br /&gt;
&lt;br /&gt;
* [[Rock]]&lt;br /&gt;
* [[Blues]]&lt;br /&gt;
* [[Funk]]&lt;br /&gt;
* [[Jazz]]&lt;br /&gt;
* [[Folk]]&lt;br /&gt;
* [[Thrash]]&lt;br /&gt;
* [[Djent]]&lt;br /&gt;
* [[Classical]]&lt;br /&gt;
* [[Flamenco (Spanish)]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Exercises ===&lt;br /&gt;
{{crumbs|blue|2&lt;br /&gt;
|Contents#Lessons|Lessons&lt;br /&gt;
|Contents#Exercises|Exercises&lt;br /&gt;
|Contents#Reference|Reference&lt;br /&gt;
|Contents#Gear and Setup|Gear&lt;br /&gt;
|Contents#Getting Gig Ready|Gig Prep&lt;br /&gt;
|Contents#DAW/Recording|Recording&lt;br /&gt;
|Contents#Sound|Sound&lt;br /&gt;
|Contents#Musical Skills|Skills&lt;br /&gt;
|Contents#Glossary|Glossary&lt;br /&gt;
|Contents#Wiki|Wiki}}&lt;br /&gt;
Contains lots of material you can use to practice.&lt;br /&gt;
&lt;br /&gt;
* [[Warmup Exercises]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
====Technical====&lt;br /&gt;
{{Top-Level Crumbs2|2}}&lt;br /&gt;
{{crumbs|blue2|1&lt;br /&gt;
|Contents#Technical|Technical&lt;br /&gt;
|Contents#Techniques Exercises|Techniques&lt;br /&gt;
|Contents#Songs, Solos, and Licks|Songs/Licks}}&lt;br /&gt;
&lt;br /&gt;
These focus on developing your left and right hands, not necessarily within a musical context.&lt;br /&gt;
&lt;br /&gt;
* [[Basic Technique Exercises]]&lt;br /&gt;
* [[Advanced Technique Exercises]]&lt;br /&gt;
* [[Alternate Picking]]&lt;br /&gt;
* [[Common Scale Exercises]]&lt;br /&gt;
* [[Rhythm Exercises]]&lt;br /&gt;
* [[Position-Shifting Exercises]]&lt;br /&gt;
* [[String Skipping Exercises]]&lt;br /&gt;
* [[Arpeggio Exercises]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
====Techniques Exercises====&lt;br /&gt;
{{Top-Level Crumbs2|2}}&lt;br /&gt;
{{crumbs|blue2|2&lt;br /&gt;
|Contents#Technical|Technical&lt;br /&gt;
|Contents#Techniques Exercises|Techniques&lt;br /&gt;
|Contents#Songs, Solos, and Licks|Songs/Licks}}&lt;br /&gt;
&lt;br /&gt;
These focus on perfecting various techniques from a technical standpoint.&lt;br /&gt;
&lt;br /&gt;
* [[Legato Exercises]]&lt;br /&gt;
* [[Tapping Exercises]]&lt;br /&gt;
* [[Harmonics Exercises]] (natural and artificial)&lt;br /&gt;
* [[Sweep Picking Exercises]]&lt;br /&gt;
* [[Slapping/Thumping Exercises]]&lt;br /&gt;
* [[Whammy Bar Exercises]]&lt;br /&gt;
* [[Double Stop and Chicken Pickin Exercises]]&lt;br /&gt;
* [[Fingerstyle Exercises]]&lt;br /&gt;
* [[Slide Guitar Exercises]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
====Songs, Solos, and Licks====&lt;br /&gt;
{{Top-Level Crumbs2|2}}&lt;br /&gt;
{{crumbs|blue2|3&lt;br /&gt;
|Contents#Technical|Technical&lt;br /&gt;
|Contents#Techniques Exercises|Techniques&lt;br /&gt;
|Contents#Songs, Solos, and Licks|Songs/Licks}}&lt;br /&gt;
&lt;br /&gt;
Here are actual songs that can be used to practice various styles and techniques, putting all that knowledge to practical uses.&lt;br /&gt;
&lt;br /&gt;
* [[Beginner Songs]]&lt;br /&gt;
* [[Intermediate Songs]]&lt;br /&gt;
* [[Advanced Songs]]&lt;br /&gt;
* [[Rock Songs]]&lt;br /&gt;
* [[Blues Songs]]&lt;br /&gt;
* [[Thrash Songs]]&lt;br /&gt;
* [[Common Lead Licks]]&lt;br /&gt;
* [[Example Solos]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Reference ===&lt;br /&gt;
{{crumbs|blue|3&lt;br /&gt;
|Contents#Lessons|Lessons&lt;br /&gt;
|Contents#Exercises|Exercises&lt;br /&gt;
|Contents#Reference|Reference&lt;br /&gt;
|Contents#Gear and Setup|Gear&lt;br /&gt;
|Contents#Getting Gig Ready|Gig Prep&lt;br /&gt;
|Contents#DAW/Recording|Recording&lt;br /&gt;
|Contents#Sound|Sound&lt;br /&gt;
|Contents#Musical Skills|Skills&lt;br /&gt;
|Contents#Glossary|Glossary&lt;br /&gt;
|Contents#Wiki|Wiki}}&lt;br /&gt;
&lt;br /&gt;
Contains quick reference material, such as chord shapes, scales mapped across the entire fretboard, etc.&lt;br /&gt;
&lt;br /&gt;
* [[Ref: Intervals]]&lt;br /&gt;
* [[Ref: Common Scales]]&lt;br /&gt;
* [[Ref: Circle of Fifths]]&lt;br /&gt;
* [[Ref: Fret Maps for all Keys]]&lt;br /&gt;
* [[Ref: CAGED Chord Charts]]&lt;br /&gt;
* [[Ref: Diatonic Chords for all Keys]]&lt;br /&gt;
* [[Ref: Diatonic Keys for Triads]]&lt;br /&gt;
* [[Ref: Chord Fingerings/Voicings]]&lt;br /&gt;
* [[Ref: Chord Names/Notes/Spellings]]&lt;br /&gt;
* [[Ref: Common Chord Progressions]]&lt;br /&gt;
* [[Ref: Modes]]&lt;br /&gt;
* [[Ref: Counting Rhythm]]&lt;br /&gt;
* [[Ref: Common Arpeggios]]&lt;br /&gt;
* [[Ref: Reading Tab]]&lt;br /&gt;
* [[Ref: Reading Chord Charts, Scale Maps, and Strumming Notation]]&lt;br /&gt;
* [[Injury|Injuries and Tips to Avoid and Recover from them]]&lt;br /&gt;
&lt;br /&gt;
==== Recommended Resources ====&lt;br /&gt;
Here are some videos, books, and articles I recommend checking out.&lt;br /&gt;
&lt;br /&gt;
* [http://www.youtube.com/watch?v=L68rxhMq6Kw&amp;amp;list=UUcLsvLJOecfCL6RplXhaO4Q Ben Eller's Why You Suck at Guitar Youtube Series]&lt;br /&gt;
* [http://www.sevenstring.org/forum/music-theory-lessons-techniques/ Sevenstring.org Music Theory sub-forum]&lt;br /&gt;
* [http://www.amazon.com/Selections-Rolling-Stone-Magazines-Greatest/dp/0739052217/ref=sr_1_1?ie=UTF8&amp;amp;qid=1398975305&amp;amp;sr=8-1&amp;amp;keywords=rolling+stone+tab Giant tab book of Rock Hits] [http://www.amazon.com/Selections-Rolling-Stone-Magazines-Greatest/dp/0739052209/ref=pd_bxgy_b_img_y Vol 1]&lt;br /&gt;
* [http://www.amazon.com/The-Real-Book-Edition-Instruments/dp/B000VZSOI4/ref=sr_1_3?ie=UTF8&amp;amp;qid=1398975264&amp;amp;sr=8-3&amp;amp;keywords=real+book The Real Book]&lt;br /&gt;
* [http://www.guitarasylumtv.com/&amp;amp;sa=U&amp;amp;ei=M6xiU9PaBMu3yASYoYKIBg&amp;amp;ved=0CB0QFjAA&amp;amp;usg=AFQjCNGtUU6VW0pfKRLTW8lcK9Gr4f-9Vw Rusty Cooley's Guitar Assylum TV]&lt;br /&gt;
* [http://www.youtube.com/watch?v=NnVeB6jvgnM&amp;amp;list=PLCA91BB1EE39C8051 Joe Satriani Youtube lessons (particularly the SatchZone series)]&lt;br /&gt;
* [http://www.youtube.com/watch%3Fv%3D6VApk-vvhp8&amp;amp;sa=U&amp;amp;ei=TaxiU6-RF46OyATm5YGIAQ&amp;amp;ved=0CCIQtwIwAQ&amp;amp;usg=AFQjCNF7DmuJUieuyxjy8tAxQOFZkEvqcQ John Petrucci's Rock Discipline]&lt;br /&gt;
* [http://www.vai.com/ Steve Vai's Little Black Notes section on Vai.com]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Gear and Setup ===&lt;br /&gt;
{{crumbs|blue|4&lt;br /&gt;
|Contents#Lessons|Lessons&lt;br /&gt;
|Contents#Exercises|Exercises&lt;br /&gt;
|Contents#Reference|Reference&lt;br /&gt;
|Contents#Gear and Setup|Gear&lt;br /&gt;
|Contents#Getting Gig Ready|Gig Prep&lt;br /&gt;
|Contents#DAW/Recording|Recording&lt;br /&gt;
|Contents#Sound|Sound&lt;br /&gt;
|Contents#Musical Skills|Skills&lt;br /&gt;
|Contents#Glossary|Glossary&lt;br /&gt;
|Contents#Wiki|Wiki}}&lt;br /&gt;
&lt;br /&gt;
Advice on buying/tweaking your gear and setting up your instrument.&lt;br /&gt;
&lt;br /&gt;
==== Tone ====&lt;br /&gt;
{{crumbs|blue|4&lt;br /&gt;
|Contents#Lessons|Lessons&lt;br /&gt;
|Contents#Exercises|Exercises&lt;br /&gt;
|Contents#Reference|Reference&lt;br /&gt;
|Contents#Gear and Setup|Gear&lt;br /&gt;
|Contents#Getting Gig Ready|Gig Prep&lt;br /&gt;
|Contents#DAW/Recording|Recording&lt;br /&gt;
|Contents#Sound|Sound&lt;br /&gt;
|Contents#Musical Skills|Skills&lt;br /&gt;
|Contents#Glossary|Glossary&lt;br /&gt;
|Contents#Wiki|Wiki}}&lt;br /&gt;
{{crumbs|blue2|1&lt;br /&gt;
|Contents#Tone|Tone&lt;br /&gt;
|Contents#Buyer's Guide|Buyer's Guide&lt;br /&gt;
|Contents#User Guides|User Guides&lt;br /&gt;
|Contents#Effects|Effects}}&lt;br /&gt;
&lt;br /&gt;
* [[Tone]]&lt;br /&gt;
* [[Dialing in Distortion Tone]]&lt;br /&gt;
* [[Strings]]&lt;br /&gt;
* [[Setup/Adjustments]]&lt;br /&gt;
* [[Gear Myths and Pitfalls|Myths and Pitfalls]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== Buyer's Guides ====&lt;br /&gt;
{{crumbs|blue|4&lt;br /&gt;
|Contents#Lessons|Lessons&lt;br /&gt;
|Contents#Exercises|Exercises&lt;br /&gt;
|Contents#Reference|Reference&lt;br /&gt;
|Contents#Gear and Setup|Gear&lt;br /&gt;
|Contents#Getting Gig Ready|Gig Prep&lt;br /&gt;
|Contents#DAW/Recording|Recording&lt;br /&gt;
|Contents#Sound|Sound&lt;br /&gt;
|Contents#Musical Skills|Skills&lt;br /&gt;
|Contents#Glossary|Glossary&lt;br /&gt;
|Contents#Wiki|Wiki}}&lt;br /&gt;
{{crumbs|blue2|2&lt;br /&gt;
|Contents#Tone|Tone&lt;br /&gt;
|Contents#Buyer's Guide|Buyer's Guide&lt;br /&gt;
|Contents#User Guides|User Guides&lt;br /&gt;
|Contents#Effects|Effects}}&lt;br /&gt;
&lt;br /&gt;
* [[Choosing a Pick]]&lt;br /&gt;
* [[Choosing a Guitar]]&lt;br /&gt;
* [[Choosing Pickups]]&lt;br /&gt;
** [[Special Pickups]]&lt;br /&gt;
* [[Choosing an Amp]]&lt;br /&gt;
* [[Choosing a Speaker Cabinet]]&lt;br /&gt;
* [[Choosing a Modeler/FRFR]]&lt;br /&gt;
* [[Foot Controllers]]&lt;br /&gt;
* [[Choosing Cables]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== User Guides ====&lt;br /&gt;
{{crumbs|blue|4&lt;br /&gt;
|Contents#Lessons|Lessons&lt;br /&gt;
|Contents#Exercises|Exercises&lt;br /&gt;
|Contents#Reference|Reference&lt;br /&gt;
|Contents#Gear and Setup|Gear&lt;br /&gt;
|Contents#Getting Gig Ready|Gig Prep&lt;br /&gt;
|Contents#DAW/Recording|Recording&lt;br /&gt;
|Contents#Sound|Sound&lt;br /&gt;
|Contents#Musical Skills|Skills&lt;br /&gt;
|Contents#Glossary|Glossary&lt;br /&gt;
|Contents#Wiki|Wiki}}&lt;br /&gt;
{{crumbs|blue2|3&lt;br /&gt;
|Contents#Tone|Tone&lt;br /&gt;
|Contents#Buyer's Guide|Buyer's Guide&lt;br /&gt;
|Contents#User Guides|User Guides&lt;br /&gt;
|Contents#Effects|Effects}}&lt;br /&gt;
&lt;br /&gt;
* [[Specific Gear Guides/Advice]]&lt;br /&gt;
** [[Kemper Profiling Amp Guide|Kemper ''Profiling Amp'' Guide]]&lt;br /&gt;
** [[Line 6 Pod HD Guide|Line 6 ''Pod HD'' Guide]]&lt;br /&gt;
** [[Specific Gear Guides/Advice#Mesa/Boogie Dual Rectifier|Mesa/Boogie ''Dual Rectifier'']]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==== Effects ====&lt;br /&gt;
{{crumbs|blue|4&lt;br /&gt;
|Contents#Lessons|Lessons&lt;br /&gt;
|Contents#Exercises|Exercises&lt;br /&gt;
|Contents#Reference|Reference&lt;br /&gt;
|Contents#Gear and Setup|Gear&lt;br /&gt;
|Contents#Getting Gig Ready|Gig Prep&lt;br /&gt;
|Contents#DAW/Recording|Recording&lt;br /&gt;
|Contents#Sound|Sound&lt;br /&gt;
|Contents#Musical Skills|Skills&lt;br /&gt;
|Contents#Glossary|Glossary&lt;br /&gt;
|Contents#Wiki|Wiki}}&lt;br /&gt;
{{crumbs|blue2|4&lt;br /&gt;
|Contents#Tone|Tone&lt;br /&gt;
|Contents#Buyer's Guide|Buyer's Guide&lt;br /&gt;
|Contents#User Guides|User Guides&lt;br /&gt;
|Contents#Effects|Effects}}&lt;br /&gt;
&lt;br /&gt;
* [[Types of Effects]]&lt;br /&gt;
* [[Effects Ordering/Position]]&lt;br /&gt;
* [[Noise Gate]]&lt;br /&gt;
* [[Compression]]&lt;br /&gt;
* [[Wah Pedals]]&lt;br /&gt;
* [[EQ]]&lt;br /&gt;
* [[Modulation Effects]]&lt;br /&gt;
* [[Delay]]&lt;br /&gt;
* [[Reverb]]&lt;br /&gt;
* [[Pitch Shifting]]&lt;br /&gt;
* [[Boost]]&lt;br /&gt;
* [[Distortion Effects]]&lt;br /&gt;
* [[Synth Effects]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Getting Gig Ready ===&lt;br /&gt;
{{crumbs|blue|5&lt;br /&gt;
|Contents#Lessons|Lessons&lt;br /&gt;
|Contents#Exercises|Exercises&lt;br /&gt;
|Contents#Reference|Reference&lt;br /&gt;
|Contents#Gear and Setup|Gear&lt;br /&gt;
|Contents#Getting Gig Ready|Gig Prep&lt;br /&gt;
|Contents#DAW/Recording|Recording&lt;br /&gt;
|Contents#Sound|Sound&lt;br /&gt;
|Contents#Musical Skills|Skills&lt;br /&gt;
|Contents#Glossary|Glossary&lt;br /&gt;
|Contents#Wiki|Wiki}}&lt;br /&gt;
&lt;br /&gt;
* [[Equipment Checklist, Setup]]&lt;br /&gt;
* [[Advanced Tuning]]&lt;br /&gt;
* [[Surviving Broken Strings]]&lt;br /&gt;
* [[Calming the Nerves]]&lt;br /&gt;
* [[Warm-Up Exercises|Warming Up]]&lt;br /&gt;
* [[Balancing Playability vs. Performance]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==DAW/Recording==&lt;br /&gt;
{{crumbs|blue|6&lt;br /&gt;
|Contents#Lessons|Lessons&lt;br /&gt;
|Contents#Exercises|Exercises&lt;br /&gt;
|Contents#Gear and Setup|Gear&lt;br /&gt;
|Contents#Reference|Reference&lt;br /&gt;
|Contents#Getting Gig Ready|Gig Prep&lt;br /&gt;
|Contents#DAW/Recording|Recording&lt;br /&gt;
|Contents#Sound|Sound&lt;br /&gt;
|Contents#Musical Skills|Skills&lt;br /&gt;
|Contents#Glossary|Glossary&lt;br /&gt;
|Contents#Wiki|Wiki}}&lt;br /&gt;
&lt;br /&gt;
Most of what you need to know to start home recording.&lt;br /&gt;
* [[Understanding Digital Audio]]&lt;br /&gt;
* [[Mixing Boards/Consoles]]&lt;br /&gt;
* [[Interface Setup]] (incl. Latency)&lt;br /&gt;
* [[Computer Setup]]&lt;br /&gt;
* [[DAW Basics]]&lt;br /&gt;
* [[Keyboard Macros/Hotkeys]]&lt;br /&gt;
* [[Popular Virtual Instruments/Plugins]]&lt;br /&gt;
* [[Tracking Audio|Tracking Audio (Comp tracks/Takes)]]&lt;br /&gt;
* [[Reamping]]&lt;br /&gt;
* [[MIDI]]&lt;br /&gt;
* [[Virtual Instruments]]&lt;br /&gt;
* [[Tracking MIDI|Tracking MIDI (Quantization)]]&lt;br /&gt;
* [[Editing Tracks]]&lt;br /&gt;
* [[Automation]]&lt;br /&gt;
* [[Tempo]]&lt;br /&gt;
* [[Synthesizers]]&lt;br /&gt;
* [[Samplers]]&lt;br /&gt;
* [[Sequencers]]&lt;br /&gt;
* [[Editing Drums]]&lt;br /&gt;
* [[Bounce/Render]]&lt;br /&gt;
* [[Mixing]]&lt;br /&gt;
* [[Mastering]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Sound ==&lt;br /&gt;
{{crumbs|blue|7&lt;br /&gt;
|Contents#Lessons|Lessons&lt;br /&gt;
|Contents#Exercises|Exercises&lt;br /&gt;
|Contents#Reference|Reference&lt;br /&gt;
|Contents#Gear and Setup|Gear&lt;br /&gt;
|Contents#Getting Gig Ready|Gig Prep&lt;br /&gt;
|Contents#DAW/Recording|Recording&lt;br /&gt;
|Contents#Sound|Sound&lt;br /&gt;
|Contents#Musical Skills|Skills&lt;br /&gt;
|Contents#Glossary|Glossary&lt;br /&gt;
|Contents#Wiki|Wiki}}&lt;br /&gt;
&lt;br /&gt;
These pages discuss the very nature of sound and how we can manipulate it.&lt;br /&gt;
&lt;br /&gt;
* [[Sound]]&lt;br /&gt;
* [[Transients]]&lt;br /&gt;
* [[Overtones]]&lt;br /&gt;
* [[Frequency Domain]]&lt;br /&gt;
* [[EQ or Filters]]&lt;br /&gt;
* [[ADSR and Envelope Filters]]&lt;br /&gt;
* [[Distortion]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Musical Skills ==&lt;br /&gt;
{{crumbs|blue|8&lt;br /&gt;
|Contents#Lessons|Lessons&lt;br /&gt;
|Contents#Exercises|Exercises&lt;br /&gt;
|Contents#Reference|Reference&lt;br /&gt;
|Contents#Gear and Setup|Gear&lt;br /&gt;
|Contents#Getting Gig Ready|Gig Prep&lt;br /&gt;
|Contents#DAW/Recording|Recording&lt;br /&gt;
|Contents#Sound|Sound&lt;br /&gt;
|Contents#Musical Skills|Skills&lt;br /&gt;
|Contents#Glossary|Glossary&lt;br /&gt;
|Contents#Wiki|Wiki}}&lt;br /&gt;
&lt;br /&gt;
Techniques to improve musical skills that relate to detecting and conveying musical information.&lt;br /&gt;
* [[Classical Notation and Sight-Reading]]&lt;br /&gt;
* [[Ear Training]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
=== Composition ===&lt;br /&gt;
* [[Counterpoint]]&lt;br /&gt;
* [[Common Song Structures]]&lt;br /&gt;
* [[Tension and Release]]&lt;br /&gt;
* [[Meter]]&lt;br /&gt;
* [[Arrangement]]&lt;br /&gt;
* [[Writing Melodies]]&lt;br /&gt;
* [[Mood vs. Key]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
==Glossary==&lt;br /&gt;
{{crumbs|blue|9&lt;br /&gt;
|Contents#Lessons|Lessons&lt;br /&gt;
|Contents#Exercises|Exercises&lt;br /&gt;
|Contents#Reference|Reference&lt;br /&gt;
|Contents#Gear and Setup|Gear&lt;br /&gt;
|Contents#Getting Gig Ready|Gig Prep&lt;br /&gt;
|Contents#DAW/Recording|Recording&lt;br /&gt;
|Contents#Sound|Sound&lt;br /&gt;
|Contents#Musical Skills|Skills&lt;br /&gt;
|Contents#Glossary|Glossary&lt;br /&gt;
|Contents#Wiki|Wiki}}&lt;br /&gt;
&lt;br /&gt;
* [[Glossary]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
== Wiki ==&lt;br /&gt;
{{crumbs|blue|10&lt;br /&gt;
|Contents#Lessons|Lessons&lt;br /&gt;
|Contents#Exercises|Exercises&lt;br /&gt;
|Contents#Reference|Reference&lt;br /&gt;
|Contents#Gear and Setup|Gear&lt;br /&gt;
|Contents#Getting Gig Ready|Gig Prep&lt;br /&gt;
|Contents#DAW/Recording|Recording&lt;br /&gt;
|Contents#Sound|Sound&lt;br /&gt;
|Contents#Musical Skills|Skills&lt;br /&gt;
|Contents#Glossary|Glossary&lt;br /&gt;
|Contents#Wiki|Wiki}}&lt;br /&gt;
&lt;br /&gt;
Everything you need to know about posting here.&lt;br /&gt;
* [[Site Policies]]&lt;br /&gt;
* [[Site Conventions]]&lt;br /&gt;
* [http://www.mediawiki.org/wiki/Manual:FAQ MediaWiki FAQ]&lt;br /&gt;
* [http://www.mediawiki.org/wiki/Help:Formatting Wiki Markup Formatting/Syntax]&lt;br /&gt;
* [[Wiki Templates|Templates]]&lt;br /&gt;
&lt;br /&gt;
{{top}}&lt;br /&gt;
&lt;br /&gt;
[[Category:Contents]]&lt;br /&gt;
[[Category:Guitar]]&lt;br /&gt;
[[Category:Lessons]]&lt;br /&gt;
[[Category:Technique]]&lt;br /&gt;
[[Category:Exercises]]&lt;br /&gt;
[[Category:Sound]]&lt;br /&gt;
[[Category:Gear]]&lt;br /&gt;
[[Category:DAW]]&lt;br /&gt;
[[Category:Reference]]&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=MediaWiki:Mobile.css&amp;diff=8722</id>
		<title>MediaWiki:Mobile.css</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=MediaWiki:Mobile.css&amp;diff=8722"/>
				<updated>2016-09-09T18:15:42Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;&lt;br /&gt;
@import url(&amp;quot;http://foobazaar.com/wiki/skins/bootstrap/bootstrap/css/bootstrap-blue.css&amp;quot;);&lt;br /&gt;
@import url(&amp;quot;http://foobazaar.com/wiki/skins/bootstrap/prefs.css&amp;quot;);&lt;br /&gt;
@import url(&amp;quot;http://foobazaar.com/wiki/skins/bootstrap/screen.css&amp;quot;);&lt;br /&gt;
@import url(&amp;quot;http://foobazaar.com/wiki/skins/bootstrap/theme.css&amp;quot;);&lt;br /&gt;
@import url(&amp;quot;http://foobazaar.com/wiki/skins/bootstrap/bootstrap/css/jquery-ui.min.css&amp;quot;);&lt;br /&gt;
@import url(&amp;quot;http://foobazaar.com/wiki/skins/bootstrap/bootstrap/css/font.css&amp;quot;);&lt;br /&gt;
@import url(&amp;quot;http://foobazaar.com/wiki/skins/bootstrap/bootstrap/css/typography.css&amp;quot;);&lt;br /&gt;
@import url(&amp;quot;http://foobazaar.com/wiki/skins/bootstrap/bootstrap/css/misc.css&amp;quot;);&lt;br /&gt;
@import url(&amp;quot;http://foobazaar.com/wiki/skins/bootstrap/extensions/BootStrapSkinBreadcrumbs/modules/ext.crumbs.css&amp;quot;);&lt;br /&gt;
&lt;br /&gt;
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@import url(http://fonts.googleapis.com/css?family=Abel|Titillium+Web:400,700,600,700italic,600italic,400italic|Architects+Daughter|Bangers|Quattrocento+Sans:400,700italic,400italic,700|PT+Mono);&lt;br /&gt;
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@import url(https://fonts.googleapis.com/css?family=Cinzel+Decorative|Lora);&lt;br /&gt;
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.h2 {&lt;br /&gt;
 font-family:'Cinzel Decorative';&lt;br /&gt;
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}&lt;br /&gt;
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div.toc-mobile {&lt;br /&gt;
display:none;&lt;br /&gt;
}&lt;br /&gt;
&lt;br /&gt;
div.tocmobile {&lt;br /&gt;
display:none;&lt;br /&gt;
}&lt;br /&gt;
&lt;br /&gt;
h3, .h3 {font-size:1.3em;margin:10px 0px 5px;padding:0px;}&lt;br /&gt;
h4, .h4 {font-size:1.2em; margin:10px 0px 5px;padding:0px;}&lt;br /&gt;
h5, .h5 {font-size:1.1em; margin:10px 0px 5px;padding:0px;}&lt;br /&gt;
h6, .h6 {font-size:1em; margin:10px 0px 5px;padding:0px;}&lt;br /&gt;
&lt;br /&gt;
div.trail a:visited {&lt;br /&gt;
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}&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=MediaWiki:Mobile.css&amp;diff=8721</id>
		<title>MediaWiki:Mobile.css</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=MediaWiki:Mobile.css&amp;diff=8721"/>
				<updated>2016-09-09T18:14:16Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;&lt;br /&gt;
@import url(&amp;quot;http://foobazaar.com/wiki/skins/bootstrap/bootstrap/css/bootstrap-blue.css&amp;quot;);&lt;br /&gt;
@import url(&amp;quot;http://foobazaar.com/wiki/skins/bootstrap/prefs.css&amp;quot;);&lt;br /&gt;
@import url(&amp;quot;http://foobazaar.com/wiki/skins/bootstrap/screen.css&amp;quot;);&lt;br /&gt;
@import url(&amp;quot;http://foobazaar.com/wiki/skins/bootstrap/theme.css&amp;quot;);&lt;br /&gt;
@import url(&amp;quot;http://foobazaar.com/wiki/skins/bootstrap/bootstrap/css/jquery-ui.min.css&amp;quot;);&lt;br /&gt;
@import url(&amp;quot;http://foobazaar.com/wiki/skins/bootstrap/bootstrap/css/font.css&amp;quot;);&lt;br /&gt;
@import url(&amp;quot;http://foobazaar.com/wiki/skins/bootstrap/bootstrap/css/typography.css&amp;quot;);&lt;br /&gt;
@import url(&amp;quot;http://foobazaar.com/wiki/skins/bootstrap/bootstrap/css/misc.css&amp;quot;);&lt;br /&gt;
@import url(&amp;quot;http://foobazaar.com/wiki/skins/bootstrap/extensions/BootStrapSkinBreadcrumbs/modules/ext.crumbs.css&amp;quot;);&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
@import url(http://fonts.googleapis.com/css?family=Abel|Titillium+Web:400,700,600,700italic,600italic,400italic|Architects+Daughter|Bangers|Quattrocento+Sans:400,700italic,400italic,700|PT+Mono);&lt;br /&gt;
&lt;br /&gt;
@import url(https://fonts.googleapis.com/css?family=Cinzel+Decorative|Lora);&lt;br /&gt;
&lt;br /&gt;
#bodyContent h1 {&lt;br /&gt;
 font-family:'Cinzel Decorative';&lt;br /&gt;
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}&lt;br /&gt;
&lt;br /&gt;
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#content h1 {&lt;br /&gt;
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}&lt;br /&gt;
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}&lt;br /&gt;
&lt;br /&gt;
.h1 {&lt;br /&gt;
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}&lt;br /&gt;
&lt;br /&gt;
.h2 {&lt;br /&gt;
 font-family:'Cinzel Decorative';&lt;br /&gt;
 font-size:1.5em;&lt;br /&gt;
 margin:12px 0px 10px;padding:0px;&lt;br /&gt;
}&lt;br /&gt;
&lt;br /&gt;
div.toc-mobile {&lt;br /&gt;
display:none;&lt;br /&gt;
}&lt;br /&gt;
&lt;br /&gt;
div.tocmobile {&lt;br /&gt;
display:none;&lt;br /&gt;
}&lt;br /&gt;
&lt;br /&gt;
h3, .h3 {font-size:1.3em;margin:10px 0px 5px;padding:0px;}&lt;br /&gt;
h4, .h4 {font-size:1.2em; margin:10px 0px 5px;padding:0px;}&lt;br /&gt;
h5, .h5 {font-size:1.1em; margin:10px 0px 5px;padding:0px;}&lt;br /&gt;
h6, .h6 {font-size:1em; margin:10px 0px 5px;padding:0px;}&lt;br /&gt;
&lt;br /&gt;
div.trail a:visited {&lt;br /&gt;
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}&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=MediaWiki:Mobile.css&amp;diff=8720</id>
		<title>MediaWiki:Mobile.css</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=MediaWiki:Mobile.css&amp;diff=8720"/>
				<updated>2016-09-09T03:54:15Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;&lt;br /&gt;
@import url(&amp;quot;http://foobazaar.com/wiki/skins/bootstrap/bootstrap/css/bootstrap-blue.css&amp;quot;);&lt;br /&gt;
@import url(&amp;quot;http://foobazaar.com/wiki/skins/bootstrap/prefs.css&amp;quot;);&lt;br /&gt;
@import url(&amp;quot;http://foobazaar.com/wiki/skins/bootstrap/screen.css&amp;quot;);&lt;br /&gt;
@import url(&amp;quot;http://foobazaar.com/wiki/skins/bootstrap/theme.css&amp;quot;);&lt;br /&gt;
@import url(&amp;quot;http://foobazaar.com/wiki/skins/bootstrap/bootstrap/css/jquery-ui.min.css&amp;quot;);&lt;br /&gt;
@import url(&amp;quot;http://foobazaar.com/wiki/skins/bootstrap/bootstrap/css/font.css&amp;quot;);&lt;br /&gt;
@import url(&amp;quot;http://foobazaar.com/wiki/skins/bootstrap/bootstrap/css/typography.css&amp;quot;);&lt;br /&gt;
@import url(&amp;quot;http://foobazaar.com/wiki/skins/bootstrap/bootstrap/css/misc.css&amp;quot;);&lt;br /&gt;
@import url(&amp;quot;http://foobazaar.com/wiki/skins/bootstrap/extensions/BootStrapSkinBreadcrumbs/modules/ext.crumbs.css&amp;quot;);&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
@import url(http://fonts.googleapis.com/css?family=Abel|Titillium+Web:400,700,600,700italic,600italic,400italic|Architects+Daughter|Bangers|Quattrocento+Sans:400,700italic,400italic,700|PT+Mono);&lt;br /&gt;
&lt;br /&gt;
@import url(https://fonts.googleapis.com/css?family=Cinzel+Decorative|Lora);&lt;br /&gt;
&lt;br /&gt;
#bodyContent h1 {&lt;br /&gt;
 font-family:'Cinzel Decorative';&lt;br /&gt;
 font-size:1.7em;&lt;br /&gt;
 margin:10px 0px 5px;padding:0px;&lt;br /&gt;
}&lt;br /&gt;
&lt;br /&gt;
#bodyContent h2 {&lt;br /&gt;
 font-family:'Cinzel Decorative';&lt;br /&gt;
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}&lt;br /&gt;
&lt;br /&gt;
#content h1 {&lt;br /&gt;
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 margin:10px 0px 5px;padding:0px;&lt;br /&gt;
}&lt;br /&gt;
&lt;br /&gt;
#content h2 {&lt;br /&gt;
 font-family:'Cinzel Decorative';&lt;br /&gt;
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}&lt;br /&gt;
&lt;br /&gt;
.h1 {&lt;br /&gt;
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 margin:10px 0px 5px;padding:0px;&lt;br /&gt;
}&lt;br /&gt;
&lt;br /&gt;
.h2 {&lt;br /&gt;
 font-family:'Cinzel Decorative';&lt;br /&gt;
 font-size:1.5em;&lt;br /&gt;
 margin:10px 0px 5px;padding:0px;&lt;br /&gt;
}&lt;br /&gt;
&lt;br /&gt;
div.toc-mobile {&lt;br /&gt;
display:none;&lt;br /&gt;
}&lt;br /&gt;
&lt;br /&gt;
div.tocmobile {&lt;br /&gt;
display:none;&lt;br /&gt;
}&lt;br /&gt;
&lt;br /&gt;
h3, .h3 {font-size:1.3em;margin:10px 0px 5px;padding:0px;}&lt;br /&gt;
h4, .h4 {font-size:1.2em; margin:10px 0px 5px;padding:0px;}&lt;br /&gt;
h5, .h5 {font-size:1.1em; margin:10px 0px 5px;padding:0px;}&lt;br /&gt;
h6, .h6 {font-size:1em; margin:10px 0px 5px;padding:0px;}&lt;br /&gt;
&lt;br /&gt;
div.trail a:visited {&lt;br /&gt;
 color:#3f63a8;&lt;br /&gt;
}&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=MediaWiki:Mobile.css&amp;diff=8719</id>
		<title>MediaWiki:Mobile.css</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=MediaWiki:Mobile.css&amp;diff=8719"/>
				<updated>2016-09-09T03:36:13Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;&lt;br /&gt;
@import url(&amp;quot;http://foobazaar.com/wiki/skins/bootstrap/bootstrap/css/bootstrap-blue.css&amp;quot;);&lt;br /&gt;
@import url(&amp;quot;http://foobazaar.com/wiki/skins/bootstrap/prefs.css&amp;quot;);&lt;br /&gt;
@import url(&amp;quot;http://foobazaar.com/wiki/skins/bootstrap/screen.css&amp;quot;);&lt;br /&gt;
@import url(&amp;quot;http://foobazaar.com/wiki/skins/bootstrap/theme.css&amp;quot;);&lt;br /&gt;
@import url(&amp;quot;http://foobazaar.com/wiki/skins/bootstrap/bootstrap/css/jquery-ui.min.css&amp;quot;);&lt;br /&gt;
@import url(&amp;quot;http://foobazaar.com/wiki/skins/bootstrap/bootstrap/css/font.css&amp;quot;);&lt;br /&gt;
@import url(&amp;quot;http://foobazaar.com/wiki/skins/bootstrap/bootstrap/css/typography.css&amp;quot;);&lt;br /&gt;
@import url(&amp;quot;http://foobazaar.com/wiki/skins/bootstrap/bootstrap/css/misc.css&amp;quot;);&lt;br /&gt;
@import url(&amp;quot;http://foobazaar.com/wiki/skins/bootstrap/extensions/BootStrapSkinBreadcrumbs/modules/ext.crumbs.css&amp;quot;);&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
@import url(http://fonts.googleapis.com/css?family=Abel|Titillium+Web:400,700,600,700italic,600italic,400italic|Architects+Daughter|Bangers|Quattrocento+Sans:400,700italic,400italic,700|PT+Mono);&lt;br /&gt;
&lt;br /&gt;
@import url(https://fonts.googleapis.com/css?family=Cinzel+Decorative|Lora);&lt;br /&gt;
&lt;br /&gt;
#bodyContent h1 {&lt;br /&gt;
 font-family:'Cinzel Decorative';&lt;br /&gt;
 font-size:1.7em;&lt;br /&gt;
 margin:10px 0px 5px;padding:0px;&lt;br /&gt;
}&lt;br /&gt;
&lt;br /&gt;
#bodyContent h2 {&lt;br /&gt;
 font-family:'Cinzel Decorative';&lt;br /&gt;
 font-size:1.5em;&lt;br /&gt;
 margin:10px 0px 5px;padding:0px;&lt;br /&gt;
}&lt;br /&gt;
&lt;br /&gt;
#content h1 {&lt;br /&gt;
 font-family:'Cinzel Decorative';&lt;br /&gt;
 font-size:1.7em;&lt;br /&gt;
 margin:10px 0px 5px;padding:0px;&lt;br /&gt;
}&lt;br /&gt;
&lt;br /&gt;
#content h2 {&lt;br /&gt;
 font-family:'Cinzel Decorative';&lt;br /&gt;
 font-size:1.5em;&lt;br /&gt;
 margin:10px 0px 5px;padding:0px;&lt;br /&gt;
}&lt;br /&gt;
&lt;br /&gt;
.h1 {&lt;br /&gt;
 font-family:'Cinzel Decorative';&lt;br /&gt;
 font-size:1.7em;&lt;br /&gt;
 margin:10px 0px 5px;padding:0px;&lt;br /&gt;
}&lt;br /&gt;
&lt;br /&gt;
.h2 {&lt;br /&gt;
 font-family:'Cinzel Decorative';&lt;br /&gt;
 font-size:1.5em;&lt;br /&gt;
 margin:10px 0px 5px;padding:0px;&lt;br /&gt;
}&lt;br /&gt;
&lt;br /&gt;
div.toc-mobile {&lt;br /&gt;
display:none;&lt;br /&gt;
}&lt;br /&gt;
&lt;br /&gt;
div.tocmobile {&lt;br /&gt;
display:none;&lt;br /&gt;
}&lt;br /&gt;
&lt;br /&gt;
h3, .h3 {font-size:1.3em;margin:10px 0px 5px;padding:0px;}&lt;br /&gt;
h4, .h4 {font-size:1.2em; margin:10px 0px 5px;padding:0px;}&lt;br /&gt;
h5, .h5 {font-size:1.1em; margin:10px 0px 5px;padding:0px;}&lt;br /&gt;
h6, .h6 {font-size:1em; margin:10px 0px 5px;padding:0px;}&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

	<entry>
		<id>http://foobazaar.com/wiki/index.php?title=MediaWiki:Mobile.css&amp;diff=8718</id>
		<title>MediaWiki:Mobile.css</title>
		<link rel="alternate" type="text/html" href="http://foobazaar.com/wiki/index.php?title=MediaWiki:Mobile.css&amp;diff=8718"/>
				<updated>2016-09-09T03:21:48Z</updated>
		
		<summary type="html">&lt;p&gt;Meambobbo: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;&lt;br /&gt;
@import url(&amp;quot;http://foobazaar.com/wiki/skins/bootstrap/bootstrap/css/bootstrap-blue.css&amp;quot;);&lt;br /&gt;
@import url(&amp;quot;http://foobazaar.com/wiki/skins/bootstrap/prefs.css&amp;quot;);&lt;br /&gt;
@import url(&amp;quot;http://foobazaar.com/wiki/skins/bootstrap/screen.css&amp;quot;);&lt;br /&gt;
@import url(&amp;quot;http://foobazaar.com/wiki/skins/bootstrap/theme.css&amp;quot;);&lt;br /&gt;
@import url(&amp;quot;http://foobazaar.com/wiki/skins/bootstrap/bootstrap/css/jquery-ui.min.css&amp;quot;);&lt;br /&gt;
@import url(&amp;quot;http://foobazaar.com/wiki/skins/bootstrap/bootstrap/css/font.css&amp;quot;);&lt;br /&gt;
@import url(&amp;quot;http://foobazaar.com/wiki/skins/bootstrap/bootstrap/css/typography.css&amp;quot;);&lt;br /&gt;
@import url(&amp;quot;http://foobazaar.com/wiki/skins/bootstrap/bootstrap/css/misc.css&amp;quot;);&lt;br /&gt;
@import url(&amp;quot;http://foobazaar.com/wiki/skins/bootstrap/extensions/BootStrapSkinBreadcrumbs/modules/ext.crumbs.css&amp;quot;);&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
@import url(http://fonts.googleapis.com/css?family=Abel|Titillium+Web:400,700,600,700italic,600italic,400italic|Architects+Daughter|Bangers|Quattrocento+Sans:400,700italic,400italic,700|PT+Mono);&lt;br /&gt;
&lt;br /&gt;
@import url(https://fonts.googleapis.com/css?family=Cinzel+Decorative|Lora);&lt;br /&gt;
&lt;br /&gt;
#bodyContent h1 {&lt;br /&gt;
 font-family:'Cinzel Decorative';&lt;br /&gt;
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 margin:0px;padding:0px;&lt;br /&gt;
}&lt;br /&gt;
&lt;br /&gt;
#bodyContent h2 {&lt;br /&gt;
 font-family:'Cinzel Decorative';&lt;br /&gt;
 font-size:1.5em;&lt;br /&gt;
 margin:0px;padding:0px;&lt;br /&gt;
}&lt;br /&gt;
&lt;br /&gt;
#content h1 {&lt;br /&gt;
 font-family:'Cinzel Decorative';&lt;br /&gt;
 font-size:1.7em;&lt;br /&gt;
 margin:0px;padding:0px;&lt;br /&gt;
}&lt;br /&gt;
&lt;br /&gt;
#content h2 {&lt;br /&gt;
 font-family:'Cinzel Decorative';&lt;br /&gt;
 font-size:1.5em;&lt;br /&gt;
 margin:0px;padding:0px;&lt;br /&gt;
}&lt;br /&gt;
&lt;br /&gt;
.h1 {&lt;br /&gt;
 font-family:'Cinzel Decorative';&lt;br /&gt;
 font-size:1.7em;&lt;br /&gt;
 margin:0px;padding:0px;&lt;br /&gt;
}&lt;br /&gt;
&lt;br /&gt;
.h2 {&lt;br /&gt;
 font-family:'Cinzel Decorative';&lt;br /&gt;
 font-size:1.5em;&lt;br /&gt;
 margin:0px;padding:0px;&lt;br /&gt;
}&lt;br /&gt;
&lt;br /&gt;
div.toc-mobile {&lt;br /&gt;
display:none;&lt;br /&gt;
}&lt;br /&gt;
&lt;br /&gt;
div.tocmobile {&lt;br /&gt;
display:none;&lt;br /&gt;
}&lt;br /&gt;
&lt;br /&gt;
h3, .h3 {font-size:1.3em;margin:0px;padding:0px;}&lt;br /&gt;
h4, .h4 {font-size:1.2em; margin:0px;padding:0px;}&lt;br /&gt;
h5, .h5 {font-size:1.1em; margin:0px;padding:0px;}&lt;br /&gt;
h6, .h6 {font-size:1em; margin:0px;padding:0px;}&lt;/div&gt;</summary>
		<author><name>Meambobbo</name></author>	</entry>

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