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Introduction
Introduction to the fretboard series
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G G
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Major Box 3B - GG-major in Major Box 2 major and D-major in Open Position F-major in Open Position and in Major Box 2 E-major in Open Position Major Box 4 - G-major and C-major in Open Position Connecting Box 3 and 4 - G-major
Open C Tuning Silent Night in Open C Tuning Minor Blues Reading Music Lesson 3 Reading Music Reading Chords Blues Turnarounds A Chord Excercise - jazzy 7th chords Open Chords
Major Box 5, G-major, G-major in Major Box 3 C-major and Bb-major open Retailers: Connecting Box 1, 2 and 3 - G-major Connecting Major Box 4 and 5, G-major
Minor pentatonic and blues scales, from the Blues Guitar series
The minor pentatonic scale - a simplified blues scale in A The "Blue notes" - the blues scale in A If you like the site, give me your vote: Blues scale in E Pentatonic boxes in all positions, A and E Minor pentatonic scale in Open D tuning Minor pentatonic scale in Open G tuning
Theory: Modal, Dorian Progressions: Dorian, but not Grey Dorian - i - (b)III - IV - (i)
Part 2 - Intervals
Intervals - introduction Fifths - harmonic, horizontal Fifths - harmonic, vertical Fifths - melodic Fourths - harmonic, horizontal Fourths - harmonic, vertical Fourths - melodic Thirds - Basci Shapes Thirds - harmonic, horizontal Thirds - harmonic, vertical Thirds - melodic Sixths - harmonic, horizontal Sixths - harmonic, vertical Sixths - melodic Sevenths - harmonic, horizontal Sevenths - harmonic, vertical Sevenths - melodic Octaves - harmonic, horizontal Octaves - harmonic, vertical Octaves - melodic
Sonic positions
Further references Ls:G1 1999-09
GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar * G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review
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http://www.torvund.net/guitar/Fingerboard/introduction.asp10.01.2005 01:22:24
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Practising scales
New: Blues Guitar lessons in PDF format. Bestsellers New Books Newsletter 1. Use a metronome, a drum machine and keep a steady beat. Your playing should not sound like a cassette player on low batteries. 2. Take it easy and play slow. Do it right before you try to do it fast. You should concentrate on getting a good and clean tone, not on speed. Speed will come eventually. If you start too fast, you might end up as someone playing sloppy at a high speed. But it will never sound good.
If we should cover general theory, or play keyboard, we would have started with the key of C, because it has no sharps or flats. It is just the white keys on the keyboard. But Gmajor is a better starting key for scale practise on a guitar. G-major has one # (sharp), for those of you who are interested in this kind of knowledge (you should be!). It has the notes G-A-B-C-D-E-F#-(G). To get an introduction to scales in general, go to my series on Music Theory. Here we concentrate on how to play them. I give you the G-scale in open position first. It is good to know, even if it is not moveable -- or more precise: We have not made it moveable yet..
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On the guitar, we play scales in "boxes", "forms", "position", or what you prefer to call them. I call them Boxes, and since there are many scales, I refer to a box for a major scale as Major Box. It is common practise to refer to them with numbers, but there is no standard for what should be No 1, No 2, etc. So don't be too confused if you come across other numberings than mine. The first one is of course Major Box No 1. The numbers in this diagram indicates the note number in the scale, and not the fingering. R=Root note, 2=2nd note, etc. Use your first finger on the 2nd fret, the middle finger on the 3rd fret, the ring finger on 4th fret and the little finger (4th finger) on 5th fret. Some of you might have trouble getting the 4th finger to work properly. It is only due to lack of practise. Because the finger is weak and not used to work independent of the other fingers, many guitar players do not use it. And by not using the finger, you make sure that it will stay weak. It is one of the many short cuts that does not pay of in the long run. If your little finger is weak, you have to put it to work and give it some exercise. When playing scales in positions like this, your hand should stay in the same position. Your fingers shall move, not your hand.
You can go down to F# on 2nd fret 6th string, and up to A on 5th fret 1st string without changing position and moving your hand. But I decided to to include just the two octaves from G to g'. Playing scales up and down does not produce interesting music - and it will not become more interesting just by playing the scale faster. You should practise many scale based licks or patterns. First play only the first five notes up from each of the scale notes. For this and the following examples, you will need the Free Finale Viewer to be able to use the files. Play chunks of four notes, starting on each note of the scale. You will play up a fourth.
When playing such scale exercises, experiment with rhythm and phrasing. You may find some nice and useful licks hidden in these scale exercises. I have put togehter various scale exercises for you to use when practising.
Thirds* 4 notes, Thirds - Part 1 * 4 notes, Thirds - Part 2 * 5 notes, Fifths * 6 notes, Fifths part 1 * 6 notes, Fifths part 2 * 6 notes, Fifths part 3 * 6 notes, Fifths part 4 * 6 notes, Fifths part 5 * Chained four note groups * Sixths and Sevenths * Octaves and Modes * Triad arpeggios within the scale * 7th Chord arpeggios within the scale * 9th Chord arpeggios within the scale * Triplets * The Long Wave * G-major is a very popular key in bluegrass and other playing styles where you will use a lot of open strings in your solos. So you should practise G-major in open position as well.
* 4 notes, Thirds * Chained four note groups * Octaves and Modes * Triad arpeggios within the scale * 7th Chord arpeggios within the scale * 9th Chord arpeggios within the scale * The Long Wave * For a more extensive list of exercises that you can adapt to any key in any position, go to the G-major, Box 1 page. Another way to practise scales is to play melodies. Choose melodies that you know very well, that is solid major and that has no chromatic notes outside the scale. I have chosen Oh Susannahas an illustration. Oh Susannah(Finale file) Try to play it one octave down, to practise these scale notes as well. Oh Susannah one octave down(Finale file) Other songs you might use are Yankee Doodle, Jingle Bells, Silent Night, Sound Of Music, Ob-la-di Ob-la-da, Hey Judeand With A Little Help From My Friends, just to mention a few. In these melodies, you play only notes from the scale. The melodies will usually start at one of the notes from the root chord. In G, this is of course the G-chord, which has the notes G-D-B.
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E-major
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The major scale - Major Box 6, C-major, G-major and Amajor open
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Waves * Thirds * Thirds in waves * Modes 1 * Modes 2 * The long wave * Triads 1 * Triads 2 * Seventh Chords 1 * Seventh Chords 2 * Ninth Chords *
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Navigating the Guitar Fretboard: The major scale - Major Box 2, G-major
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Navigating the Guitar Fretboard: The major scale - Major Box 2, G-major
* 4 notes, Thirds * Chained four note groups * Octaves and Modes * Triad arpeggios within the scale * 7th Chord arpeggios within the scale * 9th Chord arpeggios within the scale * The Long Wave * For a more extensive list of exercises that you can adapt to any key in any position, go to the G-major, Box 1 page.
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The major scale - Major Box 3B, G-major and open D-major
Box 3B is a variation of Box 3. Instead of going down one fret on 3rd and 4th string, we go up on 4th and 5th string to reach the same notes. The disadvantage of Box 3 is that there is a position shift in this box. The disadvantage of Box 3B is a long stretch. Which one to prefer depend on what your are playing.
G-major
As always, we start with the key of G-major. As for Box 3, we find the root on the 4th string.
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And then we go up and down the G-major scale, covering the whole range of this playing position.
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D-major open
The Box 3B is the one to use when you play D-major in open position.
And we go on with the full range of notes. As the lowest string is open, we cannot come deeper without retuning the guitar. To get that deep D, it is often nice to tune to Dropped D tuning when playing in D. But here we stay in standard tuning.
It should not be too difficult to transfer the exercises from Box 3 to Box 3B, so I will not give you any exercises in G-major this time. But I will give you some in D-major, open position.
Waves * Thirds * Thirds in waves * Modes 1 * Modes 2 * The long wave * Triads 1 * Triads 2 * Seventh Chords 1 * Seventh Chords 2 * Ninth Chords *
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http://www.torvund.net/guitar/Fingerboard/15-Connecting_box_5_and_6.asp10.01.2005 01:22:33
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F-major Box 2
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* 4 notes, Thirds * Chained four note groups * Octaves and Modes * Triad arpeggios within the scale * 7th Chord arpeggios within the scale * 9th Chord arpeggios within the scale * The Long Wave * For a more extensive list of exercises that you can adapt to any key in any position, go to the G-major, Box 1 page.
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The next is all the notes that are available within Box 4.
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Waves * Thirds * Thirds in waves * Modes 1 * Modes 2 * The long wave * Triads 1 * Triads 2 * Seventh Chords 1 * Seventh Chords 2 * Ninth Chords *
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The major scale - Major Box 7, C-major, Gmajor and G-major open
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* 4 notes, Thirds * Chained four note groups * Octaves and Modes * Triad arpeggios within the scale * 7th Chord arpeggios within the scale * 9th Chord arpeggios within the scale * The Long Wave * For a more extensive list of exercises that you can adapt to any key in any position, go to the G-major, Box 1 page.
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http://www.torvund.net/guitar/Fingerboard/05-E-major_scale_in_open_position.asp10.01.2005 01:22:39
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http://www.torvund.net/guitar/Fingerboard/11-Connecting_box_3_and_4.asp10.01.2005 01:22:41
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It is a bit tricky to play this box, as you have to change position. If you start from the bottom, you start with the first finger on 5th fret, 6th string (assuming that you are in G-major). When you play the 4th fret on the 4th string you move your first finger down one fret. I prepare for that by using the 4th finger on 7th fret, 5th string, instead of the third finger. When going up to 5th fret when you are reaching the 2nd string, you use your first finger on 2nd sting, fifth fret. When coming down, I use 4th finger on 3rd string, 7th fret, and then again first finger on fifth fret, fifth string. These position shifts makes some of the exercises surprisingly hard to play. Sometimes it easier to strech up to 9th fret instead of going down to the 4th, which gives you what I call the Box 3B position. I will come to that in the next lesson. But we cannot say that one position is better than the other - it depends on the passage you are playing. So you have to learn them both. For the exercises, I have chosen to stay within the box. But I do not want to loose the sense of being in Gmajor, so I always start and end on the root note (or root chord). In this box there is only one continous scale from G to G:
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To cover all the notes from the G-major scale, playable within this box, I have extended the scale as far up and as far down as you can reach. But I start and end on the root note.
* 4 notes, Thirds * Chained four note groups * Octaves and Modes * Triad arpeggios within the scale * 7th Chord arpeggios within the scale * 9th Chord arpeggios within the scale * The Long Wave * For a more extensive list of exercises that you can adapt to any key in any position, go to the G-major, Box 1 page.
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The major scale - Major Box 5, G-major, C-major and Bbmajor open
Books In Box 5, the root is on the 5th and the 3rd string. The lowest reachable note is the fifth note on the 6th string, and the highets is the sixth note on the 1st string.
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Waves * Thirds * Thirds in waves * Modes 1 * Modes 2 * The long wave * Triads 1 * Triads 2 * Seventh Chords 1 * Seventh Chords 2 * Ninth Chords *
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The major scale - Closing the Major Box, C-major and G-major
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http://www.torvund.net/guitar/Fingerboard/18-Closing_the_major_box.asp10.01.2005 01:22:46
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As long as you stay within a box, we can say that this is the right way to finger the scale. When moving between boxes, there are no such set rules. But: If there is a rest in the music, then it is a good oportunity to shift position. Even i a fast solo, it will give you the split second you need for a quick move without interfering with the music. Often there are no rests to use for position shifts. You have to shift while playing. The easiest way is to slide from one position to another. But your audience will hear the slides, so you should not choose this solution unless you want them to hear the slide. (OK, sometimes the alternative is worse if you do not have the proper technique, but you should be able to make these shifts without sliding.) If you slide, you have several choices. The first is if you want to pick the note you slide into, or if you will just let it ring from the attack before the slide. If you pick the note it will be stronger, and of course weaker if you do not pick it. The next choice is if you want to slide into a strong note, or out from the strong note. If you slide into a down beat, the slide sounds as some kind of a pick up note. If you do not pick the down beat that you are sliding into, then you will break the rhythm and get some kind of a syncopation which might be OK. If you slide from a down beat, the note you slide into will sound more like a passing tone. If you do not pick it, it will be weaker. But it will not change the rhythm. If you slide from one position to another, where to do it is more a question of what fits the music than what fits the fingering. Technically it does not really matter where in the boxes you put your slides. Experiment with sliding from one box to another. Choose different notes, try to pick and not to pick the note you are sliding into, and try sliding into and out from down beats. And listen to the different sounds. Then we come to shifting positions without sliding, and then it is time to discuss technique. On this page I will present the G-major scale over two octaves. I have indicated the fingering under the tablature. The first example is box 2 and box 3. They fit together so nicly that you hardly notice that you are changing position. In the other example I have included box 1. You will find more examples if you go to the exercises.
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Box 2 and box 3 combined. As box 2 and box 3 overlap, I have indicated the overlaping by puting the new box in parenthesis where the overlap starts.
Box 1, box 2 and box 3 combined. Go to the exercises for more examples.
* Scale - Connecting Box 1, 2 and 3 * Thirds - Connecting Box 1, 2 and 3 * Thirds i wave form - Connecting Box 1, 2 and 3 *
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http://www.torvund.net/guitar/Fingerboard/19-Practising_the_major_scale.asp10.01.2005 01:22:50
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Theory: Modal, Dorian Progressions: Dorian, but not Grey Dorian - i - (b)III - IV - (i)
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Box 1 Ex 1 Ex 2
Box 2 Ex 1 Ex 2
Box 3 Ex 1 Ex 2
Box 4 Ex 1 Ex 2
Box 5 Ex 1 Ex 2
Box 6 Ex 1 Ex 2
Box 7 Ex 1 Ex 2
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Intervals - introduction
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http://www.torvund.net/guitar/Fingerboard/20-intervals_introduction.asp10.01.2005 01:25:52
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Notice that the interval between the 3rd and 2nd string is a major third, meaning that we can play both strings open. It should be easy to figure out how you can make these shapes moveable:
You also have to know the Minor third fingerings. More on Thirds
G
Theory: Intervals Thirds Intervals - Major Thirds, the Basic Shapes Intervals - Minor Thirds, the Basic Shapes
Gutiar Scale Exercises in G-major, Box 1 Guitar Scale Exercises in G-major, Box 1 - 4 notes, Thirds - Part 1 Guitar Scale Exercises in G-major, Box 1 - 4 notes, Thirds - Part 2
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http://www.torvund.net/guitar/Fingerboard/33-intervals_harmonic_sevenths_horisontally.asp10.01.2005 01:25:55
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http://www.torvund.net/guitar/Fingerboard/21-intervals_harmonic_fifths_horisontally.asp10.01.2005 01:25:56
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As the interval between the 3rd an 2nd string is a major third, we can start with both strings open in Gmajor.
http://www.torvund.net/guitar/Fingerboard/27-intervals_harmonic_thirds_horisontally.asp (1 of 2)10.01.2005 01:25:58
Theory: Intervals Thirds Intervals - Major Thirds, the Basic Shapes Intervals - Minor Thirds, the Basic Shapes
Gutiar Scale Exercises in G-major, Box 1 Guitar Scale Exercises in G-major, Box 1 - 4 notes, Thirds - Part 1 Guitar Scale Exercises in G-major, Box 1 - 4 notes, Thirds - Part 2
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http://www.torvund.net/guitar/Fingerboard/34-intervals_Sevenths_vertically.asp10.01.2005 01:25:59
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http://www.torvund.net/guitar/Fingerboard/22-intervals_harmonic_fifths_vertically.asp10.01.2005 01:26:01
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We start in Box 1, G-major. As you can see, we have to break out of the boxes to play these thirds, as we cannot play two notes at the same time on one string. We can go down, as will mean including some open strings in this box:
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Retailers: The next will give us the same notes, but with different fingerings. We go up the neck instead of down. What we are doing is actually combining box 1 and box 2.
More on Thirds
Theory: Intervals Thirds Intervals - Major Thirds, the Basic Shapes Intervals - Minor Thirds, the Basic Shapes
Gutiar Scale Exercises in G-major, Box 1 Guitar Scale Exercises in G-major, Box 1 - 4 notes, Thirds - Part 1 Guitar Scale Exercises in G-major, Box 1 - 4 notes, Thirds - Part 2
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http://www.torvund.net/guitar/Fingerboard/35-intervals_melodic_sevenths.asp10.01.2005 01:26:04
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http://www.torvund.net/guitar/Fingerboard/23-intervals_melodic_fifths.asp10.01.2005 01:26:05
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Now we play the thirds melodic. If you think you have seen these excercises before, it might be because you have been playing some of the scale exercises.
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If you like the site, give me your vote: Here we are playing the same intervals in a kind of wave shape.
More on Thirds
G G
Theory: Intervals - Thirds Intervals - Major Thirds, the Basic Shapes Intervals - Minor Thirds, the Basic Shapes
Fretboard: Harmonized Scale, 3rd, Horizonatal Fretboard: Harmonized Scale, 3rd, Vertical Part 1 Fretboard: Harmonized Scale, 3rd, Vertical Part 2
Gutiar Scale Exercises in G-major, Box 1 Guitar Scale Exercises in G-major, Box 1 - 4 notes, Thirds - Part 1 Guitar Scale Exercises in G-major, Box 1 - 4 notes, Thirds - Part 2
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http://www.torvund.net/guitar/Fingerboard/36-intervals_harmonic_octaves_horisontally.asp10.01.2005 01:26:08
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http://www.torvund.net/guitar/Fingerboard/24-intervals_harmonic_fourths_horisontally.asp10.01.2005 01:26:09
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http://www.torvund.net/guitar/Fingerboard/30-intervals_harmonic_sixths_horisontally.asp10.01.2005 01:26:11
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http://www.torvund.net/guitar/Fingerboard/37-intervals_Octaves_vertically.asp10.01.2005 01:26:12
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http://www.torvund.net/guitar/Fingerboard/25-intervals_fourths_vertically.asp10.01.2005 01:26:13
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http://www.torvund.net/guitar/Fingerboard/31-intervals_sixths_vertically.asp10.01.2005 01:26:15
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http://www.torvund.net/guitar/Fingerboard/38-intervals_melodic_Octaves.asp10.01.2005 01:26:16
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http://www.torvund.net/guitar/Fingerboard/26-intervals_melodic_fourths.asp10.01.2005 01:26:17
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http://www.torvund.net/guitar/Fingerboard/32-intervals_melodic_sixths.asp10.01.2005 01:26:19