Light bulb moments

[Anthony I]

#1. I’m able to find any note on the fretboard quickly using this method. First I need to memorize all the notes on the 5th and 6th string. Then I use to 2-up 2 over rule to find any other note. e.g. G 3 fret, 1st string, which means another G is 5th fret 4th string, which means another G on 8th fret end string ( add one when going to or crossing string 2.
#2 You only need to memorize pattern 1 of the minor pentatonic not 5. Let’s use G again. Of course you use pattern 1 for the G on the 6th string (1-4,1,3,1-3,1-3,1-4,1-4). Your next G, using the above method, 4th string, 5th fret . From that point, use the exact same pattern (1-4,1-3,1-3 mover over one, 1-3. Try G 5th string, 10th fret. Same thing (you will notice it’s the forth pattern).
If you use pattern 2 on G it’s the major pentatonic. Find any G, use pattern two from there and you’ve got the whole fretboard worked out for the major
#3 for blues players. No need to memorize the location of all the roots for the 1,4,5 chords. Just remember that every 4 is 1 string above the 1 chord note and every 5 is two over from the 4 ( that works in reverse too.
So the G on the 4th string has one G one string above same fret AND one string below, frets down.
If you use my light bulb moments, once you found your G you will not only know the minor (1) and major (2) patters but the locations of all the root notes

[sunjamr]

It works even better on a bass, because all 4 strings (E A D G) are tuned to 4ths and don’t include that pesky B string or high E string.

Sunjamr Steve

[charjo]

Hi Anthony,
Fair warning, I’m a pretty obsessive fellow and have been known to overthink things.
I think these are all great ideas to begin to get a familiarity with the fretboard and I agree all pentatonic box shapes are the same and just rotate vertically around the fretboard.
What I’ve found as I progress is that I don’t want to have to find a note or root in relation to some other note. I don’t think you have time if you’re trying to improvise. That’s why seeing chord and triad shapes is becoming so important to me. I can immediately see the key notes of a chord and beyond, especially if I understand how the intervals work within and around those shapes.
Also, just spending time learning note names independently (and understanding chord structure and notes within a key), whether by strict memorization or just by virtue of learning triads in different keys, is helping me see new chord voicings and extended chords. It is all starting to make learning new songs and phrases easier and definitely helping my improvising and starting to influence my rhythm playing. I think everything you can do to integrate the fretboard is a plus. That includes note names, root locations, triads, chord shapes, major scale patterns and intervals in relation to one another. I think for the very advanced player it all becomes one big gestalt.
Then again, some get by very well using their ear, so some of it comes down to learning style.
John

[Author]

Posts