Here we will show how the relative chords
appear by the DAE system on the guitar fretboard. Inother words how by looking at the fretboard we may find the harmonic structure of relaltive chords of a chord, directly on the fretboard. Also how the resolution of
chords by intervals of 4ths (dominant7th-root) also appear in the guitar
fretboard, using the DAE system. Again this is very susefull as we "see" the structure of harmony directly on the chord patterns on the fretboard. As the 24 cycle of chords (see post 32) is also
a rule of modulations, we will have how such a rule of modulations appears on
the guitar fretboard. Tonality then will be simple an arc of 6-chord on this 24
cycle. As the above method is beyond tonality , the concept of tonality and
modulation will not block us much when we play the chord progressions and
think the harmony we are playing.
The most direct representation of the 24-cycle of all chords is on the fretboard of 6-string bass or 6-string guitar which is tuned at all strings by pure 4ths.
Then this pattern of the chords appears naturally on the fretboard of a bass or guitar tuned on all chords by pure 4ths! In the next image we see only the positions or arpeggio of the Cmaj chord, and we can easily add the lower relative Am.Then put the same for all other positions of the other chords. The vertical direction from lower to higher notes is the same as the direction of the 24-cycle of chords. Every vertical path inside a fret, spans with 3 of the positions of the major chords a diatonic scale.
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.
The most direct representation of the 24-cycle of all chords is on the fretboard of 6-string bass or 6-string guitar which is tuned at all strings by pure 4ths.
Then this pattern of the chords appears naturally on the fretboard of a bass or guitar tuned on all chords by pure 4ths! In the next image we see only the positions or arpeggio of the Cmaj chord, and we can easily add the lower relative Am.Then put the same for all other positions of the other chords. The vertical direction from lower to higher notes is the same as the direction of the 24-cycle of chords. Every vertical path inside a fret, spans with 3 of the positions of the major chords a diatonic scale.
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
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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.
