Chromatic Patterns Part 2

In the last post, we looked at the 24 possible combinations for all four fingers, and paired them up as ascending and descending symmetrical patterns for easier memorization and practice. The idea with these sorts of exercises is to develop maximum independence in the fingers on the fretting hand.

So now we’ve taken the ascending and descending parts of our #1 fingering set, and worked on those pieces separately. The next logical step would be to combine the two, right? Let’s do it!
Cell/Loop:

Run:

Now reverse the combination, ascending with the descending pattern, then descending with the ascending pattern.

Another way to combine the mirrored patterns, rather than running one all the way up and the other all the way back down (or vice versa), is to alternate them one right after the other, all the way up and back. The cells and loops are the same for both sets of combinations, but the runs will change as seen below:

Let’s review the process of breaking down exercises into cells, loops, and runs:
• Practice the pattern cell a few times to get the rhythm and feel of the fingering pattern.
• Play the loop, gradually raising the tempo until you can no longer play it perfectly.
• Play the run as you did the loop, comparing maximum tempos for each to identify possible mechanical areas to work on.
• Play the full exercise, from the 1st to 12th fret and back down, on each string.

Some observations on the process:
• For the full exercise, feel free to adjust the range up the neck to a more comfortable area, if need be. The range should span an entire octave (12 frets).
• Use standard alternate picking (down-up-down-up) until you are satisfied that you have mastered the exercise. Then try reversing the picking motion (starting with an upstroke).
• Try fretting-hand techniques such as legato (hammer-ons/pull-offs).
• Try picking-hand techniques such as palm-muting.
• When working on ascending/descending fingering pairs, spend just enough time on the individual pieces to learn them, then move on to working them in combination. That’s where the greatest benefit to your technique will occur the most quickly.

Again, keep track of your maximum tempos as you work on these exercises and their component pieces. This will help you pinpoint areas in your technique to focus on, and will also allow you to track your progress.

Chromatic Patterns

This next series of posts is designed to create maximum independence in your fretting hand fingers, by getting you familiar with all the possible combinations and creating patterns. These are commonly referred to as “chromatic” but are not technically using the entire chromatic scale in most cases. Whatever you want to call them, working these patterns into your practice routine will have an effect on your technique very quickly.

The usual mathematical model of showing all possible combinations of using all four fretting fingers once each in a sequence looks like this:

 1. 1-2-3-4 2. 1-2-4-3 3. 1-3-2-4 4. 1-3-4-2 5. 1-4-2-3 6. 1-4-3-2 7. 2-1-3-4 8. 2-1-4-3 9. 2-3-1-4 10. 2-3-4-1 11. 2-4-1-3 12. 2-4-3-1 13. 3-1-2-4 14. 3-1-4-2 15. 3-2-1-4 16. 3-2-4-1 17. 3-4-1-2 18. 3-4-2-1 19. 4-1-2-3 20. 4-1-3-2 21. 4-2-1-3 22. 4-2-3-1 23. 4-3-1-2 24. 4-3-2-1

The table is handy, but not very easy to memorize for practicing. As you practice fingerings across multiple strings and up and down the neck, you’ll see that half of the patterns are mirror images of each other. So you can simplify the number of patterns by pairing them up and organizing them like this:

 Ascending Descending 1.    1 – 2 – 3 – 4 4 – 3 – 2 – 1 2.    1 – 2 – 4 – 3 3 – 4 – 2 – 1 3.    1 – 3 – 2 – 4 4 – 2 – 3 – 1 4.    1 – 3 – 4 – 2 2 – 4 – 3 – 1 5.    1 – 4 – 2 – 3 3 – 2 – 4 – 1 6.    1 – 4 – 3 – 2 2 – 3 – 4 – 1 7.    2 – 1 – 3 – 4 4 – 3 – 1 – 2 8.    2 – 1 – 4 – 3 3 – 4 – 1 – 2 9.    2 – 3 – 1 – 4 4 – 1 – 3 – 2 10. 2 – 4 – 1 – 3 3 – 1 – 4 – 2 11. 3 – 1 – 2 – 4 4 – 2 – 1 – 3 12. 3 – 2 – 1 – 4 4 – 1 – 2 – 3

Sample exercises and patterns corresponding to the first pair of fingerings are provided, so you can plug all the other pairs in accordingly. Run them across all strings, up and down the neck, forward and backward. Stick with standard down-up-down-up alternate picking until you get comfortable with all the pairs, then try up-down-up-down and legato (hammer-ons and pull-offs). Refer to the main chart of symmetrical ascending/descending patterns for additional practice.

Remember: the point of these chromatic-style practice patterns is to promote finger independence, and to facilitate moving patterns across strings and up and down the neck. They are not intended to be musical, but can definitely have musical uses. Use your imagination, mix and match patterns and timings, develop your own variations – and most of all, have fun with it.

To introduce ideas and patterns for exercises and how to apply them, we’ll use the following terms to describe the basic elements:

• Cell – refers to the pattern at its most basic level, usually within a single position.
• Loop – playing the pattern repeatedly in position.
• Run – moving the pattern up and back several (at least 4) positions or strings, and back.

These are the building blocks for all the exercises presented in this series of posts. When learning any new piece or exercise, it’s always best to take it a segment at a time, then put it all together.

Single-String Patterns
Let’s take a look at patterns that occur on one string. We can then move them up and down the neck, and then across the neck on the other strings. We’ll start with the first pair of fingerings in the table on page 7. The cell for the ascending fingering [1-2-3-4] looks like this:

The cell itself is the 1-2-3-4 16th-note combination; the quarter note after the phrase is primarily a place-holder, but also allows you to get the hang of the fingering, and bring it up to speed. Now try moving on to the loop:

Play this one at a comfortable tempo, to where it’s a continuous, seamless flow of notes. Gradually raise the tempo until you can no longer play it perfectly. Make a note of this maximum tempo. Now we’re going to move the pattern up and back a few positions on the neck:

As with the loop, play the run at a manageable rate of speed, gradually raising the tempo until it is no longer perfect. Now take a look at that final tempo, and compare it to what you ended with for the loop. Ideally, the “maximum run tempo” should be equal to the “maximum loop tempo,” but if it is less than that, then exercises that address position-shifting should be an emphasis of your warm-up and practice routines. (This principle will also apply to string-crossing.)

For the full exercise, run the pattern from the 1st position up to the 12th and back on the low E (6th) string. Then do the same thing on the other five strings.

Now, let’s look at the descending part of our #1 fingering pair, starting with the cell:

Now the loop:

And finally the run:

As with the ascending pattern, run this up and back, from 1st to 12th frets, on each string.
Hopefully the “cell/loop/run” format outlined here serves as a useful template for you in breaking exercises and drills down into more manageable chunks, working on those chunks at comfortable tempos, and then putting them all together into one coherent piece.

In the next post, we’ll go over some ideas on combining ascending and descending patterns.

Melodic Warm-up Exercise

Here’s a cool 16-bar run I’ve been using a lot lately for a warmup exercise. It focuses on a couple of important techniques, gets your hands moving quickly, and gives your ears something to listen to besides straight scales and chromatics. Let’s break it down into two sections.

First things first:  the entire piece is in sextuplets, in 6/8 time. As always, every note should be alternate-picked until you feel like you’ve mastered the progression at a decent tempo, at which point you can and should experiment with the usual dynamics (especially palm-muting and legato). Usually with a warmup piece you don’t really worry so much about using a metronome and keeping strict tempo, but for this piece it would probably help to use one at first, again to the point that you feel comfortable with the progression and techniques.

The piece breaks down into two main sections, six and ten bars respectively. Let’s break down the first six-bar section:

Bars 1-4

This is a six-note motif, with the root note descending chromatically against a repeated C-D-D#-D-C line, until bar 4, where the 5-note line played against the root becomes C-D-C-F#-C and the picking scheme changes substantially from having that F# note played on the D string instead of the G string. Take that 4th bar slowly at first, until the slight difference in picking sequence feels comfortable.

Bars 5-6 (see above)

One of my favorite melodic maneuvers, ascending triads using chromatic inversions. This sequence essentially functions as the melodic “bridge” between the two main sections. Check the chord implications throughout the piece, and use them for ideas for your own study pieces, progressions, or songs.

Bars 7-10

The rest of the piece is string skipping, so if you’re not comfortable with that technique, you should be fluent with it after mastering this short piece. Bars 7 and 9 are identical, and 8 and 10 are symmetrical, as diminished triads repeat every three frets, and are musically enharmonic. That’s why in bar 10 the arpeggio is shown as C#° (A#°/G°/E°), as it is technically all four of those things, because of the symmetrical nature of the diminished scale.

Bars 11-16

The string-skipping progression continues chromatically in bars 11-12, before heading into a “classical” cycle-of-fifths (E-B-D-A-C-G) progression in bars 13-15, before resolving on the B in the final bar. The stretches in bar 12 are wide, and a simple alternative to that is shown below. It can be either alternate or sweep picked; obviously, I would suggest you try both.

As always, get the progression comfortable under your fingers, increase the tempo, try various guitar dynamics, and especially throw in some melodic and harmonic changes of your own. As long as it sounds good, warms up your hands and ears, and gets you working on specific techniques, it’s good. Have fun!

Fun With Triads: Anastasia

“Rock guitar” is obviously a pretty broad, subjective spectrum. Blues, country, metal, and even jazz contribute to how each of us perceives that category. But virtually any rock player (or any style player) should check out the Slash tribute documentary, Raised on the Sunset Strip.

Beyond the expected accolades from his peers and (former and current) bandmates, what emerges is a profile of someone who is happiest when playing the guitar, who probably can’t conceive of doing anything else. That’s pretty awesome, and is the ultimate goal for just about any player, to be able to make a living at it so you can play all the time.

Slash famously insists that he knows very little music theory, and has no formal practice routine, he just works around in the major and minor scales and blues boxes, plays patterns and things that sound good to him. He’s probably the best contemporary example of a great player who is able to play anything he wants, purely by ear and feel. Tone, taste, and technique all combine for a powerful, passionate style.

We’ve taken a look at the technical aspects of the classic Sweet Child o’ Mine intro riff, which Slash developed as a practice exercise. Let’s take a look at another great melodic intro riff of his, from Slash’s 2012 release. The song Anastasia starts with an almost flamenco-flavored acoustic melody, essentially finger-picking the chord progression, which is in the key of D minor (yes, the saddest of all keys). See tab below:

Notice the suggested fingerpicking (p=thumb; i=index; m=middle; a=ring finger). Try it also with a “hybrid” approach (pick and fingers), like this:

The picking does not have to be strictly down-up alternating, also try economy picking (in the same direction on adjacent strings), or starting with an upstroke. As the chords are arpeggiated down and then back up, the main goal is to make sure the sound is smooth and steadily “rolling” back and forth.

This progression is very similar to that of the Ozzy/Randy Rhoads classic Mr. Crowley. If you already know some or all of the classic solos to that song, it may help you get a feel for this one.

Let’s check out a couple of “exotic” scales that can be used to add a little spice to these types of progressions.

The Harmonic Minor Scale and the Spanish Phrygian Mode
Remember that there is more than one minor scale. Usually the natural minor (R 2 ♭3 4 5 ♭6 ♭7, in Dm: D E F G A B♭ C) is used for solos and melodies. But the harmonic minor (R 2 ♭3 4 5 ♭6  7, in Dm: D E F G A B♭ C#), which does not flatten the 7th, has a slightly more exotic sound which lends itself well to more “Spanish”-sounding melodies. Anastasia is one of those songs, so having a handle on the harmonic minor scale will pay off huge melodic benefits here. Just one note of difference, but you can really hear it:

As always, it’s a huge help in navigating the fretboard to map out scales in as many positions as possible. The first example stays within the 5th position, while the second example starts in the 10th position and travels up and along the neck, ending a full three octaves higher on the 22nd fret of the high E string. Learning the positional “boxes” and then connecting them is the key to fretboard mobility.

Try out this cool scalar lick based on the harmonic minor scale, designed to go back and forth through several positional areas of the neck:

The phrase in the final bar will be slightly tricky at first, but that “slide and stretch” move will pay off in developing your own wide-interval melodic licks. Throw in all the cool guitar vocalisms where applicable — palm muting, legato, artificial harmonics, vibrato, etc.

Where the natural minor scale is also a mode (Aeolian) of the major scale, the harmonic minor scale is its own scale, which means it has its own modes. (Refer to the free printable Modes cheat sheet for more information on how modes are derived from scales.)

One of the coolest modes around is the fifth mode of the harmonic minor scale. It has that quintessential “classical” feel, and has been popularized over the years by players such as Ritchie Blackmore, Uli Jon Roth, and Yngwie Malmsteen. It is commonly referred to as the “Spanish Phrygian” or “Phrygian natural 3rd (♮ 3)” mode. To play the fifth mode of the D harmonic minor scale, you start from the fifth degree of that scale, which is A:

Knowing how to spell scales and modes intervallically makes it easier to transpose them to other keys. The tab above, while derived from the D harmonic minor scale, would be called A Spanish Phrygian, since A is the root note of the mode. It still plays over D minor just fine, but the D Spanish Phrygian would be a slightly different animal.

So here is how to spell the Spanish Phrygian in terms of intervals:  R ♭2 3 4 5 ♭6 ♭7. Remember, all of those flats are in relation to the major scale.

So now to spell out the notes for D Spanish Phrygian, we take the notes of the D major scale (D E F# G A B C#) and flatten the 2nd (E), 6th (B), 7th (C#), resulting in this: D E♭ F# G A B♭ C. Check the tab below:

Both examples stay strictly within position. If you’re feeling adventurous, map the this mode out along multiple positions, like we did earlier with the harmonic minor scale, and develop melodic licks from the notes of the mode. Stay strictly within the note range of the mode before adding “passing tones” or “outside notes”. That’s the best way to train your ears to the “flavor” of any mode or scale.

Here’s another sample lick that takes you through the notes and positions:

Quick rundown of the techniques deployed in the lick:  first bar ascends through the mode in thirds; second bar uses pedal point for melodic development before a short ascending transition into the third bar, which features descending arpeggios before landing on a B♭ note (6th degree of the mode). Definitely try sweep picking on those arpeggios in the last two bars, palm muting and artificial harmonics on the pedal point in the second bar, palm muting on the first bar, etc.

Use all those vocalisms judiciously; like a master chef preparing a special dish, you try this spice and that spice until you find the right combination, you don’t throw everything in all at once.

Record a simple one- or two-chord vamp in D minor, and practice all three of the scales (D natural minor, D harmonic minor, D Spanish Phrygian). Listen closely to the differences between them, as well as the similarities.

All of the above examples and techniques are to provide some background and ideas to apply in learning the Anastasia riff. That’s the best way to learn any song and make it your own, rather than merely parroting the notes.

Back to the Song
From that soft intro the band kicks in, with Slash retracing that Dm chord progression, this time with a really cool pedal point ascending triad sequence.

Start by taking just the first pattern, and playing it repeatedly until it’s smooth and crisp at medium to fast tempo (96-120 bpm). As always, take it slow at first until you memorize the pattern, then it’s a simple matter to start moving it along the progression. Listen to how just changing a couple of notes or a position keeps the musical tension going, until it finally releases and you start the descending pattern to resolve the progression.

The way the riff alternates between the B and E’ strings will force you to really examine what your picking hand is doing. Definitely alternate pick everything, accenting only the beat notes, and keeping everything else very moto perpetuo, constant and even.

Moto perpetuo exercises are great for disciplining your picking hand to stay within a steady range of motion and pressure, neither over- or under-accenting, just playing everything smooth and clean. There’s a ton of stuff in this post to work on, so take it a piece at a time, really listen to the nuances and differences between the various scales and modes described, and experiment with what sounds good in developing a nice melodic lick, whether for a solo or for a main riff. Have fun!

Just a friendly reminder — the entire PTG catalog for Kindle will be available for FREE downloads all Labor Day weekend, August 29th through September 1! Get literally hundreds of hours of practice material that will help you build your technique and musicality, ABSOLUTELY FREE!

Do you like guitar? Do you like free stuff? Do you like free guitar stuff? Should we feel ashamed at asking such obvious questions?

Well, to celebrate the Labor Day holiday weekend, and because we appreciate you, the entire PTG Kindle library will be up for FREE downloads for four days, August 29th through September 1st!

You know the drill — grab ’em all, tell your friends, drop some reviews on the Amazon pages. Most of all, play hard and have fun!

More Riffs for Technique

A great way to build technical chops and musicality, and get a break from running the same old scales and patterns over and over, is to take a song or riff that can be used to highlight a certain technique, and use it as warm-up material. Let’s take a look at a few quick and easy riffs from classic (if lesser-known) songs, that will build finger independence and picking technique.

The first example is very similar to the melodic riff from the beginning and end to Rush’s ’70s epic Xanadu.

Probably the first thing you’ll notice here is that it’s in a 7/8 time signature. If you haven’t played much outside of 4/4 or 3/4, this is a good opportunity to try out a fairly simple odd time signature. It’s as simple as counting out a beat.

In 4/4 time, you would count “1-and-2-and-3-and-4-and-1-and-2-and-3-and-4-and” to play a single bar, with each counted beat being a 16th note. For the above 7/8 bar, you simply drop the last “4-and”.

So, “1-and-2-and-3-and-4-and-1-and-2-and-3-and”, repeat. It takes a little bit of getting used to, like anything else, but time signatures such as 7/8, 9/8, or 5/4, where a single beat is added or removed, are easier to adjust to.

(Using the above counting example, you would count out a 9/8 beat as “1-and-2-and-3-and-4-and-1-and-2-and-3-and-4-and-5-and“. Stick with nailing the feel for 7/8 for now.)

The next thing you’ll see is that the riff is simply the same 7-note pattern played twice, and because of the odd number, in strict down-up alternate picking, the picking pattern for the second time is exactly reversed from the first. So the first note, E (9th fret, G string) is played with a downstroke the first time, an upstroke the second time. This is a really handy riff for practicing “inside” and “outside” picking, for adjacent and skipped strings.

Finally, all four fretting fingers are used to play the riff (which is a sequenced E major scale), and in patterns you may not have practiced before.

So in one mighty little riff, you get to work on:

• Odd time signature
• Inside and outside picking
• String skipping
• Melodic sequencing
• Finger independence

Pretty cool.

The next riff is similar to the late-’80 Yngwie Malmsteen song, Déja Vu.

The first two bars of the riff are played four times, before shifting to the third bar. The best way to go about learning this riff is one bar at a time, putting the first two together before moving on to the third bar. Make sure you can play the first two bars together, repeated in a continuous loop (at least 4-5 times without stopping) at a modest tempo (at least 96-100 bpm) before working on the third bar.

The riff and song are in F#m, a good key for rock and metal playing. The first bar is simply a four-note ascending sequence, moving up the F#m scale (F# G# A B C# D E) one step at a time. Before getting to the E (7th degree) in the scale, the second bar of the riff shifts to a nice descending pedal-point sequence, which requires a tricky shift toward the end of the bar. Take it slow, work it up to speed, and pair it up with the first bar, before moving on to the third bar off the riff, which is an extended F#m arpeggio.

Notice that the suggested picking for the third bar mostly involves sweep picking. The fingering is only a suggestion, try different fingers, depending on where and how you decide to shift as you go through the arpeggio. The main thing, as far as the picking and fretting suggestions go, is to keep it sounding smooth and effortless.

It will take some doing to get any or all of this riff up to the tempo that Malmsteen plays in the original song, but the primary goal is just to highlight some specific techniques:

• Alternate picking
• Sweep picking
• Melodic sequencing
• Pedal point
• Position shifting
• Arpeggios

The final riff we’ll look at is similar to one of the main riffs from Dream Theater’s The Root of All Evil. John Petrucci is a master of fast, tricky, melodically sequenced riffs, and this is actually one of his simpler ones.

Simple is frequently more effective than complex, as far as writing songs and riffs goes, and this riff is a good example of that principle. And yet every finger is utilized, and there’s some position shifting, and the beats on which you cross from one string to the other may be a bit unpredictable at first. Melodically, Petrucci incorporates chromatic notes to nice effect.

• Alternate picking
• Position shifting
• Finger independence
• Chromatics

Have fun with these riffs, and try to think of others from songs you enjoy, that help pinpoint specifics techniques you want to work on.

Melodic Warmup Exercise

If there’s two things we like here at PTG, when devising useful exercises, one is to keep it as simple as possible, and the second is to combine musical ideas with mechanical concepts. This post and the next will show some ideas that address both those areas.

We’re going to look at the B-G-D string trio, in the seventh position. Let’s take a simple triad progression and see what we can do with it:

Pay special attention to the fingering, because this is where it becomes somewhat challenging. The first chord, A7, uses (in order from lowest note to highest) the 1-3-2 fingers, while the next chord (G with B root, also known as an inversion) is fingered 3-1-2. So as you transition from the A7 to the G/B, keep the second (middle) finger in place on that G note (B string, 8th fret). Simply switch the first and third fingers as you go from the A7 to the G/B.

Next, on the B triad, you can see that the fingering is just 3-2-1. Easy enough. This time, as you transition from G/B to B, keep the third finger stationary on the B note (D string, 9th fret). You just trade places with your first and second fingers, between the G and B strings, and 7th and 8th frets.

The fourth and final chord in our single-position mini-progression is a C triad, exactly the same as the B triad immediately before it, just one position higher. You can easily slide shift the 3-2-1 fingering up one fret to play this, but to keep this challenging (it is an exercise, after all) use the 4-3-2 fingering shown in the notation. You may want to isolate this further and just work back and forth between the B (3-2-1 fingering) and C (4-3-2) triads until it feels comfortable. This is a very simple but effective exercise for finger independence.

When you feel comfortable working through the entire four-chord sequence, and can do it smoothly and cleanly, keeping the suggested fingers in place during the transitions, you’re ready to use the progression for melodic picking exercises. Let’s take a very simple four-note version of this:

As always, start slow and smooth, use a metronome to keep in tempo, use strict alternate picking, and pay particular attention on the transitions from one chord to the next. The first transition (from A7 to G/B) may be somewhat tricky, in that you are moving your 3rd finger from the 9th fret on the G string to the 9th fret on the D string for consecutive notes. Again, take it slow and it will fall under your fingers before you know it.

As with any picking exercise, make sure to try as many picking hand techniques (palm muting, sweep picking, etc.) as you can think of. Mix and match these techniques, come up with progressions of chords and triads of your own. Use the chords section here (scroll down on that page) for ideas, and listen to how the chords flow and resolve when sequenced together.

Here’s a variation on our triad sequence, using sweep-picked triplets:

With these back-and-forth sweep picking exercises, try to achieve a smooth “rolling” sound. Observe the motion of your picking hand, and where the “turnaround” point is from downstroke to upstroke and vice versa. Instead of coming to an abrupt halt to change direction, keep it smooth and even. Think of your regular alternate picking on a single string, and how the picking motion is constant, and not start-stop-start-stop. Sweeping across multiple strings is basically an extended version of that motion, in terms of the distance your picking hand travels.

Definitely come up with chord and shape ideas of your own and put them together. Print a bunch of blank tab and chord sheets, and keep them handy when you’re practicing, so you can sketch out these ideas as you come up with them. Don’t worry too much about figuring out which scale or chord they “belong” to yet, the main thing is that it sounds cool to you, and that you get it written down for future reference. You can figure out the theory later if you want.

The next post will explore a melodic variation on the single position exercise, stay tuned!

For the upcoming Memorial Day weekend, the entire PTG catalog will be either discounted up to 75% or FREE.

Presto and Climbing the K2 will be available for free downloads on May 25th and 26th, while Practice Power, Pentatonic Licks & Sequences, and Hanon for Guitar: Inside Out will be on a Kindle Countdown from May 24th through the 26th. For the Countdown deals, prices start at just 99¢ on the 24th, then go to \$1.99 on the 25th, and \$2.99 on the 26th.

Get loaded and ready for a summer of great guitar playing, for less than a cup of coffee!

Maximum Fretboard Control: Fretboard Mapping, Part 2

Picking up where we left off in the last post, let’s resume our crash course in fretboard mapping and note memorization by taking a look at the 2nd (B) through 6th (low E) strings, from the open string on up to the 12th fret. We’ll look first at all the natural notes on each string, and then include all the accidentals (sharps/flats) for the complete chromatic octave along each string.

Reminders from the previous post will be included as we go along.

Here’s the B string:

Remember that each accidental has two (enharmonic) names, so C# is also Db, Eb is also D#, and so on. The name used will generally depend on the key signature. The particular names used in these diagrams are more commonly used than their enharmonic counterparts.

Moving on to the 3rd (G) string:

Remember that all of these patterns replicate 12 frets up the neck; for example, the B note at the 4th fret in the above diagram shows up an octave higher at the 16th fret.

Let’s check out the 4th (D) string:

You don’t have to worry about it too much while you work on each string one at a time, but as you put all the strings together, it’s critical that you then work on the notes that are multiply located.

Let’s take the D note at the 12th fret on the 4th string as an example. Keep in mind how standard (EADGBE) tuning creates multiple locations for notes. What other locations can this exact note, not an octave above or below, be played? For most of the strings, the same note can be found 5 frets up on the next lower-pitched string (going from D string to A string, for example), or 5 frets down on the next higher-pitched string (going from D string to G string). The exception to this is going between the G and B strings, which will be four frets in the respective direction, rather than five.

Take a look at the entire 24-fret map and see if you can spot the other locations for that note. (Answer at the end of this post.)

Here’s the 5th (A) string:

Remember to learn the natural notes first, by the time you have those down, you’re more than halfway there!

Finally, let’s take a look at the low E string, which as you’ll recall is exactly the same as the high E string, just two octaves lower:

Again, don’t try to learn and memorize every diagram and pattern all at once. Five minutes at the beginning or end of each practice session, focusing on just one string each time, should get you going within a week or so (provided you practice 3-5 times a week).

After a couple of weeks cycling through the single-string patterns, start mapping adjacent string pairs, working on all the various elements covered so far. For now, just do 1-2 (E-B), 3-4 (G-D), and 5-6 (A-E) string pairs. Work these patterns above the 12th fret as well, knowing that the notes are the same, just 12 frets (and an octave) higher.

More techniques and exercises to help you master the art of fretboard navigation will be covered in the upcoming PTG Kindle book, Maximum Fretboard Control, coming soon. We’ll give you a heads-up as to the launch date, as well as free download dates to get yours when it drops. Play hard and have fun!

[Answer to question about the other locations for the D note found on the 4th string, 12th fret:  3rd string, 7th fret; 2nd string, 3rd fret; 5th string, 17th fret; 6th string, 22nd fret. Needless to say, play all of them.]