THE USUAL 4 WAYS TO WALK INSIDE THE FRETBOARD ARE
1) By knowing patterns of scales
2) By knowing the shapes of chords, and then walk around the chord shapes
3) By knowing all the names of the notes of all the frets of the fretboard, based on the cycle of 4ths or and utilizing the 3 fretboard-neighborhoods. (e.g. see https://www.youtube.com/watch?v=AuS5wwr7MjI ) Probably the best method is the next based on the cycle of 4ths.
4) Without any mental image, but simply by the feeling of the desired note, and the feeling-familiarization of the fretboard.
Personally I utilize mainly the 2) By knowing the shapes of chords, and then walk around the chord shapes and the 4) Without any mental image, but simply by the feeling of the desired note, and the feeling-familiarization of the fretboard.
E.G. THE BEST WAY TO LEARN THE FRETBOARD IN ANY OPEN TUNING (E.G, OVERTONES TUNINGS OR THE CURRENT TUNING IN THIS POST) IS BY CONCEIVING THE FRETBOARD AS OF A DIATONIC INSTRUMENT, MARK THE DEFAULT PREFERED DIATONIC SCALE ON THE FRETBOARD, AND LEARN THE 3-NOTE CHORDS NORMAL FORMS (ON 3 CONSECUTIVE STRINGS) IN THIS SCALE AND TUNING.
THEN FIGURE OUT THE BASIC 3 INVERSIONS OF A TRIAD CHORD (EQUIVALENT TO THE DEA-SYSTEM) AND CORRESPOND TO EACH INVERSION D, OR E OR A, THE MODE OF THE DIATONIC SCALE THAT IT GIVES.
THEN LEARN THE MINOR CHORDS HARMONIC TRIPLET OF CHORDS AND MAJOR CHORDS HARMONIC TRIPLET OF CHORDS OF THE DIATONIC SCALE WITH ANY CONVENIENT INVERSION ON THE FREBOARD.
A super-simple way to discriminate between the 3 neighborhoods is to notice that
1) 1ST NEIGHBORHOOD: O-FRET All open chords , and surrounding notes (frets 0-3) constitute the 1st open neighborhood. (E.g. E, A. D, F, C ,G, B, etc)
As chords in the wheel of 4ths we count the
G(E shape 3rd fret)->C(A shape 3rd fret) ->F(D shape 3rd fret)
2) 2ND NEIGHBORHOOD: 5-FRET All open chords shifted 5-frets to the 5th fret (as if having put a capo at 5th fret) are also chords of the diatonic scale mainly without sharps or flats (A, D, G, Bb, F, C, E) . Playing in this neighborhood is like playing in a ukulele open chords.
As chords in the wheel of 4ths we count the
A(E shape 5th fret)->D(A shape 5th fret) ->G(D shape 5th fret)
3) 3RD NEIGHBORHOOD: 7-FRET All open chords shifted 7-frets to the 7th fret (as if having put a capo at 7th fret) are also chords of the diatonic scale mainly without sharps or flats (B, E, A, C, G ,D, F#)
As chords in the wheel of 4ths we count the
B(E shape 7th fret)->E(A shape 7th fret) ->A(D shape 7th fret)
The table of the 3 neighborhoods for this arc of chords in the wheel of 5ths is the next
These 3 are the LONGEST ARC IN THE WHEEL OF 4THS from chords with names without flats or sharps that are in a sequence as an arc in the wheel of 4ths, and that are the 3 neighborhoods. 3rd neighborhood (7E)B->(7A)E->(7D)A=2nd neighborhood (5E)A->(5A)D->(5D)G=1st neighborhood (3E)G-> (3A)C->(3D)F.
THERE ARE TWO WAYS THE THE WHEEL OF 4THS (OR 5THS) IS REPRESENTED WITH e, a, d SHAPE CHORDS IN THE FRETBOARD
1) THE FORWARD OR ASCENDING METHOD (NO REPETITION OF CHORDS)
2) THE BACKWARD DESCENDING METHOD WITH REPETITION ( A D-SHAPE CHORD IS NOMINALLY IDENTICAL WITH THE NEXT E-SHAPE CHORD
STILL THE LARGEST ARC OF CHORDS IN THE WHEEL OF 4THS WITHOUT FLATS OR SHARPS THAT IS REPRESENTED IN THE FRETBOARD IS WITH THE BACKWARD METHOD, AND IS ANALYZED IN POST 13 AS THE MAIN 3-NEIGHBORHOODS OF THE FRETBOARD, THE G (1ST), A (2ND) AND b (3RD).
THE STANDARD GUITAR TUNING IS ALMOST SUB-OPTIMAL IN REPRESENTING IN A QUITE SYMMETRIC WAY THE WHEEL OF 4THS IN THE CHORDS. PROBABLY THE BEST IN IN REPRESENTING IN A QUITE SYMMETRIC WAY THE WHEEL OF 4THS BY CHORDS IN NORMAL POSITION IS THE REGULAR TUNING BY 4THS. BUT IT HAS DIFFICULT SHAPES FOR THE INVERSIONS, WHILE THE STANDARD NOT SO MUCH.
Actually there is still another neighborhood at the 10th fret , but because it has two chords instead of one only with flats or sharps we do not stress it too much.
3) 4th NEIGHBORHOOD : 10-FRET All open chords shifted 10-frets to the 10th fret (as if having put a capo at 10th fret) are also chords of the diatonic scale mainly without sharps or flats (D, G, C, Eb, Bb, F, A) . Playing in this neighborhood is like playing in a Greek bouzouki open chords but one octave higher.
ASSUMING A KNOWLEDGE OF HOW TO COMBINE SOLO WITH OPEN CHORDS AT THE 1ST OPEN NEIGHBORHOOD, THEN THIS KNOWLEDGE IS IMMEDIATELY TRANSFERRED TO THE 2ND AND 3RD NEIGHBORHOOD, THEREFORE IT IS NOW A KNOWLEDGE OF HOW TO COMBINE CHORDS WITH SOLO ALL OVER THE FRETBOARD
E.g. we may start with s simple chord progression like Em, Am, Dm, G, C , B7
and by knowing it on the 3-neighborhoods we may start playing it, and then add solo, along e.g. the 3 or 4 higher strings, while at the same time in between soling we play also the chords in one of the 3 neighborhoods.
Here is a video thata applies this idea when playing a chord
https://www.youtube.com/watch?v=O4ejQ6gfMno&t=30s
Further analysis of these basic 3 neighborhoods is below.
As the roots of the chord shapes are on the e4-string by knowing the chord names we know the note names of the notes on the e4-string. Similarly for the D -shape and the notes on the b3-string. And similarly for the A-shapes and the notes on the g3-string. Finally, the notes on the d3-string are just the notes of the same fret on the e4-string and one note back. In this way we may learn all the notes without sharps and flats on the fretboard, in other words, method 3).
For the 2), I divide the chords to the major triad G-C-F and the minor triad Em-Am-Dm , and I learn these chords among the fretboard as two triads only. The chord B (or Bm) I learn separately.
For the minor triad Em-Am-Dm, there are two places with centers (5E)Am and (8D)Am, in other words, the
(2D)Em-(5E)Am-(5A)Dm and the
(7A)Em-(8D)Am-(10E)Dm
For the major triad G-C-F, there are also two places with centers (8E)C, and (3A)C in other words the
(5D)G-(8E)C-(8A)F and the
(3E)G-(3A)C-(3D)F
For the chord B we have also two places the (2A)B, and the (7E)B.
In this way besides the 1st neighborhood (or D or Low) of the open chords, we have the 2nd (or A or middle) which is the two triads
MIDDLE NEIGHBORHOOD
[(2D)Em-(5E)Am-(5A)Dm and (3E)G-(3A)C-(3D)F and (2A)B ]
and 3rd (or E or high) which is the
HIGH NEIGHBORHOOD [(7A)Em-(8D)Am-(10E)Dm and (5D)G-(8E)C-(8A)F and (7E)B]
OCTAVES AND NEIGHBORHOODS
1) The first neighborhood with the open chords covers mainly the 3-octave of the piano (c3, d3, e3, f3, g3, a3,b3) and the beginning of the 4th octave c4, d4, e4, f4, g4
2) The 2nd or middle neighborhood with its chords covers mainly the 4-octave of the piano (c4, d4, e4, f4, g4, a4,b4) and the end of the 3rd octave e3, f3, g3
3) The 3rd or high neighborhood with its chords covers also the 4th octave (c4, d4, e4, f4, g4, a4,b4).
4) The 4th or super-high neighborhood, which is a repetition of the 1st neighborhood 12 frets or 1 octave higher cover the 4th octave (c4, d4, e4, f4, g4, a4, b4) and a big part of the 5th octave c5, d5, e5, f5, g5.
Probably the best coverage of the 4th octave is the 3rd or high neighborhood.
ASCENDING OR DESCENDING AT WILL THE MELODIC BRIDGES IN CHORD CHANGES.
The alternative positions of the D, A, E shape chords in the 2nd, 3rd and 4th neighborhood of the fretboard has a utility by far more than just varying the sound and voicing of the chords! Its main utility is in creating melodic bridges among chords in chord transitions so that the bridge will be ascending or descending from one octave to a higher or lower, without altering its start and end chords! If we had to play these melodic bridges while playing at the same time only open chords we would have to alter ascending such bridges by re-entrance to a lower octave to descending and vice versa. But with the chords distributed among the 3 neighborhoods, we may do as we like with the ascending or descending character of the melodic bridges!
Notice that only in the middle neighborhood the minor triad is a bit higher than the major triad. In the low and high, the minor triad is a bit lower than the major triad.
It is a good practice to start playing a song in the middle neighborhood , and when we feel we want a chord lower to play the corresponding chord in the low or open neighborhood while if we feel we want the chord higher to play the corresponding chord of the high neighborhood.
Another good practice is to learn in such a way the fret-board is to play the chords of a known song, starting from the free chords and ascending all the fretboard till the 12th fret and then play it again descending from the 12-th fret to the 1st and the free chords. Always the same chords. This in addition creates a nice and reach sound of the harmony of the song, always with the same chord progression of it.
Still another very instructive practice is to learn the three relations of chord
1) resolution 2) relatives 3) complementary as the occur around minor chords of the three shapes E, A, D. If we learn
1) What major dominant 7nth chord shape resolves to a minor E or minor A or minor D shape ?
2) What are the two major relative chord shapes of a minor E or minor A or minor D shape ?
3) What is the complementary major chord shape closets up and closest down around a minor E or minor A or minor D shape ?
By having answered these 3 questions and practice their answers on the fret-board on the three neighborhoods, we have practically unlocked the whole of the fret-board as far as chords are concerned but also melodic bridges (see e.g. post 72) inside and around chords
To understand more the chords of the 3 neighborhoods we need also to understand how the wheel of chords by intervals of 4ths are placed in the fretboard. For this see post 44, or the last paragraph of the current post.
Personally I utilize mainly the 2) By knowing the shapes of chords, and then walk around the chord shapes and the 4) Without any mental image, but simply by the feeling of the desired note, and the feeling-familiarization of the fretboard.
E.G. THE BEST WAY TO LEARN THE FRETBOARD IN ANY OPEN TUNING (E.G, OVERTONES TUNINGS OR THE CURRENT TUNING IN THIS POST) IS BY CONCEIVING THE FRETBOARD AS OF A DIATONIC INSTRUMENT, MARK THE DEFAULT PREFERED DIATONIC SCALE ON THE FRETBOARD, AND LEARN THE 3-NOTE CHORDS NORMAL FORMS (ON 3 CONSECUTIVE STRINGS) IN THIS SCALE AND TUNING.
THEN FIGURE OUT THE BASIC 3 INVERSIONS OF A TRIAD CHORD (EQUIVALENT TO THE DEA-SYSTEM) AND CORRESPOND TO EACH INVERSION D, OR E OR A, THE MODE OF THE DIATONIC SCALE THAT IT GIVES.
THEN LEARN THE MINOR CHORDS HARMONIC TRIPLET OF CHORDS AND MAJOR CHORDS HARMONIC TRIPLET OF CHORDS OF THE DIATONIC SCALE WITH ANY CONVENIENT INVERSION ON THE FREBOARD.
A super-simple way to discriminate between the 3 neighborhoods is to notice that
1) 1ST NEIGHBORHOOD: O-FRET All open chords , and surrounding notes (frets 0-3) constitute the 1st open neighborhood. (E.g. E, A. D, F, C ,G, B, etc)
As chords in the wheel of 4ths we count the
G(E shape 3rd fret)->C(A shape 3rd fret) ->F(D shape 3rd fret)
2) 2ND NEIGHBORHOOD: 5-FRET All open chords shifted 5-frets to the 5th fret (as if having put a capo at 5th fret) are also chords of the diatonic scale mainly without sharps or flats (A, D, G, Bb, F, C, E) . Playing in this neighborhood is like playing in a ukulele open chords.
As chords in the wheel of 4ths we count the
A(E shape 5th fret)->D(A shape 5th fret) ->G(D shape 5th fret)
3) 3RD NEIGHBORHOOD: 7-FRET All open chords shifted 7-frets to the 7th fret (as if having put a capo at 7th fret) are also chords of the diatonic scale mainly without sharps or flats (B, E, A, C, G ,D, F#)
As chords in the wheel of 4ths we count the
B(E shape 7th fret)->E(A shape 7th fret) ->A(D shape 7th fret)
The table of the 3 neighborhoods for this arc of chords in the wheel of 5ths is the next
chords (E- shape)
|
|
| ||
1st neighborhood (3E)G
|
(3A)C
|
(3D)F
| ||
2nd neighborhood (5E)A
|
(5A)D
|
(5D)G
| ||
3rd neighborhood (7E)B
|
(7A)E
|
(7D)A
| ||
These 3 are the LONGEST ARC IN THE WHEEL OF 4THS from chords with names without flats or sharps that are in a sequence as an arc in the wheel of 4ths, and that are the 3 neighborhoods. 3rd neighborhood (7E)B->(7A)E->(7D)A=2nd neighborhood (5E)A->(5A)D->(5D)G=1st neighborhood (3E)G-> (3A)C->(3D)F.
THERE ARE TWO WAYS THE THE WHEEL OF 4THS (OR 5THS) IS REPRESENTED WITH e, a, d SHAPE CHORDS IN THE FRETBOARD
1) THE FORWARD OR ASCENDING METHOD (NO REPETITION OF CHORDS)
2) THE BACKWARD DESCENDING METHOD WITH REPETITION ( A D-SHAPE CHORD IS NOMINALLY IDENTICAL WITH THE NEXT E-SHAPE CHORD
STILL THE LARGEST ARC OF CHORDS IN THE WHEEL OF 4THS WITHOUT FLATS OR SHARPS THAT IS REPRESENTED IN THE FRETBOARD IS WITH THE BACKWARD METHOD, AND IS ANALYZED IN POST 13 AS THE MAIN 3-NEIGHBORHOODS OF THE FRETBOARD, THE G (1ST), A (2ND) AND b (3RD).
THE STANDARD GUITAR TUNING IS ALMOST SUB-OPTIMAL IN REPRESENTING IN A QUITE SYMMETRIC WAY THE WHEEL OF 4THS IN THE CHORDS. PROBABLY THE BEST IN IN REPRESENTING IN A QUITE SYMMETRIC WAY THE WHEEL OF 4THS BY CHORDS IN NORMAL POSITION IS THE REGULAR TUNING BY 4THS. BUT IT HAS DIFFICULT SHAPES FOR THE INVERSIONS, WHILE THE STANDARD NOT SO MUCH.
Actually there is still another neighborhood at the 10th fret , but because it has two chords instead of one only with flats or sharps we do not stress it too much.
3) 4th NEIGHBORHOOD : 10-FRET All open chords shifted 10-frets to the 10th fret (as if having put a capo at 10th fret) are also chords of the diatonic scale mainly without sharps or flats (D, G, C, Eb, Bb, F, A) . Playing in this neighborhood is like playing in a Greek bouzouki open chords but one octave higher.
ASSUMING A KNOWLEDGE OF HOW TO COMBINE SOLO WITH OPEN CHORDS AT THE 1ST OPEN NEIGHBORHOOD, THEN THIS KNOWLEDGE IS IMMEDIATELY TRANSFERRED TO THE 2ND AND 3RD NEIGHBORHOOD, THEREFORE IT IS NOW A KNOWLEDGE OF HOW TO COMBINE CHORDS WITH SOLO ALL OVER THE FRETBOARD
E.g. we may start with s simple chord progression like Em, Am, Dm, G, C , B7
and by knowing it on the 3-neighborhoods we may start playing it, and then add solo, along e.g. the 3 or 4 higher strings, while at the same time in between soling we play also the chords in one of the 3 neighborhoods.
Here is a video thata applies this idea when playing a chord
https://www.youtube.com/watch?v=O4ejQ6gfMno&t=30s
Further analysis of these basic 3 neighborhoods is below.
As the roots of the chord shapes are on the e4-string by knowing the chord names we know the note names of the notes on the e4-string. Similarly for the D -shape and the notes on the b3-string. And similarly for the A-shapes and the notes on the g3-string. Finally, the notes on the d3-string are just the notes of the same fret on the e4-string and one note back. In this way we may learn all the notes without sharps and flats on the fretboard, in other words, method 3).
For the 2), I divide the chords to the major triad G-C-F and the minor triad Em-Am-Dm , and I learn these chords among the fretboard as two triads only. The chord B (or Bm) I learn separately.
For the minor triad Em-Am-Dm, there are two places with centers (5E)Am and (8D)Am, in other words, the
(2D)Em-(5E)Am-(5A)Dm and the
(7A)Em-(8D)Am-(10E)Dm
For the major triad G-C-F, there are also two places with centers (8E)C, and (3A)C in other words the
(5D)G-(8E)C-(8A)F and the
(3E)G-(3A)C-(3D)F
For the chord B we have also two places the (2A)B, and the (7E)B.
In this way besides the 1st neighborhood (or D or Low) of the open chords, we have the 2nd (or A or middle) which is the two triads
MIDDLE NEIGHBORHOOD
[(2D)Em-(5E)Am-(5A)Dm and (3E)G-(3A)C-(3D)F and (2A)B ]
and 3rd (or E or high) which is the
HIGH NEIGHBORHOOD [(7A)Em-(8D)Am-(10E)Dm and (5D)G-(8E)C-(8A)F and (7E)B]
OCTAVES AND NEIGHBORHOODS
1) The first neighborhood with the open chords covers mainly the 3-octave of the piano (c3, d3, e3, f3, g3, a3,b3) and the beginning of the 4th octave c4, d4, e4, f4, g4
2) The 2nd or middle neighborhood with its chords covers mainly the 4-octave of the piano (c4, d4, e4, f4, g4, a4,b4) and the end of the 3rd octave e3, f3, g3
3) The 3rd or high neighborhood with its chords covers also the 4th octave (c4, d4, e4, f4, g4, a4,b4).
4) The 4th or super-high neighborhood, which is a repetition of the 1st neighborhood 12 frets or 1 octave higher cover the 4th octave (c4, d4, e4, f4, g4, a4, b4) and a big part of the 5th octave c5, d5, e5, f5, g5.
Probably the best coverage of the 4th octave is the 3rd or high neighborhood.
ASCENDING OR DESCENDING AT WILL THE MELODIC BRIDGES IN CHORD CHANGES.
The alternative positions of the D, A, E shape chords in the 2nd, 3rd and 4th neighborhood of the fretboard has a utility by far more than just varying the sound and voicing of the chords! Its main utility is in creating melodic bridges among chords in chord transitions so that the bridge will be ascending or descending from one octave to a higher or lower, without altering its start and end chords! If we had to play these melodic bridges while playing at the same time only open chords we would have to alter ascending such bridges by re-entrance to a lower octave to descending and vice versa. But with the chords distributed among the 3 neighborhoods, we may do as we like with the ascending or descending character of the melodic bridges!
Notice that only in the middle neighborhood the minor triad is a bit higher than the major triad. In the low and high, the minor triad is a bit lower than the major triad.
It is a good practice to start playing a song in the middle neighborhood , and when we feel we want a chord lower to play the corresponding chord in the low or open neighborhood while if we feel we want the chord higher to play the corresponding chord of the high neighborhood.
Another good practice is to learn in such a way the fret-board is to play the chords of a known song, starting from the free chords and ascending all the fretboard till the 12th fret and then play it again descending from the 12-th fret to the 1st and the free chords. Always the same chords. This in addition creates a nice and reach sound of the harmony of the song, always with the same chord progression of it.
Still another very instructive practice is to learn the three relations of chord
1) resolution 2) relatives 3) complementary as the occur around minor chords of the three shapes E, A, D. If we learn
1) What major dominant 7nth chord shape resolves to a minor E or minor A or minor D shape ?
2) What are the two major relative chord shapes of a minor E or minor A or minor D shape ?
3) What is the complementary major chord shape closets up and closest down around a minor E or minor A or minor D shape ?
By having answered these 3 questions and practice their answers on the fret-board on the three neighborhoods, we have practically unlocked the whole of the fret-board as far as chords are concerned but also melodic bridges (see e.g. post 72) inside and around chords
To understand more the chords of the 3 neighborhoods we need also to understand how the wheel of chords by intervals of 4ths are placed in the fretboard. For this see post 44, or the last paragraph of the current post.
E.g. see https://www.youtube.com/watch?v=d7-ZnzAqt0A
In the next we discuss the 3 fretboard-neighborhoods.
Mid: Frets 3-7: The A neighborhood (Chords G, C, F , Fm, E, Em, Am, A, D, Dm B, Bm and their 7ths)
(The instrument mainly focusing on this neighborhood, is the tenor Ukulele, which covers mainly the mezo soprano vocal range)
High Frets 7-13 : The E neighborhood (Chords G, C, F , Fm, E, Em, Am, A, D, Dm B, Bm and their 7ths)
(The instrument mainly focusing on this neighborhood, is the charango and the mandolin , which covers mainly the soprano vocal range)
The next is a table showing the symbols of the open chords in the three equivalent neighborhoods of the C-major scale (see post 23).
Open chord (D- neighborhood or 1st neighborhood )
|
A-neighborhood (frets 3-7)
|
E-neighborhood (frets 7-12)
|
C(o)
|
(3A)C
|
(8E)C
|
G(o),
|
(5D)G
|
(10A)G
|
F (=(1E)F)
|
(3D)F
|
(8A)F
|
E(=(0E)E)
|
(2D)E
|
(7A)E
|
A
|
(5E)A
|
(8D)A
|
D
|
(5A)D
|
(10E)D
|
B
|
(7E)B
|
(9D)B
|
Fm (=(1E)Fm)
|
(3D)Fm
|
(8A)Fm
|
Em
|
(2D)Em
|
(7A)Em
|
Am
|
(5E)Am
|
(8D)Am
|
Dm
|
(5A)Dm
|
(10E)Dm
|
Bm
|
(7E)Bm
|
(9D)Bm
|
We must notice here that, for the minimal 4-string or 4-double string instruments (see post 67), two chord shapes at two successive fretboard neighborhoods , may be chords of the same octave. E.g. for such instruments the chord A
The 1st guitar fretboard neighborhood is of course the next
The full 2nd guitar neighborhood is the next
But as a scale it is the next
And as 2nd part of the 2nd neighborhood linking with the 3rd neighborhood is the next pattern
The first part 3rd guitar fretboard neighborhood with its notes can be considered the next
Notice that the previous pattern of the diatonic scale starting from B , is as if they are used all strings at frets 7 ,8 and 10, except at 8th fret and 4th and 3rd string we have a shift by one semitone to higher and at the 7 fret 2nd string a note is missing. Inparticular all strings at thefret 10 are used. Notice that the strings 6th, 5th have the 3rd 1-string triad (see post 4) and the strings 4th,3rd the 2nd 1-string triad (post 4). The tring 2 only 2 notes, and string 1 again the 3rd 1-string triad. It is an easy to remember pattern
While the second part of the 3rd guitar neighborhood with its notes can be considered the next
(Notice that this pattern of the diatonic scale starting from D , is such that all are strings at frets 10, 12 are used, and additional at 9th fret one semitone lower at strings 4th, 3rd and one semitone higher at strings 6th 2nd, 1ist. Inparticular all strings at the frets 10 and 12 are used. Notice that the strings 4th, 3th have the 3rd 1-string triad (see post 4) and the strings 2nd,1st the 2nd 1-string triad (post 4). The 5th string only 2 notes, and 6th string 1 again the 2nd 1-string triad. It is an easy to remember pattern ). Notice that at the 10th fret and 9th fret , each string sounds the same note one octave lower compared to the 2nd next open string. This is a unique fret in the fretboard , that this happens for the guitar
Th full 3rd neighborhood (frets 7-13 ) is the next
It is also instructive have an image of where the semitone notes of the C major scale E-F, and B-C are found in the fretboard, as they are characteristic symmetric places. We notice that there are essential two skew sequences , this starting from B=(String 5,Fret 2) and ending at C=(string 1, fret 8) and the skew sequence starting from B=(string 6, fret 7) and ending F=(string 1, fret 13)
THE PREVIOUS PATTERNS OF THE THREE NEIGHBORHOODS OF THE GUITAR, AS FAR AS SOLOING IS CONCERNED, CAN BE IMPROVISED, AS IF OF THE C MAJOR SCALE RANDOMLY OR WITH A PARTICULAR SOLO. THEN KNOWING BY THE FEELING AND WITH HE SUBCONSCIOUS MEMORY THE SOUNDS OF ALL THESE NOTES ON THE FRETBOARD, WE ALSO KNOW THE SOUND OF THEIR ONE SEMITONE AWAY NOTES, THUS WE "KNOW" BY FEELINGS, THE SOUND OF ALL NOTES OF THE FRETBOARD.
Here is an application of the 3 neighborhoods of the guitar on the chords A, E, F#m, D,
(see also post 23 )
https://www.youtube.com/watch?v=aO1XZJvFXu8
4 ways to visualize the fretboard
https://www.youtube.com/watch?v=d7-ZnzAqt0A
PLACING THE WHEEL OF 4THS OF CHORDS ON THE FRETBOARD (SEE ALSO POST 44)
1) By knowing patterns of scales
2) By known the shapes of chords, and then walk around the chord shapes
3) By knowing all the names of the notes of all the frets of the fretboard
4) Without any mental image, but simply by the feeling of the desired note, and the feeling-familiarization of the fretboard.
E.g. see https://www.youtube.com/watch?v=d7-ZnzAqt0A
The best way to learn the fretboard is without mental images but only the feeling of the notes at each fret.But this takes too much practice and familiarization with the fretboard.
Here we list the chords of shapes E, A, D,on the notes of the e4-string
e4, g4, a4, b4, d5,
When adding the minor chords of the diatonic scale, if the roots is an A-shape we have the following positions
I=(nA)I, ii=((n+2)Am)ii , iii= ((n-1)D)iii, (nD)IV, V=(nE)V, vi=((n+2)Em)vi
In short the three main major chords I, IV, V are the
I=(nA)I, IV=((n)D)IV, V=(nE)V.
In relation with the 24-chords cycle of chords by intervals of 4ths the DAE system has the next keys and correspondences (with the symbolism of chords on the fretboard as in post 23 ).
The sequence X=(nE)Y1, X+1=((n)A)Y2, X+2=((n)D)Y3 is of course a vertical sequenceof chords in thefretbaird and a sequence of 3 successive chords in the cycle of 4ths and symbols of post 34. Now after the X+2=((n)D)Y3, the cycle of 4ths continues either lower in the fretboard or higher in the fretboard
1) Lower in the fretboard is X+3=((n-2)A)Y4
2) Higher in the fretboard is X+3=((n+3)E)Y4
From this point of view, the area of the open chords of the guitar, is simply two such vertical 3-sequences of chords on the cycle of 4ths, as the C-shape is essentially a ((n-3)D)Y chord and D-shape and the G-shape is a ((n-2)A)Y chord and A-shape.
PLAYING ANY DIATONIC SCALE MORE CONVENIETLY (MAXIMAL SYMMETRY) FROM ITS MYXOLYDIAN MODE ON 3 STRINGS AND 6 FRETS
4 ways to visualize the fretboard
https://www.youtube.com/watch?v=d7-ZnzAqt0A
PLACING THE WHEEL OF 4THS OF CHORDS ON THE FRETBOARD (SEE ALSO POST 44)
THE USUAL 4 WAYS TO WALK INSIDE THE FRETBOARD ARE
1) By knowing patterns of scales
2) By known the shapes of chords, and then walk around the chord shapes
3) By knowing all the names of the notes of all the frets of the fretboard
4) Without any mental image, but simply by the feeling of the desired note, and the feeling-familiarization of the fretboard.
E.g. see https://www.youtube.com/watch?v=d7-ZnzAqt0A
The 5 -triads in successive resolution harmonic relation on the fretboard.
The best way to learn the fretboard is without mental images but only the feeling of the notes at each fret.But this takes too much practice and familiarization with the fretboard.
On the other hand the best way to learn all the fretboard through mental images,rather than feeling,is not by patterns of scales, neither by the names of all the notes of the frets, but rather with sufficient many chord-shapes that almost cover all the fretboard. And even better if these chords are organized in to easy repeating patterns. Here we describe a method, based on the triads of chords in shapes of E, A, D, so that each is relative to its previous, at the harmonic relation of successive resolution in the cycle of 4ths (see also post 30, 23).
Here we list the chords of shapes E, A, D,on the notes of the e4-string
e4, g4, a4, b4, d5,
For the symbolism of chords placed on the fretboard, see post 23
chords (E- shape)
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e4 (0E)E
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(0A)A
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(0D)D
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g4 (3E)A
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(3A)C
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(3D)F
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a4 (5E)A
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(5A)D
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(5D)G
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b4 (7E)B
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(7A)E
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(7D)A
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d5 (10E)D
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(10A)G
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(10D)C
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When adding the minor chords of the diatonic scale, if the roots is an A-shape we have the following positions
With A-shape as root, where the I, and V are on the same fret. In the symbolism of post 23 the (nA)X means at n-th fret play the shape A and it sounds as chord X. Here instead of X we will utilize the Latin symbols of the steps in a major scale, as it is standard in Jazz with small if the chord is minor and capital if the chord is major
So the chords I, ii, iii, IV, V, vi, vii, are played on the fretboard only as shapes A and E as follows
I=(nA)I, ii=((n+2)Am)ii , iii= ((n-1)D)iii, (nD)IV, V=(nE)V, vi=((n+2)Em)vi
vii=((n-1)dim7)vii.
In short the three main major chords I, IV, V are the
I=(nA)I, IV=((n)D)IV, V=(nE)V.
As for the equivalence of chords in different positions and shapes on the fretboard for the shapes D, A and E hold the rules
1)The D shape sounds as the same chord with A shape 5 frets higher , In symbols e.g. (1D)D=(5A)D and in general (nD)X=((n+5)A)X
2) The A shape sounds as the same chord with E shape 5 frets higher , In symbols e.g. (1A)A=(5E)A and in general (nA)X=((n+5)E)X
3) The E shape sounds as the same chord with D shape 2 frets higher , In symbols e.g. (1E)E=(2D)E and in general (nE)X=((n+2)D)X
In relation with the 24-chords cycle of chords by intervals of 4ths the DAE system has the next keys and correspondences (with the symbolism of chords on the fretboard as in post 23 ).
The sequence X=(nE)Y1, X+1=((n)A)Y2, X+2=((n)D)Y3 is of course a vertical sequenceof chords in thefretbaird and a sequence of 3 successive chords in the cycle of 4ths and symbols of post 34. Now after the X+2=((n)D)Y3, the cycle of 4ths continues either lower in the fretboard or higher in the fretboard
1) Lower in the fretboard is X+3=((n-2)A)Y4
2) Higher in the fretboard is X+3=((n+3)E)Y4
From this point of view, the area of the open chords of the guitar, is simply two such vertical 3-sequences of chords on the cycle of 4ths, as the C-shape is essentially a ((n-3)D)Y chord and D-shape and the G-shape is a ((n-2)A)Y chord and A-shape.
