3. Filling Gaps in Fretboard Knowledge Part 1
This lesson is first of my ”Filling Gaps in Fretboard Knowledge” methods. Main target in these lessons is to find places in fretboard that isn’t so familiar and also shake up fingering habits. In guitar playing we can sometimes be stuck with fingerings and play more with our fingers than with ears. In these examples I have restricted use of strings to only two strings (D and G). In that way player have to think chord and scale shapes maybe in different way.
I have made 10 examples that proceed in order that contains first simple chord arpeggios and D major scale and eventually little more complex improvisation, classical and rock style examples. You can find printable tabs/notation from ”Downloads” section.
Ex.1 Here we find notes and fingerings for basic chord degrees in D major (I = D major, IV = G major, V = A major) in whole neck. Try to keep your note changes smooth.
Ex.2 Here I improvisated on I-IV-V-I (D-G-A-D) cadence with using only notes that belong to these chords. You can try my improvisation and/or try your own. The challenge here is to make chords change in right time and keep it still grooving.
Ex.3 This example contains D major scale’s notes in D and G strings from lowest to top note.
Ex.4 Now play D major scale with 8th note triplet pattern.
Ex.5 Here is example of improvisation where is used D, G, A arpeggios and D major scale together still with I-IV-V-I cadence.
Ex.6 This example contains all basic chords from D major key. I = D major, II = E minor, III = F# minor, IV = G major, V = A major, VI = B minor, VII = C# dim.
Ex.7 Here is all major chords played in cycle of fifths. Try to play arpeggios in position where your left hand’s middle finger plays 5th fret, index and little finger stretches to other frets.
Ex.8 Here is free improvisation that happened to form in classical style. You can try what ever style you want.
Ex.9 This is classical style etude that can also be played with distortion more in style of neoclassical rock. Chords are: D, D, G, G, A, A, D, D, D7, D7, G, G, E7b9, E7b9, A7b9.
Ex.10 This last example is in rock style with arpeggio patterns. These arpeggios can be considered in some different ways and here is couple of them:
1st bar: Dmaj7 or Bm9
2nd bar: G6 or Em7
3rd bar: Gm6 or Em7b5
4th bar: F#7 or (A13b9)
2nd goal: F#7
1st bar after goal: Bm7, Bm6
2nd bar after goal: Gmaj7, Dadd9 and F#m7
3rd bar after goal: Am6, G6
4th bar after goal: Gm6, Dmaj7
I hope you enjoyed this lesson and follow coming lessons.:)
Feel free to comment or contact me.
Kindest, Mikko