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Learn MoreMaster The Fretboard
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Master The Fretboard
The Ultimate Guide To Fretboard Visualisation, Scales, Modes & Intervals
Created byBobby Harrison
Last updated 1/2024
English
What you'll learn
- Gain complete command of the guitar fretboard.
- Develop the visualisation tools to play any scale, chord, triad or arpeggio in any key, anywhere on the neck.
- Develop a deep understanding of the modal system.
- Make musical decisions more quickly by greatly improving both improvisation and composition skills.
- Learn the CAGED System and the Three-Note-Per-String System.
- Explore the 6-Position System, The Intevallic, Formula Based Approach and the Pentatonic Framework Approach.
- Instantly recall any note on the fretboard.
- Gain confidence by eliminating guess-work.
- Never get lost on the fretboard again!
Explore related topics
Course content
4 sections • 56 lectures • 6h 27m total length
- Introduction3:38
If you’ve always wanted to instantly be able to play any scale, chord or arpeggio in any key, all over the neck, look no further than this series of lessons. Weighing in at almost 6 and a half hours and comprising 80 pages of pdfs and 13 backing tracks, this course is a comprehensive as it gets!
Fretboard knowledge is very important when it comes to both improvisation and composition. There are many ways to learn the guitar's neck: There’s the CAGED system, which is based on learning 5 positions; the 3-note-per-string system, which is based on 7 positions; there’s a 6 position system; the intervallic, formula-based system; a system in which we relate all of our information back to the pentatonic scale…the list goes on.
One important thing to remember is that these methods are all just different ways of viewing and processing the same information. If you have followed Levels 1-4 of the blues course, you will have worked with several of these systems already, in all but name.
Over the next 56 lessons, we will delve deep into the world of fretboard knowledge, looking at all of the best known methods for visualising and playing scales, chords, triads and arpeggios.
Additionally, we will study the modal system in depth, working with several backing tracks and learning some cool, rock-based solos.
This series is largely theory based and packed full of information. It is recommended that you print out and study the included tab and fretboard diagrams and watch through this series at least once without your guitar. This will allow you to get a feel for which system (or combination of systems) works for the way you want to play.
As a thank you for taking this course, here's a free bonus course from my website, all about Blues Rock Phrasing: https://bobbyharrison.com/p/blues-rock-phrasing-for-electric-guitar
- Locating The Notes On The Neck (part 1)10:00
Fretboard visualisation begins with being able to instantly locate any note, anywhere on the neck. Note recall is an essential skill to have. In order to play scales, chords, triads and arpeggios, we first need be able to find our root notes.
The next 3 lessons serve as single-note finding exercises. If you feel confident that your note locating skills are already in good shape, feel free to skip this and the following two lessons and move onto learning the CAGED system.
- Locating The Notes On The Neck (part 2)6:26
We continue our note-finding exercise by learning the notes on the D, G and B strings and finding out how to locate octaves.
As before, if you feel confident that your note locating skills are already in good shape, feel free to skip this and the following lesson and move onto learning the CAGED system.
- Locating The Notes On The Neck (part 3)11:36
We continue our note-finding exercise by learning the incredibly useful ‘Diamond/Zig-Zag’ formula for visualising notes on the neck.
Once again, if you feel confident that your note locating skills are already in good shape, feel free to skip this lesson and move onto learning the CAGED system.
- Introducing The CAGED System: CAGED Major Chord Shapes13:39
The CAGED system is many a guitarist’s go-to method for learning the fretboard. Contrary to popular belief, the use of the word “Caged” doesn’t mean that we’re restricted to box shapes. In this context, quite the opposite is true. The word serves as an acronym, since we will effectively be spelling out the word “CAGED” on the neck.
This fantastic system allows us to visualise and play any chord, triad, arpeggio, pentatonic and 7-note scale by simply learning 5 positions, based on the chords of C, A, G, E and D.
In this first lesson, we learn 5 shapes for the C major chord, using the CAGED system.
- CAGED Major Chord Shapes In Other Keys5:01
Now that we’ve learned 5 shapes for the C major chord, using the CAGED system, we can apply this knowledge to any key. I have deliberately not included diagrams for this lesson as the purpose of the exercise is to work out chord shapes in other keys, using the information you have learned from the key of C.
- CAGED Major Triad Arpeggios (part 1)8:10
Now it’s time to learn and visualise triad arpeggios using the CAGED system. We begin by taking a look at how triads and chords are formed.
- CAGED Major Triad Arpeggios (part 2)6:23
Spelling the word ‘CAGED’, we begin learning five C major triad arpeggios, relating our information back to the visual reference points of the five CAGED anchor chords.
- CAGED Major Triad Arpeggios (part 3)5:52
We continue to learn the five CAGED shapes for the C major triad arpeggio, before switching briefly to the key of G to see just how easy it is to apply the CAGED system to any key.
- CAGED Major Pentatonic Scale Shapes10:53
Spelling the word ‘CAGED’, we learn the five shapes of the major pentatonic scale, relating all of our information back to the visual reference points of the five CAGED anchor chords.
- CAGED Seven Note Major Scale Shapes (part 1)5:39
Spelling the word ‘CAGED’, we begin learning the five shapes of the 7 note major scale, relating all of our information back to the visual reference points of the five CAGED anchor chords.
Included in the downloads is a very useful 11 page cross-reference booklet that compares chords, triads, arpeggios and scales from each position within the CAGED system, in major and minor keys. This will greatly assist fretboard visualisation. Some of the shapes in the booklet haven’t yet been taught in this tutorial, but rest assured, they will be covered later in the course.
- CAGED Seven Note Major Scale Shapes (part 2)5:58
Spelling the word ‘CAGED’, we continue to learn the five shapes of the 7 note major scale, relating all of our information back to the visual reference points of the five CAGED anchor chords.
- CAGED Seven Note Major Scale Shapes (part 3)6:28
Spelling the word ‘CAGED’, we finish learning the five shapes of the 7 note major scale, relating all of our information back to the visual reference points of the five CAGED anchor chords.
- CAGED Minor Chord Shapes6:43
The CAGED system is as applicable to minor chords, arpeggios and scales as it is to major keys. In this lesson, we will learn 5 minor chord shapes using the CAGED system.
- CAGED Minor Triad Arpeggios7:18
Spelling the word ‘CAGED’, we learn five minor triad arpeggios, relating all of our information back to the visual reference points of the five minor CAGED anchor chords.
- CAGED Minor Pentatonic Scale Shapes4:06
Spelling the word ‘CAGED’, we learn the five shapes of the minor pentatonic scale, relating all of our information back to the visual reference points of the five CAGED anchor chords. If you have followed the levels 1-4, you will already be very familiar with these scale shapes.
Since we are now working in the key of A minor, our scale shapes look exactly the same on the neck as the C major pentatonic scales we learned a few lessons ago. This is because A minor is the relative minor to the key of C major. The only difference this time around is that we need to change our root notes from C to A.
- CAGED Seven Note Minor Scale Shapes6:53
Spelling the word ‘CAGED’, we learn the five shapes of the natural minor scale, relating all of our information back to the visual reference points of the five CAGED anchor chords.
Since we are now working in the key of A minor, our scale shapes look exactly the same on the neck as the seven note C major scales we learned a few lessons ago. This is because A minor is the relative minor to the key of C major. The only difference this time around is that we need to change our root notes from C to A.
We conclude the lesson with a brief discussion about the modes of the major scale. We will be covering modes in depth later in this course. However, if the concept of the modal system seems daunting at this stage, it may be reassuring to know that by learning the major and minor seven note scales, we have already covered two of the seven modes, in all but name: Ionian (major) and Aeolian (natural minor).
- Different Ways To Practice The CAGED System10:52
In this lesson, we look at some different methods for practicing the CAGED system, including improvisation tips for connecting the shapes; practicing in different keys using the circle/cycle of fifths and some tips on using the CAGED system in rhythm guitar playing and songwriting.
- Major 7th Chords And Arpeggios Using The CAGED System11:16
You may be wondering if it’s possible to apply the CAGED system to extended chords, such as major 7th, minor 7th and dominant 7th shapes. The great news is that the five CAGED shapes lend themselves very well to these chord types, as well as their corresponding arpeggios.
In this lesson, we will learn the five CAGED shapes for the major 7th chords and arpeggios.
- Dominant 7th Chords And Arpeggios Using The CAGED System10:36
In this lesson, we will learn the five CAGED shapes for the dominant 7th chords and arpeggios.
- Minor 7th Chords And Arpeggios Using The CAGED System8:52
In this lesson, we will learn the five CAGED shapes for the minor 7th chords and arpeggios.
- Introducing The Three-Note-Per-String System2:26
The ‘three-note-per-string’ or ‘3NPS’ system is as self-explanatory as the name suggests. Simply put, it requires us to learn scale shapes that feature three notes per string, as opposed to the three-note/two-note per string combinations of the CAGED system.
The 3NPS system is popular among rock, fusion and shred guitarists as it’s very effective when playing fast, legato, alternate picking, economy picking, tapping and string skipping lines.
So how do three-note-per-string scales differ from our CAGED system scales?
It’s important to know that although the shapes may look different on the neck, we are still working with the same notes and that a 3NPS scale is essentially the overlap of two CAGED scales. However, 3NPS scales require a wider stretch than the CAGED scale shapes. Unlike the 5-shape-based CAGED system, the three-note-per-string system is based on 7 patterns, each starting from a different note of the major scale.
- Learning The Three-Note-Per-String System (part 1)6:08
Over the next two lessons, we will learn all 7 three-note-per-string shapes for the scale of C major.
- Learning The Three-Note-Per-String System (part 2)8:00
In this lesson, we continue to learn the 7 three-note-per-string shapes for the scale of C major.
- Converting CAGED Scale Shapes To Three-Notes-Per-String5:59
The scales of the CAGED System contain a mixture of three and two notes per string. Did you know that whenever you encounter a CAGED shape that only has two notes on a string (for example, the notes of G and A in the key of C), you can find the next scale note by simply moving outside of the shape by 2 frets in either direction? This allows us to convert the scale into a 3NPS scale and can greatly minimise our chances of getting lost on the neck while soloing.
- Introducing The Modal System4:07
What is a mode? A mode is a scale. The major scale contains 7 modes, each built from one of its 7 notes.
You may have heard the names: Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian and Locrian. If not, you will certainly have heard their sounds on many popular recordings, in all styles of music. These are the modes of the major scale. Although there are other, more exotic modes (built from scales such as the melodic minor and harmonic minor), the seven modes of the major scale are perhaps the most commonly used in modern music.
The next few lessons will give us a deep understanding of the modes of the major scale. It is important to understand that, although we will be taking all of our information from the major scale, our seven modes are not all overtly happy sounding major scales. They vary wildly in tonality, from the rich and etherial lydian mode to the dark and moody phrygian sound.
The modal system is as much about what’s happening underneath our solos as it is about the notes we play. The use of modes is not limited to lead guitar. Songwriters can also use modes to great effect, implying a modal sound with chord progressions.
Let’s get to grips with the modal system…
- The Parent Scale10:57
For our introduction to the modal system, all of our information is will be coming from the scale of C major. The diatonic scale upon which we base all 7 of our modes on is called the parent scale.
- Harmonising The Major Scale Using Chords (part 1)5:53
In order to truly understand the modal system, we need to learn how to harmonise the major scale using chords. All of our information will be coming from the parent scale of C major.
- Harmonising The Major Scale Using Chords (part 2)6:18
We begin with a deeper explanation of how diatonic harmony works, before building a C major scale using major 7th, minor 7th, dominant 7th and minor 7 flat 5 chords.
- Modal Accompaniment4:15
In this video, we look at few more examples of how the modal system is as much about what’s going on underneath as it is about the notes we play in our solos.
- The Modes In Essence4:16
Before we look at each of the 7 modes of the major scale in isolation, let’s examine a common misconception that leads many musicians to believe that they understand how modes work. This method is actually partly correct, but in order to fully understand the modal system, we also need to explore the harmonic properties or each mode separately.
- The Ionian Mode In Isolation7:06
Exploring the harmonic properties of each mode separately, we take a closer look at the Ionian mode. Instead of relating all of our information back to the parent scale, this time, we will start each modal scale on the same root note and compare its intervals and characteristic notes to the major scale, before hearing it in context over a backing track.
- The Dorian Mode In Isolation3:42
Exploring the harmonic properties of each mode separately, we take a closer look at the Dorian mode. Instead of relating all of our information back to the parent scale, this time, we will start each modal scale on the same root note and compare its intervals and characteristic notes to the major scale, before hearing it in context over a backing track.
- The Phrygian Mode In Isolation3:37
Exploring the harmonic properties of each mode separately, we take a closer look at the Phrygian mode. Instead of relating all of our information back to the parent scale, this time, we will start each modal scale on the same root note and compare its intervals and characteristic notes to the major scale, before hearing it in context over a backing track.
Please be aware that Phrygian is not a popular scale choice for soloing over *static minor 7th chords, due to the fact that the flat 2nd (also known as the flat 9th) & flat 6th degrees have a tendency to clash with the root and the 5th respectively. Dorian is arguably a more musical scale choice when playing over static minor 7th chords.
*’Static’ simply means a song or section of a song that stays on one chord.
- The Lydian Mode In Isolation3:36
Exploring the harmonic properties of each mode separately, we take a closer look at the Lydian mode. Instead of relating all of our information back to the parent scale, this time, we will start each modal scale on the same root note and compare its intervals and characteristic notes to the major scale, before hearing it in context over a backing track.
- The Mixolydian Mode In Isolation4:29
Exploring the harmonic properties of each mode separately, we take a closer look at the Mixolydian mode. Instead of relating all of our information back to the parent scale, this time, we will start each modal scale on the same root note and compare its intervals and characteristic notes to the major scale, before hearing it in context over a backing track.
- The Aeolian Mode In Isolation3:44
Exploring the harmonic properties of each mode separately, we take a closer look at the Aeolian mode. Instead of relating all of our information back to the parent scale, this time, we will start each modal scale on the same root note and compare its intervals and characteristic notes to the major scale, before hearing it in context over a backing track.
Be aware that Aeolian is not the most popular scale choice for soloing over static minor 7th chords, due to the fact that the flat 6th degree can clash with the perfect 5th. Dorian is arguably a more musical scale choice when playing over static minor 7th chords.
- The Locrian Mode In Isolation5:00
Exploring the harmonic properties of each mode separately, we take a closer look at the Locrian mode. Instead of relating all of our information back to the parent scale, this time, we will start each modal scale on the same root note and compare its intervals and characteristic notes to the major scale, before hearing it in context over a backing track.
- Applying The Modes To Real-World Musical Situations4:39
Now that we’ve examined each of our 7 modes and their characteristic notes, we return to working with the modes diatonically, once again, taking all of our information from the parent scale of C major. With our newly acquired knowledge of the intervals that make up each modal scale, we should now be able to make more musical, harmonically aware choices when soloing, rather than simply running up and down scale shapes.
- Practical Soloing - The Ionian Mode4:10
In this lesson, we will learn a solo using the C ionian Mode (also known simply as the C major scale), over a typically ionian chord progression. This solo highlights the characteristic notes of the ionian mode.
It’s important to remember that all of our information, both in our solo and in the chords beneath, comes from our parent scale of C major. In addition to learning the solo, we will discuss any additional diatonic arpeggios and pentatonic scale ideas we can use, along with our 7 note scales, when soloing over this backing track.
The solos I played in this section are merely suggestions. If you want to increase your vocabulary and learn some new licks, by all means, learn the solos note-for-note, but it’s more important to simply experiment with and explore each scale while having fun with the backing tracks.
As a bonus, I have also included the Guitar Pro (.gp) files, for the benefit of those with the Guitar Pro software by Arobas Music. It's not essential that you have this software, but the interactive TAB can be fun!
- Practical Soloing - The Dorian Mode8:08
In this lesson, we will learn a solo using the D dorian Mode, over a typically dorian chord progression. This solo highlights the characteristic notes of the dorian mode.
It’s important to remember that all of our information, both in our solo and in the chords beneath, comes from our parent scale of C major. In addition to learning the solo, we will discuss any additional diatonic arpeggios and pentatonic scale ideas we can use, along with our 7 note scales, when soloing over this backing track.
The solos I played in this section are merely suggestions. If you want to increase your vocabulary and learn some new licks, by all means, learn the solos note-for-note, but it’s more important to simply experiment with and explore each scale while having fun with the backing tracks.
As a bonus, I have also included the Guitar Pro (.gp) files, for the benefit of those with the Guitar Pro software by Arobas Music. It's not essential that you have this software, but the interactive TAB can be fun!
- Practical Soloing - The Phrygian Mode5:18
In this lesson, we will learn a solo using the E phrygian Mode, over a typically phrygian chord progression. This solo highlights the characteristic notes of the phrygian mode.
It’s important to remember that all of our information, both in our solo and in the chords beneath, comes from our parent scale of C major. In addition to learning the solo, we will discuss any additional diatonic arpeggios and pentatonic scale ideas we can use, along with our 7 note scales, when soloing over this backing track.
The solos I played in this section are merely suggestions. If you want to increase your vocabulary and learn some new licks, by all means, learn the solos note-for-note, but it’s more important to simply experiment with and explore each scale while having fun with the backing tracks.
As a bonus, I have also included the Guitar Pro (.gp) files, for the benefit of those with the Guitar Pro software by Arobas Music. It's not essential that you have this software, but the interactive TAB can be fun!
- Practical Soloing - The Lydian Mode6:49
In this lesson, we will learn a solo using the F lydian mode, over a typically lydian chord progression. This solo highlights the characteristic notes of the lydian mode.
It’s important to remember that all of our information, both in our solo and in the chords beneath, comes from our parent scale of C major. In addition to learning the solo, we will discuss any additional diatonic arpeggios and pentatonic scale ideas we can use, along with our 7 note scales, when soloing over this backing track.
The solos I played in this section are merely suggestions. If you want to increase your vocabulary and learn some new licks, by all means, learn the solos note-for-note, but it’s more important to simply experiment with and explore each scale while having fun with the backing tracks.
As a bonus, I have also included the Guitar Pro (.gp) files, for the benefit of those with the Guitar Pro software by Arobas Music. It's not essential that you have this software, but the interactive TAB can be fun!
- Practical Soloing - The Mixolydian Mode7:07
In this lesson, we will learn a solo using the G mixolydian mode, over a typically mixolydian chord progression. This solo highlights the characteristic notes of the mixolydian mode.
It’s important to remember that all of our information, both in our solo and in the chords beneath, comes from our parent scale of C major. In addition to learning the solo, we will discuss any additional diatonic arpeggios and pentatonic scale ideas we can use, along with our 7 note scales, when soloing over this backing track.
The solos I played in this section are merely suggestions. If you want to increase your vocabulary and learn some new licks, by all means, learn the solos note-for-note, but it’s more important to simply experiment with and explore each scale while having fun with the backing tracks.
As a bonus, I have also included the Guitar Pro (.gp) files, for the benefit of those with the Guitar Pro software by Arobas Music. It's not essential that you have this software, but the interactive TAB can be fun!
- Practical Soloing - The Aeolian Mode5:08
In this lesson, we will learn a solo using the A aeolian mode (otherwise known as the A natural minor scale), over a typically aeolian chord progression. This solo highlights the characteristic notes of the aeolian mode.
It’s important to remember that all of our information, both in our solo and in the chords beneath, comes from our parent scale of C major. In addition to learning the solo, we will discuss any additional diatonic arpeggios and pentatonic scales we can use, along with our 7 note scale ideas, when soloing over this backing track.
The solos I played in this section are merely suggestions. If you want to increase your vocabulary and learn some new licks, by all means, learn the solos note-for-note, but it’s more important to simply experiment with and explore each scale while having fun with the backing tracks.
As a bonus, I have also included the Guitar Pro (.gp) files, for the benefit of those with the Guitar Pro software by Arobas Music. It's not essential that you have this software, but the interactive TAB can be fun!
- Practical Soloing - The Locrian Mode6:18
In this lesson, we will learn a solo using the B locrian mode, over a typically locrian chord progression. This solo highlights the characteristic notes of the locrian mode.
It’s important to remember that all of our information, both in our solo and in the chords beneath, comes from our parent scale of C major. In addition to learning the solo, we will discuss any additional diatonic arpeggios and pentatonic scale ideas we can use, along with our 7 note scales, when soloing over this backing track.
The solos I played in this section are merely suggestions. If you want to increase your vocabulary and learn some new licks, by all means, learn the solos note-for-note, but it’s more important to simply experiment with and explore each scale while having fun with the backing tracks.
As a bonus, I have also included the Guitar Pro (.gp) files, for the benefit of those with the Guitar Pro software by Arobas Music. It's not essential that you have this software, but the interactive TAB can be fun!
- Using The CAGED System To Visualise Modes6:28
Previously, when we studied the CAGED system, we viewed it as 5 major (ionian) and 5 natural minor (aeolian) scales before moving onto the three-note-per-string system. The three-note-per-string system is a good starting point for visualising the 7 modal scales all over the neck, as it presents us with 7 shapes, starting from a different note of the parent scale each time.
However, now that we’re familiar with the 7 modes of the major scale, it’s possible to visualise modal scales using the 5 shapes of the CAGED system.
All examples on the PDF use the parent scale of C major. However, this concept can, of course, be transposed to all 12 keys.
- The ‘Pentatonic Framework’ Approach To Learning The Neck6:55
A lot of blues-based players learn the fretboard by relating all of their information back to the closest major or minor pentatonic scale in its 5 CAGED positions. Since the pentatonic scale contains 5 of the 7 notes of any diatonic scale or mode, we can use pentatonic scales as our core framework and add any additional colour tones to the template whenever we wish to imply a more modal sound.
- The Intervallic, Formula-Based Approach To Learning The Fretboard (part 1)3:37
The intervallic, formula-based approach has become my preferred way of learning the guitar neck and visualising scales, chords and arpeggios all over the fretboard. I really cannot praise the merits of this system highly enough, as I feel it allows us to solo in a much more musical, creative and harmonically aware manner.
Learning this system can take a lot of homework, since it requires us to memorise the intervals and formulas of each scale. However, once we start to view the fretboard this way, we can greatly reduce our chances of getting lost mid solo, especially when playing over complex chord changes.
The beauty of this system is that it can reinforce, rather than contradict our existing methods for learning the neck, such as the CAGED or the Three-Note-Per-String systems. Used as a standalone system, it can save us from having to learn and memorise hundreds of scale shapes or resort to relying on muscle memory.
- The Intervallic, Formula-Based Approach To Learning The Fretboard (part 2)8:12
We begin learning the intervallic, formula-based approach by locating every minor third interval on the neck, in relation to our root note of A.
In order to better learn these intervals, please refer to the fretboard diagrams on the lesson sheets.
- The Intervallic, Formula-Based Approach To Learning The Fretboard (part 3)8:46
We continue learning the intervallic, formula-based approach by locating every perfect fourth, perfect fifth and flat seventh interval on the neck, in relation to our root note of A. Our aim is to visualise the notes of the minor pentatonic scale using intervals and formulas, instead of learned patterns that rely on muscle memory.
It’s important to note that when learning these point-to-point shapes, we’re locating the intervallic function of the note in relation to the root. For example, in the case of the descending perfect 4th shapes that are in a lower octave, the distance from the root note may be appear to be a larger interval than a perfect 4th. However, the intervallic function of the note in relation to the root is still a perfect 4th.
Our formula for the minor pentatonic scale is: R, ♭3, 4, 5, ♭7
If you are not yet seeing the benefits of using this system, don’t worry - you certainly will, over the next few lessons.
In order to better learn these intervals, please refer to the fretboard diagrams on the lesson sheets.
- The Intervallic, Formula-Based Approach To Learning The Fretboard (part 4)7:00
We continue learning the intervallic, formula-based approach by locating every major 2nd and major 6th interval on the neck, in relation to our root note. Our aim now is to add these intervals to our minor pentatonic formula, enabling us to visualise the dorian scale all over the neck.
It’s important to note that when learning these point-to-point shapes, we’re locating the intervallic function of the note in relation to the root. For example, in the case of the descending major 6th shapes that are in a lower octave, the distance from the root note may be appear to be a larger interval than a major 6th. However, the intervallic function of the note in relation to the root is still a major 6th.
Our formula for the dorian scale is: R, 2, ♭3, 4, 5, 6 ♭7
In order to better learn these intervals, please refer to the fretboard diagrams on the lesson sheets.
- The Intervallic, Formula-Based Approach To Learning The Fretboard (part 5)11:31
In this lesson, we take a look at some practical exercises that will help us apply and internalise the formulas and intervals of our scales.
The accompanying backing track features no chords, just drums and bass. Since our bass line consists of only two different notes (a root note of A and a perfect 5th of E), this vamp will suit many scales starting from a root of A. The scales we can practice over this backing track include:
A Ionian, A Dorian, A Phrygian, A Lydian, A Mixolydian, A Aeolian, A Minor Pentatonic, A Major Pentatonic, A Melodic Minor, A Harmonic Minor, A Lydian Dominant…pretty much any scale that features a root and a perfect fifth!
Try as many scales are you can, but be aware that both the Locrian and Superlocrian modes will clash with our bass line, since they both contain a flatted 5th degree.
- The Intervallic, Formula-Based Approach To Learning The Fretboard (part 6)11:35
In this lesson, we learn another useful exercise for internalising scale formulas and intervals.
- The Intervallic, Formula-Based Approach To Learning The Fretboard (part 7)9:39
We continue learning the intervallic, formula-based approach by locating every major 3rd interval on the neck, in relation to our root note. Combined with some of the other intervals we have learned, we should now be able to visualise the mixolydian scale all over the neck by altering just one note.
Once we have the mixolydian scale under our fingers, we can locate every major 7th in relation to our root, combine it with some of our existing intervals and play the major (ionian) scale or even the melodic minor scale all over the neck.
What makes the intervalic, formula-based approach so liberating is that we only have 11 different intervals to learn against any chosen root note. Once we learn all of these intervals, we will be able to play any scale, chord or arpeggio, simply by knowing its formula.
If we were to cover every possible scale in every key, our videos would be many more hours long. However, our lesson sheets feature all of the available intervals from a chosen root note and the formulas of some of the most commonly used scales. With a little homework, we can apply these formulas and intervals and achieve true fretboard fluency.
Try playing the following scales, using only intervallic formulas:
Ionian: R, 2, 3, 4, 5, 6, 7
Dorian: R, 2, ♭3, 4, 5, 6, ♭7
Phrygian: R, ♭2, ♭3, 4, 5, ♭6, ♭7
Lydian: R, 2, 3, #4, 5, 6, 7
Mixolydian: R, 2, 3, 4, 5, 6, ♭7
Aeolian: R, 2, ♭3, 4, 5, ♭6, ♭7
Locrian: R, ♭2, ♭3, 4, ♭5, ♭6, ♭7
Harmonic Minor: R, 2, ♭3, 4, 5, ♭6, 7
Melodic Minor: R, 2, ♭3, 4, 5, 6, 7
Lydian Dominant: R, 2, 3, #4, 5, 6, ♭7
Superlocrian/Altered Scale: R, ♭2, ♭3, ♭4, ♭5, ♭6, ♭7
- The 6 Position System For Learning Scales And Arpeggios10:07
We conclude this long series of lessons by taking a brief look at a system for learning scales and arpeggios that relies on memorising 6 patterns, based on just two different root notes and starting each scale shape from a different finger.
There is an obvious overlap between this system and the CAGED and 3-note-per-string systems, but as we established many lessons ago, all of the neck learning systems presented in this series are just different ways of viewing and processing the same information.
Congratulations on reaching the end of this series. The real work begins when we put these methods into practice, working in all 12 keys. Learning the neck can be a lifelong pursuit, but it’s extremely rewarding when we see daily improvements. Good luck and have fun!
As a thank you for taking this course, here's a free bonus course from my website, all about Blues Rock Phrasing: https://bobbyharrison.com/p/blues-rock-phrasing-for-electric-guitar
Requirements
- A guitar and a willingness to learn.
Description
If you’ve always wanted to instantly be able to play any scale, chord or arpeggio in any key, all over the neck, look no further than this series of lessons. Weighing in at over 6 hours and comprising 80 pages of pdfs and 13 backing tracks, this course is a comprehensive as it gets!
As a degree-level music lecturer, I am extremely passionate about fretboard knowledge and in my career as a session guitarist, I’ve been very fortunate to have worked with some big names, playing lots of different styles of music. The one thing all of these artists have in common is that working with them requires that you have full command of the fretboard.
Fretboard knowledge is very important when it comes to both improvisation and composition. There are many ways to learn the guitar's neck: There’s the CAGED system, which is based on learning 5 positions; the 3-note-per-string system, which is based on 7 positions; there’s a 6 position system; the intervallic, formula-based system; a system in which we relate all of our information back to the pentatonic scale…the list goes on.
One important thing to remember is that these methods are all just different ways of viewing and processing the same information.
Over the next 56 lessons, we will delve deep into the world of fretboard knowledge, looking at all of the best known methods for visualising and playing scales, chords, triads and arpeggios.
Additionally, we will study the modal system in depth, working with several backing tracks and learning some cool, rock-based solos.
This course is for guitar players of all levels. Late beginners can get a head start on their fretboard knowledge by following the the lessons, but the course is also ideal for intermediate players and even advanced guitarists with gaps in their knowledge.
This series is largely theory based and packed full of information. It is recommended that you print out and study the included tab and fretboard diagrams and watch through this series at least once without your guitar. This will allow you to get a feel for which system (or combination of systems) works for the way you want to play.
Ready? Let’s unlock that fretboard!
Who this course is for:
- Beginners to advanced guitarists. Intermediate and advanced players with gaps in their knowledge can greatly benefit from this course. If you're in the beginner stage of your playing, ideally, you should already know a few chords and maybe some simple scales or single-note melodies. Whatever your stage, it's never too late or too early to improve your fretboard navigation skills!