The fretboard should be making a bit more sense to you now. Its essential that you commit the five CAGED chord shapes to memory as we will be building the major scale around them. If you are confused as to what a major scale is theoretically, refer to Basic Music Theory 2: Major Scale. First lets take the key of G and find all the locations of the note ‘G’ on the fretboard: Now lets look at where the Gmaj CAGED shapes fall: G Shape: E Shape: D Shape: C Shape: A Shape: The not
Now you can start seeing some pattern with octaves, I’d like to introduce you to the CAGED system. This is another way of building a roadmap across the fretboard based off the basic open chord shapes: These are essentially all the shapes you need to successfully navigate the fretboard, so how do we use them? Well lets pretend that the nut of the guitar is actually a fret, lets move the C chord up a semi-tone so that open notes are now located on the 1st fret: It still has the
Now you understand how the tuning of the guitar effects chord shapes lets take it a step further. We will learn how to look for the patterns, keeping in mind that the B string affects the "symmetry" of the shapes and patterns. Lets start with finding the note G in all locations on the fretboard: Lets break it down into smaller chunks, boxes or patterns if you will. Also notice the fret spaces and string gaps between the pattern shapes. Shape 1: Shape 2: Shape 3: Shape 4: Shap
If we look at a guitar fretboard we can see the notes are laid quite differently when compared to a piano: The notes on a piano are presented to us in a more logic manner. Starting from the first note on the right side, the notes are in order and increase in pitch as we move from left to right. This is only true to guitar if we were to play a single string and move along the fretboard in a linear fashion: However due to the ergonomics of guitar and since we only have one hand
In live band situations musicians will communicate chord progressions often referring to numbers. For example, you turn up to a jam night and the band decide to play a song you’ve never played before. The conversation could go like this: You: “What are the chords?” Bandmate: “One, Four, Five in the key of G” You: “Huh?” When you hear musicians say this, they are referring to the chords as numbers (much like the numbering system we have for finding the notes for different chor
This is the ‘bread and butter’ of Western music. It consist of 7 notes derived from the 12 note chromatic scale. We can use the chromatic scale to find the notes of any major scale/ key using a very simple method. Lets look at the chromatic scale again: I. The distance between A and A#Bb is a semitone or half step (one fret). II. The distance between A and B is a tone or wholestep (twofrets).
III. Once we get to G#/Ab the notes cycle back round to A again. To find the notes o