Chapter 1 – The Notes on the Fretboard
To be able to improvise on guitar, learning the notes on the fretboard is essential. Don’t let the long fretboard intimidate you because it’s far easier to learn all the notes than you might think.
The Natural Musical Alphabet
The natural musical alphabet has only seven notes – A, B, C, D, E, F, and G. They’re called natural because they have no flats or sharps. All the sharps and flats occur between these notes. Once you know these, learning the sharp and flat notes is as simple as going up or down.
Flats & Sharps
Flats and sharps are just half-steps away from the natural notes. On the guitar fretboard, a half-step is equivalent to a distance of one fret. The difference between flats and sharps is in how you move, whether up or down. Every half-step or fret changes the note.
Sharps are a half-step up from a natural note. For example, a half-step above A is A#. Flats are the opposite – one half-step down from a natural note. For instance, a half-step down from A is Ab.
The BC & EF Rule
All these natural notes have sharps and flats between them except for B-C and E-F. A half-step between these two leads to the next natural note. Stepping down from C leads you to B, while stepping up from E leads to F.
String Names
Using standard tuning, your open strings are E, A, D, G, B, and E. This gives you a vantage point to start learning. As you may notice, your highest and lowest strings are both E, which means they will have the same notes, giving you less to memorize.
Counting Up The Frets On Each String
Straightaway, it’s a simple matter of counting up the notes as you go along the fretboard. As you can see in the following diagram, the first fret is one half-step up from the string name. Just keep in mind the BC and EF rule to keep your notes in order.
The 12th Fret Octave
You only need to learn the first 12 frets on a string as the notes will start to repeat in a cycle. For example, in the diagram above, on the 12th fret of the high E string, the note becomes E again. Fret 13 would then become F, repeating the sequence of notes all over again. This is called the chromatic scale which simply refers to every one of the 12 available notes on the fretboard. In this case, it’s the E chromatic scale where the first note is E and the last is D#, and then it cycles back.
The confusing part is that these flat and sharp notes each have two interchangeable names, and the name depends mainly on the key you are in. For instance, the note between A and B is called A# if you’re stepping up and Bb if you’re stepping down.
G♯ = A♭ | A♯ = B♭ | C♯ = D♭ | D♯ = E♭ | F♯ = G♭
Choosing the right names for each of these flat and sharp notes is useful when trying to build and visualize more advanced scales on the fretboard. We’ll be talking about this concept in my other courses. But for now, to simplify things, we’ll just pick one name for each – G#, Bb, C#, Eb, and F#.
Chapter 2 – The Major Scale
The major scale is the foundation of all western music. Every guitar chord and scale you’ll ever play comes from this gold standard of scales.
The Major Scale Formula
The major scale has 7 notes and the note you begin with gives the scale its name. For example, applying the major scale formula and starting on a G note will give you a G major scale. Similarly, starting on a Bb note will give you a Bb major scale. The formula is WWH-WWWH, where W stands for whole step and H stands for half-step.
As I mentioned earlier, a half-step is a distance of one fret. This consequently means that a whole step is equivalent to a distance of two frets. So if we’re going to use fret distance instead of half and whole steps to describe the major scale formula, it would be 221-2221.
G Major Scale
Now that you know the scale formula, we can start creating different major scales. Let’s start with the G major scale. Starting on G, we’ll go two frets up to A, then another two frets up to B, then one fret up to C. Keep in mind that there’s no B# or Cb because of the BC & EF rule. Then we go up two frets to D, another two frets up to E, and yet another two frets up to F#, and then finally go up one fret to return to G.
D Major Scale
Let’s try D major. If we start on D and apply the major scale formula, we get the notes D, E, F#, G, A, B, and C#.
Practice making other major scales using this 221-2221 formula. Once you get the hang of it, you’ll be ready to move onto the next lesson.
The 5 Major Scale Shapes
A great way to memorize major scale shapes all over the neck is to break the scale down into 5 positions. Once you’ve memorized these 5 scale shapes, that is it. You can use the same shapes for all major scales in all keys. We’re going to use the G major scale as most guitarists are comfortable in this key.
Chapter 3 – Macro Fretboard Visualization
There are two types of approach in using the major scale number system to visualize chords and scales on the fretboard:
- Macro Fretboard Visualization
- Micro Fretboard Visualization
Macro visualization is where we visualize the major scale number system based off the key center. Micro visualization on the other hand is where we visualize the number system based off the root note of the current chord.
In this chapter, we’re going to focus on macro visualization.
Macro Visualization Essentials
Macro fretboard visualization is based on one simple principle:
The notes in a key’s major scale are numbered one through seven, each of which represents a chord function.
Let’s take the key of G as a simple example. The G major scale notes are G, A, B, C, D, E, and F#. So we would number them as such:
G is 1 | A is 2 | B is 3 | C is 4 | D is 5 | E is 6 | F# is 7
So if you see a chord sheet that says:
1 – 5 – 4 – –
you will know that those notes, in the key of G major would be:
G – D – C – –
An easy way to visualize this on the fretboard is by choosing a familiar G major scale shape and checking out which notes are the 1, 5, and 4.
Here’s another G major scale shape you can use…
Therefore, if you know your major scales for each key, you can easily know the chord root notes for any key using the same chart. No need to write out a new chart for a different key. So if you want to do the song in the key of C instead, you can still look at the same chart:
1 – 5 – 4 – –
and know that those chord root notes in a C major scale would be:
C – G – F – –
Again, an easy way to visualize this on the fretboard is by choosing a familiar C major scale shape and checking out which notes are the 1, 5, and 4.
This is the exact same concept as “do re mi”. Vocalists would know that no matter what key they’re in, “mi” is the 3rd note of the scale and “la” is the 6th, and so on.
Building Chords using the Number System
Notations
In chapter 6, you will find diatonic triad chord voicing options in the key of G.
Diatonic 7th Chords
A 7th chord is just a triad with an added 7th note. To build a 7th chord, take every other note from the major scale until you get a group of 4 notes. Again, the G Major scale, with its associated number, is:
G is 1 | A is 2 | B is 3 | C is 4 | D is 5 | E is 6 | F# is 7
So, a G major 7th chord starts on the “1” and takes every other note. You end up with the 1, 3, 5, and 7 notes: G, B, D, and F#. This is the 1M7 chord.
And if you continue doing the same process for the rest of the notes of the scale, you’ll end up with seven diatonic 7th chords in the key of G:
GM7 | Am7 | Bm7 | CM7 | D7 | Em7 | F#m7b5
In chapter 6, you will also find diatonic 7th chord voicing options in the key of G.
Chapter 4 – Micro Fretboard Visualization
Micro Visualization Essentials
Micro fretboard visualization is based on one simple principle:
The notes in a chord’s major scale are numbered one through seven, each of which represents a scale degree.
The major scale number system can also be used as a yardstick to measure the pitch distance of any note from the chord root note. When used this way, the numbers represent scale degrees.
Defining Chords and Scales using Micro Visualization
Now we can define any chord or scale with scale degrees. This universalizes the thing we’re defining so it’s independent of root; meaning you can transpose it to work on any root note. Here’s an example:
G major 7th chord: G B D F#
If we want to define GM7 using scale degrees, we simply superimpose a major scale shape on the chord root note. And using the number system, we therefore know that G is 1, B is 3, D is 5, and F# is 7. Therefore, the chord formula is 1 3 5 7.
The Notes in between
We need to also learn the chromatic scale formula so we can identify the flats and sharps in the number system:
R – b2 – 2 – b3 – 3 – 4 – b5 – 5 – b6 – 6 – b7 – 7 – R
The 34 & 7R Rule
To make the chromatic scale formula easy to memorize, we can use the 34 &7R rule which is similar to the BC & EF rule. All these natural notes have sharps and flats between them except for 3-4 and 7-R. A half-step between these two leads to the next natural note. Stepping down from 4 leads to 3, while stepping up from 7 leads back to the root.
Okay now that we can also assign scale degrees to the flats and sharps, let’s try some other examples:
E♭m chord: E♭ F# B♭ = 1 ♭3 5
To define Ebm using scale degrees, we simply superimpose a major scale shape on the chord root note. And using the number system, we therefore know that Eb is 1, F# is b3, and Bb is 5. Therefore, the chord formula is 1 b3 5.
C minor hexatonic scale: C D E♭ F G B♭
To define C minor hexatonic using scale degrees, we simply superimpose a major scale shape on the root note of the scale. And using the number system, we therefore know that the scale formula for C minor hexatonic is 1 2 ♭3 4 5 ♭7.
F minor blues scale: F A♭ B♭ B C E♭
To define F minor blues using scale degrees, we simply superimpose a major scale shape on the scale root note. And using the number system, we therefore know that the scale formula for F minor blues is 1 ♭3 4 ♭5 5 ♭7.
Building Chords and Scales using Micro Visualization
Looking at all of the examples so far, we’ve named the notes first, then revealed the scale degrees. But we can define all of these things independent of root. The minor hexatonic scale, for example, is defined as 1 2 ♭3 4 5 ♭7. That’s how we can construct the scale from any root!
Let’s try to build an E minor hexatonic scale using the scale formula 1 2 ♭3 4 5 ♭7. An easy way to see this on the fretboard is to pick a familiar major scale shape of the same root note and then superimpose the scale formula on it.
Let’s try the A minor blues scale using the scale formula 1 ♭3 4 ♭5 5 ♭7. (GIF)
For the last example, let’s build an A major 7th chord with the chord formula 1 3 5 7. (GIF)
As you can see, the major scale is our yardstick. It’s the only scale with all seven unaltered scale degrees:
1 | 2 | 3 | 4 | 5 | 6 | 7
Everything else is defined by how it’s different from this yardstick.
Chapter 5 – Switching between Macro and Micro Visualization
As mentioned before, macro visualization is where we visualize the major scale number system based off the key center. Micro visualization on the other hand is where we visualize the number system based off the root note of the current chord.
Let’s take for example a very simple 4-5-1 chord progression in the key of G. The chord progression goes:
C – D – G – –
Macro Visualization for Chords
When playing chords using macro visualization, we superimpose the key’s major scale on the fretboard. In this 4-5-1 chord progression, the key that you’re in is G major, wherein the key center is G. As you see the chords go by on the fretboard, take note where the nearby key centers are at. This way you’ll start to recognize the scale degree of the current chord in relation to the key center. So when you play the C chord, notice that the root note is the 4th scale degree of the key center (G), which means it’s the 4 chord. Conversely, when you play D, the root note is the 5th scale degree of the key center (G), indicating it’s the 5 chord. And when you play G, the root note is the 1st scale degree, indicating it’s the 1 chord.
If you want to transpose the chords to the key of D, you can still use the same chord chart 4-5-1. So when it’s time to play the 4 chord, we play a major chord shape based off the 4th scale degree (G) of the macro key center (D). On the next chord, we play a major chord shape based off the 5th scale degree (A). Then on the last chord, we play a major chord shape based off the 1st scale degree (D), which is the same as the key center.
Switching Back and Forth between Macro and Micro
In the two diagrams below, you’ll see how the underlying major scales switch back and forth between macro visualization and micro. Macro visualization is our default because we should never lose sight of the key center. Otherwise, we’ll get lost!
Of course, there’s no need to switch underlying major scales if you’re on the 1 chord as the major scales are the same for both macro and micro.
If it’s a fast paced song, we don’t have time to switch to micro visualization. So we stay in macro and just rely on memorized chord shapes. But if it’s a mid-tempo or slow song, we have more time between chords and are able to switch to micro visualization and be able to also see the scale degrees of the chord tones. These scale degrees can be used later on as target notes when we start playing scales.
So in essence, micro visualization is like taking a peek under the hood. It’s slower than macro visualization but let’s you see more details.
Macro Visualization for Scales
It’s basically the same as playing chords but this time, we’re playing scale shapes. We are going to use the most basic hexatonic scales just to illustrate how to play scales while using macro visualization:
C major7th hexatonic scale for the 4 chord – 1 2 3 5 6 7
D major hexatonic scale for the 5 chord – 1 2 3 4 5 6
G major hexatonic scale for the 1 chord – 1 2 3 4 5 6
Again, we’re going to superimpose the key’s major scale on the fretboard. In this 4-5-1 chord progression, the key that you’re in is G major, wherein the key center is G. As you see the scale shapes go by on the fretboard, take note where the nearby key centers are at. This way you’ll start to recognize which chord you’re soloing on in relation to the key center. So when you play C M7 hexatonic scale over the C chord, notice that the root note of the scale is the 4th scale degree of the key center (G), which let’s you know you’re soloing on the 4 chord. This helps you anticipate the scale for the next chord. Conversely, when you play D major hexatonic scale on D, the root note is the 5th scale degree of the key center (G), indicating that you’re soloing on the 5 chord. And when you play G major hexatonic scale on G, the root note is the same as the key center, indicating that you’re soloing on the 1 chord.
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If the chords were transposed to the key of D, you can still use the same chord chart 4-5-1 for deciding which scales to use. So when the 4 chord plays, we play a major7th hexatonic scale shape based off the 4th scale degree (G) of the macro key center (D). On the next chord, we play a major hexatonic scale shape based off the 5th scale degree (A). Then on the last chord, we play a major hexatonic scale shape based off the 1st scale degree (D), which is the same as the key center.
Switching Back and Forth between Macro and Micro
In the two diagrams below, you’ll see how the underlying major scales switch back and forth between macro visualization and micro. Macro visualization is our default because we should never lose sight of the key center. Otherwise, we’ll get lost!
Again, there’s no need to switch underlying major scales if you’re on the 1 chord as the major scales are the same for both macro and micro.
If it’s a fast paced song, we don’t have time to switch to micro visualization. So we stay in macro and just rely on memorized scale and target note shapes. But if it’s a mid-tempo or slow song, we have more time between chords and are able to switch to micro visualization and be able to also see scale degrees and target notes.
So even though micro visualization is slower than macro, it let’s us see more harmonic and melodic options.
Chapter 6 – Drills for Better Fretboard Visualization
Scale Degree Exercises
Scale Degree Exercise #1
– Pick a G root note and find the nearby root note/s. The rule is that the farthest relative note should be only 2 frets away from the G root note. Then go find the 2nds, 3rds, 4ths, 5ths, 6ths, and 7ths.
Do the same drill with the other 4 root notes on the fretboard.
Scale Degree Exercise #2
Here’s an exercise you can use to quickly find scale degrees on the fretboard:
Diatonic Triad Exercises
Below are diatonic triad exercises to improve fretboard visualization. It’s important to visualize the nearest scale root note/s while playing these chords. Use a metronome and record yourself.
Diatonic Triad Exercise #1 – Strings 123
Diatonic Triad Exercise #2 – Strings 234
Diatonic Triad Exercise #3 – Strings 345
Diatonic Triad Exercise #4 – Strings 456
7th Chord Exercises
Below are exercises on diatonic 7th chord voicings that you can use to improve fretboard visualization. Again, it’s important to visualize the nearest scale root note/s while you’re playing the chords. Use a metronome and record yourself.
7th Chord Exercise #1 – Strings 1234
7th Chord Exercise #2 – Strings 2345
For strings 2345, here are the chord voicings you can use:
7th Chord Exercise #3 – Strings 3456
For strings 3456, the chord voicings you can use are:
And that’s about it! If this course has helped you in any way, please leave a comment or share this to your friends. Thanks for your support and see you soon at the next course!
This is awesome! Thanks for sharing mate.