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 Fls,tpicking Essentisls Volume 4
Understsnding the Fingerbosrd and
Movii7 Llp-the--Neck -
b y D a nM i l l e r -

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www.flotpick.com 800-413-8
296
FlatpickingEssentialsVolume4:(Jnd,erstand'ingtheFingerboard'&MouingUp-the-Neck
 Teibfeol Contenls
lnfroducfion Y
Undersleindlng the Flngedoeird, Pcrl l: Wor{rlng wlllr Chord thapes I
The FDAA 9tzslem 4
The F-Shope Chord Form 4
I-IV-V Psogresslons 6
Bllc llre Cobbcge Down I
Fodred Deer (A Secflon) Verslon I 9
Fodred Deer (A Secflon) Version 2 ll
Fodred Deer (A Secflon) Verslon 3 tl
For{red Deer (A Secflon) Verslon I l2
The D-Shope Chord Form l4
l-ry-V Progtesslons l6
Blle lfte Cobbogc Down l7
Bonopotte's Refreol r8
Worded ton Blues 20
lhe Upper-A Shope Ghord Form 2l
I-TV-VPtogtesslons 23
Blle ffre CobbcAe Down 24
Sf. Annets Reel (B Secfion) 25
Red RlYer Volley 26
The Blues Shuftle 27
l2-Bgir Blues 3l
Rock Power Ghord Rlft 3l
The lower-A Shope Chord Form 32
l-U-V Ptogtesslons 35
Bile lhe Cobboge Down 36
Adransos TrcrYelet 37
Recogn1zilng Polllems 40
Ovedoppln g I-IV-V P rogr esslon /ro
Chord Progresslon Procflce 4l
l-N-V Psogtession Wor{rouf 44
Chord Shopes ond Vocol Arrongernenls 46
Wlll llre Clrcle Bc Unbroken 47
Wlldwood Flower 48
Blockbeny Blosso.n 50
tlnor Chord Forms 5l

Undersfeindlng the Flngedoard, Paft 2: llleiior Sceiles 54

The tolor 9cole Formulo 56
Finding lhc Roof Nofe 6l
Thot Darn B-Stdng 54
The G Scole Up-the-Neck (Bor Pofferns) 66
Bor Pglttern Exerclses 68
You Arc ty Sunshlne 70
Whlskey Before Breokfosl 74
Busfing Out Oi lhe Bor 75
The One Stfing rUnZtanD 77
Foldlng Scole on low E Stdng Unllor 77
You Are ty Sunshlne 7A
Whiskey Before Breokfasf 79
lhe ltro $tfing Guilor 8l
9cole Proclice 82
lll
Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
 Toble of Confenls (con'f)
Whiskey Before Breokfosf

ftlovlng Around tlte Flngedoord Paet | : lcornlng tore Abo rt 1h1lt;,ng 85

G toior Scole 85
Shlftlng Ererclses 86
Bllly ln The lowground 87
lf,ovlng Around ftte Flnge6oord Pert ll: Using Open Strings ond ..Float?ngn 88
toving Around Uelng Open Sfrings 89
A Foldlng 9cole Using Open Sfdngs 90
lcornlng How fo uHloolln 9r
Flooflng fh;ough Scoles 92
Ternperonce Reel 93
Fodred Deer 94
tloving Around tlte F?nge/boord Porf III: Uslng Harmo ;11zed Scoles 95
lf armo nlZzedScole Exomples 97
Whlskey Before Breokfosl 98
Katy Hill (A Secflon) roo
Blockberly Blossom (A Sectlon) r03
Jlmmie R,odgers Yodet Llck to5
Nlne Pound Hornmer r06
The Blockbefty Blossom Etude to7
Whlskey Before Breokfosf ilo
The Keys of C ond D ill
For{red Deer tt7
9cole seclion summoty ond Procllce suggesrions fl8
Dynornlcs Erercise il8
Blockberty Blossom wllh Flddle fbne pulsc lt9
Nofe Duroflon Erercise fl9
Scole Timlng Ererclse r29^

Un d ersfoa dln g the Fln ge lb o ard, Part 3 : Wo t k?ng w?t]. Atp eggios 125
Aryegglo Ererclse I 125
For{red Deer Exclmple 126
G Aryeggao ExercZse2 r27
G A'lpeggZo Ererclses 3 ond 4 r29
G Aryegg?o Exercise 5 r30
C ond D Arpegglos Exerclses t3l
I-IV-V &pegglo Erercisc r32
Song Exeimples r33
Bleickbefty Blossom t34
Flsherte Hornpipe t35
Red Holred Boy t36
Cherokee Shuff,e 137
Flowers of Edlnburgh r38
Whcre To Go From Here r40
lnfewols Appendir l4l
Playing lnlervols Reloliue lo the Roof 144
Infervol Ererclses 145

lv
Flatpicking Essentials Volume 4: (Jnderstanding the Fingerboard & Mouing Up-the-Neck
 lnlroductlon
Welcome to Flatpicking Essentials, Volume 4: was too hard for me. However,when I startedlearning
Understandingthe Fingerboard and Moving IJp-the- how to play the banjo I did have a teacherand he was
Neckt As you flip throughthe pagesof this book, the teachingme how to play chordsand solosup-the-neck
first thing I want you to keep in mind is that it is not by the third or fourth week of lessons. I never really
as hard as it looks. You may look at all of the charts, thoughttwice aboutit becauseI just workedon learning
scales,diagrams,and tabs and have a tendencyto get to play whateverhe showedme.
overwhelmed.I assureyou that thereis no needto feel Yearslater I realizedthat while it was very easyfor
that way becauseit is honestlyeasierthan you might me to play banjo chordsand banjo solosup-the-neck,
assume. We are going to take it slow and steadyand I was still strugglingto do it on the guitar. I wondered
build step-by-step just as we havedonein the first three why this was the caseand I finally rcaLtzedthat I still
volumesof thiscourse. had some kind of mental block in my head that was
Although I've read a lot of music theory books and telling me that playing up-the-neckon the guitar was
intervieweda lot of very highly educatedpeoplein the difficult. Once I had that realizationI was able to
field of music theory and education,I am not formally convincemyself that playing up-the-neckon the guitar
trainedin musictheoryor musiceducation.I've always wasno harderthandoing it on the banjo. The difference
liked to keep my study of theory very practical,and wasthat I had someoneshow me how to do it, andgive
so that is what I've tried to do here in this book. The me the confidenceto do it, on the banjo, while I was
materialthat is presentedhereis basedon what I have strugglingon my own with the guitar. Then and there
read,what I have been taught,and what made sense I decidedthat I was going to teachmyself how to play
to me. In my own effort to understandthe guitar's up-the-neckon the guitar. The methodsthat I usedto
fingerboardand play solos and chords up-the-neck,I teach myself how to move up-the-neckand use the
have tried a lot of things that worked and other things whole fingerboardare what I am presentingto you in
that I thoughtwe not so useful. In writing this book this book.
I presentthe ideas,theories,and exercisesthat have The moral of the story is that even if you consider
workedbestfor me. I havealsodiscussed the ideasthat yourself a beginner,go aheadand try to start learning
I've presented herewith my goodfriendTim May,who a few things up-the-neckand work to understandthe
will be my co-authorfor this seriesstartingwith Volume guitar'sfingerboard.Working on it now will give you
5. I am confidentthat we havecomeup with a method the confidencethat will allow you to really blossomas
that will help you understand the entirefingerboardof your technicalskills on the guitarcontinueto improve.
the guitar in a very useful and practicalway. As always,if you find that any example,exercise,or
songarrangement is difficult, slow it down and work it
You Can Do It!! over and over again. You will get it!
Regardingyour study of the guitar's fingerboard
and your use of the higher partsof the guitar's neck, Why Move Up-The-Neck?
the first thing that I'd like to tell you is that I believe As I was just beginningto put an outline for this
that you can startworking on solosand chordsup-the- book togetherI satdown with my fried Tim May to talk
neck very early in your life as a studentof the guitar. about why a guitar player would chooseto move up
In other words, if you "wait until your good enough" the neck. There are somevery well known musicians
beforeyou try to move up-the-neckandunderstandhow who play the guitar and rarely go up abovethe fifth fret
the fingerboardworks, then you getting a late start. I and they seemto get alongjust fine. So, what is the
know from experience. advantaqe?
I startedto learnhow to playtheguitarseveralyears Tim's first commentregardingmovingup-the-neck
beforeI triedto workwith anyotherinstrument.I didn't wasto saythat in his experienceskilledguiiar players
take formal lessons.I learnedfrom books and from do not think in termsof ..up-the-neck"
and..down-the_
friends,and I wasoneofthosepeoplewho thoughtthat neck,"theyalwaysthink aboutthewholeneckwithout
going up-the-neckwas for advancedplayersand so I makinganddivisionor distinction.Thinkingthatway
nevertried to learnany closedchordspositionsor up- would certainly help you avoid the problem that I
the-necksolosbecauseI thoughtthat,as a beginner,it mentionedabovewhereyou mayfeel like goingup-the-
Flatpicking Essentials Volume 4: (Jnderstanding the Fingerboard & Mouing Up-the-Neck
neck is too hard. If your attitude about note selection 5) Unison or Harmony: Wheneveryou are playing
on the guitar was that the "neck" was the "whole neck" in a band there will be opportunitiesto play in unison
and every part of it is thereto be used,then you would or in harmony with other instrumentsin the band. In
neverpsycheyourselfout. Good point Tim! order to do that, you may have to increaseyour range
After Tim andI talkedaboutthe "whole neck attitude," so that you can reachthe appropriatenotes,especially
we thenwrotedown a list of reasonswhy you'd want to if you are playing with higher pitched instrumentslike
usethosenotesthat arefound higheron the finserboard. mandolinsor fiddles.
Here is the list:
6) Voicing: Just like there are opportunitiesto play
Reasonsfor GoingUp-the-Neck: in unison or harmony with other instruments,there
are also times that you want to stay out of the range
1) Range: Increasingthetonalrangeof your instrument of those instruments. If you are playing with another
is the first and most obviousreasonfor moving up-the- guitar player and find that they are playing down-the-
neck. If you restrict yourself to the first four or five neck,you may want to go up-the-neckso thatyou don't
frets, you are limiting the rangeof frequenciesthat are walk all over what the other guitar is doing. The same
availableto you. It would be like cooking a meal and holds true for a banjo or Dobro. You may also want to
limiting yourselfto only using a coupleof spices.The go up-the-neckto stay out of the rangeof the singer. If
meal would be OK, but not nearly as good as it could a male vocalistis singingin the rangeof your down-
be if you were able to usethe whole spicerack. the-necknotes,you may want to go up high to execute
fill notes.
2) Texture: When you open up your frequencyrange,
you are adding to the "pallet of colors" and textures 7) Technique: Going up-the-neckalsoaffordsyou the
that are availableto you. You are not just addinghigher use of a variety of techniquesthat are not as available
pitched notes,you are addingto the range of available to you whenyou play down-the-neck.Vibratoand note
techniqueand the type of licks and riffs that you can bendingaretwo techniquesthataremuchmoreeffective
play. When you mix all of these things in order to when you are playing up-the-neck.As you will seein
"paint your musical picture," the depth of texture you this course,having the whole rangeof the neckto work
can provide increasessignificantly. with also opens you up to the use of techniqueslike
harmonizedscaleruns andlons slides.
3) Tone: While going up-the-neckaddsto your musical
range by making higher pitches available, it also 8) Variety: The bottom line is that when you learn
increasesyour tonal range.Playinga note on unwound how to utilize the entire length of the fingerboard,you
strings(the B and high E strings)gives you a brighter add to the variety of tone, texture,and techniquethat
tone than playing the samenote at the samepitch on a you have available. Later on I will ask you to work
wound string. Try it out! Play the C note at the first fret with a few limiting exercises,likeworkingwith the one
of the B string,then play the samenote at the l0th fret string"unitar." When you limit yourselfto using only
of the D string. The secondnote has a different tone. one, two, or three stringson the guitar, you may find
The note on the unwoundB string soundsbright while that it is very frustratingbecausenotesthat you usually
the note on the wound D strins soundsmore dark and play are not availableto you. Once you learnhow to
mellow. play up-the-neck,and make use of the guitar's entire
fingerboard,you are going to wonder how you were
4) Feeling or Mood: Moving up the neck to higher ever able to play the guitar without using all of those
pitchednotesis a greatway to increasethe intensityof notes,techniques,and ideas.
a solo. Think abouthow a singeruses the rangeof his
or her voice to expressfeelingor mood. Usually when 9) Creativity: With variety comes an ability to be
they want to increasethe intensity,they will move up more creative. The more choicesthat are availableto
to a higher vocalrange. By going up the neck you can you regardingrange,tone,texture,voicing,feeling or
changethe feelingor mood of your solo with the higher mood,andtechnique,the morecreativeyou canbe with
rangefrequencies. everyaspectof your music.

Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck

Studying the Road Maps learning a lot of songs,and song variations,you are
I have interviewedhundredsof guitar playerssince going to eventuallygain a naturalfeel for where all of
I startedpublishing Flatpicking Guitar Magazine in the intervalsare locatedand developa senseof where
1996. During the courseof any interview I will usually to go. Sincethereareonly l2 noteson the guitar,aftera
ask each personwhat it is that they think about when while you can get a feel for how to find thosenotesand
they are arrangingor improvising. As I will discuss you are able to play anythingon the guitar that you are
laterin this book, the ultimategoal is to have a "quiet hearingin your head. Many great guitar playershave
mind" while allowing an improvised "stream of learnedthis way and there is nothing wrong with it,
consciousness" solo to emergespontaneously.While however,in my opinion,it is the most time consuming
thatis the goal.the "streamof consciousness" is rooted way to learn. Most of the peoplewho havelearnedthis
in a knowledgeand experiencethat hasbeenbuilt over way startedwhenthey werevery young and havespent
time usingthe theoriesand/orprinciplesof music. a lot of time with their guitar. If you are not so young,
Thenext stepbackfrom the "streamof consciousness" or do not havea lot of practicetime, you might want to
solo is a solo that is basedon somekind of road map usea methodthat providesmore structure.
that informs a thought process until you reach that The three methodsthat you can choosein order to
placewhereyou don't needthe thoughtprocess.The add some structureto your learningprocess,and help
first time you drove to work you probablyhad to study yith the organizationof the notes on the fretboardin
a map in order to get a sensefor the layout of the area, your brain, are basedon three different fundamental
decidewhich routewould work best,andthenlearnthat principlesof music theory. The first is basedon chord
route. You may havealsoneededto studywhich routes forms, the secondis basedon scales,and the third is
might work better in casethere were traffic jams, too basedon arpeggios. Do you need to know all three?
many traffic lights, etc. However, after driving to and No. Any one of thesemethods,or "routes" will get
from work everydayfor years,you arenow on complete you there. But it is nice to have a knowledgeof all
autopilot. You don't have to think about where your three. You neverknow when you are going to need a
turns are, or how to alter your route when the traffic different map to give you knowledgeof an "alternate
is heavy. You are naturally awareof whereto go on a route." Plus,becauseeachof thesemusicalroad maps
good day and know your alternaterouteslike the back are so interconnectedand overlapping, a study of
of your hand. However,a study of areamapsin order each will help your understanding of the others,and
to learnthe variousroutescame first. thus the whole is equal to more than the sum of the
Similarly,it can be very helpful to understandand individual parts. Once again,it comesback to variety
work with our fretboardroad mapsbeforewe can get to and creativity. The more choicesyou have, the more
the point where we are on autopilotand don't have to creativeyou can be.
think aboutwhereto go. Continuingwith the analogy, In this book I will presentall three of the above
youcanthink of the variousscalepaths,arpeggioroutes, mentionedmethods.I will spendmuch moretime here
and chord forms as your main or alternateroutes. You on the methodsbasedon scalesandchordformsbecause
could only study and learn one route to work, but what they are the most applicableto the music that you have
if thereare complications,it is always a good idea to studiedthus far in this course. The use of arpeggios
have a back up plan and know alternateroutes. Or in solo arrangementand improvisationbecomesmore
maybeyou just get bored with the sameold route and applicable when you start to study jazz and swing
want to take a more scenicroute one day. Studying music. So, in this volumeI will introducearpeggios,
andusingall of the possiblerouteson your map addsto but we will not work with them in great detail until
your varietyand creativity. lateron in the coursewhen we discussswing andjazz
The "alternate routes" that lay out on the road affangement and improvisation.However,don't ignore
map of the guitar's fretboardtypically fall into one of the arpeggio sectionbecausea basic knowledge of
four categories.The first fretboardfamiliarity method arpeggioscan really help your theoreticaland practice
involveslearninga lot of songs and song variations. understanding of scalesand chords. In the appendix
After learning song, after song, after song, the of this book I also presentthe definition and usageof
intervals,runs,and licks that are associated with those intervals,which is anothervital fundamentalconcept
songarrangements and melodiesare going to begin to that will aid in your overall understandingof scales,
inform every move that you make on the guitar. After chords,and arpeggios.
VII
Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
How This Book is Organized words,I will teachyou the theory of learningscalesin
Since the theoriesand practical uses of scales, order to understandthe guitar's fingerboardas a "stand
chords, and arpeggiosare so closely tied together,it alone" section. However,I recommendthat you do go
was difficult to decide which conceptto presentfirst. throughthe chord form sectionfirst. I think that it will
Originally I was going to presentscalesfirst because make the scalesectioneasierto grasp.
chords and arpeggiosare built on scaledegrees. But The third sectionof this book presentsthe fingerboard
thenI thoughtabouthow beginnerslearnhow to play the through anotherperspective,that of arpeggios. Since
guitar. Most beginnerslearn chordsbefore they learn arpeggiosarederivedfrom chords,the alpeggiosection
melodiesor single-noteplaying. That led me to also will makea lot more senseto you if you've studiedthe
think about how chord shapescan be viewed as more chordform sectionfirst. I'm not going to spendasmuch
of a "generaltzedmap" whereasscalesand arpeggios time with arpeggiosin this book as I spendon chord
are more "detailedmaps." So that led me to think that forms and scalesbecausesolosbasedon arpeggiosare
if you learnedchord forms and their locations on the more applicablein the realm of swing andjazz. I will
fingerboard, you'd havea morelargescale,generalized, presentarpeggiopracticein more detail when we reach
overview look at the fretboardin your mind and then the volume of this coursethat discussesswing andjazz
you could learnthe finer detailsby later studyingscales improvisation.
and arpeggios. In the appendix I have presentedthe theory of
So, the first section of this book presentsa look intervalsand I've provided some exercisesthat will
at the layout of the fingerboardthrough the lens of help you becomemore familiar with various intervals
chord forms. You will learn four basic major chord on the guitar. I've presentedthis material in the
form shapesand study how they can be applied at any appendix because it would be appropriate for you
locationon the guitar'sneck in orderto form any major to study and practice interval exercisesat anytime.
chord. You will then learn two different methodsthat Readingthe materialin the appendixwould be helpful
you can employ in order to createsolosbasedon those right off the bat, as I start talking about intervals on
chord for locations.One methodis basedon usingthe page I of this book. However,practicingthe interval
root chord of the key as a "center" or "home base"for exerciseswould probablywork best afteryou complete
the entiresolo. The othermethodinvolvesshiftingyour the scalessectionof the book. The interval exercises
chord "center" with every chord changein the song. will probablymake more senseto you, and be easierto
Then you will learnhow to combinethosetwo methods work with, afteryou've studiedscales.
so that in any given solo,you caneitherstaywith a root Throughoutthis entirebook you will only work with
chord location,or you can shift your position at any major chords,major scales,and major arpeggios.Since
time by moving to anotherchord position on the neck the largemajority of the songsthat you havelearnedto
and using that position as your center. date are all based on major chord forms, scales,and
After you haveworked to learnthe locationof every arpeggios, I felt thatit would be bestto work specifically
noteon the fingerboardthroughthe lensof chordforms, in thatrealmin this book so that you will build a strong
I'm then going to have you changeyour perspective foundationfor later study,which will includeschords,
and study the entire fingerboardagain, but this time scales,and arpeggiosthat are more complex.
you will get more a more detailedview of the map by One more thing: The material in this book will not
looking at major scales. You will learn how to play be somethingthat you will work with for a while and
major scalesout of "box patterns,"which stay in one thenleavebehind. You will work with this materialfor
generalareaof the neck,andyou will learnhow to play as long as you play the guitar. So don't rush through
major scalesmoving up and down the neck in a linear this book so that you can get to the next book, or song.
fashion.You will alsolearnhow to link thebox patterns You can study this book bit-by-bit while you are also
togetherby using severaltechniques, including: linear working on othernew material.So, takeyour time.
scaleruns,harmontzedscaleruns,long slides,position I wish you luck in your study of the guitar's
shifts,open notes,and timing alterations.By the end fingerboard. As always, if you have any questions,
of the scalesection,you will know major scalesinside suggestions,or comments,please feel free to send
and out. an email messageto: dan@flatpick.com.Pleaseput
When you beginthe scalesection,I will not assume "FlatpickingEssentials"in the subjectline.
that you havestudiedthe chord form section. In other Enjoy!
viii Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
 Understanding
theFingerboard,
Part
l:
Working
withChord
Shapes
When you first began to learn how to play the If you'd like to figureout which notesarein a major
guitar you most likely startedyour learning process chord, you start with the major scalein that key. The
by memorizing threeor four basic first-positionmajor notesof the major scalethat appearin a majorchord are
chords. That is the way almost everyonestarts.So, the first (root), third, and fifth tones (or scaledegrees)
as you now embark on a study of the guitar's entire of the scale [Note: In the parlance of music theory,
fingerboard,it makes sensethat you also begin that thesenotes are also referred to in terms of intervals:
study by taking a look at major chord shapesas they root, major third, and perfectfifth. Or by their "degree
areplayedall the way up-the-neck.InWtlume1 of this names": tonic. mediant. and dominant. For more
courseyou learnedthat a major chord is madeof of the information about intervals,interval names,and scale
I st, 3rd, and 5th degreesof the major scale.ln Volume degreenames,pleaserefer to the Intervals Appendix at
2 you learnedthat thosethree chord tonesare usually the back of this book.l Below I have written the notes
among the most "stable," or prominentnotesof any of the G major scale:
simple song melody. Therefore,it would follow that
if you were interestedin learning how to explore the Degree:12345678
7-.
entire fingerboardin the context of playing any given Notes:€, A A, c Q, E F# c
melody,then knowinghow to easilyfind the tonesthat
form the major chordswould give your fingersa good You will noticethatI've circledthe lst,3rd, and5th
road map to finding melodiesin any key anywhereon scaledegrees,and thus I've found the threenotesthat
the guitar'sneck. makeup the G major chord:G, B, and D. Thesenotes
form what is referredto as a "major triad." If you look
What is a Chord? at the diagram of the G chord on the left below, you
In Appendix 3 of Flatpicking Essentials,Volume will seethat when you strum a full G chord,every note
/ I explainedhow major chordsare defined. Just in that you play on all six stringsis either a G, B, or D
caseyou do not own that volume,I'll give a brief recap note (notenamesare at the bottom of the diagram).
of that information. In order to learn how chordsare
formed,it will help you to know how scalesare built. G G5
Informationabouthow a major scaleis built was also
includedin Appendix3 of VolumeI . If you don't have
that volume, and are not familiar with major scale
construction,pleasefirst refer to the informationabout a
o
7 3 Dra
?
building scalesthat appearson page56 of this volume.
Once you jump aheadand read through that section
(page56), comebackto this page. GBDGBG GXDGDG
OK, after readingthe sectionon scalesyou know that
each scalehas a formula that you can use in order to The diagramon the right shows the "bluegrassG
derive the notesof the major scalefrom the chromatic chord" that was introducedin Volume I . Notice that
scale. I've only addressed major scalesin this book, when playing this "chord" you mute the A string
however, the same general principle is true for any (indicatedby the "X"). Also notethat in the "bluegrass
scale-minor scales,seventhscales,pentatonicscales, G chord" there are only two tonesthat are played,the
whole tone scales,diminishedscales,etc. Eachtype of G noteandthe D note. The 3rd degreeof the scale,the
scalehas its own half-step/whole-step formula. If you B note, is not played in this "chord." I put the word
know the half-step/whole-step formula for the scale, "chord" in quotesbecausea chord is really definedby
you can figure out the tonesof any scalein any key. a triad ("tri" meaningthree). Since this form only has
The sameis truewith chords.lf you know the formula, two notespresent(the G and the D), it is sometimes
you can find the notesthat make up any chord. referredto as a "diad" ("di" meaningtwo). Also, since
Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing tJp-the-Neck
the two notesof this diad arethe root and fifth notesof F Chord G Chord
the scale,somebookswrite this "chord" with a"5" after
the chord name. In other words, the chord indication 1st Fret 3rd Fret
over the diagram on the right is sometime shown as
"G5" to indicatethat it is a diad and not a full chord.
I'll usethatconventionin this book as we will be usins
diadslateron in severalof the examples.
In Appendix 3 of VolumeI , you also learnedthat
a minor chord differs from a major chord by having a
minor third abovethe root. So the formula for a minor FCFACF GDGBDG
chordis: root,minor third,perfectfifth-or in termsof
= RootNote
scaledegreesit is the lst, flat 3rd, and 5th. Sincethe O
diad "bluegrass"G5 doesnot includethe 3rd noteof the
scale,it can be playedas a major or minor. Remember Chromatic Scaleon the
that the major 3rd adds the "happy" tone to a chord Low E String
while the minor 3rd lendsa sad or lonely tone to the 0 Fret
chord. Sincethe "bluegrassG" diad has no 3rd, it is
a more neutral sound. It does not sound as happy as
the major chord, nor does it sound quite as sad as the
minor chord. That is just an interestingside note,now
+ 1stFret

lets move on.

There are many ways to make a G major chord
on the fretboardof the guitar,however,no matterwhat
P
p
2nd Fret

3rd Fret

+
chord shapeyou use,or whereyou areon the fretboard,
everynotethat you play when forming a G major chord 4th Fret
is going to either be a G, B, or D note. This formula
(major chord = lst,3rd, and 5th degreeof the major
scale)holds true for every major chord. So, with the
knowledge of that formula, you can figure out what
notesare in eachmajor chord and then find thosenotes
+
P
5th Fret

6th Fret
on the fretboardto createthat chord.
Note that some of thesechords are going to be
I 7th Fret
"root-positionchords"or "parentchords" while others
are going to be "chord inversions." A "root-position"
chordis a chordwherethe root of the chord is the lowest
p Bth Fret

noteof the chord. Achord "inversion"is a chordwhere

the root is not in the bass(not the lowest note of the
chord).Chord inversionsbecomeimportantwhen you
P 9th Fret

study thingslike "voice leadirg," a techniqueusedto

P 1OthFret
makeonechordflow moresmoothlyinto anotherchord.
We will studysomevoice leadingtechniquelateron in
+ 1l th Fret
this course.

ttClosedtt Chord

Chords
Forms and ttMoveablett e
0
12th Fret

13thFret
For any given major chord there are roughly five or
six different ways you can comfortably play that full
chord on the guitar's fingerboard(starting at the open
positionandrangingdown to the l5th fret andcovering
I 14th Fret

all six strings).While thatmay seemlike a lot of chords

Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouin,g Up-the-Neck
to know, you are not going to have to memorizeall of
thoseshapesand positionsfor every chord becausein Practice
this sectionof the book we are going to study "closed Working with the F-chord
chord forms," which are "moveable." shapeshown in the diagramat
A closed chord form is one where every string is the top of the previouspage,
either fretted or muted, meaning there are no open play a I-IV-V progressionin
strings. When you play a chord that is "closed,"you the keysof G, C, and D usingonly this one chord
are able to "move" that chord shapeup the neck and shape.You can takethe eight-barprogressionthat
createa new chord at each fret. For instance,if you you workedwith rn VolumeI (i.e. in the key of G
play an F chord at the first fret as shownin the Figureat you will play two-barsof G, two-barsof C, two-
the top of the right hand column on the previouspage, bars of D, then back to two-bars of G) and play
you will notice that all six of the guitar's stringsare throughthis progressionusing only the F-shape.
beingfretted. Becausethereare no open strings,this is You will probably neverplay backup this way at
a "closed" chord form. If you were to move this exact a jam or a show,however,through this exercise
samechord form up the neck two frets, your F chord you will begin to becomecomfortablewith where
now becomesa G chord at the third fret. The losic thesechord shapesare locatedon the neck. This
follows the chromaticscale. knowledgewill come in handy later in this book,
In Volume I I introducedyou to the chromatic and throughoutthe rest of the course.
scale-which is basedon half-steps-and I showed On the audio CD that accompaniesthis book
you that as you move up the fingerboardone fret at a I've explaineda left hand "vamping" technique
time you were moving in half-stepincrementsup the thatyou canusewhenplayinga chordprogression
chromatic scale. Just as moving up the fingerboard usingclosedchordforms. The standardbassnote/
one fret at a time on one string walked your notesup strummethodthatyou learnedtnVolume1 doesn't
the chromatic scale,moving a closed chord form up alwayssoundso greatwhen you are usingclosed
the fingerboardone fret at a time changesyour chord chords. Take a listen to the audio CD Track 0l
one half-stepup the chromaticscalewith eachfret. If and practicethesevarioustechniques.We really
you move a closedF chord form up one fret (one half will not get into playing rhythm with closedchord
step),the chord changesfrom an F chord to an F# or forms in a big way until Volume7 whenwe discuss
G6chord. Move it up anotherhalf stepand it changes Westernswing andjazz. However,it doesn'thurt
to a G chord, anotherhalf step and it changesto a G# to startpracticingnow. The knowledgeyou gain
or Ab chord, one more half step and it changesto an A playingclosedchordsup-the-necknow, will help
chord,etc. both your lead and rhythm playing in the future.
If you take a look at the two diagramsat the top of the
previouscolumn for the F chord and G chord you may
first notice that all of the notesfor both chordsconsist Homework
of the lst (root), 3rd, and 5th degreesof the scale(the Work to memorize the location of
notes are shown at the bottom of the diagram). You each note of the chromatic scaleon
will also seethat the root notesfor eachchord (F note the low E string. Having a quick
for the F chord and G note for the G chord) are on the and immediateknowledgeof the location of each
low E string,high E string,and the D string. Sincethe note on the low E string will not only help you
lowestnote in the chordis the root noteof the chord,all quickly locatethe positionof all l2 chordsusing
of the chordsthat you make using this shapeare root- the F-sh&pe,laterwe will also usethat knowledge
positionchords. You can use this knowledgeto your to help us find any note on the entire fingerboard.
advantagein orderto easilyfind whereany given chord LaterI will showyou a systemof noterecognition
can be found usingthis chord form. on the fingerboardwherebyif you know the notes
If you can memorizethe locationof all of the notes of the low E string,you can find the locationof
on the low E string (chromaticscale)as shown in the any note on the fingerboard. So start memorizing
diagramin the previouspage,you will know exactly the noteson that string now and that will lead to
what chord you are playing when you are at any fret you knowing all the noteson every string!
sincethe root note of the "F-shape"chord will always
Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
be on the low E string. For instance,if you form this old CAGED system. Why memorizefive chord forms
shapeat the 8th fret, you know that it is a C chord; at when you can get away with three?
the 5th fret, it is an A chord; at the 7th fret a B chord. In the systemI will presenthere,we will actually
etc. usefour closedchord forms as I havetwo variationsof
Basedon the fact that you can move a single chord the A form (what I will call the "Upper A" and "Lower
shapeup and down the neck to createnew chords,you A"). So, in this book you will work with four closed
are able to take this one "F-shape" and create all 12 major chord shapes,but that is it. I'll call this system
major chords. Pretty cool! So, in theory,you could FDAA. Using this system,if you simply memortze
take any song that uses only major chords and play four chord shapes,which are all basedon openchord
rhythm for the entire tune without ever changingyour shapesthat you alreadyknow, you will know how to
chord shape. For a song that has a I-IV-V progression find every major chord at just about every position
in the key of G, you could startwith the F-shapechord up and down the neck. Four shapesand a knowledge
at the third fret to play your G chord, then move that of the chromatic scaleis all that you need in order to
shapeup to the 8th fret to play your C chord,then move start exploring the entire fingerboard! And later in
it up to the lOth fret to play the D chord. this courseyou will use the knowledgethat you gain
Unfortunately,approachinga songaccompaniment here as a basis to easily find all chord forms (minor,
using only one chord shapetakes a lot of movement 7ths,6ths,9th,dim, aug, etc.) at any locationon the
up and down the neck, which may be impractical,and fingerboard.So, again,even thoughyou are going to
sincethe shapeof everychordis the same,and thusthe use the knowledgeof theseshapesand positionshere
relative sequenceof notes in each chord is the same, in this book in order to inform your lead playing, this
there is not a lot of texture to the rhythm. However, knowledge will be used later to also inform advanced
there are peoplewho play this way and get away with stylesof rhythm playing.
it. Beginningrock and roll playerswill typically learn
"power chords"that arebasedon this type of movement. The F-ShapeChord Form
We will talk more about power chordslater. The first shapethat we will work with is the one
In order to lessenthe amountof movementup and that you've alreadybeen introducedto, the F-shape.
down the guitar's neck, and provide more texture The F-shapeis typically the first closedchord position
when you are strummingclosedchords,it will behove that beginning guitar players learn. At the top of the
you to learn more than one closed major chord form. next page you will seethree diagramsthat depict how
However,in the systemthat I will presentin this book, the F-shapechord is played at the first fret. Below
I'm going to keepthat numberdown to only four chord those"full" F-shapesI havealso includeda numberof
forms. It is my belief that by learningonly four closed "partial" F chordshapes.Remember,when you play a
major chord forms you can cover the entire neck of the chord you do not have to strum every string. A major
guitar and be ableto play any major chord at just about chord only consistsof a 3-note"triad." If you play all
every positionon the fingerboard. three of those notes you are playing the entire chord.
So as long as you strum thosethree notes,and don't
The FDAA System strum thoseother strings (the oneswith the "X" at the
The most popular systemfor finding close chord top), you can play closed chords without having to
forms on the neck is calledthe CAGED system. It is pressdown or strumacrossall six strings.
called the CAGED systembecausethe closed chord You will noticethat I've alsoincludeda few "diads"
shapesthat you learn in this systemare basedon the in the partialchord shapesdiagramsaswell. F Diagram
open chord shapesfor the C chord, A chord, G chord, I I is obviouslya diad becausethereareonly two notes
E chord,and the D chord. Puttingtheseletterstogether being played. However,F Diagram l0 is also a diad
spellstheacronymCAGED. While theCAGED sysrem becauseeventhoughtherearethreenotesbeingplayed,
is popular,I feel that it can be simplified. In his book thereare only two uniquenotes,as the F noteis being
FretboardRoadrnaps,Fred Sokolow presentsa system playedtwice in this configuration.F Diagram l0 and
thatusesthe CAGED theory,but he only usingthe F, D, F Diagram I I are referredto as "power chords"in the
andA chord shapes,and I think Fred is on to something rock genre and are used quite a bit by rock and roll
that is a bit easierto understand and work with thanthe ,guitarplayers.

Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing tJp-the-Neck

 fiF.Shape"
The Form
Chord
Full Shape
F Diagram1 F Diagram2 F Diagram3
)
1
i) qJ-
.f 6
6.4) (3X4)

Commonly Used Partial Shapes

F Diagram4 F Diagram5 F Diagram6
X XX XXX

F DiagramT F Diagram8 F Diagram9

XX XX X X XX

o ( )

o I) I)
oo o oo

F Diagram10 F D i a g r a m1 1 Note Map

X XX X X XX

I = Root,or 1st Noteof the Scale

III = 3rd Noteof the Scale
V = 5th Noteof the Scale

Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck

 If you look at the note map at the bottom right hand Working with the F-shapeChord Form
side of the next page you will see where each of the Inthepracticesuggestionandhomeworkproblem
three notesof the chord are positioned in this shape. that I gaveyou on page3, I askedyou to play a I-IV-V
Being familiar with this note map can be very handy. progressionusing only the F-shapechord form' At the
For instance,as mentionedpreviously,if you notice tottom of this pageI've outlined a I-IV-V progression
that the root note of the scaleis on the low E string in in the key of G. At the top of the next page I've
this shape,and you memorizethe chromatic scale on provideda I-IV-V progressionin the key of C. In both
the low E string,then you will alwaysknow where to LxamplesI've used bassruns to connectthe different
go on the neck to play a given chord. If you want to chord positions. After working with the material in
ptuy an A chord and you know that in the F-shapethe Volume1, you may have figured out how to do this
root note of that chord is on the low E string, and you by yourself and worked with various bassruns when
know that on the E string the A note is at the fifth fret, you were practicing these I-IV-V progressionsas I
you quickly know where to go to play your A chord suggestedon page 3. If you didn't use bass runs to
usingthe F shaPe.EasY'right! help you move from one chord to the next, go ahead
Knowing where your root, 3rd, and 5th notes are ano play throughthesetwo progressionsnow and learn
locatedin any chord shapewill also help you when you how it is possibleto usebassruns moving up or down
beginusingtheseshapesto move aroundthe neckwhile one string in order to connect these F-shape chord
positionr. Alro, practicethe alternatearrangements for
you ur" playing lead. You'll rememberfrom volume
itt" t"y of G and C progressionsthat are shown at the
2 that the root, 3rd, and 5th notes are those "stable"
melody notesthat are the most prominent notesin any bottom of the next page and at the top of the page after
melody. Also rememberthat when chordschangein a that. You'll noticethat the only differencebetweenthe
songthe first beat of the chord changeis almostalways two versionsarethe selectionof bassnotes. The chord
identifiedby the root,3rd, or 5th note of that chord. So, shapesremainthe same.
knowing exactly where these notes are located when As you work throughthe material in this book you
you are moving aroundthe neck will really help you will learn about a half dozen techniquesthat you can
find the "right" noteswhen you are taking a solo' employ in order to help you move smoothly while

AKey theF'shape
Using
Progression
0fGl.lV'V Form
Chord Audio Track 1'02

lllll
& Mouing Up-the-Neclt
Flatpicking Essentials Volume4: (Jnd.erstand'ing the Fingerboard
 AKey
ofCI'II|.\| theF.shape
Progression
Using Form
Chord
Audio Track l-03

AnAlternate
KeyofGl.lV.V
Progression
theF.shape
Using Form
Chord
Audio Track 1-04

Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck

 AnAlternate
KeyofCl.lt|.l/Progression
Using
theF.shape Form
Chord
F

Crosspicking
theCabbage
"Bile Down" theF.shape
Using Form
Chord
Audio Tfack 1-06
GCGD

Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing (Ip-the-Neck

makinglargeleapsfrom one areaof the neckto another. familiar with usingscaleruns and slideswhen moving
Walking up or down scalenotes on a single string is up and down the fingerboard.
just oneway to accomplishthesemoves.
Another way to connect these various positions Using Chord Shapesto Solo
when moving up or down the neck is the use of slides. Before we move on to study the next chord shape,
At the bottom of the previous page I've presenteda let's look at a song example in order to get an idea
crosspickingversion of "Bile the CabbageDown." about how having a knowledgeof thesechord shapes
You'll notice that here I've used slidesto move from is going to help you when you solo. This first example
one chordpositionto another.You may alsonoticethat will explorethe A part of the song"Forked Deer."This
even though this "inside roll" utilizes a partial chord exampleis exactlythe same,in termsof notechoice,as
form, this partial chord form can still be defined as a Version I of this songthat you worked with in Volume
'root-position"chordshapebecausethe roll startson the
J. However,we aregoingto moveit up the neck. Let's
root note,then movesto the 3rd note of the scale,then take a look at this "Forked Deer" solo and move it up
movesto the 5th note of the scale. This organrzationof the neck in the key of C. Armed with only our new
the three notes of the triad in the chord forms that are knowledgeof the F-shapechord form, and how it can
usedin our I-IV-V progressionsshownon the previous be moved ,p and down the neck, we can approachthis
pagesare also root-positionchords becauseyou have solo in one of two ways. The first would be to usethe
the root-third-fifthsequencein your strum. When you F-shapechord at the Sthfret (C chord)as a "road map"
strum and you can hear the soundof the root, 3rd, and for the solo and play the entire solo "centered"around
then 5th tones in succession,with the root note being that shapeandposition.
the lowesttone,then you know you areworking with a Take a look at the "Forked Deer" solo at the bottom
root-positionchord and not a chord inversion. Practice of the previouspage. By usingthe F-shapeC chord at
the arrangements on the threepreviouspagesto become the 8th fret as your guide, or "center," you can easily

nForked
Deer'A.$ection,
lGyofG,Using
theF.shape Fom
Ghord rGentefl
astheltl|elody's
Audio Track l-07
C

= melodynotenot in the F-shape

C chord
t
Flatpickin.g Essentials Volume 4: (Jnderstanding the Fingerboard & Mouing Up-the-Nech
reachevery note of this melody. In fact, of the 32 notes swimming. That, to ffi€, is the most pleasant
in this solo, only 10 of them (the circlednotes)are not experiencein music,when somethingwithin you
one of the exact notesof the F-shapeC chord at the 8th takesover and allows you to be creativewith the
fret. Also recognizethat the l0 notesof this melody tools that you alreadyhave.That is usuallypretty
that are not in the chord itself are all within a two-fret close to the real essenceof the tune if vou get to
reachof a chord note. that point."
So, the idea hereis that you use the location of the
chord shapenotes as the "home base" for your entire So, while playing without thinking is really the end
solo. This is what is meantwhen peoplesay that they goal, the way you get to that place is to use tools like
"improviseusingchordshapes."When they areplaying chord shapes,scalepatterns,or arpeggiosto inform your
an improvisedsolo,they rely on a knowledgeof chord solos until a knowledgeof the fingerboardbecomesso
shapesat variouslocationson the guitar'sneckto guide ingrained that you don't have to think about it. You
them. Right now we are pretendingthat we only know will eventuallygain an intuitive knowledgeof exactly
the F-shapeand we can seethat all but l0 of the notes where all the tones are located. In other words, you
of this melody arecoveredby that shape.After we add learn it all and practiceit so much that you don't have
our other chord forms, all of the noteswill be covered to think aboutit anymore,likeriding a bike or driving a
by one of the shapesof each of the three chords in car. In an interview with Flatpicking Guitar Magazine
the "Forked Deer" progression. I've given you this we reportedthis from Robert Bowlin:
examplejust to showhow many of the melody notesof "When improvising,arranginghis solos,
a simplesongcanbe coveredwhen you know the chord or writing original compositions,he says that
shapeof the root chord. he allows a 'stream of consciousness' to flow
without trying to think about anything too
A Note on Improvisation specific.He saysat most he will think aboutthe
Beforewe moveon, I would like to sayherethat while song's structurein terms of A and B parts and
the use of chord shapes,or scalepatterns,or arpeggios he thinks aboutthe mood of the song.He says,
are useful guidesthat will inform your improvisations 'I don't think
aboutchords,or notes,or keys,or
in the beginningstagesof your improvisationallearning anything.It alwaysmessesme up when I try to
process,ultimately,your goal is to not haveto think of think."'
anything at all. Here is what CharlesSawtellehad to "Although he has a very broad backgroundin
say on the subject: music and a deeptheoreticalknowledge,Robert
"Whether you are on stage,or in the studio, says that he does not draw specifically on that
or anywhere,a lot of times you are overtakenby backgroundor theory when he is playing. He
the museof it all and you don't reallythink about says,"All of the theory did not fly out of my
what you are playing. Your handsand your brain head.I believeit goesinto my creativeprocess,
know that you have all of thesethings that you but I don't haveto think aboutit. When you get
can play. If you get the securityto go aheadand up on stage,everythingthat you have done you
breaklooseandjust play what you feel,then you bring with you somehow. "
can get really comfortable with it and you will
just startplayingwhat is within you." Ultimately,when you are improvising,you do not
"In Hawaii you seetheseZen archersstanding want to have to think chords, scales,notes, keys,
for a long time with their bows drawn.At the right modes,or a{peggiosat all. However, in order to get
moment they will let their arrows go. The right to that place,you haveto first practicewith a guide,or
moment is when they are actually not thinking road map, in your mind. Oncethoseroad maps,and the
aboutlettinggo.It overcomesthem,it is a decision tonesand intervalsthat the road mapsareteachingyou,
without making a decision,or thinking without becomepartof you, you can get to that placewhereyou
thinking. That is when the really good music will not haveto think aboutit anymore.However,until
startshappening.You blank out what is going on you reach that point in your improvisations,having
and let your mind and handstake over. It is like chord shapesand chord shapepositions in your mind
learninghow to swim. You haveto trustyourself as a generalreferencecan be a very useful tool. So,
and forget that you are going to drown and start let's moveon!
10 F latpic king Essen t ial s Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
 sForked
Deel' lGyofC,lit|oving
A.Section, theFshape Fom
Chord withtheChord
Ghanges
Audio Ttack 1-08

C F C F G C

-
-
-

()
7 a 7
I \_'

'rForked
Dee/'A.Section,
Key theF.shape
0fC,Using Form
Chord Part
fortheSecond#l
Audio Track 1-09

11
Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
 tForked
Deefl
A.Section,
Key theF.shape
ofC,Using Fom
Ghord Part
forthe$econd#2
Audio Track l-10 C F C G

A "Forked Deer" Example using the F-shape probablypull it ofT,however,in termsof taste,I would
Now let's look at another way we may use our say that it moves around too much. However, the
knowledge of the F-shape chord form to play this theory of changingchord position with every chord
same"Forked Deer" solo. Keep in mind, at this point, changeof the song is usableand will work famously
as an exercise,we are still going to still imagine that after you learn a few more of the FDAA chord shapes
the F-shapechord form is all we know. So, we are and don't have to move quite so far up and down the
restrictingourselfto using only that shape. fingerboardwhen the chordschange.
Look at the solo shown at the top of the previous Large movements up and down the neck can
page. In this example,insteadof keeping the solo work, providing that you don't go overboardand use
centeredaroundthe F-shapechord form at the 8th fret, them for every chord change,and you use one of the
I've moved the F-shapechord form up or back down positionshiftingtechniquesso thatyou canexecutethe
the neck in conjunctionwith the chord changesof the movementsmoothly. For instance,you can use this
song. I startedout at the 8th fret (C chord) for the first techniqueto move your solo from a low position on
full measure,then when the chord progressionof the the neck to a high positionon the neck somewherein
song changedto the F chord, I shifted to the F chord the center of the solo. You could start the solo and
F-shapeposition at the first fret to play those notes. play it as it is shown on page 32 of VolumeJ for the
Then, as the chord progressionmoved back to the C first half, then, using your knowledgeof the F-shape
chord, I shiftedback to the 8th fret. Then as the chord chordtorm,you could slideup the neckinto the C note
progressionchangedto the G chord, I shifted to the at the l0th fret in measure6 and finish the solo at this
F-shapeG chordpositionat the 3rd fret, and so on. For position. This arrangementis shown at the bottom of
the last two measures,becausethe chordschangeso the previouspage.
fast, I stayedsettledat the F-shapepositionat the 8th Notice that in this solo I've modifiedmeasure5 so
fret and endedthe song the sameway that I did in the that I've maderoom, in time,to slideall the way down
lastexample. the neck from the 3rd fret to the l0th fret. Moving
OK, this is obviouslyone way that you could play from one end of the fingerboardto the othertakestime
the solo,however,it requiresa lot of quick shifting of and so you have to figure out ways to allow for that
positionsaroundthe fingerboardand thus may not be time. As I mention before,there are severaldifferent
too practical. If the tempo is not too fast you could techniquesthatwe will studyin this book thatwill give
12 Flatpic king E ssential s Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
 you the time to move, including slides,quick finger
Practice positionshifts,the use of open ringing notes,walking
Practicethe I-IV-V chord scalenotes,walking harmonizedscales,and leaving
progressionson pages 6, 1 empty spacesin time (rests).
and 8, the "Bile the Cabbage By the time you reach the end of this book you
Down" arrangementon page 8 will be familiar with many ways to make transitions
and all of the "Forked Deer" arrangements with a up and down the fingerboard. For now, work through
metronome. Once you have worked through all this example of "Forked Deer" until you become
of theseaffangements,you should startto have a comfortable making the low-to-high transition from
good feel for where the F-shapechord positions the first sectionto the secondsection. Once you are
for the F, G, C, and D chordsare located. Hint: comfortable with making the transition,take a look
One way to really get thesepositionslodged into at the exampleat the top of the previouspage. This
your memory is to actually say the new chord is basicallythe samesolo, however,I've addedsome
namewhen vou move to it. eighth note runs to give the solo some texture and
make it more interesting. But notice that even though
Homework
I've addedmorenotesin measure8,I'm still usingthe
I ) Work to come up with I-IV-V F-shapeC chord as my "center."
progressions
in a few keysotherthan Thesefour "Forked Deer" examplesshow you that
G and C, and connectthe positions usingjust a knowledgeof one chord shape,you can
with scaleruns. Since I've alreadygiven you begin expand your use of the guitar's fingerboard
examplesin G and C, progressions in other keys when creatingsolos. As you add to your knowledge
shouldbe fairly easyto figure out sinceall of the by learningthe other three chord shapesof the FDAA
positionsare closed. In other words, in order to system,more positionson the fingerboardwill begin
play a I-lV-V progressionin the key of A, simply to open up to you. However,beforeyou learn another
play exactly the arrangementas the one in G, but chord shape,I recommendthat you spendsome time
move everythingup two frets. For the key of F, with the homeworkassignmentthat I've provided in
move it down (towardsthe nut) two frets. For the the left had columnon this page.
key of D, move the C arrangementup two frets. Having a solid experiential and practical
For the key of B, move the C arrangementdown understandingof the F-shapechord form before you
two frets,etc. move on to study the other shapeswill keep you from
mixing them up and becomingconfused. It is best to
2) Next, try transposingmy arrangementsof take it slow and gain experience,and build "muscle
"Forked Deer" into different keys. For the memory" with one shapebeforeyou add another.You
arrangement on page9, this will be easybecause want to be so familiar with identifying the various
you only need shift to a different position. For chord positionson the neck for this one shapethat you
the arrangementon page I I it will be a little more can immediatelyfind that position without having to
difficult since I used a few open string notes for think about it. When you are improvisinga solo and
melodynotesthatwereplayedagainstthe F chord, you decideto move up-the-neckin the key of C, you
but I'm sureyou can figure it out. Give it a try. don't have time to think, "let me see...theC chord is
Work on the key of D first sincemost fiddlersplay at the....um....8th
fret." You don't havetime for that.
this songin D. You have to go there immediately,without thinking.
With practiceyou will get there! So, work on all the
3) Next, work to comeup with arrangements of a positionsof the F-shapebefore you move on to learn
few othertunesusingjust the F-shapechord form the next chordshape.
asyour road map. You can work with someof the
songsthat you learnedin Volttme2 or VolumeJ of Closed Position Solos
this course,or work with some other songsthat One more conceptto mention beforemoving on to
you alreadyknow how to play. Have fun with it! study the D-shapechord form is that the theoriesof
"closedpositions"and"moveable"chordsalsoapplyto

13
Flatpicking Essentials Volume 4: (Jnderstanding the Fingerboard & Mouing lJp-the-Neck
your solos. If you takea look at the first "Forked Deer" is a "chord inversion" for this chord form. If you play
solo (on page 9), you may notice that in constructing D Diagram 2 or D Diagram 6, you will see that the
that solo I didn't useany open stringnotes. What this lowestnote in theseshapesis the root note of the scale,
meansis that this entiresolo is "moveable." Therefore, so thesetwo shapesare root-positionshapes.
once you have worked on this solo, 1loucan play that Since the root note of this chord shapeis on the A
exact samesolo in anotherkey by simply moving it to string,if you know whereall of the noteson the A string
anotherposition on the neck. If you want to play that arelocatedyou caneasilyfind the chordsthat arerelated
solo in the key of G, then shift down and "center" that to this shape. Notice that the root note of this shapeis
solo aroundthe F-shapeG chord at the 3rd fret. If you also locatedon the B string. So whenplaying someof
want to play the solo in the key of A, shift down and the partial chordsthat do not include the A string, the
centerthe solo aroundthe F-shapeA chord at the 5th B string can be your referencefor finding the chords.
fret, etc. If you've memorizedthe noteson the low E string as
Since the style and texture of bluegrassmusic and I've recommended, you will be ableto easilylearnthe
fiddle tunesincorporatesthe useof opennotes,playing noteson the A string and B string when we talk about
all closed notes up-the-neckon a bluegrasssong or a how to connectall of the noteson the fingerboardto the
fiddle tune may not fit the genre so well. However, noteson the low E string. However, it never hurts to
spicingyour up your arrangementby tastefullymoving start working on gaining a knowledgeof the notes on
up the neck for a short solo, or part of a solo, can add the A string so that you can easily find all of the chords
some nice variety, texture, and dimension to your that are relatedto the D-shapechord form. In order to
overall presentationof the tune. So, for bluegrassand help you with that, let's go aheadand work with a few
fiddle tunes,use your movementup-the-neckand your of the sameexercisesthat we usedwhen we studiedthe
closedpositionsjudiciously. When you move on to F-shapechord form.
playing swing or jazz, where up-the-necksolos and
closedchords are part of the soundof thosestylesand Working with the D-shape Chord Form
thusmore the norm, thenyou can play all closedchords When I introducedthe F-shapechord form several
and closednote solosmore often and lit risht in. pagesback, the first thing that I presentedwas a I-IV-V
progressionin the keys of G and C that both utilized
The "D-Shape" Chord Form only the F-shapechord form. Let's go aheadand do
The next chord shapethat we are going to look at the same thing here with the D-shapefrom. Take a
is basedon the D chord shapethat you alreadyknow look at the rhythm arrangementshown on page 16.
(the triangle shapethat covers the first three stringsat You'll notice that I start this progressionwith the
the secondand third frets), however,we need to add D-shapeat the 7th fret, which gives us our G chord.
somenotes in order to "close" this chord shape. Take When I transitionto the C chord,you'll seethat I went
a look at the D Diagram I at the top right of the next to the open C chord position. You may wonder how
page. The first thing you'll notice hereis that thereare the "normal" C chord fits into our D-shapestudy. If
a coupleof notesin a shadedgrey. Thesearenotesthat you think aboutyour normal openC chord shapereally
are in the chord and are reachableat this position and being the D chord shapeat fret 0 (the open position),
will be usedto form partialchordssuchas D Diagrams you'll noticehow it fits our D-shapeperfectly(seethe
J , 8 , a n d1 0 . chorddiagrambelow).
Next, if you will takea look at the full shapeshown I could have selectedto play the C chord at the
in the chart labeled D Diagram 2 and try to play it on l2th fret, however,unlessyou have a cut-awayguitar,
your guitar, you'll discoverthat it is not a very easy
chord to play. However,don't sweatit, it is rare that "D-shape"C Chord
you would everplay this full shape.Whenutilizingthis
chord form you will most likely usethe partial shapes
o oo
shownin D Diagram3 or D Diagram6. Thesearetwo
I ) 1st fret
root-positionchordsin this shape. If you examinethe o
Note Map at the bottom of the pageand then look at D
Diagram2, you will noticethat the lowestnote in this
o
shapeis the 3rd noteof the scaleandthusD Diagram2
14 Fheicking EssentialsVolume 4: Understanding the Fingerboard & Mouing Up-the-Nech
 ffD'$hapeu
The Form
Chord
Full ShaPe
D Diagram1 D Diagram2

d)
dll
Y
(4)
Y

CommonlY Used Partial Shapes

D Diagram3 D Diagram4 D Diagram5
XX X XX
XX

o o
o I)
o o
o
D Diagrcm7 D Diagram8
D Diagram6
X XXX
X

D Diagram1O Note MaP

D Diagram9
X XX
XXX

I = Root,or 1stNoteof the Scale

III = 3rd Noteof the Scale
V = 5th Noteof the Scale
15
(Jnderstandingthe Fingerboard & Mouing't'Jp-the-Neck
Flatpicking Essentiarsvorume 4:
 AKey
ofGI'IV.V
Progression
Using
theD.shape Form
Chord Audio Track l-ll

AKey
ofCl.U.l|Progression
Using
theD.shape Form
Chord
Audio Track l-12

16 Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck

 ftBile Down"
theCabbage
Crosspicking theD.shape
Using Form
Chord
Audio Track 1-13
C G D

playing this shape that high on the fingerboard is used in "Bile the CabbageDown." Play throughthis
difficult. I've alsousedthis openC shapein the key of affangementto see if you can play the crosspicking
C exampleat the bottom of page 16. Play throughboth rolls and slidessmoothly.
of these examples in order to become familiar with
the D-shapechord form at various positions up and A"Bonaparte's Retreat" Example using the D-Shape
down the neck. Rememberthat it might help solidify Chord Form
the chord locationsof this form if you actually say the On the next page I've arrangeda version of
chord nameas you move to eachnew position. "Bonaparte'sRetreat," in the key of G, utilizing the
After you've playedthroughthe I-IV-V progressions D-shapechord form up at the 7th fret. This is the same
in G and C, take a look at the arrangementof "Bile the solo that you learnedfor this songrn Volume3, however
CabbageDown" that appearsabove. You may notice the noteshavebeenmovedup the neck. Similarto our
that I've changedsome of the slide durationshere as first F-shape"Forked Deer" examplea few pagesback,
compared to the F-shape arrangement. The longer my focus here was to use the knowledge and image
durationslide coming from the I chord and moving to of the D-shapeform as my "center" and then find the
the IV chord seemto fit betterwith this chord shape. melody notesaroundthat center.You can actuallyplay
You may also notice that the note sequenceof the this solo and leave your middle finger anchoredon the
roll is different. For the F-shapeversion the forward G note at the 8th fret of the B string throughoutthe
roll hit the I st note of the scale,then the 3rd note of the entiresolo.
scale,then the 5th note of the scale. In our D-shape Again, as with the first arrangementof "Forked
version the forward roll hits the 3rd note of the scale Deer," sincethis arrangementhas no open notes,you
first, then the 5th note of the scale,then the lst note of can move it to any position on the neck and play the
the scalelast. Both variationswork for this song. exact samearrangement. If you go to a jam and the
The final thing to notice about this arrangementis fiddle player wants to play the tune in the key of A,
that I did go all the way up to the D-shapeC chord all you have to do is move this arrangementup two
at the lzth fret when I played the C chord, insteadof frets andyou'll fit right in! Give this arrangementa try
moving down to the openpositionat fret 0. While this while keepingthe D-shapechord form in your mind as
shapewas awkward for playing the rhythm pattern in your "anchor."
the I-IV-V rhythm example,it wasn't awkward when
I only had to play the three-notepartial chord that I
17
Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
 Bonaparte's
Retreat Audio Track l-14

16
tl 4l' t') 4t-
I I
I

o
a IU 7 7 lw I rw )
. l

ttwTI

ttl I \-/

G Return to B Part
21
a

lw 7 t7
l / I\J lw7
-
t l It, I

18 Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck

Combining the F-shapeand D-shape Chord Forms
Practice
Now that you have some experiencewith both the
Practicethe D-shapeI-IV-V
F-shapeand D-shapechord forms, let's take a look at
chord progressionson page 16,
an arrangementof "Worried Man Blues" that combines
the "Bile the CabbageDown"
the use of these two forms. When I introducedthe
arrangementon page 17 and the
F-shapeearlier I gave an example of "Forked Deer"
"Bonaparte'sRetreat"and "Worried Man Blues"
that only usedthe F-shapeform at variouspositionsup
affangementswith a metronome. Once you have
and down the neck and I statedthat this arrangement
worked through all of these arrangements,you
would not be practical,especiallyat high tempos,since
should start to have a good feel for where the
there was so much movement in large leaps. I also
D-shapechord positions for the F, G, C, and D
mentionedthat even though that particular example
chords are located. Hint: One way to really get
was not practical,the theory of havingthe chord forms
these positions lodged into your memory is to
in your head while playing a tune was a soundtheory
actuallysay the new chord whenyou move to it.
and would be usefulonce you had studiedmore chord
forms. So, I've arranged"Wonied Man Blues" such
Homework
that you can use the D-shape chord form when you
are playing the G chord, but then switch to using the 1) Work to come up with I-IV-V
F-shapeform whenyou move to the C and D chords. If progressionsin a few keys other than
you do this, you will not have to make such largeleaps G and C and connectthe positions
up anddown the neck. with scaleruns.
Takea look at the arrangement.I've first given you
an openpositionCarter-stylearrangement andthenI've 2) Next, try transposing the arrangementsof
moved that arrangementup the neck. When playing "Bonaparte's Retreat" and "Worried Man Blues"
this arrangement,keep the D-shapeform in mind (at into different keys. This will be easybecauseyou
the 7th fret) when you are playing the G chord. When only need shift to a different position.
the chord progressionchangesto the C chord, use the
F-shapeC chord at the 8th fret to guide your fingers. 3) Next, work to come up with arrangementsof a
When you transitionback to the G chord,put your mind few other tunesusingjust the D-shapechord form
and fingersback to the D-shapeat the 7th fret. Then as your road map. You can work with some of the
whenyou transitionto the D chord,putyour mind and songsthat you learnedtn Wlume 2 or VolumeJ of
fingersback to the F-shapeup at the lOth fret. this course, or work with some other songs that
When I was arrangingthis solo my mental process you alreadyknow how to play. Also, come up with
wasjust as I describedabove. Keepingthe melody in somearrangements that combinethe F and D-shape
my head, I went directly to the D-shapechord form chordforms. Havefun with it!
at the 7th fret and I let my knowledge of that shape
guidemy fingerswhen searchingfor the melody notes. on the A string in common. So thesetwo chord shapes
When I knew that the progressionwas changingto the overlapin two places.As we addthe othertwo shapes
C chord, I slide up to the 9th fret on the G string and (Upper A and Lower A) you will notice more of these
anchoredmy fingersdown on the partialF-shapechord overlappingrelationships .
at the 8th fret, whereI knew the C chord was located. I In my up-the-neckarrangementof "Worried Man
continuedon in this mannerwhile arrangingthis solo. Blues" the longestmovementthat is made is between
I simply thought of the chord shape,placedmy fingers the G chord at the 7th fret and the D chord at the l0th
in that shapeat the correct position on the neck and fret. In measure32 I used a slide to make that move
then worked to find the melody notesusing that chord and then in measure34 I used a scalewalk-down to
form as my guide. SinceI was combiningthe F-shape move back from the D to the G. Beforemoving on, go
and the D-shapechord forms, I didn't have to move aheadand readthe practicesuggestions and homework
very far when moving from one chord to the next. In as written above. The more time and effort you put
fact, if you examinethe D-shapeG chord at the 7th fret into the D-shapechord form beforemoving to the next
and the F-shapeC chord at the Sth fret, you'll seethat chord from, the better it will be ingrainedinto your
they sharethe G note on the B string and the G note brain and in your musclememory.
Flatpicking
19
Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
 lft|orried
]ulan
Blues Audio Track 1-15
Down the Neck

A udio Tr ack l- 16
Up the Neck

Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck

 lulan
[t|orried (con't)
Blues
G

The "Upper" A-shapeChord Form If you look at the full chord shapeas shown on the
I call the first of ourA-shapechordforms the "LJpper" next page,you will recognrzethis as your standardA
A-shapebecausethe notes that are most prominently major chordif the noteslocatedon the two E stringsand
identified with the A major shape,as you first learned the A string where open notesand the noteson the D,
it, are the threenotesthat are all locatedat the second G, and B stringswere played at the secondfret. When
fret of the D, G, and B strings and these notes are you move this full shapeup-the-neck,you will have
higher in pitch than the other notes in the chord for to use your first finger to bar acrossall of the strings
this chord form. Becausethose notes are higher in to form the full chord. To reachthe threenoteson the
pitch,I call this the "Upper" A-shapechord form. The D, G, and B strings,somepeoplewill usetheir index,
"Lower" A-shapechord form will use the samethree middle, and pinky fingersas shown in At Diagram 2
notesequence on the D, G, and B strings,however,for or somewill usetheir ring fingerto bar acrossall three
the "Lower" A-shapethesethree notes will be lower stringsas shownin A t Diagram3.
in pitch than the other notesin the chord. That is my One important thing to note here is that, like our
logic. You could actuallycall them whateveryou like, D-shape,the low root note of the full chord form is on
Al and A2 also work. As long as you rememberthat theA string. When utilizing this chordform for rhythm,
thereare two A-shapechord forms and you remember mostplayerswill usetheA I Diagrams 6,,7,8, or 9 partial
how they areformed,you can namethem whateveryou shapes.If you examinetheAt Diagrams8 and9 shapes
wish. closelvyou will noticethat they are diadsthat use the
2I
Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Nech
 r[1uorrUppern
The Form
Chord
A.shape
Full ShaPe
Ar Diagram2 Ar Diagram3
Ar Diagram1
I

1 1

coa
CommonlY Used Partial Shapes
Ar Diagram5 Ar Diagram6
Ar Diagram4
XX X XX
XX

o
ooo foo

Ar Diagram8 Ar Diagram9
Ar Diagtam7
X XX X XXX
X
o o

oo o

Ar Diagram11 Note MaP

Ar Diagram1O
X XX X XX X

I = Root,or 1stNoteof the Scale

III = 3rd Noteof the Scale
V = 5th Noteof the Scale

4: [Jnderstanding the Fingerboard'

& Mouing up'the-Neck
22 Flatpiching Essentials Volume
root and the fifth notesof the scale. Like the diads we
looked at for the F-shapechord form, these are rock
C Chord G Chord
and roll "power chords." ShortlyI'll give an example
3rdfret 3rd fret
of how the F-shapediadsand the Upper A-shapediads
areusedin both bluesand rock. But beforewe do that,
let's go aheadand run throughour I-IV-V progressions
andour "Bile the CabbageDown" examplesusingthis
shape.Thesearrangements are shownat the bottom of
this pageand on the next page.
Try to play the I-IV-V progressionin G and C as Combining the Upper A-shape and F-shape Chord
shownbelow and on the top of the next page. The first Forms
thing that you might discoveris that this chord is not so The unique thing about the C chord shapeshown
easyto play. However,if you are comfortableplaying above,and its position on the neck, is that the open
the B major chord, you will alreadyknow how to play G string and the open E string, which are both notes
this full chord. Work through the I-IV-V progression in the C chord, can be combinedwith this chord form
in the keys of C and D until you becomecomfortable to createa nice effect. The other nice thing aboutthe
forming this chord andyou becomefamiliar with where Upper A-Shapein generalis that whereveryou are on
the G, C, D, and F chordsarelocatedon the neck when the fingerboard,if you areforming the l-chord with this
usingthis chordform. shape,then the F-shapechord form for the V-chord is
The full chord shapeof this form is not used a lot locatedat exactlythe samefret. Seediagramabovefor
by acousticguitar players. However, it is important the C (I) and the G (V) chordsat the third fret as formed
to know this shapebecausethe partial chords are used by the UpperA-shapeandF-shape,respectively.Taking
quite often,especiallywith the C chord position shown a closerlook, you will seethat the UpperA-shapechord
at the top of the next column. form andthe F-shapechord form share3 note positions
in common,the root of the V-chordand the 5th note of
the I chord-in this casethe G note.

AKey
0fGI.I\|.[|
Progression
Using A.shape
theUpper Chord
Form
Audio Track 1-17
C

I
Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
 AKey
ofCl'lV.V
Progression
Using
theUpper
A.shape Form
Chord
Audio Track l-18

Crosspicking Down"
theCabbage
"Bile Using A.shape
theUpper Form
Chord
Audio Tfack 1-19

24 Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck

 Sincethe I-chordandtheV-chordarethe two most chordshapes.However,in this volumeI'm going to
strongly related chords in any chord progression, introduceyou to anotherway to think aboutcombining
havingthembothtied togetherin the samepositionall chord strumswith melody notesand it is called the
theway up the neckmakesfindingthosestablemelody "chord-melody"technique.
notesa bit easier.
In the tab shown below, I've taken advantageof The Chord-Melody Technique
the Upper A-shape C chord position open string In Volume2, when we studied vocal songs,we
connections,and the close proximity of the F-shape primarily formed melodynoteson the lower stringsand
G chord, to come up with a nice arrangementof the insertedchordal strumsbetweensome of those notes.
B sectionto "St. Anne's Reel," a fiddle tune that was Sometimesmelody notesappearedwithin the strum,but
presentedin Volume3 . There are dozensof ways to moreoften than not the melody note andthe strumwere
take advantageof the Upper A-shape C chord form separate.We called that techniquethe "Carter Style"
when arrangingsolos. If you want to help spice up due to the fact that it was usedprominently by Mother
any songsthat you play in the keys of G or C, explore Maybelle Carter. Some call Carter style a "chord-
some of the optionsthat work aroundthe combination melody" style becausethe melody and chords are
of the Upper A-shapeC chord andthe F-shapeG chord mixed together. However, music terminology purists
working in combinationwith the open G and high E and jazz players define the chord-melody technique
strings,as I did in "St. Anne'sReel." as "harmonized solo instrumentals"where the chord
Before we move on to a new topic, letstake a look at harmony and the melody note are usually combined
anotherway that you can combinethe Upper A-shape in the samestrum. Typically the melody note will be
and the F-shapechord forms. This time I'm going to the last note to ring out when the chord is played. So,
use a vocal song as an example. You will recall from one of the biggestdifferencebetweenCarter style and
Volume2, when we focusedon vocal songs,that we a jazz chord-melodystyle is that in the Carter style the
usedstrumsto fill up spacebetweenmelodynotes.We melodyis in the lower octave,but in the jazz style the
can still utilize this techniquewhen we play closed melodyis usuallyin the higheroctave.

Anne's
Saint Reel,
BSection, Upper
Using A'shape plus
GChord 0pen
Strings
Audio Track 1-20

25
Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
 this is a very simple chord-melodyarrangement.
we will explorechord-melodystyle playing in more said,
However, it is enough to give you an idea about how
detail later in this course(afteryou have addedto your
techniqueworks. As you are playing through the
arsenalof chord choicesby learningminor chords,6th this
affangement,take note of the use of the Upper-A and
chords,Tthchords,diminishedchords,etc.) For now
F-shapechord forms.
I'd just like you to know that this techniqueexistsand
Before we move on to study our last chord form,
that you can certainly start coming up with your own
Lower A-shape,let's take a look at a way that blues
chord-melody arrangementsusing the major chord the
rock playerscombinethe use of the F-shapechord
forms that you alreadyknow combined with the ones and
you will learnin this book. form and the upper A-shape chord form. Although
flatpickersdo not typically use thesechord forms
In Volume2 | gaveyou an alrangementof the song most
and rock playersdo, it is always fun to
"Red River Valley." Lets take a look at an arrangement like the blues
stepoutsidethe typical flatpicking realm and get ideas
of this same song using a simple chord-melody
(for from other genresof music. Not only does it provide
approachthat usesthe Upper A-shapechord form
fun and different to practice,but when you
til C chord) combined with the F-shapechord form something
outsideof the "norm," you can often
(for the F and G chords). This arrangementis shown at study techniques
judiciously mix thosetechniqueswith your flatpicking
the bottom of this page. Play throughthis arrangement
add some spice and variety to "the sameold thing'"
in order to get a feel for the chord-melodystyle. As I to

valley
River
Red upper
using comhined
A'shape F'shapeAudioTrack 1-21
with
C
C

& Mouing Up-the-Neck

Ftatpicking EssentialsVolume 4: (Jnderstand'ing the Fingerboard
But beforewe can explorehow bluesplayersutilize triplet timing, but only the first and last notesof the
the F-shapeand UpperA-shapechordforms, I'll talk triplet are actuallyplayed. Additionally,the first note
a little bit abouthow to get that "blues feel" in your of the triplet is emphasizedso that a pulseandgroove
rhythm. areestablished.Again,this is mucheasierto hearthan
rt ls to seeon paper.
The Blues Shuffle
Almost everygenreof music is definedby its rhythm, Applying the Blues Shuffle Feel to Straight Eighth
its beat,its pulse. The blues is no exception. At the Notes
coreof bluesrhythmis what is commonlyknown asthe The reasonI am taking time here to examinethe
"shuffle." In fact, it can be saidthat the two thingsthat written blues shuffle is to inform you that in the blues
fundamentallydefinethe blues are the shuffle rhythm shuffletab shownin this book I'm goingto forgo the use
and the pentatonicblues scale. Therefore,in order to of the triplet patternshown in Example 3 and instead
play the blues, knowledgeof thesetwo fundamentals simply use the straight eighth note representation
arekey. as shown in Example 4. I feel that using the written
Playing the shuffle is all about the feel. In order representationof the triplet shuffle is awkward as it
to learn how to play it properly,you have to listen to looks too busy on the page. I feel that usingthe straight
what bluesplayersareplaying, rhythmically,and try to eighth note representation and reminding you that you
emulateit the bestyou can. The best way to learn the are to apply the "blues shuffle feel" will be adequate
shuffleis to listento it and play the "pulse" that you are for our purposesand provide a cleanerrepresentation
hearing. On the CD I've playedthroughthe examples of the written music.
here in this sectionto help you with the blues feel, Listen to bluesshuffletrack of the audio CD and get
however,you shouldalsolistento somebluesplayers, the "DA-da DA-da DA-da DA-da" groovein your head
like Muddy Waters,to help you get that feel. and then practicethe basic G rhythm shown on page
One of the reasonsthat this "feel" is so hard to get 29 in order to learnhow to apply the blues shuffleright
if you don't listento a bluesrecordingis that the blues handtechniquein your rhythm playing.
rhythm is not easyto understandin written form. So In order to gain an experientialunderstandingof
that you can better understandhow we have decided the basic blues shuffle, get out your guitar and play
to portray what I am playing in the written notation, the music that is written at the top of page 29 while
pleaseread throughthe sectionbelow so that you can utilizing the blues shuffle feel (and playing with all
grasphow what you seeon the written page and what downstrokes). Now listen to the way I play it on the
you hearon the CD matchup. audio CD. You may notice a slight difference in the
tonality if you are allowing the stringsto ring as you
The "Triplet" Pattern play. I am utilizing two differenttechniqueshere,one
The blues shufflerhythm can most accuratelybe with the left hand and one with the right hand,that we
written using 414 eighth note "triplet" timing. A 414 have yet to discuss. The first is a muting technique
eighth note triplet time value is equal to three notes involving the palm of the right hand in order to get the
played in the time allotted for two eighth notes. In right blues shuffle tonality. In order to executethis
Example I on the next page you see how standard technique,simply restyour the palm of your right hand
eighth note timing is representedin both standard gently on the strings as you play the notes. You will
notationand guitar tablatureusing a repeatedG note. need to experimentwith the amount of pressureyou
The count is "one and two and three and four and" use in order to get it to soundright.
wherethe numbersone, two, three,and four represent Also, as you listen to the what I play on the audio
the down beats and the "and" representsthe off beat CD and then play this progressionyourself,you may
(the timing is shown below the tab line. Say "and" notice a subtle differencein the pulse. The technique
wherethe plus sign appears).This is the sametiming that helpsyou get that pulseis a left hand "vamp." In
that was describedin the first pagesof VolumeI. addition to li,qhtlymuting the stringswith the palm of
Eighth note triplet timing is shown in Example2. my right hand,I'm also usinga "squeezeandrelease,"
You will read this as "one-e-andtwo-e-andthree-e- or "vamping" techniquewith my left hand. In orderto
and four-e-and." The blues shuffle is most accurately apply this techniqueyourself,youwill needto squeeze
represented as shownin Example3. It is an eighthnote down on the notes when your pick strikes acrossthe
Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
27
 Example 1: Straight Eighth Notes Example 2: Triplets

1 3-_-l 3-t 3-_--l 3---l

l3ll3ll3ll3t

1e+2e+3e+4e+

Example 3: Shuffle Triplets Example 4:

Eighth Notes Representing the Shuffle Feel
3--_l 3----l 3---l

l.l 13l l3ll3l

- ) l

le+ 2e+ DA da DA da DA da DA da

stringsandthen immediatelygently releasethe pressure

you are placing on the stringsjust after the pick strikes G Chord G5'Diad"
the strings. Do not take your fingersoff the strings, XXXX
simply releaseenough to deadenany ringing sound. 3rd fret 3rd fret
This helpsprovidea nice pulseto the rhythm. you wilr
notice that in utilizing theseclosedpositions,and the
"squeezeand release"technique.you can more easily
obtain the genuine"blues feel." Listen to the way I
play this shuffleon the audio cD and practiceuntil you
can get your shuffleto soundlike mine.
Looking at the tab andplayingthroughthe example,
you will noticethat I'm usingthe G diad,or G5. This C Chord C5"Diad"
diad utilizes the first two notesof the F-shapeG chord X XXX
at the third fret. If you wanredto play a I-IV-V blues
progression,you don't have to slide all the way up to
3rd fret
o 3rd fret

the 8th fret to play your closed C diad. In order to

play a C chord diad, or C5, you can simply move over
one string and play two notesfrom the Upper A-shape
o
chord form-the root C note and 5th note of the C
scale,or G note,that are found on the A and D srings,
respectively.Takea look at the diagramin nextcolumn
to seea graphicrepresentationof the C5 diad.
28 Flatpicking Essentials Volume 4: Und.erstanding the Fingerboard & Mouing Up-the-Neck
 Repeatative
Blues inGUsing
Shuffle Eighth Timing
l'lote
Play with a Shuffle Feel Audio Track l-22

rG5

For the I, IV, V progressionin G, all we needto add The 12-Bar Blues
now is the D chord. Our knowledgeof close chord Now that you have a good feel for the blues shuffle
forms will tell us that all we needto do to play the D in the key of G, w€ will explore a standardblues
diad, D5, is move the C5 diad up two frets and we will rhythm format-the twelve-barblues. It is called the
haveit. Takea look at the progressionshownat the top "twelve-bar"bluesprogressionbecauseit takestwelve
of this page and try to play through it using the blues measuresto complete a cycle, then the progression
shuffle rhythm feel. is repeated. The last progressionwas an eight-bar
progressionin the key of G that was constructedof
The Basic Blues Shuffle-I, IV, V Progressionusing two measuresof G (I), two measuresof C (IV), two
the F-shape and Upper A-shape Chord Forms measuresof D (V), then back to G (I) and a resolve
At thetopof page30 I've provideda I-IV-V progression (one measureof G followed by a measureof D). The
in G that shouldbe played with the blues shuffle feel. standard,or traditional,twelve-barblues progression
As statedabove,the closedchordsthat we are going to consistsof four measuresof the I chord, followed by
use are diad shapesbasedon the F-shapechord form two measuresof the IV chord, two measuresof the I
for the G5 and the Upper A-shape chord form for the chord,one measureof the V chord, one of the IV, then
C5, and D5. We are simply going to use two notes(the back to I chord or the resolve(a measureof the I chord
first and fifth scale degrees)out of each closed chord followedby a measureof V chord).
shape. When we get to the last two measureswe are On page3l I've arrangeda l2-bar bluesfor you to
going to play a "resolve"or "turnaround." If you play work with in the key of A. Remember,since we are
through the tab, I'm sure that you will recognizethis working with closedchords,the key of A progression
standardbluesresolve. is going to be exactlylike the key of G progression,but
The resolveinvolvesa walk up the chromaticscale we aresimplygoingto moveit up two frets. I've added
underthe G chord (measurell) that startson G, then a little bit of spiceto this progressionlvith somewalk
goesto B , C, C# , then to the D note at the first beat of ups and walk downs. Listen to the audio CD to get a
the next measure(the changeto the D chord). That feel for how this soundsand then give it a try.
single note walk up is immediately followed by a This progressionis a lot of fun to play and although
chromaticsequencewalk up of double-stopsfrom the this style of rhythm may not be very functional at your
C, C#, and D chords. The notesare the root and 3rd nextbluegrass or fiddletunejam, you will undoubtedly
notes of the scaleand you may notice that they come find somepeopleat the jam who know how to play the
from the D-shapechord form. Play throughthis resolve blues. Just ask if anyonelikes playing the blues and
and seeif it doesn'tsoundvery familiar to vou. play some rhythm for them in a l2-bar blues format.
Many fiddle players,guitarplayers,and Dobro players
like to jam on a l}-bar bluesprogression.And now
you know how to back them up !

Flatpicking Essentials Volume 4: Understanding 29

the Fingerboard & Mouing Up-the-Neck
 l.ll|.l|Blues
Progression
inGusing
Upper
A.shapeF'shape
and Diads
Play with a Shuffle Feel Audio Track l-23
G5 C5
1

If you want to learn more about flatpicking in the In flatpicking,most of the playerswho use chord
bluesrealm,or abouthow to adda flavorof the bluesto shapes to inform their up-the-neck improvisations
your bluegrasssolos,I recommendthat you buy Brad usuallyusethe higherpitch stringswhencreatingtheir
Davis' booVCD/DVD course Flatpicking the Blues solos and they don't often play double stops on the
(availableat www.flatpickingmercantile.com). lower notes. However, it can be done in flatpicking
with great results. Brad Davis makes use of double
Rock and Roll! stopsplayedon the lower pitch stringsandmany times
I includeda little bluesrhythm lessonin this book he usesthe power chord shapes. ln Volume3 | used
becauseit is a fun diversionand becauseit givesyou this techniquein the last two beatsof measure3l of
a great exampleof how a knowledgeof your F-shape the bluesy B sectionarrangementof "Salt Creek." I
and Upper A-shapechordscan help you play a whole playedF5 followed by E5 on the D andG strings.
different style of rhythm. Back in the 1950sthe blues On the bottom of the next page I've put together
that wasbeingplayedby electricbluesmenlike Muddy an improvised I-IV-V progressionin the key of A
Waterswas transformedinto a thing called "Rock and using rock power chords. Listen to the audio CD and
Roll" by guys like Chuck Berry. Throughoutrock's then play throughthe Example. Rememberto use all
history,rock's guitarplayershavemadeuseof two and downstrokes when playing through this riff. After
threenotediadsto inventsomeof the mostrecognizabte you have played through my example,work to come
and famous rock riffs in history. Signatureriffs for up with a few of your own. Start with a root/5th diad
songslike "Smokeon the Water,""Iron Man," "Hit Me anywhereon the low E or A strings,startplaying with
With Your Best Shot," and many,many otherscan be heavy downstrokes,and then move around to other
played with diads taken from the F-shapeand Upper diad shapeson eitherthe low E orA strings.You may
A-shapechordforms. As mentionedbefore,in therock find somecool stuff.
parlancethesediadsarecalled"power chords."

30 Flotpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck

 lt-Bar inAusing
Blues A.shape
Upper and
F.shape
Diads
Play with a Shuffi"^:." Audio Track l-24

Key 'rPower
0fARiffUsing Chords" Audio Track 1-25

Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neclt

 The "Lower" A-shape Chord Form
Practice
Take a look at the Lower A-shapechord form as
Practicethe Upper A-shape
shownin the diagramson the nextpage. Onething that
I-IV-V chord progressionson
you may noticeright off the bat is that this shapeforms
pages 23 and 24, the "Bile the
your standardG chord when it is played at fret 0. So,
Cabbage Down" arrangement
some may ask why I didn't label this chord form the
on page24,the "St. Anne's Reel" arrangement on "G-shape." The reasonis becauseI feel that this chord
page25, andthe "Red River Valley" arrangement
form is more closely tied to the A-shape (thosethree
on page 26 with a metronome. Once you have
noteson the D, G, and B strings)thanit is the G-shape.
worked through all of these arrangements,you
Most-all of the applicationsof this chord form will
should start to have a good feel for where the
revolvearoundthe A-shapenotes,not the noteslocated
Upper A-shapechord positions for the F, G, C,
on the low E,A, andhigh E strings,which arethe ones
and D chordsare located. As I statedbefore,one
typically identifiedwith the G chord.
way to really get thesepositionslodgedinto your
In the bluegrassand traditionalcountrymusicgenres
memory is to actually say the new chord name
the A-chord that many of the old-timers play, which
when you move to it.
they called the "long A" is the chord that is shown in
Additionally, practicethe blues shuffle rhythm
Az Diagram 3. So right there is an example of how
andthe rock androll power chord example.These
this shapeis more prominentlytied to the A chordform
two things are not critical to the materialthat will
than it is to the G chord form.
follow in this course, however. they are fun to
Here are some other interestingthings to notice
play.
about this chord form and its relationshipto the other
chord forms:
Homework
I ) The low root note of the chord is on the low E string
I ) Work to come up with I-IV-V (as it was with our F-shape). So, now you have two
progressionsin a few keys otherthan chord forms where the low root note is locatedon the
G and C using the Upper A-shape low E string (the F-shapeand the Lower A-shape)and
chord form and connectthe positionswith scale you have two chord forms where the low root note is
runs. located on the A string (the D-shape and the Upper
A-shape).Thismeansthatwheneveryou find a rootnote
2) Next, try transposingthe arrangement"Red on eitherthe low E stringor the A string,youhavetwo
River Valley" into differentkeys. This will give optionsregardingchord shapesthat you can form from
you some extra practice with the chord-melody that root note. The diagrambelow gives a graphical
technique.Youcanalsotry to applythistechnique representation of thesechord form arrangements.
to someother songsthat you alreadyknow how
to play.
Lowest Root Note Lowest Root Note
on E string on A string
3) Next, work to come up with affangements of
a few other tunesusing just the Upper A-shape
chordform as your road map. You can work with I )o( ) ) I) I
someof the songsthat you learnedrn Vohtme2 or
( )
VolumeJ of this course,or work with someother Az D
songsthat you alreadyknow how to play. Also o o
come up with some arrangementsthat combine
the F-shape,D-shape,and Upper-Achord forms.
When you do this you will notice that you don't
)
A
^a
YY )0 c
have to move around the fingerboard quite so Y F
much.Have fun with it! z\r\
vv ooo
32 Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
 OrftLOWeril Form
GhOrd
The',A2r' A.shape
Full ShaPe
Az Diagram2
Az Diagram1

Shapes
CommonlY Used Partial Az Diagram5
Az Diagram4
Az Diagram3 X XX
XX
XX

Az Diagram7 Az Diagram8
Az Diagram6 XX
X XX
X

Note MaP
Az Diagram10
Az Diagram9
X
X XX

of the Scale
I = Root,or 1stNote
Scale
-Y = f ta Noteof the
111
= SttrNoteof the Scale
33
up-the-Neck
4: the Fingerboard'& Mouing
(.Jnd.erstand.ing
volume
Ftatpiching Essentials
 In eachof thesetwo diagrams,the chordthatis being AzDiagram11
played is the samechord. For instancein the Lower XX
A-shape/F-shape diagramshownon the left, if the root
note on the low E string was an A note at the fifth fret,
then you would be playing an A chord for both of the
chord forms in that diasram.

2) Just as the Lower A-shape/F-shape overlapand the

UpperA-shape/D-shape overlapshownin the diagrams
at the bottom of page32 will form the samechord, an
overlapof the UpperA-shapeand the Lower A-shape, makesplaying rhythm with the Lower A-shapea little
with the overlappingnotes being on the D, G, and easierthantrying to hold Az Diagram 10.
B strings,will also result in the samechord. In the Take a look at the I-IV-V rhythm arrangementin
diagram shown below you can seethat if the notesof the key of G that is shown on the next page. Right
the Upper A-shapeand the Lower A-shapeoverlap at off the bat, you'll notice that I'm using the standard
the 5th fret, both shapesform the C chord. G chord (Lower A-shapeat the 0 fret). This is due to
the fact that playing this chord shape up at the lzth
fret is near impossibleif you don't have a cut-away
C Chord Shapes
guitar. If you use the A-shape shown abovefor the C
chord and the D chord, you shouldn'thave much of a
IA
3rd fret
YY !
A
problem with this arrangement.I play the root note on
Ar the low E with my pinky, muting the A string with the
pad of my pinky, and then I bar the other three notes
5th fret
aaa with my index finger. Give that fingeringa try and see
if it works for you.
After you feel comfortable with the key of G
Az arrangement,take a look at the key of C arrangement.
( ) This one gets tricky when you reach the F chord for
two reasons.First, it is difficult, but not impossible,to
8th fret
) ol play the F chord way up therewithout a cut-away.I'm
playing it with my index finger barring the notes on
the D, G, and B stringsand then I reachdown and play
the low root note with my ring finger. Second,since
With theexceptionof the"[ongA," theLowerA-Shape the F chord is tuff to play up this high, moving that
chordform is not usedvery often when playingrhythm. chord form up two frets to play the G chord is going to
However,we are going to go aheadand work through be even tougher,so we have to pick the other option,
the exerciseof playing our I-IV-V progressions in the which is to go all the way back down to the 0 fret
keys of G and C just so we can gain somefamiliarity Lor,verA-shapeG chord. The problem is, how do we
with the locationof variouschordswhen this form is get there? A walk down the scaleis awkrvardbecause
used. But beforewe move on to thosearrangements, there are a lot of notesto cover with very little time to
one otherthing to note aboutthis chord form is that the coverthem. So, what I optedto do is what is shownin
5th note of the scaleis locatedon the D string. With the tab. I executedthe standardwalk up from F to G
all of the three previouschord form both the root and (F, E, F#, G) that we've beenusing,but after I hit that
the 5th could be found on either the low E or the A really high C note at the l5th fret, I strumthe open D,
strings,so when we playedour root-5 alternatingbass G, and B stringsand then move to the 0 fret G chord. It
rhythm we could utilize the two lowest strings. With is a long move,but I think it works. Play throughthat
the Lower A-shapechord from, if you want to play a arrangementand seewhat you think.
root-5rhythm,with a strumplacedin betweenthe bass After you've had a chanceto play throughthe I-IV-V
notes,you can use the chord form shown at the top of rhythm arrangements, take a look at "Bile the Cabbage
the next column (Az Diagram ll). Using this form Down." This one is a piece of cake! I'm using the
F latpic king E ssential s Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
 AKey A.shape
theLower
ofGl.l\|.llProgression
Using Form
Ghord
Audio Track 1-26

AKey
ofCl.lV.V Using
Progression A.shape
theLower Form
Chord
Audio Track 1-27

35
Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
 Crosspicking'rBile Down"
theCabbage theLower
Using A.shape Form
Ghord
Audio Track l-28
G C G D

0 fret Lower A-shapeG chord and so we don't even that you do in your life as a guitar player. So, for your
have to use the long slidesin this arrangement.You own benefit,don't simply play through these I-IV-V
may also notice that sincethis arrangementonly uses progressions a few timesand then moveon. Play them
the D, G, and B strings and since those are the three over and over again, with your metronomeclicking
stringsthat overlapbetweenthe UpperA-shapeand the away,so that you can learn them thoroughly. Shortly,
Lower A-shape,the arrangementof "Bile the Cabbage I'm going to ask you to play through some I-IV-V
Down" shown aboveis very similar to the one shown progressions thatcombineall four chordshapes.If you
on page 24. The only differenceis the position where haven't spenttime really familiarrzingyourself with
I'm playingthe G chordroll. each,that exercisewill not be as easy as it would be
I realizethat by now you areprobablytired of playing if you spendthe time to really drill eachof the I IV-V
simply I-IV-V progressionswith all of these chord exercisesthat I've presentedthus far in this book.
shapes. However. I believe that going through the You don't haveto stick with the simpleprogressions
motionsof playing the I-IV-V progressions in the key that I've given you herewhen you arepracticingthese
of G and C, and variousotherkeys as well, will startto closed chord forms. Put on some records and play
really makethat musclememoryconnectionwith these along with a variety of different I-IV-V progressions.
chord forms and the associatedbassruns. The more Or, at your next jam session,when you are playing
comfortableyou get with creatingthese shapeswith rhythm, use theseclosedchord forms. It will add a
your fingers,and the fasterand more naturallyyou can new dimensionto the rhythm in the jam. If you've
find thesepositionsfor variouschordsup and down the purchasedBrad Davis' Flatpick Jam tracks, practice
neck, the betteroff you are going to be when you start playing rhythm to those tracks using closed chord
to solo up-the-neck,when you startto learnhow to use shapes.There are all kinds of different ways that you
chord substitutions and passingchordsin your rhythm, can practice these chord shapesso that they become
and when you startto add to your chord vocabularyin secondnatureto you.
the context of playing styleslike Westernswing and The learningadvantagethat you will have in taking
acousticjazz. A thoroughpracticalknowledgeof these thesechordshapesandusingthem while playing along
basicmajor chord shapesis goingto inform everything with records,at a jam session,or when playing with

36 Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck

 Travele/'
"Arkansas

Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck

37
Brad Davis' Flatpick Jam tracks is that you will not notes are very accessiblefrom the D chord position.
only ingrain the chord shapesin your musclememory, So, all you have to do is think about the root chord
but you will alsogain a practicalknowledgeof the scale form and you can easilyfind all of the other notes.You
runsthat connectthesechordsasyou move up andback will find this logic will remain true for most folk and
down the neck.Learningthoseconnectingrunswill not bluegrasstunesbecausethey use a "diatonic" melody.
only come in handywhile you areplaying rhythm, they "Diatonic" meansthat all of the notescome from the
will alsobe very usefulwhen you aremoving from one scaleof the key you are playing. When the melody is
areaof the neck to anotherwhen you are playing lead. diatonic, three of the sevennotesare in the chord and
So, put on somerecords,or someFlatpick Jam tracks thosethree noteshold the most weisht-meanine that
and havefun with thesechord shapes!
OK, now back to our study of the Lower A-shape
chordform... Practice
Practicethe Lower A-shape
An "Arkansas Traveler" Example using the Lower I-IV-V chord progressionson
A-ShapeChord Form page 35, the "Bile the Cabbage
Even though we have now worked on studyingfour Down" arrangementon page
chord forms, always rememberthat the root chord is 36, and the "Arkansas Traveler" arrangement
king. The root, be it the root note or the root chord, on page 37 with a metronome. Once you have
carriesthe mostmusical"weight" andis at the centerof worked through all of these arrangements,you
boththe chordprogression's andthemelody'suniverse. should start to have a good feel for where the
All of the other chords and all the melody notes in a Lower A-shapechord positionsfor the F, G, C,
songaregoing to rotatearoundthat root like the planets and D chordsare located.
rotate aroundthe sun, and all have different "degrees
of pull" back towardsthat root (as you saw when you Homework
usedthe chord ladder in Volume2). So even though I ) Work to come up with I-IV-V
you now have a variety of chord shapesto think about progressionsin a few keys otherthan
when you arepicking out the melodyof a song,please G and C using the Lower A-shape
keep that I-chord at the forefront. A lot of times you chord form and connectthe positionswith scale
can simply keep the shapeof the l-chord in your mind runs.
while playing the entire solo, no matter what other
chord changesarebeing madearoundthat root chord. 2) Next, try transposing the arrangement
As an example,look at the arrangementof "Arkansas "Arkansas Traveler" into different keys. You
Traveler" that appearson the previous page. In this don't have to stick with the exactnote selection
tune the chordschangequite a bit and there are chords that I've provided. Keeping just the Lower
in this progressionother than the I, IV, and V chords. A-shapechord form in mind, try to come up with
With the chordschangingevery two beatsit would be your own arrangement. If you already know a
really difficult to try and think aboutthe chord shapes versionof this song,putthat versionin your head
for eachof thesechanges.Fortunately,you don't have and try to pick out those notes in relation to the
to do that. When I arrangedthis "ArkansasTraveler" Lower A-shapechord form.
solo the only chord shapethat I held in my mind was
the Lower A-shapeat the 7th fret (D chord). In fact, 3) Next, work to come up with affangementsof
exceptfor the C# noteon the G stringin the lead-inand a few other tunesusing just the Lower A-shape
the C# note on the G string in measurelJ, I can place chord form asyour road map. You can work with
my index finger and use it as a bar acrossthe 7th fret someof the songsthat you learnedtn Volume2 or
G, D, B, and E stringsand play this entiresolo without Wlume J of this course,or work with someother
moving that finger. All of the notescanbe playedwith songsthat you alreadyknow how to play. Also
that index finger bar in place while using the other come up with some arrangements that combine
fingersto play the othernotes.Give it a try! all four of the FDAA chord forms.
While thereare many notes in this arrangementthat
arenot one of the threenotesin the D chord.all of those
38 Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
 F Shape l.lV.V
"0verlapping"Chords

D Shape

a) - F-shapel-chord
/_\
,:.:: .: .: : :.1
= Upper A-shape lV-chord
\<J]

o
A
= D-shapeV-chord

= l-chord/lV-chordOverlap
()

o = l-chord/V-chord Overlap

Ar Shape
l.N.VChords Key(shown
inEach inGrey)
KEY 1 2 3 4 o 6 7
C C D E F G A B
G G A B C D E F#

D D E F# G A B C#
A A B C# D E F# G#
AzShape
E E F# G# A B C# D#
B B C# D# E F# G# A#
F# F# G# A# B C# D# E#
C# C# D# E# F# G# A# B#

F F G A Bb C D E
Bb Bb C D Eb F G A
Et Eb F G Ab Bb C D
At Ab Bb C Db Eb F G

I : Root, or 1st Note of the Scale Db Db Eb F Gb Ab Bt, C

ru - 3rd Note of the Scale Gb Gb At Bb cb Db Eb F
V = 5th Note of the Scale
cb Gt Ab Bb cb Db Eb Fb
39
FLatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
 AKey
ofGl.lV.V
Progression
Using
0verlappingForms
Chord
Audio Track 1-30
C

they arethe most stablenotesin the melody. So,as long On pages 32 and 34 I pointed out a few ways that
asyou know wherethosenotesarelocated(keepingthe the FDAA systemchords overlap. You can study and
chord shapein your mind), you can easily find your discover many other useful ways that these shapes
melodyanywhereon the neck. overlap and interlace with each other when you
start looking at the way these shapeslayout on the
RecognizingPatterns fingerboard.Right now we will look at one more way
Learning the four chord shapesthat make up the theseshapesrelatedto one another.
FDAA systeminvolved learninga closedchord shape On pages 32 and 34 we looked at how two chord
"pattern"of noteson the guitar's neck and thenmoving forms overlappedand sharednotes to form the same
that pattern around the neck in order to create every chord. On page32 you sawhow shapesthat sharea root
major chord used in Westernmusic. Once you've note can from the samechord and on page34 you saw
learn those four patternsand study how they relate to how the Upper and Lower A-shapeforms overlapped
eachother,you can play an unlimited numberof chord to form the samechord. Right now let's take a look at
progressions, in all keys,thatutilize only majorchords. how the F-shope,D-shape,and Upper A-shapemight
Later in this courseyou will study how to turn each overlap when you are playing a I-IV-V progression,
of those four major chord shapesinto minor chords, Since most of the fiddle tunes,folk, blues, rock and
7th chords, 6th chords, etc. The major chords will bluegrassmusic that we might play utilizesthe I-IV-V
also be basedon chord shapes,or patterns. We will chord progression,it makes senseto see how we can
work a lot with various kinds of patternsthroughout best consolidatethosechord forms in a particulararea
this book-chord patterns,scalepatterns,harmonized of the fingerboard.On the previouspage,I'veprovided
patterns,arpeggiopatterns,etc. In additionto learning severalgraphics.The first, along the left hand side of
thesepatternsthemselves,it is also very beneficialto the page,is simply a recap of the four chordsforms of
recognizevariouswaysthat eachof thesepatternsrelate the FDAA system. The next graphic (top right) shows
to one another. The more ways that you can interlace how the F-sh?pe,Upper A-shape,and D-shapechord
and overlap thesepatternsin your brain, the betterthe forms can overlap when the F-shape representsthe
mentalpicture of the fretboardwill be in your mind. I-chord, the Upper A-shape representsthe IV-chord,
40 Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
andthe D-shaperepresents the V-chord.This diagram most difficult part is the changefrom the Upper A
showsyou how all of the notesof everychordin that shapeform to the D-shapeform. Work on that until
progressioncan be found in one position (the span you canexecutethatchangesmoothlyandyoucanplay
of four frets) on the fingerboard.The I-IV-V chord a I-IV-V progression in any key! After you'veworked
progression shownon the previouspagemakesuseof on that for a while, see if you can figure out other
thesechordshapesin the key of G. The chartat the combinations of the FDAA shapeswhichwill work for
bottomof the page39 showsthe chordsof the IIV-V the I-IV-V progression.The morevariationyou usein
progression in all 12keys. practice,the more familiar you will becomewith the
You may be wonderingwhatpracticaluseyou can fingerboard.
makeof this information.Hereis onescenariowhereI On the nexttwo pagesI've laid out graphics,for the
makeuseofthisinfo: Sayyouareinajamthathastwo keysof G andC, whichdepictall of the noteson the
or moreguitars. This is not unusual.The otherguitar fingerboardwhich are in thosescales(the graphicon
playersareprobablygoingto be playingout of normal the left), and then all of the noteson the fingerboard
openchordpositions.If all the guitarplayersplay out in thosekeys which are in thosechords(the graphic
of the samechordshapesandpositions,andstrumthe on the right). By looking at thesenotemapsyou can
samechords,the overallresultcan startto soundlike get a very goodideahow the FDAA shapeslayouton
"wind chimesin a hurricane." There are too many the fingerboardin relationto oneanotherin any given
stringsringingat thesamefrequencies.Onealternative key. You can also study how the G layout relatesto
for you to avoid beingjust anotherstrummerin the the C layout. Ifyou continuallylook for overlapsand
crowd would be to capo to a differentposition,and common patternswhen you are studyingchordsor
thusprovidea differentfrequencyrangeto the overall scales,you will discoververy usefulwaysof utilizing
rhythm sound. This is OK, however,if the singeris the fingerboardin every key. The more common
singingin a key like B flat and all of the otherguitar patternsyou recognize,the easierit will be for you to
playersarecapoedat thethird fret,you haveto quickly understandthe layout of the guitar'sfingerboardand
decidewhat differentcapo positionyou are going to how eachnote,scale,chord,or arpeggiorelatesto the
go to andwhatchordshapesyou'll haveto playat that others. So,continueto look for usefulpattemsasyou
positionin orderto be in the key of B flat. By thetime study every aspectof the fingerboardand how it is
you transposeall of that informationin your head,the arranged.
songcouldbe half over.
As an alternativeto all of that,if you want to providea Chord ProgressionPractice
differenttextureto the rhythm of thejam,you canplay As you probably know by now, my philosophyis
a progressionlike the one shownon the previouspage. that the more you can practicein orderto build up your
For the key of B flat, you'd start with your F-shape "musclememory,"the betteroff you aregoingto be in
chord form at the 6th fret. You don't have to know the long run becausethe practiceis going to allow you
, anything else other than where to start your F-shape to reach that place where you no longer have to think
chord,andif you've memortzedallof the notelocations about where to put your fingers. With practice,your
on the low E string,as I recommended, lou'll know to fingerscan developa "memory" of their own and will
go right to the 6th fret with your F-shapeand then you go where they are supposedto go without you having
are off and running. You don't evenhave to know the to think aboutit.
namesof the otherchords. You know your positions, On the page 44 I've arrangeda I-IV-V progression
basedon the graphicshown at the top of page39, and in the key of C that usesall of the FDAA shapesand
that is all you needto know. movesall over the fingerboardfor 24 bars. I've depicted
The othercool thing is that if thereis not a mandolin this progressionin two ways. The first representation
player in the jam, you can vamp the chords and showsthe standardmusic notationand guitar tab. The
emphasizethe off-beatstrum and you will be filling secondrepresentation (shownon page45),laysout the
the mandolin'srhythm role. This way you will really same progressionusing chord diagrams. Using the
be adding somethingto the ju*, insteadof pounding chord diagrams may be easier for you than trying to
out the same old chords in the sameold positionsas read the tab. Play through the tab slowly one time to
every other guitar player in the jum. Try it next time get a generalidea of what the arrangement looks like,
you go to a jam. Your friendswill be impressed!The and what connectingruns I'm using,but from thereit
Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neclz
47
 Key of G
Notes in the G Scale Notes in the G Chord

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Flatpicking Essentials Volume 4: (Jnderstanding the Fingerboard & Mouing tJp-the-Neck

 Key of C
Notes in the C Scale Notes in the C Chord

C- 1st Fret

C-3rd Fret

C-5th Fret

C=8thFret

C- 1Oth Fret

C- 13th Fret

C- 15th Fret

43
Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
 Chord -I, lV,VProgression
Practice intheKey
ofG Audio Track 1-31

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44 Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck

 - l,lV,VProgression
Practice
Chord ofC(con't)
intheKey

Chord
Diagrams
fortheSame
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Flatpicking Essentials Volume 4: Understanding

45
the Fingerboard & Mouing Up-the-Neck
 might be easierto usethe chord diagramrepresentation by a strum) for much of the songand I've optedto use
as you practicethis arrangementover and over. once the "long Lower A-shape" for the C chord and ..long
you havepracticedthis arrangementmany times,try to D-shape" for the F-chord. The term "long" refers to
makeup your own I-IV-V arrangementusinga different the use of that high note on the high E string. I threw
sequenceof FDAA chord shapes. this shapein therefor this songbecausewe've yet to
practiceit thus far.
Chord Shapesand Vocal Song At the very beginning of this book when I talked
Arrangements about the reasonswhy a guitar player may want to go
up-the-neck,one of thosereasonswas to add emotional
Back rn Volume2 you studiedhow to: content to the solo. A shift to a higher register can
I ) Find the melody of a songby ear. provide an emphasisto a phraseof the melody in the
2) Simplify the melody sameway a vocalistwill usehigh notesfor emphasisor
3) Ingrain that melody into muscle memory by to add emotion. when you are arrangingsolosfor any
practicingit over and over in its simplestform. vocal song,a good thing to think aboutis the phrasing
4) Add to the basic melody using the carter style of the vocalist. Blues andjazz playersareknown to use
technique,plus other embellishmentssuch as slides, vocal-stylephrasingin their solos.I've alsoheardfrom
hammer-ons,pull-offs, neighboringnotes,scaleruns, more than one sourcethat Bill Monroe encouragedhis
doublestops,etc. fiddle playersto "play it the way I sing it."
In measuresI I and lZ of "Will the Circle Be
If you'd like to learnhow to createsolosin positions Unbroken" I moved up a bit higher on the neck to
up-the-neck,the stepsare exactly the same! Go to correspondto the emphasisa vocalist would place
any position on the neck, start with one of the FDAA on the phrase"home a-waiting" in the line "There's a
chord forms at that position and then, using that chord betterhome a-waiting." When you are arrangingany
form as your "center,"find the melody. Alternatively, guitarsolo for a vocal song,it will alwayshelp to listen
you can think about the entire chord progressionand to what the vocalistis doing,or to singthe songin your
change your "center" point of reference with each own head and phraseyour solo as you would phrasea
chord change. when the chordsare changingfast and vocal delivery. Too many guitar players take off and
furious,asthey did in "ArkansasTraveler,"it is usually play fast, rapid-note"hot licks" over chord changes.
easierto just keepthe shapeof the l-chord in your head. while the solo may show off sometechnicalabilities,
However,in most simply vocal tunesthe chordsdon't it will many times be too much .Junk,,and it will not
changethat often and so you can changeyour frame fit the song.
of referencewith eachchord change. changing your Just like a singerhas to take a breathwhen singing
chord shapeframe of referencecomesin handy when lyrics,you alsohaveto leaveyour audiencetime to "take
you want to shift positions. a breath"during your solo. Sax playersare known to
havegreatphrasingbecausethey haveto breatheduring
"Wiil the Circle Be Unbroken" and Cater Style Up- their solo. The most tastefulguitarplayersallow their
the-Neck solosto breatheaswell. So,whenarrangingyour solos,
In order to give you a coupleof examplesof how if you keepthe melody,the meaningof the words,and
you might arrangean up-the-necksolo to a vocal tune, the way the words are sung as your inspiration,you
I'm providin-eyou with up-the-neckarrangements of will executetastefuland meaningfulsolos.
two the songsthat you learnedback in Vtlume2,,'WiLl
the circle Be unbroken"and "wildwood Flower." For "Wildwood Flower" and Crosspicking Up-The-
both of these songsI've provided both the standard Neck
notation and tab presentationas well as a diagram "wildwood Flower" is one of the songsthat almost
that showsthe chord forms I'm using with eachchord everyonelearnswhen they first learn how to crosspick.
change. I presentedit to you asa crosspickingstyrearrangement
So far in this course,when playing rhythm, you've rn volume2 ,so let'stakea look at how you might useour
worked mainly with the lower strings. For the up-the-neckchord forms and mix crosspicking,carter
arrangementof "will the circle Be unbroken" I've style,and doublestopsto comeup with an arrangement
usedthe carter style technique(melody note followed of "Wildwood Flower."
46
Fhtpicking Essentials volume 4: understanding the Fingerboard & Mouing up-the-Neck
 ITillThe
Circle
BeUnhroken

XX

ffi
5th fret

7
XX
c rr55515thfret
ffij^n
XX
ffi
Fffi
8th fret

Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck

47
 Wildwood
Flower Audio Tfack 1-33

48 Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck

 Tfildwoodtlower-tn:1d$hapes
c xx l
, :iffisthfret rffi*oo I1ffi
ffi'"t-l
ffiHffi-Lffi
gz t'' l-ftftl
C A n l \ -

nTtTl l2thrret
I I rYl

:ffi
I -
XX I I I l( )l
ll r lYl

[l I I I I

XX

#ffisffi5ffi5ffi:
'Tffi:-T X
Tth fret

il:::*:-ry;,:::lf
;;J.:::i:'1'"1Ti:"",::ll1
r*"1*il4glqglffi'";';;;-,9ilr:i#lah'
***[*$sqg
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:;;il:1ffi
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ffi .*,iilil*:".ffi
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r:t"*r* ffi ;,."i
H-Tliltl#1rurre',r,H":",':iltiil:i:*i:trji:i:
u*"'
has presertw"
Kathy Barwick Up-the-Neck
,.- the Fingerboa & Mouing
,,^-r,noo"hoard.
Yolurne4: rJnd'erstanding
FlatpickingEssentials
 Blossoffi,
Blackberry - Crosspicking
A$ection &ChordShapes
Audio Tiacks l-37
D

it straysfrom the melody a bit. However,since this standardnotationand tab aboveand then a chord form
arrangementdoes follow the quick-changingchord map on the next page.
progression,it will work. I also would probably not Since the chords changeevery two beats in the A
play this solo as it appears,it is crosspickingoverkill. sectionof this song,we havea lot of movementhere.
Although I changethe crosspickingpatternevery time I've arrangedthe movementin a descendingfashion
I changeto a new chord, I think it is still "too much starting with the Upper A-shapeG-chord and moving
of a good thing." Like most of the arrangementsin sequentiallydown the neck. You'll notice that for
this book, this of it more as an exercise.I providethe the first eight measuresI've used chord shapesand
crosspickingrolls that utilize the G, B, and high E
50 Flatpiching Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neclt
 Blossoffi,
Blackberry - Chord
A$ectiolr $hapes
D C XXX G XXX

@ffi ffi
1G

ffi
12th fret 1othfret 8th fret 7th fret

--T-ffi-mL ;
3rdrret
-Tr"
L

ffi ffi:
3C 3rd fret G 3rdfret
I ll lff
"ffiT..l m-fl I
||||__l

ffm'
XX

1othfret 7th fret

2th fret

13 c
5th fret

strings.For the secondeight measuresI've moved the the last four measuresI've addeda G string drone to
chord forms and crosspickingrolls to the D, G, and B eachchord changein order to add a bit of flavor and
strings. variety. Sincethis tune is in the key of G, the G string
Take a look at the chord form diagram above. It droneworks well.
might help if you strum through this chord form, as I
demonstrateon the audio CD (tracks34 8{.35),before A Quick Introduction to Minor Chord
you try to executethe crosspickingaffangementshown Forms
on the previouspage. Once you get the chord form Before we move on to study scalesin the next
changesunderyour fingers,youmay alsowantto play a sectionof this book, I'd like to quickly show how you
simple,repetitivecrosspickingroll over all the changes can from minor chords from each of the four chord
before you try what I've written in the tab. I've also shapesof the FDAA system. ln Volumes2 and 3 you
demonstratethe simpler crosspickingroll on the audio found that occasionallya song would includea minor
CD (track 36). All this entailsis moving throughthe chord. Usually that minor chord was a VI chord, or
chord changeswhile playing a simple four-noteroll the "relative minor" of the key. Later in this course
that moves from the the G string to the B string to the we will study minor scalesand minor keys in detail
high E string, andback to the B stringfor the first eight and talk about why the VI minor (usuallydepictedas
measures,and then movesfrom the D string,to the G lower case"vi"), is the most prominentminor chord in
string,to the B string,then backto the B stringfor the a major key. However,for the time being it will serve
secondeight measures.You will alsonoticethatduring you well to know that if you are in a major key and you
Flatpicking
51
Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
 Fm Shape Dm Shape

o
I) I)

Amr Shape tR

AmzShape

,-\ z+:
@
( V X(I))
Y\T

@
c \'4
.)-- /:^
(VX(I \
\:+ ),/
\_/

I)
I )o
I = Root,or 1stNoteof the Scale
hIII = Flatted3rd Noteof the Scale
o
V = 5th Noteof the Scale
R = RootNotein the Bass

52 Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck

go to a minor chord it will most likely be the sixth scale
degree. Practice
Back rn VolumeI I briefly discussthe minor triad and Before moving on to the next
let you know that the minor triad was formed from the section of this book, go back
lst, flat third, and fifth degreesof the scale.That being and work through the I-IV-V
the case.all we haveto do in orderto form minor chords progressionthatappearson page
using the chord forms of our FDAA systemis to find 44 and also practice the arrangementsof "Will
all of the major thirds and move them a half-stepdown the Circle be unbroken," "Wildwood Flower,"
in pitch. I've donethis is the diagramson the previous and "Blackberry Blossom." The more practice
page. For each chord form the top diagram shows that you have using thesechord forms, the easier
the note map and the diagramsbelow them (with the everything that we present in the remainder of
black dots)showthe easiestwaysto play thosechords. this coursewill be!
Immediatelyyou will noticethat forming minor chords
from the F-shapeand Upper A-shapechord forms will Homework
be the easierway to go.
I ) Take some time and study all
The openpositionminor chordsthatyou may already
of the FDAA chord forms and see if
be familiar with are most likely the Em, Am, and Bm you can discover overlapping and
forms. All of those are constructedfrom the F-shape interlacingpatterns.
andUpperA-shapechordforms, asyou may recognize.
The Em chord is formed from the F-shapeand the Am
2) Usingthe I-IV-V progressionon page44 as an
and Bm chords are formed from the Upper A-shape.
example,try to come up with a few other I-IV-V
You may alsorecognrzethe open positionDm chord as progressionarrangementsof your own that move
it is derived from the D-shape. Study the minor triad
through all of the chord forms. Play along with
chord forms on the previouspageso that when you run songson CDs or with somejam tracks and vary
into a songthat hasa minor chord,you'll haveseveral
the chord form each time a new chord comes
up-the-neckchord forms to work with when you are
around.
executingminor chords.
3) Go back to Flatpicking Essentials,Volume
Chord Shape Summary 2, ptck out a song that you like from both the
We've reachedthe end of the chord shapeportion Carter Style sectionand the crosspickingsection
of this book. I hope that after working reading this and see if you can come up with an up-the-neck
section and working through all of the exercises, arrangement of thosesongsusingmy arangements
practice suggestions,and homework problems that of "Will the Circle be Unbroken" and"Wildwood
you are becoming very comfortablewith the location Flower" asexamples.Go aheadandwork through
of the major and minor chords in every position on all of the stepsthat were presentedin Volume2.
the guitar's fingerbaordand that you are also feeling Find the melody first, learn that melody in its
comfortablewith usingthoseshapesto arrangeup-the- simplestform, and then try to add Carter style or
neckguitar solos. crosspickingembellishments.
There are many professionalguitar playerswho use
the chord shapetheoriesas their sole meansof finding
up-the-neck guitarsolos,andsoyou canlearnto become
a greatimprovisationalplayerwithout every practicing the notes on the fingerboardbecausethe combination
a scaleor arpeggio.As I statedin the beginningof this of eachmethod'stheory and practicalapplicationwill
book, eachof the threefingerboardroad map methods provide you with the most complete picture of the
that I am presentingin this book could be used as guitar's fingerboard,both in your headand under your
your primary methodfor finding your way aroundthe fingers. So, having said that, let's move on to take a
fingerboard. For many players,usingthe chord shape Iook at major scales.
theoryis the easiestto useand understand.However,
my feeling is that it is also worth the time and effort to
learn all of the various ways that you can work with
Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
53
 Understanding
theFingerboard,
Part
2:
ltlajor
Scales

Introduction Half and Whole Step lntervals

Now it is time to shift gearsa bit. In the last section If you have studiedany music theory you will know
you studiedfour differentchord shapepatternsat every that the majority of music in the Westernworld is based
positionon the neck. Since major chords consistof on a sequenceof twelve notes,or tones. The interval
the lst,3rd, and 5th major scaledegrees,you are now between each note in the sequenceis called a semi-
very familiar with wherethosenotesarelocatedfor any tone.A scalebasedon all twelve semi-tonesis calleda
givenchordat any position. Now we are going to take "chromatic scale." The piano keyboard(seediagram
a look at all of the notes in the scale,how they form above)is laid out suchthatplayingeachsuccessive key
patternson the fingerboard,and how those patterns (white and black) will raise the tone one "half-step"
relateto eachotherin variousways. and thus walk up or down the chromaticscale,sincethe
For the most part, my presentationof major scales chromatic scale is definedby a sequenceof half-step
in this section is not going to assumethat you have intervals. The arrangementof notes in the chromatic
alreadyworked throughthe first sectionof this book, or sequenceis easyto see,and work with, on the piano's
with othervolumesof this course. I am also not going keyboard becausethe notes are laid out horizontally
to assumethat you know anything about major scales. in a linear fashion. The guitar, becausethere are six
So,if I startout slow andcovermaterialthat you already strings,has both horizontal and vertical sequencesof
know, pleasebe patientas I feel that it is important to notes. When you are playingthe guitar you can move
startwith the basicsand then move slowly forward so up or down a single,or you can move acrossseveral
that anyonereadingthis section,no matter what their differentstrings. This makesvisualizingsequences of
musical background,will be able to understandthis noteson the guitar a little more difficult.
sectionof the book as if it were standinsalone. Althoughlinear ideas,like scales, areeasierto see,
and/orvisualize,on the pianokeyboard,you caneasily
get a similar linear perspectiveon the guitar if you

E
B

G
o o o o oo
D
A
E F#tCil G G#tAb A A#rcl B C c#fDb D D#nb E

Fret: 4567 8 9 10 11 12
54 Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
only look at one string. For instance,if you take a Major Scales
look at the noteson the low E string, as shown at the Many guitar playersthink that scalesare boring and
bottom of the previouspage,you can seethe similarity so they seldom practice,study,or work to understand
in layoutto the piano'skeyboard. Moving up onefret scales.However,scalestudycan also be very exciting
along one string on the guitar is just like moving over if you let the knowledge you gain from that study do
one key on the pianokeyboard.So, you could saythat what it is meantto do-which is help you easilyfind
looking at all of the noteson a guitar's fretboard(see your way aroundthe fingerboardin the context of the
diagrambelow) is like looking at a stack of six piano music you are playing. Although scale practice is
keyboards. very beneficial,I'm not goingto ask you to mindlessly
If you can visuahzethe spacebetweeneachfret wire practicescalesover and over. My goal is to help you
on the fretboardas being like a key on the keyboard, seethe value of scaleknowledgeand practiceand then
and you just look at one string,then you can seehow you can decide for yourself wether or not you think
the piano keyboardand the guitar's fingerboardrelate that the regularpracticeof scaleswould be beneficialto
to one another.The movementup or down one fret on a your developmentas a guitarplayer,or not. Hopefully,
stringis calleda half-step,or semi-tone,"interval." An with the work you have done with scalestn VolumeI
intervalis definedasthemusical"distance"betweenany (to help you find bass runs) and in Volumes2 and 3
two notes[For moreinformationaboutintervals,seethe (to help you find melodiesand fill in betweenmelody
IntervalsAppendixat the back of this book.l Sincethe notes),)ou've already seen some of what knowing
chromaticscaleis definedby half-stepintervals,as you scalescan do for you.
move up or down eachfret on the guitar's fingerboard In this sectionof the book we are going to first take a
you are walking up the chromaticscale,just as playing look at variousscalepositionsall over the fingerboard,
eachkey in the keyboardin sequence(black and white and we are going to startwith the G major scale. Once
keys) also walks the chromaticscale. that groundworkhas been laid, I will ask you to apply
When two half-step intervals are combined,the the principlesthat you have learnedin looking at the G
new intervalis calleda "whole step." What this means majorscaleto theothermajorscales-most notablythe
is that if you play a note on any given fret and then C and D scales.By practicingmajor scalesand using
play anothernote two frets higher,the interval you've them as the "road map" that unlocks all of the various
createdis a whole-stepinterval. These conceptsare areasof the fingerboard,you will seehow useful scales
importantas they relateto the study of scalesbecause canbe. Oncethathappens,scalepracticewill no longer
all scales are built using half-step and whole-step seem"boring" at all.
interval formulas. If you know the half-step/whole- Sincesomereadersmay not havepurchased f hryicking
stepformulafor a given scale,you caneasilybuild that EssentialsVolumes1,2, or 3, I'm are going to start
scalefrom the chromatic scale. Although there are a at the very beginning and move forwards slowly. If
numberof differentkinds of scales-includin_e firajor, you havealreadyspenttime studyingscalesin the past,
minor,augmented, diminished,whole tone,pentatonic, pleasebe patient with someof the beginning material
etc.- in this book we are only going to study major and eventuallyeveryonewill be on the samepage.
scales.

Notes on the Guitar Fingerboard

F F#tc$ c*rr$yA A#tBb C c#tDbTD D#tBb

C c#tDb D#mjbrE F F#IG, G A A#tBb
f'
G#tAb A .B C#IDI?
"ur4f
E+ fu
D#tFb E
IG
F#/Gb
C

G#tAb
D D#tF;b

A#tBb B+
F#tc$
c#tDb
f"
r fo
A#tBb

F
B

F#tc+ G
o
c#rDbfD
G#tAbL A
o
D#Mb
A#tBb B
o
F

c
F#/Gb
I
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G#tAb
t"
J-E
D#tF;b
o oo
Flatpicking Essentials Volume 4: Understanding the Fingerboard. & Mouing Up-the-Neck
55
 Half Half
Whole Step Whole Step Step Whole Step Whole Step Whole Step SteP

rtzlgLatst6lzJ-s
@ GnAb@A#rlb@ @ c#nb@ D#rEb@ F @q @

G Major Scale Linear Note Map (low octave)

The Major ScaleFormula

3) Now write down the notesthat you have circled.
The major scale consistsof eight musical notes
They shouldbe:
(referredto as "scaledegrees")playedin the following
sequenceof intervals: whole-step,whole-step,half-
D-E-F#-G.A-B-C#
step,whole-step,whole-step,whole-step,half-step. If
we start this sequenceon the G note of the chromatic
You havenow figuredout the D major scale!
scale and select the notes that are defined by this
formula, we form a G major scale(seethe circled notes
Your ability to use the whole-stepand half-step
on the diagramat the top of this page).
formulasto definescaleswill comein handywhenyou
The importanceof knowing whole-stepand half-
want to figure out the notesthat are in any given scale.
stepintervalsand scaledegreeslies in the fact that the
As long as you know the formula, you can figure out
pattern of whole-stepand half-step intervals for any
the scale.Laterin this coursewe will studyotherkinds
given scale definesthe formula that you will use to
of scales(minor,seventh,diminished,pentatonic, etc.).
figure out the scalein any key. For instance,as stated
above,the formula for any major scaleis:

whole-st"p, whole-step, half-step, whole-step,

Practice
whole-st.p, whole-step, half-step
Starton the G stringof your
guitar. Play the open G note,
Usingthis formulayou can figureout the scaledegrees
for any major scale. Here is how to do it: then press your finger just
behind the first fret and play
I ) Write down the chromatic scale starting with the that note (G#), then the secondfret (A), then the
letter designationfor the key you are working with. third (A#), then the fourth (B), all the way up to
For instance,if you would like to fisure out the scale the twelfth fret. You'vejust playedthe chromatic
degreesfor the D major scale,you would ''uvrite down scalein the key of G. Eachnoteyou playedwasa
the chromatic scale besinnine with the letter D as half-stephigherthan the previousnote.
follows: Now play the open G stringagain,next press
your finger just behind the secondfret (A) and
play that note. You've just played a whole-step
D - D#- E - F- F#- G - G# -A-A# - B - C - C#- D
interval.
2) Start with the first note and circle the notes as Yes,this very is simple,but we have to start
designatedby the formula (as we havedonefor the kev somewhere!
of G at the top of the page).
56 Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
Eachdifferenttype of scalehasits own uniqueformula. KEY 1 2 3 4 o 6 7
For now, all you needto memorizeis the formula for C C D E F G A B
the major scale. The chart at right shows the major
G G A B C D E F#
scaledegreesin variouskeys.
After looking at the chart at the top of the next D D E F# G A B C#
column,you may be wonderinghow memorizingthe A A B c# D E F# G#
whole-step/half-step formula for a major scale would A B C# D#
E E F# G#
be useful. Why memorizethis long formula when all
B B C# D# E F# G# A#
you need to do to find any scaleis look at this chart?
The formula is good to know becauseit setsup a very F# F# G# A# B C# D# E#
usefulpatternon your fingerboard. C# C# D# E# F# G# A# B#
Take a look at the G major scale,laid out in a linear F F G A Bl, C D E
fashionon one string, in the illustration below. If you
can memorizethis whole-step/half-step patternon the Bt Bt, c D Et,, F G A

fingerboard,you canthenmovethatpatternto any string Eb Eb F G Al, Bb c D

and any fret on the neck and repeat that pattern and At Ab Bt, C Dl, Eb F G
createthe major scalefor the first note of that pattern. Dl, Dl, El, F GI, Al, Bb c
Looking at the diagram at the bottom of this page,
Gf Gl, At Bt, cl, Db El, F
you'11seethat I've taken the major scalewhole-step/
half-steppatternand I've moved it to anotherplace on cb Gb At Bl, cl, Dl, El, F-b
the fingerboard. I've startedthe patternon the C note
locatedon the first fret of the B string. If I play the either major scales,or harmonizedscales. You have
notesdictatedby the pattern,I'm playing the C major alreadyused major scalewalk ups and walk downs in
scale. I don't evenhaveto know what notesmake up variousexamplesin the last sectionof this book. They
the C major scale in order to play it. I only need to all utilized the pattern shown in the diagramsbelow.
know the pattern. We will work with harmonizedscalesa little later.
Knowing how the whole-step/half-step major scale We will be working with a lot of variousscalepatterns
patternlays out on the neck of the guitar will come in in this sectionof the book. As mentionedin the last
very handywhen you are using scalewalks to move up section,patternrecognitionis one of the maintools that
or down to different positionson the fingerboardusing can help you learn the fingerboardwithout having to
G Major Scale Linear Note Map

o o o o oo o

Whole Whole Half Whole Whole Whole Half

Step Step Step Step Step Step SteP

C Major Scale Linear Note Map

@ O OO -o O O o
o o o o oo o

57
Ftatpicking Essentials Volume 4: (Jnd.erstanding the Fingerboard & Mouing Up-the-Neck
 Audio Track l-38
G Major Scale, Open Position, Low Octave Note Map

memorizeevery notethat existsin eachscale-or each definedby the fret playedby the index finger,i.e. in the
chord, or each arpeggio-and where those notes are "first position" the index finger is playing the noteson
locatedon the neck. The patternwill handleall those the first fret, middle on the second,ring on the third,
details. You simply have to recognizeand learn the and pinky on the fourth. In the secondposition, the
pattern. index finger plays noteson the secondfret, middle on
While the linear major scale whole-step/half--stepthe third, ring on the fourth, and pinky on the fifth, etc.
pattern is very useful, sometimesit is not going to be
practical. Most of the time you are not going to play The G Scalein the Open Position, Lower Octave:
the notesof any given scaleby playing up and down In the last example,at the bottom of the previous
the lengthof one string. The guitar has six strings,so page, I showedthe G Major scaleplayed only on the
you may as well makeuse of them. Next, we'll takea low E string.Playingthe G scalethis way,for the most
look at the sameG scalepatternas it is playedacrossall part,is impractical.I initially presented it in this fashion
six stringsin the "open position." But first I'[l define becauseit is very easyto seethe whole-stepand half-
the meaningof the term "open postion" stepintervaldistanceswhen a scaleis presentedon one
A run, lick, scale,passage,phrase,riff, or whole string. However, in the example shown at the top of
tune on the guitar is referred to as using the "open this pageyou can see how the same scale would be
position" when open strings are used in conjunction laid out and played in the open position(low octave).
with finger positionson the first threeor four frets. The On the next two pagesI have also laid out the G major
open position fingerings are as follows ( I st position scale in the open position in the upper octave, in the
fingeringsare the same,however,there are no open openpositionacrosstwo octaves(usingall six strings),
notes): and in the closedsecondpositionacrosstwo octaves.
I ) Openstringsareplayed,as the definitionimplies, If you have worked with VolumesI , 2, and J of
with no fingerspressingon the fingerboard. this course,then you have alreadyworked with the G
2) The index finger plays the noteson the first fret. scaleacrosstwo octavesin the open position as it is
3) The middle fingerplaysthe noteson the second presentedhere, and you have worked with this same
fret. scale in the various folding scaleexercises. So, this
4) The ring finger plays the noteson the third fret. scaleshouldnot be new to you.However,go aheadand
5) The pinky finger plays the notes on the fourth play throughthesescalesagain taking specialnote of
fret. the patternthat is set up when the scaleis closed (as
After the "open position,"fi ngerboardpositionsare shownat the bottomof page60).
58 Flatp ic king E ssentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
The G Scale in the Open Position, Upper Octave:

Below you will find the upperoctaveG majorscalelaid out linearlyandthenin the openposition.
G Major Scale Linear Note Map (higher octave)

G -A B C- -D E F# G

Audio Track 1-38

G Major Scale, Open Position, Higher Octave Note Map

Practice The G Maior Scale

Play throughthe G major scaleseveraltimes forward andbackwardin the loweroctave,
the high octave,and then both the lower and upper octavescombined(as shown on the
next page). You may alreadybe familiar with the G major scaleas shownhere. If so, that
is great,but we would still like you to take a few minutes and play through this scalea number of times.
Practiceplaying thesescalessmoothly,fluidly, evenly,and with good solid timing and tone.
When playing the closed G major scale shown at the bottom of the next page, take special notice of
the pattem that is set up here. Sincethis is a closedposition, it is moveable. Therefore,if you memorize
this pattern,you can play any scalethat begins with the root note on the low E string. Want to play the B
scale? You don't needto know all of the notes in the B scale. All you have to do is move this patternup
and startthe first note on the 7th fret of the low E strins. Patternsare sreat toolsl

59
Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
The G Scalein the Open Position, Lower and Upper Octaves:

Here I have put both the upper and lower octaveG major scalestogetherin one illustration.
G Major Scale, Open Position, Two Octave Note Map Audio Track l-38

E F#- G
B D
G
D
A

The G Scalein the 2nd Position (Closed),Lower and Upper Octaves:

Here we have the exactsamescaleshown in the closedposition (no open string notes). Closedpositionsare
importantbecausethey are "moveable."

G Major Scale, Second Position, Two Octave Note Map

Audio Track l-38

E
C
G
D
A
o

60 Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck

 theRoot
Finding Note
Finding all of the G Notes go aheadand study the diagramsbelow and seeif you
Now that you have takenthe time to study both the can recognlzerecurringpatterns.
openG majorscalesandtheG major scalesat the second
position, it will be well worth your time and effort to G Note Patterns
try and find the G major scalesat variouspositionsall At the top of the next page are diagramsthat show
over the fingerboard.However,let's not rush into that. a few of the patternsthat you can use in order to find
As a first step to finding all of the G major scaleson various notes on the fingerboard. Here we are just
the guitar's fingerboard,it will be beneficial for you looking at the G note, but the same generalpatterns
to know how to easily find the location of all of the G apply to all notes.
notes-the root noteof theG scale-on the fingerboard.
To help you out, so you don't haveto memorizestring/ Pattern I: Diagram I
fret locationsfor each note, you are going to look for The first setof patternsareshownon the first diagram
patterns.Take a look at the diagramsbelow and seeif at the top of the next page. Do you tune your guitarby
you can locateany patternsthat might help you easily fretting the 5th fret on the low E string (A note) and
find all of the G noteson the neck. matching it with the openA note, and then fretting the
Once again,you want to look for patternsbecause 5th fret of the A string(D note),etc.? If so, you know
onceyou identify patternsyou can apply thosepatterns that this works on every pair of strings-except for the
to othernotes,scales,chords,arpeggios,andkeys. I'm G to B stringswhereyou have to offset one fret to get
starting with the G note and the G scale here in this the match. If you know this tuning method,then the
sectionof the book becauseG is a very common key patternsshownin DiagramI arefamiliar to you. Takea
in bluegrassand folk music. However,I could have look at the diagramfor a moment. You will noticethat
startedwith any note,or any scale,becauseonce you with the exceptionof the G to B string,everywhereon
know the patternsyou can apply them universally. the fretboardyou find a G note,you will find that same
I'm going to revealto you the G note patternsthat I note on the adjacentlower pitched string five frets up.
use in the next paragraph,however,beforemoving on, And, of course,this patternappliesto all notes.This is a

Locating the G notes on the Fingerboard

F F#/cf G#tAb A#tBb c#t4 D#/E[i- E F#/c+ G#tAb A

C c#tDb D#tBb F G#tAb B
A#/Bb1- c#t4 D#tBb E
G#/Ab A c#ry E- F#IG, G#tAb A B c
D#/Tb- E - G#tAb A 'B - c#/DbfD D#tnb- E - F#/C+
A#tBb- B - D#nb E F#td, G#/AbtA A#tBb- B - c#tDb
F#/G, A#tBb B c#ry D#/Eh! E F#/Gb G#tAo

Jr^\- Jn\
v/ v/
A\
\r-
G _r^]_
t/
A
t/-
-@
/A\
1g-
1i /A
\u/ \\r,/

(ruu0oo

61
Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
Diagram I
Fretboard I
G Note Patterns on the Guitar

Diagram II
Fretboard II
G Note Patterns on the Guitar

DiagramIII
III
G Note Patterns on the Guitar Fretboard

G.;
o

III
moving from Pattern III: Diagram
very useful patternto know when you are The thirO plttern is simple' and pretty
obvious'
of the fretboard to another' i'e' moving from
one area
positionor S i n c e t h e l o w E a n d h i g h E s t r i n g s a r e b o t h E n o t e s ,
a down-the-neckposition to an up-the-neck
your root notes t h e n i t s t a n d s t o r e a s o n t h a t a t e v e r y f r e t g o i n g d o w n
vice-versa.Knowing exactly where all
them quickly' t h e f i n g e r b o a r d o n t h o s e t w o s t r i n g s t h e n o t e s w i l l b e
are, in any key, unJbeing able to find is a good thing to remember'
fingerboardin an the same. This
makesit is easierto move aroundthe Doyourea|tzethatifyouknowthesethreepatterns
efficientmannerwhen improvising' on the low E
and then memorize where the G notes
and fifteenth frets)'
II string of the guitar arelocated(third
Pattern II: Diagram G noteson the
that you can easily find all of the other
Thesecond"patternwillbefamiliartoyouifyou of the two G notes
guitar' Many bass guitar lines fingerboardin seconds! From one
haveeverptayedihebass is only one or two
onih. low E string, -a any otherG note
workaroundthisparticularpattern.Takealookatthe one or two of these
stepsaway using combinationof
pattern.YouwillnoticethatfromeitherthelowEorA fast you can get
G note on the fingerboard patierns. Test yourself and see how
stringsyou can find another next' to the next' to the next'
strings higher in pitch and two frets up from one G note' to the
by moving two or note maps'
Seeif you can identify any new patterns'
the fingerboard. (.Jnd'erstand'ing the Fingerboard & Mouing Up-the-Neck
Flatpic king E ssentials Volume
4:
62
that work for you. Finding useful ways of visualizing
the fingerboardwill give you a good mentalpicture of Practice
how all the notes are laid out. This can be very useful
becauseif you are improvising in the key of G and Pick up your guitar and play
you have a good mentalpicture and intuitive senseof various patterns of G notes.
where all the G notes are locatedyou will always be I've provided you with an
able to find your way back to the root should you get examplebelow,but this is only
lost. Finding the root will help you reorientyourself an example. Feel free to play thesenotes in any
and you will be ableto continuewith your solo instead sequencethat you like. Be createand experiment.
of havingto "crashandburn." Play throughwhat I've written at the bottom of the
Familiarizationwith the G note patternsis just the page,but then try to explore and find your own G
beginning step in your fingerboard familiari zatron note order. You can also changethe timing and
training,but it is an importantone. Think about it- note duration. Try to invent different grooves
just usingG notes. The idea of this exerciseis to
if you can find all the G notes quickly, using these
patterns,then you can apply thesesamepatternsto the gain an innate feel for where all of the G notes are
othernotesas well. Later we will explorethe C and D locatedon the fingerboard. In my exampleI only
note patternsand thenrelatethem to the G notesso that went as high as the l2th fret, but feel free to move
you can familiarize yourself with I-IV-V patternson higherif you'd like. Use a metronomejust so that
the fingerboard. you'll get that extratiming practiceas well.
Once you have worked with this exerciseby
playing all G notes,pick anothernote and try to do
that samething. You will noticethat all of patterns
arethe same. Sincethe frets get closertogetheras
you moveup the neck,you will haveto do a slight
bit of adjusting,but with practiceyou will become
accustomedto that.

Playing
theGNotes Audio Track l-39

Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck

 Homework-G Major ScalesRevisited

Now that you've had a look at theseG note patterns,seeif you can find all of the G major
scalesthat connectthe various G noteson the fingerboard,using theseroot note patterns,
and your ears,asguides. Visualizewherethe G notesare in relationto one anotherandthen
move up and down the G major scaleto connectone G note to the next in sequence.
As you work out thesescaleskeep on the lookout for patterns. There are many patternson the guitar
neck that allow you to move around the fingerboardwithout having to memorize where every note lays.
lf you know a pattern in one position, chancesare that that same pattern can be used elsewhereon the
neck. For instance,the samepatterncan be usedfor the G major scalemoving from the G note on the 3rd
fret of the low E string to the G note on the fifth
fret of the D string as can be usedmoving from
the G note on the 10th fret of the A string to the
G note on the lZth fret of the G string as shown .) G=3rdFret .) =1OthFret
in the diagramsat right. The pattern looks the
same,it is simply used at a different location on
the neck. Look for more patternsas you explore
the G major scales.
As you arelooking for variousG scalepatterns,
please explore beyond the obvious patterns.
Don't just moveacrossthe fingerboard, alsomoveup anddown. In fact, a goodexercisewouldbe to try
andconnecttheG-notesasthey areshownin the sequence at the tab at the bottomof the previouspage.
Connectingthe first two notesin measureone,you'd simply usethe diagramshownabove(on the left).
But how wouldyou connectthenexttwo G notes?Seeif you canwalk down the scalefrom theG noteon
the5th fret of the D stringandendup on theG notelocatedat the lOthfret of theA string,thenconnectit
backmovingtheotherway. Knowingyour whole-step/half-step patternwill help you whenyou haveto
makethesekindof long scalerunson oneor two strings.Havefun exploringthe fingerboard in thecontext
of the G scale,andspendsometime with it everyday.It is worth theeffort becauseonce you learnhow to
makeall of theseG scaleconnections you canapplyall of the patternsyou discoverto everyothermajor
scale.

That
Darn
B.String
Throughoutthe remainderof this book we will be
searchingfor repetitivepatternsthat will help us easily
find notes on the fingerboard. The pattern shown in
the homeworkbox aboveis an example. Life would
be wonderful if we could have shiftedthat patternover
one more string and startedusing it on the G note at
the fifth fret of the D string and then also shiftedit over
anotherstring and usedthe samepatternstartingon G o
noteat the lZth fret of the G string,however,the thing
I ) The intervalbetweenthe low E and the A stringis a
that stoppedus from doing that is that darn B string.
perfectfourth.
Looking at the diagram in the right hand column
2) The interval between the A string and D string is
(oppositethis paragraph)you'll notice that there are
also a perfectfourth.
four similar patterns(of the samelength) while one
3) The intervalbetweenthe D and the G stringis also a
patternis shorter.If you calculatethe intervalsbetween
perfectfourth. This is great! When all of the intervals
the opennotesof any adjacentstrings,you'll find:
64 Flatpic leing E ssentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
Diagram I

;Er+
G-
o
Diagram II
^
G.
-

G ScalePatterns

I )( ) I)
G=3rdFret .) oo Fret +
G=1Oth OOt ) G=5th Fret G = 1 2 t hF r e t

o
ffo oo( I

o
from one string to the next are the same,it makesusing Take a look at the diagramsshownat the top of this
patternsreally easy. page. These diagramsare the same as the diagrams
4) But then we hit the B string. The interval between that appearat the top of page62, however,I've added
the G string and the B string is a major third. That the relationshipsto the B string with dottedlines. You
blows our sequence!As flatpickerKenny Smith says, can seethat the B string relationshipsarejust one fret
"There are no B-stringsin heaven!" (They are also different from the pattern relationshipson the other
harderto tune). strings.So, if you cankeepthatoneexceptionin mind,
5) When you move from the B string to the high E you will still be ableto usethesepatternswhenmoving
stringyour interval is once again a perfectfourth. to the B string.
So the only adjacentstringsthat mess up a perfectly If you take a look at the G scalepatternsthat appear
sequentialset of intervalsfrom string-to-stringis the in the middle of this page (above),you'll see that
movementfrom the G string to the B string, and vice- these are basically the same patternsas shown in the
versa. While this interval does mess up our use of homeworkbox on the previouspage,however,the B
repetitivepatternsto some degree,if you will simply string adjustmentshavebeenmadein the two diagrams
rememberthat this interval is just one fret different on the right. As you were working to find all of the
from all of the otheradjacentstring intervals,then you G scalelocationson the fingerboardin that homework
can compensateyour patterns and still make things problem,you may have discoveredthese patterns
work. vourself.
bD
Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
 Moving
UpThe
Neck
with
theGScale
Alternate Patterns in G:
Now that you have familiarrzedyourself with the circle aroundthem representthe root note (the G note
G scale at various locations on the guitar neck and in this case).
discovereda few patternsthat may have worked for
you here and there, let's go aheadand see if we can Pattern 2: This pattern,in G, centersaround the G
consolidateall of the G scale "box" patternsdown to note at the fifth fret of the fourth (D) string.
five two-octavepatternsthat we will be able to apply
universallyto any scale. We are going to approachthis Pattern 3: This pattern,in G, centersaround the G
through the use of the five G scale "box" patternsas note at the eighth fret of the second(B) string.
shown at the bottom of the page. I have represented
eachof thesepatternswith vertical fretboarddiagrams. Pattern 4: This pattern,in G, centersaround the G
Although you may have found other patterns that note at the tenth fret of the fifth (A) string.
work for you, and I encourageyou to usethose,these
five patternsare fairly typical of what you will find in Pattern 5: This pattern,in G, centersaroundthe G note
most books that discussbox patternson the guitar's at the twelfth fret of the third (G) string. You will notice
fingerboard. that the exactsamepatterncan be usedcenteredaround
the openG string as shownin Pattern58 below.
Pattern 1: The first pattern is one you are familiar
with. It is the pattern in the secondposition that you All of thesepatternsarerepresentedin both standard
havebeenpracticingand centersaroundthe G noteson music notation and guitar tablature on pages 68 and
the 3rd fret of the first and sixth strings(low and high E 69. Play through these scalesone at a time with a
strings). The black dots in the diagramsrepresentthe metronome. Once again,it will be well worth your
notesof the G scale. As before.the black dots with the time to learn all of thesepatternsas they will apply to
everymajor scale.

G ScalessBoxtt
Patterns
Pattern 1 Pattern 2 Pattern 3

G=3rdFret G=5th Fret

G=8th Fret

Pattern 4 Pattern 58
Pattern 5A
G=OpenString

G=l2th Fret
G=lOth Fret

O = root note

66 Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck

G Scale trBoxttPatternswith ChordTones(shownin Grey)

Pattern I Pattern 2 Pattern 3

)flOlc
G=3rd Fret G=5th Fret + ) Ot G=8th Fret

l0r )
)ol tc

Pattern 4 Pattern 5B
Pattern 5A

G= l 2th Fret

G= 1 OthF re t

G ScaleBox Patterns and Chord Shapes

Since you have alreadyspentsometime studying Homework
variouschordsforms, it may help you visualizethe box
patternsif you can relate their positionsto the chord Study the box patterndiagrams
form shapesthat you have alreadystudied. If you take the are shown on this pageand the
a look at the diagramsabove,you will see that I've previous page and see if you can
repeatedthe box scalepatternsfrom the previouspage, discoverany useful information. F'orinstance,
however,I've representedthe chord toneswith a grey when you are playing in the key of G, you will
dot. notice that all of the notesacrossthe 5th fret, 7th
If you take a closelook at thesediagrams,you will fret, Izth fret, and the 0 fret are in the G scale.
seethat box pattern I is centeredaroundthe F-shape That can be useful information becauseif you
chord form. Box pattern2 bridgesthe bottom part of are ever lost and are looking for a scalenote in
the F-shapepattern with the top part of the D-shape order to find your way back home,you can land
patterns. Box pattern 3 centersaround the D-shape on any note at thosefrets and reconnectwith the
chord form. Box pattern4 centersaround the Upper scale. Similarly, you may find a few frets that
A-shapechord form, and box pattern5 centersaround you are probably going to want to avoid,like the
the Low A-shapechord form. Recognizinghow your first fret and the llth fret, which only have one
chord forms and scalepatternsfit togethercan be very G scalenote.
helpful when you are using your chord form as the As we will discusslater in this course,there
"center" of your solo. If you know where the scale really areno "wrong" notes,andnotesoutsideof
notesare relativeto your chord shape,it will be easier the scalecan be very useful. But for now we are
to find your melodynotes. focusingon diatonicmelodies,so scalenotesare
wherewe are focusinqfor the time beins.

Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck 67

 I'Box"
GScale Pattern
Exercises Audio T[ack 1-40
G Scale Based on Pattern 1

G Scale Based on Pattern 2

G Scale Based on Pattern B

G Scale Based on Pattern 4

LJz
Flatpicking Essentials volume 4: (Jnd.erstanding the Fingerboard & Mouing Up-the-Neck
 ffBox"
GScale Pattern (con't)
Exercises
G Scale Based on Pattern 5A

L.] L]
G Scale Based on Pattern 5B

LJI
As you work through each of these scale patterns, Learning Melodies Up-the-Neck
it may help you to visualizethe block diagramsin Rememberthe stepsthat we usedback in Volumes
your mind. Sometimesit is easierto retain patterns 2 and 3 to learn new songs? You should now be able
represented graphicallythen it is to memorizenotesor to go back and apply all of thosesamestepsanywhere
notesequences. So,althoughI've represented eachscale on the fingerboardin the key of G. On the next three
in standardnotationand tablature,it might be easierfor pagesI've transcribedthe basic melody to our favorite
you to look at and memorizethe block diagramsshown songfrom Wlume2,"YouAre My Sunshine,"at seven
at the bottom of page66. different areasof the neck, all basedon the five box
patternscalepositions.
Before you look at what I've presented,go ahead
Homework and try to pick out this melody at each position by
If you want some more work yourself. Also, go aheadand see if you can find the
with the box scalepatterns,and if melody to some other simple songs using each and
you like a good challenge,try to every box pattern. Figuring out songmelodiesat every
play all of the folding scalesthat werepresented position on the neck is a very good way to continue
tn Volume3 at all five closed,up-the-neck,C to familiarizeyourselfwith the scaleswithout actually
scalepositions. This exercisewill give your havingto practicescales.Back rnVolume2 | askedyou
brain and your fingersa greatworkout and help to try to pick out a new song melody or two everyday
to imbed thesescalepatternsinto your muscle as a good ear trainingexercise. Now, continueto do
memorvand vour brain. the samething, but go aheadand pick it out at every
position on the fingerboardof your guitar.

Flatpicking
69
Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Nech
 You
Areluly
Sunshine
{

You
Are[||Iy
Sunshine
2 Audio Track 1-41

70 Flatpickin.g Essen.tials Volume 4: Understanding the Fingerboard & Mouing up-the-Neck

 You
Areluly
Sunshine
3 Audio Ttack 1-41

You
AreltlySunshine
4 Audio T[ack l-41

Flatpicking Essentials Volume 4: Understanding

7I
the Fingerboard & Mouing Up-the-Neck
 You
Areluly
Sunshine
5 Audio Track l-41

You
Areluly
Sunshine
6 Audio Track 1-41

72 Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck

 You
Areluly 7
$unshine Audio Track 1-41

As an additionalexample,thistime from thefiddletune of the solo.moving from one areaof the neckto another.
repertoire,I've provided a transcriptionof "Whiskey You can use a combinationof open notesand up-the-
Before Breakfast" in the key of G on the next page. neck closednotes(a techniqueknown as "floating"),
This arrangementis played out of box patternnumber and you can move up or down the fingerboardusing
4. Once you have learnedthis arrangement,go ahead "harmonizedscales."All of thesenew techniqueswill
and move it to another key. Since "Whiskey Before be explainedand exploredshortly. For the time being,
Breakfast" is usually played in the key of D, take the go aheadand seeif you can utilize someof the melody
alrangementshown on the next page and start playing embellishmenttechniquesthat you learnedin Volumes
it on the D note at the fifth fret of the A string. If you 2 and J in order to createyour own up-the-necksolo
play the exactsamepatternof notes,but moveddown for "You Are My Sunshine."or someother song that
5 frets,youwill be playingthe songin the key of D and you choose.
will not have to have memorizedan entirely separate As you discoveredin working with the previous
solo. That is the beautyof closedpositionscales! two volumes,since fiddle tune melodiesare "dense,"
it is easierto createarrangementsof fiddle tunes, as I
Embellishing the Melody did with "Whiskey Before Breakfast." After finding
Once you have worked to memorrzea melody in a the melody of "You Are My Sunshine,"or any other
certainareaof the fingerboard,the next stepwould be to vocal songwith a sparsemelody,you may find it more
embellishthat melody in orderto createan interesting challengingto come up with ways to fill in the spaces
solo. When embellishingan up-the-neckmelody,you betweenthe melody notes,especiallyif thereare long
can utilize aII of the sametools that you practicedin pauses. The first thing to consideris that spaceand
Volumes2 and 3. You can use strums,double stops pausesareOK. However,if you wantto put something
slides, hammer-ons,pull-offs, tremolo, neighboring in those spaces remember that you can still use
notes,scaleruns,folded scales,etc. As we will studya techniqueslike tremolo, scaleruns, and neighboring
little later in this book, you alsohavea few techniques notes,and the other techniquesthat as you learnedin
that you can now use that were not availableback in Volume2. Give it a try!
Volttmes2 and3 . You can shift positionsin the middle
FLatpicking Essentials Volume 4: Understanding th.eFingerboard & Mouing Up-the-Neck
73
 Whiskey
Before
Breakfast.Key
ofG,Pattern
4 Audio Track l-42

G Am D

lttt-a-
I
- I

t n t A t n
l\_, L/- l\_/ lw l\J t\_, tL rJ tL lw
. rA I r
t.L
LL ]L
ltl IL

tl l-- | --I tl
I'rl

74 Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck

 Busting
OutoftheBox
Now that you have spentsometime learning scales we will study do, but it doeshelp with you to move
in "box patterns,"it is time to "bust out of the box!" efficiently and it can also help with your accuracy. If
Sometimesguitar playerswho learnto rely on the box you aremoving quickly,obviouslyyou alsowant to be
patternswill rely on them a bit too heavilyand so their accuratewith your movements.
soloswill startto all soundsimilar. If you aregoing to Back on page 51 I askedyou to play a linear G
really explorethe entire fingerboardin a way that will major scaleon the low E stringas shownin the diagram
help you createinterestingandtastefulsolos,you can't below. Do you rememberwhat fingeringyou used?
let yourselffall into any "patternruts." Would you be able to play that scale at a fast tempo
The biggest challengethat you will face when using that fingering? Try it and see. If you find that
moving up and down the fingerboardwill be making playing eight notes along one string is cumbersome,
large movementsefficiently. In order to get from one take a look at the guitar tab below and usethe fingering
area of the fingerboardto another in time to play a that I have suggested. I've also indicatewhere you
new note, without choppingoff the note your are now should"shift."
playing,thereare certaintechniquesthat you can use
to help you. In the first sectionof this book you used Shifting
slidesandscalewalks to helpyou movefrom oneplace Shiftinginvolvesmovingquickly from oneposition
to another.On this pagewe are going to take a look at to another. For the first two notes of the scaleshown
anothertechniquewhich is called"shifting." Shifting below you are playing in the secondposition. You hit
is a techniquebasedon economyof motion. The idea the first note with your middle finger and the second
beingthat if you don't wastemovement,and you learn note with your pinky. Then you shift-quickly move
how to move quickly, you will be ableto get to where your hand to the seventhposition and play the third
you want to go in an efficientmanner. Shifting is not note with your index finger,the fourth note with your
a techniquethat will give you more time or spaceto middle finger and the fifth note with your pinky. Then
make the move, like some of the other techniques you quickly shift againto the l2th positionandplay the

G Scale on E String Audio Track l-43

o o o oo o

{+ f") {+ {} 6> {+ {"}

-G)
Fret: 10 11 12 13 14

L-J
Flatpicking Essentials Volume 4: Understanding the Fi ngerboard & Mouing Up-the-Neclz 75
 G Scale on E String

123 10 l1 12 13 14 15

o o o oo o

{+ ./n'-
\..,/
-Gl-{} 6> G} {"- -@
pinky index middle p i nky ring pinky
\/
shift Shift
\-/
2 n d Po s i ti o n 7th Position 12th P osi ti on

sixthnote with your index finger,the seventhnotewith thebasicbuildingblocksfor all music.All melodiesand
your ring finger, and the eighth note with your pinky. harmoniescan be derivedfrom scales.However,if you
This sequenceis also depictedabove, with the shifts eventuallywant to becomegood at improvisation,it is
andfingeringshowngraphically.practicethis sequence not enoughto just "know" scalesin yourhead.you have
until it becomes comfortable for you to play at a to know the scalepatternsso well that you don't have
relativelyfast tempo. once you can play it comfortably to think about them. You have to know them beyond
as shown,then seeif you can play it backwardsusing just a basic brain recognitionknowledgebecause,as
the samefingeringsand shifting positions. we discussedpreviously,to be a greatimprovisoryou
haveto be ableto play withourthinking.
More Patterns Is the repetitivepracticeof scales,arpeggios,and
This book is all aboutpatternrecognitionand usage, chord forms the only way
you can get there? certainly
so we are going to look for them at every turn. Did not. There are a lot
of phenomenalimprovisational
you notice any patternswhen you played through this playerswho have
never practicedscales. However,
exercise?First of all, this exercisemay havegivenyou those players have
spent hours and hours and hours
a new look at the whole-step/half-stepformula for a playing their guitar.
Most of them starterdwhen they
major scale. Notice that you areplaying a whole-step, were very young. If you
are an older person,or if you
shifting a whole-stepup to a new position,playing a don't haveall of those
practicehoursavailableto you,
half-step,then a whole-stepat that position, shifting having a knowledge
of musical buirding blocks and
a whole-stepup again, then playing a whole_step road mapswill give you
a methodto follow. I feel that
followed by a half-stepat that position.So the pattern learningaboutthe building
blocksof music,andhow to
is whole-step,whole-stepshiJt,half-step,whole_step,, applythem,is a more
efficientway to practicethenjust
whole-stepshtrt,whole-step,half-step. learningand playing song,after song,after song,until
Back on page57 we said that you could take the the informationsinksin.
Justmy .02
linear major scalesequenceand move it any whereon Practicingany type of scalepatternuntil you've
the neck. This shifting/fingeringsequencecan alsobe got it ingrainedin muscle
memoryis going to help you
moved. once you have the physicalmovementsbuilt makea connectionbetween
the physicalmovementsof
into musclememory by practicingthe G scaleon the your fingers,the auditory
soundsthat you are hearing,
low E string, go aheadand start on the E note at the and the thought process
in your brain. Eventually,
secondfret of the D string and play the samething. whenpracticedenough,
all of thoseelementswill enter
You'vejust playedan E majorscale! your subconscious and allow you to get to that level
that I talkedaboutbackon pagel0 whereyou canplay
Why Practice Scales? without thinking. So, practicethosescales,but do so
One thing that I've yet to talk about in this section with focus,imagination,visualization,
and intention.
of the book is why you'd want to practicescales. In OK, now let's learnhow to play the ..unitar.,'
Vtlumes 2 and 3, you saw how scales"inform" your
abilityto find melodiesand embellishthem. Scalesare
76
Flatpicking Essentials Volume 4: (Jnd,erstand.ing the Fingerboard. & Mouing Up-the-Neck
 The
One
String
"Unita/'
DuringtheyearsthatI've beenconductinginterviews approach,Ron would then go on to two stringsat a
for Flatpicking Guitar Magazine severalpeople have time andwork in thatcontextfor awhile.He said,'It
mentionedan instructorat the BerkleeSchoolof Music taughtme how to jump aroundthe neck with more
in BostonnamedMick Goodrick and his useof the one agility becauseI couldn'tjust play things I knew.
string"unitar" to help studentsstartthinking differently Thesekinds of limitationexercisesarevaluablefor
aboutthe guitar fingerboard. In the articlethat I wrote breakingthroughthe ruts."'
aboutRon Block I reported:
"Regarding fingerboard knowledge, one of So why don't we try it! We've alreadyplayed a
the best exercises he has worked with was in scaleon the low E stringunitar,so let'sseewhat elsewe
Mick Goodrick's book The Advancing Guitarist can do with it. Rememberthat folding scalethat you
(Goodrick is an instructorat the BerkleeSchoolof learnedback in the alternatingpick directionsectionof
Music in Boston).The exerciseinvolved playing Volumel? Let's give that one a try on the low E string
the guitar in different keys up and down one string unitar. I've tabbedout this folding scalebelow. Try
(which Goodrick calls "the scienceof the unitar") to play through the tab and see if you can work out a
as if the other stringsdidn't exist. Ron said, 'I'd fingeringpatternthat is comfortableto you. Above the
play a two chord vamp and try to play melodies tab, I've shown the way I find it most comfortableto
on one string, I'd keep it up for hours. It nearly finger,which I alsofind is the most logical way to learn
drove my wife crazy.'After learningthe one string and think aboutthis exercise-in four note groups.

Folding 0ntheLow
Scale EString
Unitar Audio Tfack 1-44
Ascending

Shift shift shift shift shift

Fingering: 11 4l 11 t1

L-I I-J LJ LJ L.J LJ LJ I

Descending

Shift shift Shift shift shift shift shift

:4 314 421 4 42 14 421 4 43 142 44 142

L.] L.I L.] LJ LJ LI I.J LJ I..I I.J LJ t-.I L.J L-

Flatpicking Essentials Volume 4: Understanding
77
the Fingerboard & Mouing Up-the-Neck
 As you can see,I shift after eachgroup of four notes. ways.As you learnedtnVolumes2 and3,songmelodies
This makes senseto me since the patternis set up in do follow somegeneralguidelines,however,they are
groupsof four notes.Sometimesthe fingeringthat I've far lesspredictablethan scalepractice.
selectedis a little bit of a stretch,or requiresa slight In additionto gettingyour brainthinking aboutmoving
shift, as in the set of first four notes. But I've found up anddown the fingerboard,insteadof thinking in tight
that this fingeringnot only works well physically,but box patterns,the unitar can help you understandthe
it alsohelpedme memoflzethe sequencebetter. When intervalsof any given songmelody. Becausethe unitar
you break it down into four note groups and then is linear,you canactuallyseethe intervalsasyou would
recognizewhat is going on with the pattern,it becomes on a piano keyboard. Play through the arrangementof
easierto grasp. I also found that working this pattern "You Are My Sunshine"that I've providedbelow and
helpedmy comprehensionof the whole-step/half-step you'll seewhat I mean. When you play the tuneon one
relationshipsfor the major scale. string,you can get a real visual perspectiveregarding
Learninghow to find music on your guitar comes how the intervals in the song are affanged. Playing
down to an understandingof intervalsand how to find tunes this way also gives you more practicegaining
them. You want to becomeso familiar with all of the familiarity with the way the major scale lays out on
various intervalsin a scalethat finding thoseintervals one string. The more familiar you can get with that
on your guitar becomes second nature (for more concept,the easierit will be for you to move up and
information about intervals, seethe Intervals Appendix down the fingerboardand land on the right notes.
at the end of this book). After you've worked with "You Are My Sunshine"
One thing that is going to help you instinctually on the low E string unitar, give "Whiskey Before
understandintervals at the physical playing level Breakfast"a try. I've provided an arrangementon the
is to learn a lot of songs. Songs are great ways of next page. But before you look at my arrangement,
working with intervalsbecausethe intervalsused in give it a try on your own. Once you have found the
songsare unpredictable. The intervals in scale work notes,work to seeif you can figure out what fingerings
are repetitiousand thus predictable. However,song and shifts are comfortablefor you.
melodiescan moveall over the placein lesspredictable

ffYou 0ntheE.string
AreMy$unshine" Unitar Audio Track 1-45

G C G

lllllllllllll
Flatpiching Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neclt.
 Before
"Whiskey Breakfast"
A.section,
KeyofG,ontheE.string
Unitar
Audio Tiack 1-46

L.J L.J LJ I..I L.J I.J Ll I LJ t-J l-J LJ LJ

D G

Moving
theGScale Pattern
Unitar to0ther
Strings
G Scale on D String

@ @ @@ @ @ @ -@
o o o oo o
Fret: 1 3 5 9 10 11 12 13 14 15

G Scale on G String

G
@ @@ @ @ @@

ooooo o
Fret: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Flatpicking
79
Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
 Onceyou havegainedsomefamiliarity with the low
Practice E string unitar, you can then start to move the same
conceptto otherstrings. On the bottom of the previous
Practiceplaying the G major
page I've laid out the G major scale on a couple of
scaleon the low E string. Work
other stringsso that you can seehow easyit is to move
on the fingeringsand shifting
the patternandcreateanotherunitar "instrument." And
that I've suggested.Work with
since you are stayingon one string, that darn B string
your metronomeat a very slow tempo. Once you
problem is not a factor!
start to become comfortable with the pattern,
In the first exampleI've moved the G major scale
graduallyincreasethe tempoon your metronome
to the D string. You can use the exact samefingering
andseehow high you canget it beforeit becomes
and shiftinghere. If you don't havea cut-away,it may
too fast for you to play the notes cleanly. First
just practicemoving forward up the scale. When be tough to reachthe highestnote,but it is doable. In
the secondexampleI've startedon the open G string.
you get to the high G note, quickly shift all the
Here again you can use the exact samefingering and
way back down and startthe scaleagain. Then,
shifting,however,it may be easierto play the second
asa separate exercise,do the samething with the
note of the scale-the A note on the secondfret of the
descendingline.
G string- with your index or middle finger and then
After working with the G major scaleon one
make the shift up to the third note of the scale(C note
low E string unitar, work with "You Are My
at the 5th fret),play that with your index finger and
Sunshine" and "Whiskey Before Breakfast"
then continuethe fingering patternfrom there. If you
in the same manner. Start out very slow and
have spenta sufficientamountof time working on the
graduallyincreasethe tempo.
G major scaleon the low E stringunitar,you shouldnot
have any problemplaying any major scaleusing one of
Homework your six possibleunitars.
Here is a fun exercisethat you can add to the
Once you have built some
homeworkthat is listedin the left handcolumn of this
confidence working with the
page: Start by playing the G major scaleon the low E
G major scale and the song
string unitar. Then shift over to the A string and play
arrangementsthat I have provided here on the
the A major scale,the B major scale,and the C major
low E string unitar, continue to explore this
scaleall on the A stringunitar.Then shift to the D string
new unitar "instrument"by playing other major
and play the D major scale,the E major scale,and the
scalesand finding other simple song melodies.
F major scaleon the D string unitar. Then shift to the
Stick with the low E string unitar until you
G stringand play the G major scale,the A major scale,
start to feel very comfortable with it, then try
and the B major scaleon the G string unitar. Then shift
moving the G major scaleand song melodiesto
to the B string to play the C and D major scaleson the
anotherstringand play that unitar for a while. It
B string unitar. Then, finally, shift to the high E string
would be greatpracticeto eventuallyspendtime
to play the E major scale,the F major scale,and the G
working with six different unitar instruments,
major scale.You will haveplayedthroughsix different
one for each string, before you move on to
major scalesat leasttwo times each and you will hve
somethingnew. As a resultyou will really get a
never changedyour pattern. If you enjoyedthat, go
greatsenseof how all of the major scaleslay out
back to the low E string unitar, start with the G flat
on the fingerboardin a linear fashion and you
scaleon the secondfret of the low E string and work
will never get "stuck in a box" when arranging
your way throughall of the flat scalesas well!
or improvisingsolos. Have fun with it!

80 Flatpicking Essentials Volume 4: Und.erstanding the Fingerboard & Mouing Up-the-Neck

 Two
The String
Guitar
Although initially it may soundsilly to spendtime This G major scale alrangementshould feel very
playing on only one string of the guitar, when guys that comfortablefor you to play becauseI'm usingthe same
I respectlike JohnCarlini, Ron Block, and others,say fingeringsandshiftsasI usedfor the major scaleson the
that it is worth the time and effort to go through an unitar. The only differenceis that when I makethe first
exerciselike that,I'll at leastgive it a good try. In the shift I'm not shiftingup, I'm shiftingto anotherstring.
caseof the unitar,I don't think that they were wrong. Give it a try, playingit both forwardsand backwards.
You may not yet have a full appreciationfor what you At the top of the next pageI've provided six more
have gainedin spendingtime working with the unitar, possible ways to play the G major scale on the EA
but later,whenyou playing improvisationallyandyour guitar. In moving from the one string instrumentto the
fingersknow exactlywhereto go without you havingto two stringinstrumentyou've immediatelyincreased the
think about it, you'll look back and recognlzethat your arrangementchoicesseven-fold! Try to play through
fingersknew exactly where to land as you moved up- all of thesearrangementsand seeif you can work out
the-neckbecauseof the time you spentwith the unitar. comfortablefingeringsandshiftingplacesfor eachone.
Now that you have spent time with the unitar it Onceyou've figuredout fingeringand shiftingpatterns
wouldn't make senseto jump right back to using all that feel comfortablefor you, go ahead and practice
six strings. As Ron Block recommended, you want to them a numberof times. Rememberthat we aretrying
move up in gradualsteps. The next step would be to to build muscle memory so that later your handswill
work with the two sting guitar. With the two string naturallymove in thesepatternswithout you having to
guitar you immediatelyhave a lot more choices. I've think about it. Once you find fingering and shifting
arrangeda G major scale at the bottom of the page, patternsthat work for you, spendsometime to get them
which is only one possibleG major scalearrangement into musclememory.
choiceon thetwo stringguitar. Sincethis guitarutilizes After you have worked with the G major scaleon
the low E andthe A strings,I'll call it the "EA guitar." the EA guitar,try to move the sameexercisesto other

Audio Track 1-47

GScaleonE&AStrings

o o o oo o

@@ @ @ @@
{+ ri
\fr,r
Fret: 1 10 11 12 13 14 15

-
|- |
81
Flatpicking Essentials Volume 4: Un derstanding the Fingerboard & Mouing Up-the-Neck
 Scale
Practice
with
theTwo.String
Guitar Audio Track 1-46

LJ LJ

!.,] !.,,] !- Ll t-J L- L.J LJ L.J L.J

Moving
theTwo.String
GScalePattern
GScaleonD&GStrings

-@ @ -@ @ '@
@
-/n_
@ \y

o o oo o
Fret: 1 3 5 10 11 12 13 t4 15

strings. The diagram above shows the first G major odd B string interval. Try to go aheadand transpose
scalepatternthat you workedwith on the previouspage all of the G major scalevariationsshown aboveto the
asit would be playedon theD andG strings,or the "DG GB guitar, making the proper adjustmentsfor the B
guitar." Try to work throughall of the patternsshown string. This will be a greatexerciseto help you begin
at the top of this pageon varioustwo stringguitarsand to naturally get a feel for how to compensatefor the B
in a numberof differentkeys. string as you practiceall of your scalepatternsup and
Unfortunately,when you try to play on the GB two down the guitar fingerboard.If you can naturally learn
string guitar you are going to run into that darn B string how to compensatefor the B string, use of the entire
issuethat we talked aboutpreviously. At the top of the fingerboardwill start to feel more comfortableto you.
next pageI've shown the samepatternthat is shown in Working with the GB guitar is a greatway to learnhow
the DG guitar diagramaboveas it would be played on to work with the odd B strineinterval.
the GB guitar,making the propercompensationfor the
82 Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
 B.string
Compensation
ontheTwo.String
Guitar
GScaleonG&BStrings

B
@ @ @ @@
G
@

o o oo o
Fret: 1 5 10 11 12 13 14 15

Working with Tlrnes Adding More Strings

The drill with two stringsis going to be the sameas To be very completeand thoroughin your practiceof
it was with one string. Once you are comfortablewith working with a limited numberof strings,you'd want
the G major scaleon a set of two strings,move on to to next move on to the threestring guitar,then the four
practiceit on two other setsof strings. Once you have string, then the five string, then, finally, the six string.
exhaustedyour two string setoptions with the G scale, Of course,therearesomeplayerswho havegottenvery
thenmove on to play major scalesin otherkeys. Next, carried away and moved on to the sevenstring guitar,
move on to finding simple vocal song melodies. After but we arenot going to touchthat. Six stringswill keep
that, seeif you can embellishthosemelodies. With a us busyenough!
restrictednumberof stringchoices,the embellishments I'm not going to lay out any scales,exercises,or
may be challenging,but it is greatpractice. Once you songs for working with three, or more, strings. I'll
have done that, then move on to more complicated leavethat up to you to exploreon your own. And I will
melodies,like thosefound in fiddle tunes. say that after working with variousthreestringguitars,
Basically,what I am askingyou to do for every new it is probably not quite as importantto work with four
fingerboardpattern is this: As you learn each new or five string guitars. However,I recommendthat you
areaof the fingerboard-whether it is a a box pattern at leastspendsometime working with the variousthree
acrossall of the stringsor a linear patternon one or two string guitar options. As you begin to work with three
strings-first learn the patternsthat define the major strings,you can alsobeginto add chord shapesandthus
scalesand then onceare comfortablewith thosescales, your embellishmentchoicesbecomegreater.
go back to the stepsthat you followed in Volumes2 and Working with the three string guitar is also a
J of this courseand apply all of those stepsto the new very good way to study your partial chord shapesin
patternsthat you've learned. conjunctionwith working on your crosspickingrolls.
On the next pageyou will find an arrangementof Take a look back at all of the arrangements of "Bile the
"Whiskey Before Breakfast"that is played on the EA CabbageDown" and "Blackberry Blossom" that you
two string guitar. This is the only arrangementthat played in the last sectionof this book. They were all
I'm going to give you in this section. However, I played on either the DGB or GBE threestring guitars!
recommendthat you spendtime picking out a number After you've worked with the unitar and the two string
of different song and fiddle tune melodieson all five guitar,I'd highly recommendthat you work throughall
setsof two string guitars that you can find on the six of the stepsthat I've outlinedfor those"instruments"
stringguitar. Of course,thereare only five if you use and apply them to the threestring guitar.
adjacentstrings.Wanta fun exercise?Try to find major
scalesand melodiesusing sometwo stringguitarsthat
do not use adjacentstrings. What abouta AG guitar?
What abouta GE guitar? Or how aboutthe DB guitar?
Knowing how to work with that one will do you well
the next time you are in the middle of a solo and your
G strinsbreaks!
Flatpicking Essentials Volume 4: Understanding 83
the Fingerboard & Mouing Up-the-Neck
 Before
"Whiskey Breakfastn
KeyofG,ontheZ'string
Guit?[^,,',o
rrack
,_48

LJ t-J
C D

LJ
Am

84 Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck

 Moving
Around
TheFingerboard
Part
l:
Learning
tulore
About
$hifting
Moving Around the Fingerboard that the idea of efficient movementwas so important
As mentionedpreviously, you do not want to be that he designeda seriesof scalestudiesthat focused
one of thoseguitar playerswho getsin the rut of only on fingering and shifting moves using two and three
playingbox patterns.You also want to be able to move octave scales that travel up and down the entire
up and down the fretboard and change positions as fingerboard. These scales are published in a book
smoothlyas possible. In this sectionwe are going to called Diatonic Major and Minor Scalesby Andres
study severalways that you can do that. First we are Segovia.Most all classicalguitarplayerstakethe time
goingto work more with shifting positions,then we are to learn and practicethe "segovia Scales." The book
going to work with using open notesand the "floating" is still availableand very inexpensive.You may even
technique,and then we are going to talk about the use find someof the scaleson the internet.
of harmonizedscales. Below I've presented just one of the Segoviascale
exercises,the one in G major Try to work through
ScalePractice and Shifting Positions this arrangementby paying special attention to the
ln the last section we did some focused work on fingeringand the shifts. Notice that you will ascend
combining certain fingerings with position shifts in up the fingerboard along one line, but move back
order to try and find efficient ways of moving up and down the fingerboarddescendingalong anotherpath.
down the fingerboard.Shifting is just one way to move If you really want to do someseriousscalepractice,I
linearly on the fingerboard,but it is an importantone. recommendthat you buy the Segoviabook and work
The great classicalguitar player Andres Segoviafelt with all of the scalesthat are presented.If you are not

Audio Track l-49

G MajorScale

shift shift shift

Fingering 2412 413 131 13 41 3131 34 31

Flatpicking Essentials Volume 4: (Jnderstanding the Fingerboard. & Mouing Up-the-Neck

that ambitious,that'sOK. However,I recommendthat strings in positions up-the-neck. While reachingthat
you at least work through the G major scaleexercise areaof the fingerboardand pulling good tone on those
shown here and pay attentionto the fingeringsand the lower pitchedstringsat the higherpositionscanbe more
shiftingplaces.This studywill give you good shifting challenging,don't ignore that area of the fingerboard.
practiceand will also help you learn somethingabout You can createsomereally nice solos,and add a variety
fingering and shifting that you can apply to all of your of differenttexturesto your solos,if you will consider
movementup and down the fingerboard. playingthosenotes. They arethere,you might as well
Since the Segoviascaleexercisethat I presentedon find a way to usethem!
the previouspagestartsfrom the low stringsdown the
neck and ascendsup towards the high strings up the Starting Up-the-Neck and Moving Down-the-Neck
neck, and vice-versawhen descending,I thought it with "Billy in the Lowground'o
would also be worth your while to look at a few lines On the next page I've arrangeda version of the A
of the G major scalethat work in the oppositedirection. section to the fiddle tune "Billy in the Lowground"
Take a look at the two G major scaleexercisesthat are using a scalepattern similar to those shown below,
arranged in standardmusic notation and guitar tab however,I've transposedit over to the key of C. Take
below. Both of theseexercisesstart high on the neck a look at the movement,work out some comfortable
on the low stringsand then move down the neck to the fingeringsand position shifts and then try to usethis in
high strings,and then move back up. your "Billy in the Lowground" solo at your nextjam.
When most guitar playersmove up-the-neckthey This arrangementof "Billy in the Lowground" is
will move in linesthat are similar to the Segoviascale very similar, in note choice,as an arrangementthat you
exerciseshownon the previouspage,meaning thatthey might play in the open position, however,if you've
will startin a down-the-neckpositionand asthey move already taken a solo using the open string position,
up they will gravitatetowardsthe higherpitchedstrings. using this arrangementduring your next solo will add
Not many playersmake good use of the lower pitched a different flavor to the solo. Closed strinqs have a

Shifting ExerciseI Audio Track 1-50

1

shift shift shift shift shift

41 21 31 21 12 13 12 14 24 24

Exercise II
1

Shift shift shift shift

31 31 13 13

- | |
-
Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
 InThe
Billy - A$ection
Lowground Audio Track 1-51
Am

t-J I

different tone than open strings, they also don't ring

like openstrings,which can be desirabledependingon Practice
the context. You'll noticethat in moving from one area Practice the G major
of the fingerboardto anotherin this solo, and allowing "Segovia scale" pattern
myselfto incorporatethetonesandnotedurationof both over and over with your
up-the-neckand down-the-necknotes- in addition to metronome. Start out at a
someopenstrings-I've provideda much wider range slow tempo and then gradually increasethe
of tonal qualitiesthan if I had of startedthe solo up at speed. Pay specialattentionto making quick
the seventhposition and stayedup there using the box and accurateshifts. Onceyou are comfortable
patterns. with that pattern,work with the patternsshown
I also think that the walk up on the low E string on the previouspageand then try the "Billy in
in the lead-in measureand the long slide up the low the Lowground" arrangementshown above.
E string in the last measure(the turnaround),adds a
dramaticeffect. If you hit thosefirst four notespretty Homework
hard,that will get you someattention.When executing Takea tunethat you know how
that walk up, don't forgetthe fingeringand shifting that to play well in an open position
you studiedon the unitar! Hold the two G noteswith and start that tune at an up-the-
your middle finger, hit the A note at the fifth fret with neck positionon eitherthe low E
your pinking and then shift up to play the B note at the or strings. Arrangeyour solo so that the tune
A
7th fret with your index finger. Then you will be off doesn'tstay in an up-the-neckbox. Find a way
and running. That first run may be difficult to execute to start high on the lower pitched strings and
at fast tempos,however, if you start out with a slow then move down-the-neck as shownin the scale
tempo and gradually increasethe metronomesetting, exerciseson the previouspageand in the "Billy
you shouldbe ableto executethat run up to speed. in the Lowground"exampleshownabove.

87
Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
 Moving
Around
The
Fingerboard
Partll:
Using
0pen
Strings
and
Learning
Howto'rFloat,
The next techniquethat we are going to study,which playing the first two measuresof each,then reversethat
will allow you to move up and down the guitar's pattern for the secondtwo measures. Then play the
fingerboard and change positions smoothly, is the secondtwo measuresand reversethat pattern.
use of open strings. While using efficientfingerings, ExercisesIV and V are meantto be repeatedover and
combinedwith quick position shifts,gave you a way over so that you can becomecomfortablewith moving
to move aroundthe fingerboardefficiently,at very fast up and back down the neck. ExerciseIV runs up and
temposevenefficientmotion will not allow you enough down the G major scale,however,ExerciseV doesnot
time to createclear notesof proper duration. strictly stick to the scalesequence.Try to play through
One obvious way to allow enoughtime to make a both of theseexerciseswith a metronomestartingat a
position shift is to arrangeyour solosso that you allow slow tempo and gradually increasingyour speed. The
holes in time right before you make the move. For move in ExerciseIV, usingthe openE string,is a move
instance,if you arrangefor a quarternote rest instead that you will find very useful,so give that one special
of playing all eighth notes in a given spot, you will attention.
allow yourself more time to make a position shift. In order to give you more practice using open
However, always having to allow that extra spacecan notes to move around the fingerboard,I've arranged
be limiting. Anotherway to give yourselfenoughtime the folded scale that you learned back in Volume I
to move your left hand is to play open string notesand using open notesto move aroundto various areasof
allow thosenotesto ring while your left hand moves. the fingerboard. Looking on page 90 you'll see that
Playing an open string note and allowing that note to ExerciseI is the ascendingsequenceand Exercise2 is
ring while you make the position shift with your left the descending sequence.Play throughtheseexercises
hand is going to allow you a bit of extratime to make to get extrapracticewith the open note technique.
that move without havingto allow extraspace,timing-
wise,in your arrangement. Floating
"Floating" is a techniquethat combinesnotesup-the-
Open String Exercises neck with opennotes.This techniqueis not necessarily
Take a look at the exercisesshown on the next page. one that is usedto help you shift positions,however,it
The first three exercisesmove the G major scalefrom is a greattechniqueto useto add a uniquetexture to a
the low E string to the high E string and back, taking solo. Turn to page9l andplay throughExamplesI & 2
the scale all over the fingerboardalong the way. As at the top of the pagein orderto get an idea of what the
you move from the low E string to the high E string in floatingtechniquesoundslike. Examples3 and 4 will
the first two measuresyou will move along one path, give you an idea of how to transposea typical down-
then as your return from the high E string to the low E neck-lickinto an up-the-neckfloatinglick.
stringin the secondtwo measuresyou will move along On page92 l've written out the G, D, and C major
a different path. Eachtime you make a move to a new scalesincorporatingopen strings in a floating style.
position (up or down the neck) you will play an open Sometimesit is hard to play a scale in the correct
note (which is still part of the correctscalesequence). sequenceand have it sound like a floating lick.
Playing this open note will allow your left hand more However,if you take a look at the line from "Billy in
time to move. Give ExercisesI throughIII a try. the Lowground" at the bottom of that page, you can
As mentionedabove,in all of theseexamplesI have see how I turned what I learned from playing the C
arrangedthe lines of the secondtwo measures,which scaleas arrangedon that page into somefloating licks
move from the high E string to the low E string,to be that I was ableto use in the first four bars of "Billy in
differentfrom the linesof the secondtwo measures.In the Lowground." On pages93 and 94 I've arranged
other words, the secondtwo measuresare not arranged solos to "TemperanceReel" and "Forked Deer" as
to be the first two measureplayed in reverse. For more examplesof how to use open stringsto move around
practice,you could break each of theseexercisesinto the fingerboardand play floatinglicks.
tryo parts and create six four-measureexercisesby
88
Fhtpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
 luloving
Around
Using
0pen
Strings Audio Track 2-01

ExerciseV

Flatpicking Essentials Volume 4: (Jnderstanding the Fingerboard. & Mouing IJp-the-Neck

 AFolded
Scale Open
Using Strings Audio Track 2-02
Exercise 1: Ascending

ExerciseII: Descending

90 Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck

 Learning
HowtoI'Float" Audio Track 2-03

Floating Example I Floating Example 2

1

Floating Example 3: Down the Neck Lick

G
1

Floating Equivalent
1

Floating Example 4: Down the Neck Lick Floating Equivalent

91
Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
 Floating $cales
Through Audio Ttack 2'04

Exercise I : G Major Scale

1G

Exercise II: D Major Scale

Exercise III: C Major Scale

Exercise IV: "Billy in the Lowground" Example

Am
1c

(Jnd,erstandingthe Fingerboard' & Mouing up-the'Neck

Fratpicking Essentiars vorume 4:
 Temperance
Reel Audio Track 2-05

--1 |
t*

-,
[,- ,
" r !

Flatpicking Essentials Volume 4: (Jn.derstanding the Fingerboard & Mouing (Ip-the-Neck 93

 Forked
Deer Audio Track 2-06

Homework
After you have spenttime working with all of the exercisesand examplesin this
section,seeif you can incorporatethe open string techniqueand the floating techniquein
alrangementsof songsthat you alreadyknow how to play. Look at an open positionsong
melody and identify where you'd naturally use an open note, then take that opportunityto
move to a position up-the-neck. In order to find floating licks, identify melody notesthat alternatebetween
open notes and notes played on the secondfret, then leave the open notes where they are, but move the
secondfret notesup to the seventhfret. That simple guideline will get you started.

94 Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck

 lt|loving The
Around Part
lll:
Fingerboard
Harmonized
Using $cales
So far in this book we haveusedslides,scaleruns, it is actuallya minor chord (or minor triad) sincethe
shifting, and open notes to help us move from one interval betweenthe A note and the C note is a minor
areaof the fingerboardto another. In this section we third interval. You will rememberfrom Appendix 3 in
are going to explore movementup and down the neck Volume/ that in a major triad the intervalbetweenthe
using "harmontzedscales"as the vehicleby which we root and 3rd is a "major third" and in a minor traid the
move. When we studiedslides,shifting, and the use intervalbetweenthe root and the 3rd is a "minor third."
of open stringsthe strategywas to make the leap from (For more informationaboutintervals,seethe Interval
one area of the fingerboardto the other all at once. Appendixof this book.)
However,when we used scaleruns along one string lf you continueto build triadssequentiallymoving
the movementwas executedin stepsusing scalenotes. up the G scale,you will find that they lay out as shown
Using harmonizedscalesis also going to involve step- in Figure I at the top of the next page. The diatonic
by-stepmovement,but this time we are going to use chordslay out the samefor everykey,in otherwordsthe
two stringsinsteadof just one. I chord is major, the II chord and III chordsare minor
Harmonrzedscales arebuilt by usingintervalsof major (sometimesindicatedby lower case Roman numerals
and minor thirds on eachstepof a scalein accordance as ii and iii), the IV and V chords are major, the VI
with the theory of "diatonic harmony." "Diatonic" chordis minor (vi), andthe seventhchordis diminished
meansthat all of the notescome from one scale/key. (for the definition of diminishedchord intervals,see
For instance,in the key of G, you havethe notesG,A, the Interval Appendix). The reasonyou needto know
B, C,D, E, &F#. Any music,chord,or intervalthat is all of this is becausewe are going to usetheseinterval
diatonicin thekey of G only usescombinationsof these relationships(the major and minor thirds) to help us
7 notes. Therefore,if a melody,interval,or chord is move up and down the neck when we useharmonized
"diatonic"in the key of G it will only usethe 7 notesof scales.
the G scale.Songsthat are"purely diatonic"will have The best way to show you is by example. If you
only melody notesthat come from those7 notes. A lot look at Diatonic Figure2 on the next page,you'll see
of simplefolk songsare written this way. In Volume2 that I took the notesof Diatonic Figure I and arranged
of this courseyou encountered a numberof songs,like them so I could play all of the noteson the samethree
"You Are My Sunshine,"that havea diatonicmelody. stringsof the guitar(D, G, and B strings).Now, if you
Diatonic harmony involvesthe study of how the look at DiatonicFigure3, you'll seethat I've removed
notesof a given scale/keyrelateto eachother. For our the top note in every group (droppedout the 5th scale
purposes we will define"harmony"as:"thecombination degree). I also stoppedat the l2th fret for the purpose
of notesin a chord." In this courseyou have already of this example. Additionally,I've provideda graphic
learnedthat major chordsareformedby building a triad view of the fingerboardthat showsthesenotes.Finally,
that consistsof the lst,3rd, and 5th notesof the major at the top of page9J,I' ve providedsomeexamplesof
scale. Diatonic chordsare chordsthat are all derived how you can move up and back down the fingerboard
from the notesof the samekey. Therefore,the way to usingthesenotes.
build diatonicchordsin the key of G would be to start By now, you have probablyguessedthat once you
at eachdegreeof the scaleand build a chord the same learn this pattern,you can apply it anywhereon the
relative notes in the G scale. For example,the root neck. The samepatternis shownat the bottom of page
chord in the key of G was built by taking the lst, 3rd, 97 asusedfor a D scaleon the B andhigh E strings.On
and 5th degreesof the scale. From there we move up pages98 and 99 l' ve arranged(with suggestions from
the scale to the A note (the 2nd degreeof the scale) my friend Tim Moy) a version of "Whiskey Before
and build a chord using the 2nd,4th, and 6th degrees Breakfast" using harmonizedscales. Play through
of the scale. So, the diatonicA triad in the key of G all of the harmonizedscaleexamplesand then try the
would consistof the A, C, and E notes. If you take a "Whiskey Before Breakfast"arrangement.
closelook and listento this chord,you will noticethat
95
Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
Figure 1: G Scale Diatonic Triads
GAm Bm F#dim G
1

I I

Figure 2: G Scale Diatonic Triads on D, G & B Strings

G Am BmC D Em F#dim

Figure 3: G Scale Diatonic Intervals ("Diads") on D and G Strings

major 3rd minor 3rd minor 3rd major 3rd major 3rd minor3rd minor3rd major 3rd

Harmonized G Scale on D & G Strings

@ .@ @ :\ q @G \\ G @
@
\
@ @@ o @
\
@b
o o o oo o
't1 12
Fret: 1 3 5 10 r3 14 15 16 17

o = Scale Note

96
o = Harmony Note

Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck

 G Ascending Example I G Ascending Example 2 Audio Track 2-07

G G

G Descending Example 1 G Descending Example 2

G G

Figure 4: D Scale Diatonic Intervals on B and E Strings

Harmonized D Scale on B & E Strings

(q (q
o '@ tl @ AA{}@
19 @\
-\ €,\
\ \ \
@ @ @@

o o oo o
3 5 10 t1 12 13 14 15

o = Scale Note

o = Ilarrnony Note

Audio Track 2-07

D Ascending Example I D Ascending Example 2
D

Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Nech,

nWhiskey
Before
Breakfasttt
UsingHarmonized
ScalesAudio 2.08
rrack

Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck

 Before
"Whiskey Breakfast"Harmonized
Using (con't)
Scales
A G D G D A

D Em A
25
ll tL ^aa- t-a
T,I
'Tl
I

V I - l__

\_, L r_, L JLW

J/JII
lll-'\''' l l l
lllJL\/

w
I l--l
! l
I II l - I-- L

I
I

The Whiskey Before Breakfast Example

Like many of the examplesthat I've put togetherfor and they are all on the B and high E strings. In the
this whole series,this arrangementof "Whiskey Before B part of the song I've changedthings around a bit.
Breakfast"is "too much of a good thing." I've loaded In measures21 through24 I've insertedsomequarter
it with more examplesof using harmonizedscalesthan notesinto the timing, addedsomeopen D note drones
you'd everyactuallyusein one alrangement, so simply into the note selection,and I play the run on the A
usethis arrangementasan exerciseto help you practice and D strings.In measures 29 through32I've played
and understandthis technique.In this one arrangement somequarternotes,but this time I don't useopennotes
I've use harmonizedscalesto move up or down the while I'm still up-the-neck,and I'm playing this run
fingerboard six times. The first uses a descending on the D and G strings. So, as you can seefrom this
line in measures3 and 4. The secondusesa similar one arrangement,there are many variations of the
ascendingline in measures7 and 8. The third uses harmonizedscalepatternsthat you can useto help you
a very high ascendingline in measureI I and 12 and either move up or down the fingerboard.
the fourth ascendsback up a slightly different line in
measures14 and 15.
In the A part of the songall of the harmonizedscales
use similar harmonizedscalesequences and phrasing

Flatpicking Essentials Volume 4: Understanding

99
the Fingerboard & Mouing Up-the-Neck
Arranging SongsUsing Harmonized Scales (measures7 and 8), you'll seethat the phrasestartedon
OK, I know that all of that information came to an F#lD note pair, and then moved up the harmonized
you fast and furious and you may be thinking, "This scalethroughoutmeasureJ . In this instanceusingthe
techniquesoundscool, but how am I going to figureout harmonizedscale for just one measuregot us to the
how to use it in my solos?" Good question! In order place on the neck where we neededto be, so the last
to help you out, I'll give you a coupleof hints about measureresolvesto the root note of the key (D note)
wherethe harmonizedscalemight fit. While theremay without further use of the harmonizedscale.
be many creativeways you can figure out how to use If you want to seean exampleof a longerharmonized
theseruns, I'll give you two commonusageideasand scalerun usedin a resolvingphrase,take a look at the
that will get you started. A sectionof "Katy Hill" that is printed below. I also
arrangedthis solo so that I made use of open strings
ResolvingPhrases when moving positions(measure5), and floatinglicks
Rememberback in VolttmeJ when you studied (measures4 and 5). The resolvingphrase(measures
fiddle tune structureand learnedthat the fourth two- 8 and 9) move from the l2th fret all the way up to the
bar phraseof any A or B sectionis usuallya resolving open string G note that end's the resolve (the 3rd beat
phrasethatmovesin an ascendingordescendingfashion of measure9). The last two notesof measure9 are the
towardsthe root note? I statedthat in theseresolving pickup notesfor the next measure.
phrasesyou had a lot of leeway in terms of melody
becausethe resolving phrasesusually don't contain Rapid I, IV, V Chord Changes
much in the way of melody, other than the rule stated Another good place to use harmonizedscaleruns
above. So resolvingphrasesare perfectplacesto use is when the chordschangerapidly. You'll noticethat
a harmonizedscalerun since the harmonizedphrases I used harmonizedscalesin the B part of "Whiskey
ascendor descendtowardsthe root note, and it is easy Before Breakfast" in the area of the song where the
to constructthem so that you can fit them in a two-bar chords change every half measure(measures2l to
phraseand end on a root note. A perfectfit! 24 and measures29 to 32). When you have rapid
If you look at the resolvingphraseof the first passat chord changesyou can time your harmonizedscales
theA sectionof "Whiskey BeforeBreakfast"on page98 to move with the changingof the chords. So that you

|lill"A.Section
"Katy Harmonized
Using Scales
intheResolving
Phrase
Audio Track 2-09 G hn

Flatpicking Essentials Volume 4: Understan,ding the Fingerboard & Mouing Up-the-Neck

 Ascending +> <- Descending

Us eableCho rd2 I v I IV
Us eableCho rd 1 I IV I ry v I V I

Diat onicCh o rd I ii iii TV V vi viio I

Har m onyNo te
@ @ @ @ @ o @ @
S c aleT one
o @ @ @ c @ @ o
canunderstandwhento usethis technique,let'sdiscuss Curious to know why those harmonizedscalesfit
why it works from a theoreticalstandpoint. those particular chords? Take a look at the chart at
Takea look at the chartshownabove. This chartwill the bottom of the page. It is the samechart as the one
give you a generalideaof what harmonizedscaletones shown about, however, it is particular to the key of
will fit againsteachchordof a I , IV, V chordprogression. G. Acrossthe top I've shown the three chord tones
The bottom two rows show the harmonizedscaletones that make up the I, IV, and V chords in the key of G.
in sequence.The top two rows show the chordsthat In order to discover what chords will work with each
you canplay thoseharmonizedtonesagainst.If you are harmonizednote pair, simply comparethe notesin the
playing an ascendingharmonizedscale,readfrom left pair to the notes in the chords. Since the first pair in
to right. If you are playing a descendingharmonized the ascendingorder arethe G and B notes- andboth of
scaleread from right to left. thosenotesare in the G chord-then it is prettyobvious
If you wantedto usethis chartfor a descending that you can play that pair of notes againsta G chord.
harmonizedscale,like the one in the B part "Whiskey The secondpair, the A and C notes,shareonenote with
Before Breakfast,"you would move from right to left. the C chord (C) and one note with the D chord (A).
The chord progressionin that sectionof "Whiskey" is: So thoseharmonizednotescan be played againsteither
D,A,G,D,G,D,A,D chord, although they are more strongly tied to the C
which translatesto: chord. The third setof notes,B and D, sharetwo notes
I, V, IV, I, IV, I, V, I with the G chord and one note with the D chord,so that
Look at the chart above. You read it right to left pair canbe playedagainsteitherof thosechords.
becausewe areplayinga descending harmonizedscale. You can keep going down the line and seethat the
You can seethat the progressionfits all the way up to note matchingworks the samefor every note pair. If
theA note in the lastmeasure.However,by thattime I one of the notes of the harmonizedscalepair can be
had finishedour harmonizedscalerun, so I just played found in oneof the I, IV, V chords,then thatharmonized
an endingphrase.

G major C major D major

G C D
B E F#
D G A

Ascending r+>
<- Descending
Us eableChord2 D D G C
Us eableChor d1 G c G C D G D G

Diat onicCho rd G Am Bm C D Em F#dim G

Har m onyNot e
@ @ @ @ @ @ @ @
ScaleTone
@ o
Flatpicking Essentials Volume 4: Understanding
@ @ @
the Fingerboard & Mouing Up-the-Neck
@ @ @
101
note pair will work againstthat chord. The good news perfectly here is an Am chord. Sincethe chord that is
for us is that almostall rapidly changingI, IV, V chord played in this tune is an A major chord, I had to make
progressions will follow this sequence.So,if you come a half step adjustmentto our harmonizedscaleat that
acrossa songwith a I, IV, V chord progressionand the point. You'll seethat the first note of the secondbeatof
chords are changingevery half measure,chancesare measure4 is a C# note, insteadof the G scalediatonic
that either your ascendingor descendingharmonized note of C. That is the only adjustmentwe've madeto
scalepatternwill work alongwith thosechanges. our harmonizedscale.
You may havealsonoticedthat I includedthe diatonic In the secondline the chordprogressionis:
chord changesthat correspond with a major scale G,D,C,G,C,G,A,D
sequencein both of the chartson the previouspage. So, You'll note that this adheresto the chords that fit
keepin mind thatthoseharmonizedscaleswill strongly the harmonizedscalerulesperfectly. So, when you are
fit thosechordsas well. If you seea chord progression working with harmonizedscalesagainstchordchanges,
that is generallyin the I, IV, V format, but throws in a you may have to make some minor compensations
ii, or iv chord (the lower caseRomannumeralsdepict a sometimes,but most of the time you can just play the
minor chord),then don't worry, your harmonizedscale harmonizedscaleand it will fit just perfectly.
will most likely work againthosechordstoo if they are
in the sequencedepictedby our chart. Why Does the Harmonized ScaleWork?
When we are working with major chordsthe tones
Harmonized Scaleson G and B Strings that are in harmony with the root note are the tonesthat
As you havelearnedby now, with every patternthat exist in the chord. As you know, for a major chord,
we study we will always have to take a look at our G the tones that are in harmony with the root note are
and B string and make our exceptionsto the pattern the third and the fifth notes. As you learnedwhen we
rule. At the top of the next pageI show the harmonized definedthe notesthat are in diatonicharmonywith the
scale pattern as it is played on the G and B strings. the G scale,the third noteof the scalewas sometimesa
Play through this patternboth as double stops,and as minor third from the root and sometimesa major third
singlepairednotesso that you becomeaccustomto the from the root. When you ascendup the harmonized
pattern. scaleyou areplaying the following intervals:
At the bottom of the next page I have arranged major 3rd, minor 3rd, minor 3rd, major 3rd, major
an A section solo to "Blackberry Blossom" using 3rd, minor 3rd, minor 3rd, major 3rd
the harmonized scales. You may notice that this If you want to view this graphically,take a look
arrangementis very similar to the arrangementof the A at the harmonizedG scalediagram for the G and B
sectionof "Blackberry Blossom" that appearson page strings that appearson the next page. The notes that
50, back when we were working with chord shapes. are vertically aligned, like the G and B notes, are
However the arrangementon the next page uses two major third intervals. The notes that are one fret out
harmonizednotes while the arrangementon 50 used of alignment,like the C and A notes,are minor third
threeharmonizednotes. SinceI've left out that third intervals.When you walk up the harmonizedscaleyou
note in this affangement,I simply changedthe timing setup a patternof harmonythat is interestingto the ear.
so that I couldplay two notesherewhereI was playing If we did the samething with the harmony that exists
threebefore. betweenthe root and the fifth note of the scale,it would
Sincethe A part of "BlackberryBlossom" is one of not be as interestingbecauseevery interval,saveone,
thosetunesthat has a chord changeevery two beats, is a perfect fifth. It doesn't soundbad to walk up the
we can be pretty surethat our harmonizedscalewill fit. scalethat way, but it is just too repetitiveto be very
But let's checkanywayjust to make sure. The chord interesting.The patternof alternatingmajor and minor
progressionis for the first line is: thirds that is set up when walking a harmontzedscale,
G,D,C,G,C,G,A,D setsup an interestingsoundingrun.
If you comparethat with the chart of chords that
fit the descendingharmonizedscale (shown on the
previous page), you'll see that everything works
out just perfect until you hit the A major chord. Our
diatonicchord sequenceshowsus that what would fit
t02 Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
Figure 5: G Scale Diatonic Intervals ("Diads") on G and B Strings

Harmonized G Scale on G & B Strings

ts q @
@ I I @
@
G
@E
e t@-
a
@ @

oo ooo o
34s6 7 8 9 10 11 12 13 14 15

o = Scale Note

o = Ilarmony Note

ttBlackberry
Blossomtt
A.Section
Using
Harmonized
Scales
Audio 2.,0
rrack

Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck

Harmonized Scaleson Non-Adjacent Strings only skipping one stringbetweenthe two non-adjacent
So far we have only looked at harmonrzedscales strings,which is all we will work with here). The pairs
that exist adjacentstrings,however,you can also play are the high E and G strings,the B and D strings,the G
harmonizedscaleson non-adjacentstrings as shown andA strings,and the D and low E strings. The pattern
in the diagramsbelow. These harmonizedscalesare for the first two pairings (high E and G, B and D) are
not used quite as often by flatpickers,however,,then shown below. If you are going to use the other two
can come in handy. One thing that you may notice pairs of strings, the pattern changes. That pattern is
right away is that when you play the adjacentstring shown at the top of the next page. In this book we
harmonizedscale the scalenote is on the lower pitch will only work with the patternsshown below. I'm
string,however,when you play the non-adjacentstring including the patternthat occurson the lower pitched
harmonizedscale,the scalenote is on the higher pitch strings for your reference. You may find some cool
string. usesfor thoseintervalson your own.
When you are utilizing harmonizedscaleson non- As far as examplesgo, I'm providinga couplethat
adjacentstrings,you have four different setsof string use the harmonizedscalesshown below. The first, or
pairingsthat you can use (that is assumingthat you are somethingclose to it, is probably the most well know

Harrnonized G Scale on G & E Strings

q q} 9 q at 9 qPTGt
b6 6 b bd d b
o o oo o
Fret: 1 5 10 l1 12 r3 14 15

Harrnonized C Scale on D & B Strings

q q I q q I I q
bd 6 b bd 6 b
o oo o
Fret: 1 5 10 11 12 13 14
' t5

Harnonized D Scale on D & B Strings

q q
I q q I I q
b6 6 b b6 6 b
o o o oo o
Fret: 1 3 5 7 10 l1 12 t3 14 15

= Scale Note = Harmony Note

O O
104 Flatpicking Essentials Volume 4: (Jnderstanding the Fingerboard. & Mouing Up-the-Neck
 Ilarmonized G Scale on G & A Strings

G
\
q qq \
q \
q qq \
\ \ \
\
@ b b @ @ b b @
o o o oo o
3 5 10 11 12 13 14 15

= Scale Note = Harmony Note

O O

Rodgers
Jimmie Lick
Yodel Audio Tiack 2-11

lick that utilizestheseharmonizedscales. I'm calling Boogie,]ou can hearhim play a greatlick usingthese
this one the "Jimmie RodgersYodel Lick" becauseit harmonizedscales.If you own the book TheBluegrass
mimics the famous yodel that Jimmie Rodgersused Guitar Styleof CharlesSawtelle,a transcriptionof that
on the song"Blue YodelNumberOne (T For Texas)," solo appearson page37. Charlesusesthe non-adjacent
and others. Guitar playerswho play Rodger'ssongs string harmonizedscalesin measures6 though 8 of
will sometimesusethis lick in placeof the yodel. This his solo. If you don't have a recordingof this song,I
lick is shown aboveas played in the key of D, and it recommendyou download it from iTunes and give it
follows the harmonizedD scaleasshownat the bottom a listen. Charles'lick inspiredme to come up with a
of the previouspage. The lick startsat the seventhfret, lick thatI usein the soloto "Nine PoundHammer"that
movesdown to the fifth fret, then down to the F# and D you will find on the next page (measuresl0 and 1l).
notesat the 4th and 3rd frets,respectively.The openG Use theselicks as examplesand thenexplorethe non-
note actsas a drone. adjacentstring harmonizedscalesto see what kind of
If you havea copy of FlatpickingEssentials,Volume licks you can createon your own.
3, you can seeanothershortexampleof usingthe non-
adjacentstring harmonizedscale in measures9 and
l0 of the secondversionof "RagtimeAnnie." In that
instanceI useda chromaticwalk down and the G drone
string along with the harmonizedscalenotesin the key
of C. You canfind manyusesfor the harmonizedscales
shownon the previouspage.
One of my guitar heroesis CharlesSawtelleand
Charlesused theseharmonizedscalesto great effect.
If you listen to his solo on the song "Ain't Gonna
Work Tomorrow" from the Hot Rize recording Radio
105
Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
 I'l'|ine
Pound
Hamme/'
Example Audio Track 2-L2

Homework
After playing through all of the harmonizedscaleexamples,take a look at someof
your favorite songsandtry to find placeswhereyou canutilize an ascendingor descending
harmonizedscalerun. As I suggested in this section,a goodplaceto startis to takea look
at resolving phrasesin both vocal songsand fiddle tunes. Harmonizedscaleruns work
well in resolving phrases. If you are having trouble with the use of harmonizedscales,you will find more
examplesof placeswhere I've usedthem in the examplesat the end of this book.

106 Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
 |ltloving
Around
The
Fingerboard
Practics
TheftBlackberry
Blossont
Etude
We are now at the end of the sectionthat focused Many of thesemoves shouldbe familiar to you if you
on techniquesthat you can employ to help you move spenttime with the one string unitar and the two string
around the neck. In order to give you a bit more guitar. Focus on creatingefficient position shifts and
practice,I've arrangedten variationsof the first four you'll do fine with this one.
lines of "Blackberry Blossom." You alreadyworked
with several variationsfor the A part of "Blackberry Example 5: This one is arrangedusing box pattern
Blossom" back on pages50 and 103. You can add numbernumber3. If you spentsometime practicing
the ten affangementsthat I've included here to your your box patterns,this one shouldn't give you much
repertoire,make up a few more of your own, and then trouble.
you will neverrun out of ways to kick off this tune!
Some of these arrangementsare more challenging Example 6: This one is designedto help you practice
than others. Some of them maybe too challengingto changingpositionsusingan open string note. It starts
every pull off at full speed. However,I've arranged out with box pattern 3, but then shifts to the open
theseexamplesas "Etudes," which meansthat they position. If you practicedexampleIV on page89, this
are basicallypracticeexercisesthat you can work with one shouldnot give you any troubleat all.
repeatedlyin order to improve your knowledgeof the
fingerboardand get someextra practicewith all of the Example 7: This is similar to the previousexample
techniquesthat we have coveredin this sectionof the in that it startsout with box pattern3, but it stayswith
book. box pattern3 longerthan the last exampledid. Then,
On this pageI'll talk abouteachof these"Blackberry insteadof using the open note to move to the open
Blossom"etudesbrieflyso you'll know what wasgoing position,this one usesthe open note to shift over and
throughmy mind as I was arrangingthem. centeraroundthe useof box pattern2.

Example 1: This one is just a standardopen position Example 8: This exampleis similar to example4 rn
versionto get the ball rolling. that it movesup anddown on the low strings,however,
I've made use of slides here in order to help shift
Example 2: This one startslow and movesacrossthe positions.
strings for the first three chord changes. In order to
play the phraseunderthe D chord,you'll needto grab Example 9: This one movesall over the place. There
that F# note on the D string with your pinky. The open is only one opennote,so, for the most part you'll have
E string under the C chord at the beginningof measure to work out someefficientpositionsshifts.
2 will allow you to shift your hand again. In the last
measureyou'll have to do some position shifting to Example 10: This one is fun to play. It startsout just
move from the 7th fret to the 3rd fret on the high E like Example6 for the first two measures,but then it
string. This exampleis a little tricky,butit will be good
combinesan ascending/descending harmonizedscale
practicefor your left hand. run. I did this to show that you don't always have
to use the harmonizedscalein one long ascendingor
Example 3: This one works with positionshiftingon descending run. Sometimesit works out bestto change
thehigh E stringaswell. For me, it is mostcomfortable directionsin the middle. Checkit out!
to stay in secondposition(index at the Znd fret, middle
at the 3rd fret, pinky at the 5th fret) for the entire As a finalexercisein this sectionI've providedanother
exerciseunlessI'm moving to play the 7th fret high E variationof "Whiskey Before Breakfast"on page I l0
string. Wheneverthat occurs,I shift up to 4th position that will keep you moving around the fingerboard
and grab that note with my pinky. and give you some more practicewith the techniques
you learnedin this section. Give that one a try before
Example 4: This one startsup high on the low strings, startingthe next section.
descendsdown the fretboardand then moves back up.

Flatpicking Essentials Volume 4: (Jnderstanding the Fingerboard & Mouing lJp-the-Neck 107
E x a m p l2e

ll- a ltttl-a^
II lltlt-tl
l- \t I
Jt,\-

, . J J L v J v \ J L J \ - ' \ - ' - ' J , . , J I J L V

t t t t t t t-l ltt-'v
- lll-'l
-
ttttl -
ll/'w l/ --l
-

E x a m p l4e

Example
5 t--l
C

Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck

 Audio Track 2-14
Example
6
G D

Example7
G

Example
8

L.J LJ
Example9

Example
10

Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing up-the-Neck

 Moving with
theFingerboard
Around "Whiskey Breakfast"
Before
I' '
D Audio Track 2'15
G C

Homework
After playing throughall of the "BlackberryBlossom"examplesand the "Whiskey
Before Breakfast" example in this section,take a song that you know and seeif you can
come up with an arrangementthat movesall over the neck. It may move aroundtoo much
for you to use in a jam, however,usethe arrangement as an exerciseto help you discover
different waysto arrangea tune. By going throughthe processyou may find one or two nice movesthat
you can usein your jam sessionarrangement.

110 Flatpiching Essentials Volume 4: (Jnderstanding the Fingerboard & Mouing Up-the-Neck
 The
Keys D
ofCand
Thus far in this book we haveexploredthe key of G learnedpatternsthat can be appliedto every key. You
in greatdetail. You startedwith key of G I-IV-V chord just need to begin those patternson a different root
progressionsand learnedhow to find those chords at note. Logic would tell us that if you could easilyfind
variouslocationsup and down the guitar'sneck. You the locationof everyC noteon the neck (usingthe same
also learnedthe notesthat make up the G major scale patternsthat you usedfor the G notes),you could easily
and practicedplaying thosenotesin the openposition, apply all of the patternsthat you learnedin the key of G
and then you learnedhow to find all of the G noteson to the key of C. It is as easyasthat!
the guitar's neck. You then played the G major scale Before we takea look at somevery easyways to find
on one string, on two strings, and on three strings to all of the C notesand D noteson the fingerboard, lets
study linear scale patterns. You also worked with G first take a look at the notesthat make up the C major
major scale "box" patternsat five different locations scaleandthe D majorscalesasshownbelow. Applying
on the neck and studiedhow to connectboth the linear our major scaleformula to the chromaticscale,we see
patternsand the box patterns. If you have taken the that the C scaleandD scalearenot a lot different,note-
time to go through all of the exercisesand homework wise, from the G scale. In fact the C scaleonly differs
assignmentsthat have been presentedso far in this from the G scaleby one note (F natural insteadof F
book,you shouldbe beginningto feel very comfortable sharp)and the D scaleonly differs from the G scaleby
with the G major scaleand the key of G everywhereon one note (C sharyinsteadof C natural). Take a look at
your guitar'sneck. the chart at the bottom of the pagethat comparesthe G,
Now that you have that knowledge in your brain C, and D scales.
and under your fingers for the G scale,it will help Another thing to take note of when comparing
you tremendouslyto have that same knowledge for thesescalesis the locationof eachof the threeroot notes
the C major and D major scales.Luckily, as you have occupy in the other scales. Looking at the G scale,
seen,you don't have to "reinventthe wheel" because you will notice that the C note is the fourth degreeof
in learningscalesand chordsin the key of G, you've the G scaleand the D note is the fifth degreeof the G

Half Half
Whole Step Whole Step SteP Whole Step Whole Step Whole Step Step

rl s-Lalsl6lz-Ls
@ c#D,D@ D#rcb@ @ F#ftb@ G#,lib@A#r4@ @

Half Half
Whole Step Whole Step SteP Whole Step Whole Step Whole Step Step

r I z | 31 4 | 5 | 6 | zl.s
O D#rcb
@ F @r@ GnAb@A#rlb@ c @4@

-
2 D 6 8

C D E F GAB C
G A B C D E F#G
D E F#G A B C# D

Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck 111
scale. Rememberthat theseare the two notesthat help the D note is the 5th degreeof the G scaleand the G
stronglyidentify the G scale. note is the fourth degreeof the D scale. That means
You will also noticethat the G note is the fifth note that all of the G to C patterns work for the G to D
of the D scaleand the fourth note of the C scale. So, connections,but in reverse. The adjacentconnections
these three scalesare tied closely together in many work betweenthe G and D just oppositeof the G to C
ways in terms of music theory. Fortunately,they are adjacentconnection. This means that you are going
also locatedpretty closetogetheron the fingerboardof to find a D note next to a G note, but on lower pitch
the guitar. adjacentstring. To recap: A C note can be found next
Before we move on to talk more about the C and to every G note on the adjacent higher pitch string
D scales,lets look at somepatternson the fingerboard and a D note can be found next to every G note on the
that will allow you to easilyfind the C and D notes. In adjacentlower pitched string (we are still ignoring the
order to learnjust how closethey are,we are going to, B string). Pieceof cake!
onceagain,lookfor patternson the fingerboard. The power chord connectionworks the sameway.
Sincethe D note is the 5th degreeof the G scale,place
TheGtoCConnections you indexfinger on any G note,make your power chord,
Earlier we talkedaboutthe fact that if we move from and the D note will be underyour secondfinger. I have
the low E string to the next adjacentstring,the musical providedG to D connectiondiagramsat the bottom of
distancewould be an intervalof a perfectfourth (again the next page.
we have to ignore that B string for a moment). Since
C is the 4th note of the G scale,this tells us that for Practice
every place you find a G note on the fingerboardyou Go back through the exercise
are going to find a C note right next to it on the next that you practicedon page 63
lower pitch adjacentstring (except for the B string). where you played all of the
Seethe diagramat the top of the next pagefor a graphic G notes on the fingerboard,
representation of this pattern. For future reference,I'll however, this time do it for
call this patternthe "adjacentconnection."Armed with the C notes,and then practice it for the D notes.
this knowledge, and the fact that you already know Familiarizeyourselfwith the locationsof all the
whereevery G note is located,you can now find every C and D noteson the finserboard.
C note on the fingerboardvery easily. Also, sinceyou
studiedthe patternsthat helpedyou find how all of the Homework
G noteswere connectedto eachother,you can apply all At this point in the courseI'm
of thosesamepatternsto the C notes. Therefore,once going to assume that you have
you have found one C note on the guitar's neck, you gained familiarity with the location
know how to find them all! of every G note on the fingerboard. Armed
Before we move on to take a look at the D notes, with that knowledge, it is not hard to find all of
there is one more handy patternthat ties the G and C the C notes and D notes as outlined on this and
notestogether. Rememberour "power chord" diads? the next few pages. After you are comfortable
They were made up of the root and the fifth notes of with the I-IV-V patternsin G, see if you can find
the scale. On the previouspagewhen we comparedthe them in other keys. The patterns are the same,
G, C, and D scalesyou saw that the G note is the fifth so it is not difficult. After you work with all of
degreeof the C scale.So,guesswhat? Placeyou index the I-IV-V relationships,see if you can discover
finger on any C note,make your power chord, and the similar relationshipsbetweenthe G note and other
G note will be under your secondfinger! For future notesin the G scale. For instance,seeif you can
reference,I'll call this the "power chord connection." discover patternsbetween the G note (root) and
See the diagram in the middle of the next page. The the B note (3rd). After studyingchord forms, that
dottedlines show the B string compensations. shouldn'tbe too difficult. Also seeif you can find
relationshipsand patternsbetweenthe G note and
TheGtoDConnections the 6th note (E). The more patternsyou discover,
Once you have studiedthe G to C connections, the the easierit will be to understandthe fineerboard.
G to D connectionsare easy when you rememberthat
r12 Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
 CNote
Gand Relationships
G & C Note Relationships on the Fretboard

Study ofthe G and C note relationshipson the diagram aboveshould make it very easyfor you to find all ofthe
C notes on the fingerboard. The only "lone" C note (not paired with a G note) is on the low E string. Remember
that exceptionand you've got them all!

More G & C Note Relationships on the Fretboard

C
Q-+

ffi
DNote
Gand Relationships
G & D Note Relationships on the Fretboard

G G
o o oo o

Studyof the G and D noterelationships on this diagramshould make it very easyfor you to find all of the D
noteson the fingerboard. The only "lone" D note (not somehowpaired with a G note) is on the high E string.
Rememberthat exceptionand you've got it !

More G & D Note Relationships on the Fretboard

G
D+ il
G
""i
C -l--- D-
D- +-.+
tf-l
u G l= 1-
'v (, (, oo "'u
113
F latpic king E ssentials Volume Understanding the Fingerboard & Mouing Up-the-Neck
 G, C & D (I-ry-V) Note Relationships on the Guitar

C:

G-
ir.:::ilti:i!t!4''

t; Di G,r
p-:t
tq,
D

G, C, and D Note Relationships and I-IV-V being played when you discover you are lost. Hang
Patterns out thereuntil you get reoriented.If you play that note
Sincewe've takena look at the relationships between a few times and don't lose the groove,you'll be back
the G and C noteandthe G and D notes,let'snow take on track before anyoneknows you were lost.
a quick look at the relationships betweenthe G, C, and When it comesto any simple songmelody,the most
D notesall together. Study of the chromaticscalewill importantnoteswithin any chord arethe root, third, and
revealthat the C and D notesare one whole-stepapart fifth notesof the chord becausethosenotesdefinethe
from eachother (D being a whole stephigher). When chord. However,within the contextof the whole song,
we look at the fingerboard,this meansthat everywhere the most important notesare the root notesof the chords
there is a C note we can find a D note on that same in the progression,which are most likely going to be
string, just two frets higher. If we look for patterns the 1st,4th and 5th scaledegreesof the major scalethat
which relatethe G, C, and D notestogether,we find the is definedby the key. In this sectionwe are studying
relationshipsthat aredepictedin the diagramabove. the root, perfect fourth, perfect fifth relationshipson
Why are theserelationshipsand patternsimportant? the fingerboard-which arethe root notesof the chords
First of all, in folk and bluegrassmusic most of the in the I-IV-V chordprogression.In the next sectionwe
songsthat you aregoing to come acrossare going to be will enter the world of arpeggiosand study the root,
in thekeysof G, C, D,A, B, or Bflat. Armed with your major third, perfect fifth relationships-the notesthat
trustycapo,andknowledgeof the keys of G, C, and D, make up eachmajor chord.
you are going to be ableto easily play tunesthat are in
any of thosecommonkeys, plus the keys of Eflat, E Getting to Know the I-IV-V in Any Key
and F. Also, and more importantly,if you understand Previouslyin this book I talked aboutthe situation
patternsthat relateto I-IV-V relationshipsin one key, whereyou are at a jam sessionandtherearetwo, three,
you will be ableto understandthem in every key. or moreguitarplayers.It doesn'tsoundtoo greatwhen
Why are I-IV-V relationshipsso important? You all of the guitar playersare playing rhythm in the same
saw in Volumes2 and3 that in eachsimple melody the register. It helps if you take your capo and play at a
most stable note that you can play againstany chord different position on the neck. However,how do you
is the root note of that chord. If the song adheresto know whatchordsto play? Backon page41 I suggested
the principlesof diatonicharmony,which most simple that you play closechords and sinceyou have studied
songsdo, thenall of the stablemelody notesaregoing to the closedchordpatterns,you not only will know what
be found in the scaleof the key, so you are nevergoing chord shapesto play, but you won't need that capo
to haveto think abouta scaleotherthan the scaleof the either. However,that is not alwaysan option. For a
key when you areplaying simplemelodies. However, lot of genresof musicthoseringingopenstringssound
againstany given chord the most stablenote underthat greatand you want to maintainthat soundand texture.
chord is the root note of that chord. If you are playing In order to know what chordsto play, you are going
a I-IV-V progressionand know exactly where all the to have to know the I-IV-V relationshipsin every key
first, fourth, and fifth notesof the key are located,then that you are likely to run across. Will that require
you can neverreally get lost. memorizing the first, fourth, and fifth scaledegreein
If you are arejamming along and lose your place, all twelve major keys? No. There are severalother
immediately go to the root note of the chord that is wavs to do it otherthan rote memorization. Let's take
rt4 Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
a look at a couple.
The first method that you can use in order to easily Circleof Fifths
know what chords are in any I-IV-V progression
involves memorizing the notes that are on the low E
and A strings of the guitar and then using the pattern
shown at the top of the previouspage. Earlier in this
book I askedyou to memorizethe noteson the low E
string. If you havedonethat, then you only haveone
more stringto memorizeand you've got in nailed. If
your group is playing a songin the key of A and all the
other guitar playersare throwing their capoon the 2nd
fret, maybe then you want to opt to not use a capo at
all. But what chordsare you going to play? Everyone
Eb
elsewill be playing G, C and D shapes.If you know
that theA note is on the 5th fret of the low E string,then
you know that the note next to it on the A string is the
four chord and the note two frets abovethat is the five
chord. If you know your notes on the A string, then
you immediatelyknow that thosenotesarethe D and E
notes. So, you know that the I-IV-V progressionin the
key of A is A-D-E. Prettyeasy!
If you don't want to spend the time and effort
memorizingall of the noteson the low E andA strings,
%o
then the "Circle of Fifths" can be your friend. If you
look at the circle at the top of the next column,you will
'I
seethatthe way this circleis arrangedis in fifths moving KEY I 2 3 4 D 6
clockwise and in fourths moving counterclockwise. C C D E F G A B
What that meansis that if you pick any noteon the circle G G A B c D E F#
as the root, the note to its right (clockwise)is the fifth
D D E F# G A B C#
scaledegreeand the note to its left (counterclockwise)
A A B C# D E F# G#
is the fourth scale degree. Since most of the songs
that we will play in folk, bluegrass.Celtic,blues,,andl E E F# G# A B C# D#
or rock music are not in flat keys, all that you have to B B C# D# E F# G# A#
memorizenow is the F, C, G, D, A, E, and B notesin F# F# G# A# B C# D# E#
that order. It may be helpful to make up somekind of C# C# D# E# F# G# A# B#
acronymto help you memorizethis sequence.
F F G A Bb c D E
Onceyou havememorizedthecircleof fifthssequence,
you caneasilyfind the I-IV-V relationshipin any major Bb Bb C D Eb F G A

key. For instance,for the key of A, move clockwise Et El, F G At Bb c D

and you know the fifth is an E, move counterclockwise Ab Ab Bl' C Db Eb F G
and you know the fourth is D, and your done! At right Db Db Et, F Gb Ab Bl, C
I have includeda chart that highlightsthe root, perfect
Gb Gt Ab Bb cb Db Eb F
fourth, and perfect fifth notesin all major keys. Take
cb Gb Ab Bb cb Dt Eb Fb
a look at this chart and compareit to the circle of fifths
in orderto help you understandhow the circle works.
Then qurz yourself and seehow fast you can find the
4th and 5th scaledegreesgiven and root note.

Flatpicking Essentials Volume 4: Understanding the Fingerboard

115
& Mouing Up-the-Neck
Revisiting The Box Patterns in Pattern5 is moved up to be the lone note on the top
At the beginningof this section of the book, I most line, as shownin the diagrambelow.
introducedsomebox patternsthat would allow you to
play two-octaveG major scalesat variouslocationsall Pattern 5
(Modified)
over the fingerboard.The beautyof thesebox patterns
is that they apply to any major scale. All you have to
do is changethe root position,apply the box pattern,
D=7th Fret
and you automaticallyknow how to play a two-octave
major scalein the key of whateverroot noteyou started
on. At the bottom of the page you will find the same
box patternsthat were introduced back on page 66,
however,I've adjustedthe root position fret in order
to have the positionsapply to the C major scale. You
may also notice that when we were working with the The secondis patternthat you will use (for the B
G major scalewe had a Pattern5A and a Pattern 58. part) is Pattern I , with root notesat the lOth and l2th
When working with the C major scalethe patternthat frets. Also rememberthat sincethe positionsbelow are
you use in the openpositionchanges,so we now have shownfor the key of C, you'll haveto moveeverything
a Pattern3,A'and a Pattern38 that apply to the C major up two frets to play in the key of D. Play throughthis
scale. versionof "Forked Deer" to seehow thesebox patterns
are utilized in the key of D. Onceyou havememorized
"Forked Deer" in the Key of D the transcriptionin the key of D,go aheadand play
On the nextpageI've includedan up-the-neckversion the same thing in the key of C. This will come in
of "Forked Deer" that makes use of two different D handy when you are picking with someonewho has
major scalebox patternsasshownat the top of the page. memorizedtheir arrangementin the key of C and no
The first is Pattern5 below, with a slight adjustment. caposare available. Wheneveryou work out a song
The adjustmentis that the lone note on the bottom line in closedpositions,it is alwaysfun to move the song
aroundto differentkeys.

G Scale ffBoxttPatterns
Pattern I Pattern 2 Pattern 3A

C=8th Fret Fret

C=1Oth + C=13thFret

Pattern 3B Pattern 4 Pattern 5

C=5th Fret
C=1stFret
C=3rd Fret

116 Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Nech
D Scale for Part A D Scale for Part B

LJ
Dee
"Forkedln
Audio Track 2-16

Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck

ScaleSectionSummary &
PracticeSuggestions
Dynamics
Exercise Audio Track 2-17

Example 1: EmphasizeEvery Other Note

By now I'd hope that you feel quite comfortable
1
with the G major scale at various locationsall over
the neck. If your not, go back and practice some
more! I cannot emphasizetoo strongly the fact that
in order to really "know" any of thesescalesor scale
patterns,you have to have practicedthem enough to
have them in your "muscle memory," which means
that you can play them without thinking about them.
Just like the "melody burnout" phaseof practicethat I
talked about in Volumes2 and 3, you have to also get
"scale burnout." One of the reasonsthat you want to Example 2: Emphasize Every 4th Note
get thesenote patternsso ingrainedinto your musical I

subconscious is that eventuallyyou want to work to get

"beyondthe notes."

Getting Beyond the Notes

"Getting beyond the notes" meansthat your note
choices-be they song melodies,or licks, or phrases,
or scales,or arpeggios-are so well establishedthat
you don't have to think about them in order to execute
them. This applies to everything from the simplest
scalesto the most complex arrangements. You want Example 3: EmphasizeEvery 3rd Note
to get to a place in your practicewhere you don't have 1
to think about "the notes." Earlier I discussedthis
concept as it applies to improvisation,however, this
conceptis equally as important in your daily practice
routine. The reasonis becauseif you areonly thinking
aboutthe notes,you are not able to think about all of
the otherimportantaspectsof music like: tone,timing,
note clarity, groove,articulation,emotion,dynamics,
phrasing,space,etc. Additionally, if you are having
to focus on what notesto play, then you are not ableto
listento what is going on aroundyou. You will not be help you keep out of the way of other band member's
the best band member you could be becauseyou are vocalsor solos. If you havea good senseof when to
not ableto listen to what everyoneelseis doing if your "lay back" andwhento "punchit," your playingwill be
mind is focusedon the notesthat you areplaying. much more"dynamic."
In orderto give you an exampleof what I'm talking Onceyou geta scale,phrase,or songinto your muscle
about regarding the practice of the other aspectsof memory,you can practicedynamicsas I've outlined
music (besidesjust learningthe notes),here are a few with the G major scaleshown above. This exercise
exercisesthat you can try: consistsof playingthroughthe scalerepetitivelywhile
working to emphasiscertain notes. Start out placing
1) Dynamics: This conceptinvolves your adjusting emphasison every-other-note as shownin ExampleI at
your right hand attackin order to control of the volume the top of this column (the carrot abovethe note in the
of your notes. The proper use of dynamics can add tab indicatesemphasis). Next try to emphasizeevery
emotion, excitement,suspense,and texture to your fourth note as shown in Example 2. If you want more
playing. Dynamicscan alsobe usedto help draw your of a challenge,emphasizeevery third note, as shown
listener in, emphasizecertain notes or phrases,and in Example 3. Then you can try emphasizingevery
118 Fhtpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
 I'Blackberry withaFiddle
Blossom" Pulse
Tune Audio Tfack 2-18

D c G C G D

fifth note. The odd numberis 414 trme presentmore of the metronomeclick, but placing your awarenesson
a challengebecauseyou are emphasizingdown beats keepingone note ringing as long as you can beforeyou
and off beatsalternatively.This kind of an exercisecan move to the next note. Flatpicking Guitar Magazine
alsohelp improveyour senseof time. columnist Orrin Star calls this "squeezingthe juice"
Anothergoodexerciseis to work with is emphasizing out of every note. After you've workedon "squeezing
seriesof notes in a row. Work with a scale and try thejuice" out of every notefor a while, thentry to work
emphasizingtwo notes, then lay back on two notes. with the note durationexercises.After you've worked
Emphasizefour notes,then lay back four notes. You with the two that I've shown here,go aheadand try to
could also work with songs and emphasizecertain make up somenew oneson your own. Seeif you can
phrasesand lay back on others. use note duration to help set up a nice groove to the
One of the most importantusesof dynamicsis in music.
setting up a "pulse" to your solos. Fiddle music is
dancemusic and you can help set up a dancepulsein
your fiddle solos if you emphasizeevery fourth note
as shownin the "BlackberryBlossom"exampleabove.
Note
Duration
Exercise
Audio Track 2-19
Give it a try and seeif your fiddle solosfeel like they Example 1: Long-Short
havean extra"bounce"or dancepulse. 1

2) Note Duration: Varying your note duration is

another greatway to add textureto your solo or help
set up a nice groove. You can work with this concept
the sameway you practiceddynamics. Take the same
exercise and instead of emphasizingcertain notes,
practiceholding thosenotesfor a longerdurationwhile
the othernotesarecut short. The timing betweennotes
remainsthe same.however.somenotesareheld for the
Example 2: Long-Long-Short
quarter note duration and some are played as eighth
1
notes followed by an eighth note rest. Take a look at
the examplesshownin the next column. Working with
this type of exercisecan alsohelp with your awareness
of noteclarity.
Beforeplaying eitherof theseexamples,first play
all quarternotes(long durationnotes). When you are
practicing,tryto makeeachnotelastaslong asyou can
beforeyou moveto the nextnote. You arekeepingwith

Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck

3) Timing: Want sometiming challenges?If you've ways that you can play a scalewith alteredtiming. Be
beenworking with a metronomeand using the click on creativeandcomeup with a varietyof differentways to
the downbeat,Tim Stafford recommendsthat you also play scalenotesin different timing sequences.
try switching things up and using the click as the off
beat,as if it were the mandolin chop. Try that exercise 4) Groove: Learning how to set up and maintain a
with the G major scaleand seeif you can manageit. It good groovewhen you are performingmusic is a skill
may be difficult at first,but don't give up on it. that beginning and intermediatelevel players don't
John Carlini also has anothergreat timing exercise spendenoughtime with. Why? Becausethey are too
thatyou can try. At present,you areprobablyaccustom busy focusingon the notes and not the feel. A very
to playing either one or two notes per click of the simple groovewould be the one that you set up in the
metronome. With John's exercise,you start out with "BlackberryBlossom"exampleon the previouspage.
one note per click, then you go to two notesper click, But you can alsoget more creative.
then three,then four, then five, then six. Obviously In the last three paragraphsI've talked about
you are going to startout with a slow tempo. Again, dynamics,noteduration,and timing. If you mix those
working with the odd numbers in 414 time will be a three elements together you can create some very
challenge. If you practice an exerciselike this, you interestinggrooves. Working with just the notes of
will seehow focusedyou have to be on timing in order the G major scale,seeif you can improvise somenice
to pull it off. If you have to think about note choices, grooves by varying the dynamics,note duration, and
or where to put your fingers,you will not be able to timing. You can also repeatscalenotesand,working
focus enough on the metronomeclick to executethe with the knowledge of folded scalesthat you gained
exercise. in VolumeJ, also change some of the G major scale
Another way to practicetiming while working with note sequences.Basically,youare improvisinghere,
scalesor arpeggiosis to vary the amount of time that but you are not worried aboutmelody at all, your only
you leavebetweennotes.So far you've beenpracticing concernis groove.
scalesand having every note occupy the same time
value. In the note durationexerciseyou changedthat 5) Tone: Tone is somethingthat you shouldalways
up a little, but still therewas an equal amountof time be on your mind. When I askedScott Nygaard about
betweeneachnote. Try varying that a little in order to tone he said,"The playerswith the best tone are those
make scalepracticemore interesting. Play two eighth who think abouttone all the time." And that is exactly
notes,then a quarter,then anothertwo eighths,and then true. However,spendingtime to placespecialfocuson
a quarter,etc. as shown in Example I below. You can tone is well worth the time and effort. In orderto work
alsorepeatsomeof the scalenotesasshownin Example on tone, play a simple G scaleover and over while
2 below in orderto help set up a bettergroove. listeningvery carefullyto the tonethat you aregetting.
The point of the simple examplesshownbelow is Adjust your right hand position,your pick angle,the
to say that you don't always have to play scaleswith amount of pressurethat you are applying with your
repetitivetimin-e. Try to mix it up a little. The two right hand,the positionof your left hand fingerson the
examplesshownbelow representjust two of dozensof strings in relation to the frets, the amount of pressure

Timing
$cale Exercise Audio Tfack 2-20
Example 1:
1 Example 2:

Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck

you are applyingon the string with your left hand,etc. DVD (availableat www.flatpickingmercantile.com).
Changeall of the variablesand seehow it effectsyour Although Victor is a bass player, the material in this
tone. A great way to evaluateyour tone (or any other DVD applies to anyone who plays music. Victor
aspectof your playing) is to record yourself and listen contendsthat almostall instructionalvideosand books
back with very critical ears. teach you how to find notes,but say very little about
the otheraspectsof musicthat I've listedabove. If you
6) Phrasing: The best way to work on phrasingis think aboutit, it is true! Almost all booksand videos
to "scat sing" and play what you are singingon your teachsongs,scales,chords,arpeggios,etc. This all has
-euitar.If you sing your notes,your playing is going to do with finding notes.
to be tied to your breath becauseyou cannot sing I agreewith Victor and I think that the reasonthat
endlessstreamsof noteswithout taking a breath. One all of the instructionalmaterialfocuseson the notesis
important thing to do here is to play what you sing, becausethat is what guitar players want to learn, and
not sing what you play. This is not easy. When most sinceinstructorswanttheirproductto sell,that is where
peoplefirst try and scatsing and play at the sametime, they put their emphasis.I know this from experience.
they will play somethingthat they alreadyknow how to I have beenselling instructionalmaterialfor the guitar
play and sing alongwith it. That is fine to try, however, throughthe FlatpickingMercantilecatalogsince 1996.
the bigger challengeis to allow your scat singing to The best selling material is the material that teaches
lead your playing. Try it and see if you can figure new songs(teachesnotes). The worst sellingmaterial
out the difference. This kind of exerciseis also great is the materialthat teachesall of thoseother qualities
improvisationtraining . of music that I listed above. I think that if the trend
were reversed,there would be a lot better musicians
7) Feeling: When you play your guitar, you want to out there. But I can't point fingers,becauseI've been
be able to communicatewith the audience. You want guilty of it too !
them to feel somethingas well as hearsomething.The Usually when a guitar studentlearnsa new song,
thing that separatesthe good musiciansfrom the great the next thing that they want to do right away is learn
musiciansis the ability to put emotioninto their music. anothernew song. Whenthey havememorizeda scale,
The feeling and emotionthat you put into your music they want to learn anotherscale. But do they really
canrun the whole gamutof humanemotion,from happy know the first song, or the first scale? Probably not.
to sad,from to joyous to lonesome,and everythingin They mayknow thesequence of notes,but do theyknow
between.You want to be ableto conveya message and how to play the songwith all of thoseotherelementsof
move your audience. How do you practicethat? By music in place? Justbecauseyou havememorizedthe
focusingon it and thinking about it and applying tools notes,doesn'tmean that you really "know" the song,
like dynamics,tone, _qroove, phrasing,etc. The notes scale,arpeggio,chord progression,etc. Knowing the
by themselvesare not going to conveya message, you notesis just the first step. Once you havethe notesin
are going to have to convey that messagein the way your "muscle memory," it is then time to focus on all
your expressthosenotes. of the otherelementsof music that will make the song
As an exercise,take somethingas potentiallydull come alive,that will give the songa greatgroove,that
as a scaleand work with varying the timing, phrasing, will allow you to expressyourselffully. You want your
tone,note duration,note sequence,and dynamicsand audienceto feel something,not just hearsomething.
seeif you can expressdifferent moodsor feelings. Try Playing a sequenceof notes in the right order,and
to makeup a songthat soundssad,try to createa mood with the right timing values,representthe broad stokes
that is happy,etc. As you practicethe exercise,make of the painting.What will makeit a masterpiece is your
note of what techniquesnaturally work to help create molding of thosenotesby using the qualitiesof music
thesemoods. describedon the lastcoupleof pages.In classicalmusic
the musiciansreadthe notesfrom the page,so the note
Lateron in this coursewe will talk aboutmanyof the choicesare dictatedto them. What setsone musician
variousaspectsof music that I've listedabovein more apart from the other is how they executeand express
detail. However,if you'd like to dive in now and get thosenotes.
somegreatinput regardingall of the ideaslistedabove,
I highly recommendVictor Wooten'sGroove Wrkshop
Flatpicking Essentials Volume 4: Understanding
I2T
the Fingerboard & Mouing Up-the-Neck
Where Do I Find The Time? PracticeSuggestions
Now that I've addedto all of the things that you After studying all of the material in this section
needto practice,you may be thinking that thereis just of the book my hope is that you will seethe value of
not enough time in the day to really study, practice, knowing and practicing scalesand that you will start
and absorbthis materialto that kind of depth. Don't using them as "road maps" to help you find your way
worry, you don't have to lock yourselfin a room and around the fingerboard.But by now you might be
have someoneslide food under the door. You can feeling a little overwhelmedand your are wondering
make significant progresswithout having to practice how you will find the time to practice all of this stuff.
for hours and hours every day. If you get organized, Don't feel as thoughyou needto absorbit all at once.
you'll be amazedat what you can accomplishin a short My recommendationis that you take it in small doses
amountof time. and work slowly and steadily.If you absorba little bit
One of my guitar heroes is Flatpicking Guitar every day and work consistently,you will be amazedat
MagazinecolumnistJohnCarlini. In additionto being how much you will haveabsorbedover the courseof a
a great player, John is also a greatrole model for the month or two.
developmentof a practice routine. John has been In orderto help you be more efficient and effectively
playing music professionallysince the mid-1960s. in your practice,here are somepracticesuggestions:
His resume is incredibly long and very impressive,
yet John still has a daily practiceroutine that includes 1) Practice time: lt is much,much betterto practice
the practiceof the rudimentslike scalesand arpeggios 20 minutes every day than it is to practicetwo hours
with a metronome. Even after practicing scalesand one day a week. If you have an hour to set aside for
arpeggioseverydayfor decadesJohndoesn'teverthink, practiceevery doy, it is betterto practice20 minutes
"I don't needto practicethoseanymore.I 'know'them threetimes a day,or 30 minutestwo times a day,than it
already." He hasa routine,he spendsa shortbit of time is to practicefor one hour at a shot. I'm talking about
with it everyday,and as a result,he is a greatplayer. focusedpractice,not just noodling aroundor jamming
Consistencyis the key. Music is a very deepwell and on tunesyou alreadyknow. I'm referringto practice
you are not going to be able to absorb it all at once, with intentionand purpose,which you shoulddo every
and you shouldn'ttry. Give yourselfa long term plan day. Researcherswho study learning and education
that is basedon small amountsof progresseveryday say that after about 20 minutes of focusedstudy and
through consistent,focused,deliberatepracticeon the practicethe brain startsto get distractedand can't hold
fundamentals. The longer you practice simple song focusaswell, thusyou startto absorbless. So,practice
melodies,scales,chords, and arpeggios,with focus in 20 to 30 minute chunks and you may find that you
and intentionplacedon principleslike tone,timing and can absorb and retain things better. Set a timer and
groove,the deeperyour knowledgeandexperiencewill quit when it goesoff, or switch to unfocusedjamming
grow. practice.
Now that you haveexposureto the G major scalein
all its glory at everylocationup and down the guitar's 2) Practice Place: Ideally you will have a practice
fingerboard,I recommendthat you really take some area set aside somewherein your house. Keep your
time to digest it, get to know it, and absorbit. But music stand,metronome,tuner, capo, and all of your
do so in small and steadydoses. The more layersof other practice implementsin that location. Don't do
the onion that you are able to peel away throughdaily anything else in that spaceexcept for focused guitar
practice,the more likely you are to develop a natural, practice.Doing this triggersyour mind to focuson that
innatefeel for whereto place your fingerson the neck one thins when you are in that space.
and how to executesolosthat can really move people.
That kind of playing takesmore thanjust knowing the 3) Before Practice: Warming up is a greatthing to do
notes,as doesthat goal of "streamof consciousness" so thatyou will avoidinjury. Jim Hurst suggests that as
improvisationthat I talked about earlier. Next, I've part of your warrn up you wash your handswith warm
listed some practicesuggestionsthat might help you soapywater. This will warm up the musclesin your
out. hands,cleanyour handsso that your stringsdon't get
as dirty, and the act of washingyour hands- if you do

r22 Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
it before every practicesession-will startto get your time here becauseI think that too many people spend
mind setfor practice. the majority of their "practice time" noodling or going
You can also do some light hand, wrist, and arm over material that they learnedyears ago. Then they
stretching,but don't go overboard.When you first put wonder why they are not making progress. Always
your handson your guitar,play the samething to warm push yourself to have a little bit of focused practice
up every practice sessionand play very slow with time mixed in with your unfocusedtime and jamming
focus on tone, note clarity, and timing. Play through everyday.
a few chordchanges,thenplay a few scales.Have the
metronometurnedon and work at a very slow tempo. 5) Key of the Week: Fl,atpickingGuitar Magazine
columnistsJohn Carlini uses a practice schedulethat
4) Practice Session: Let's say that you have twenty he calls,"key of the week." Using this schedule,when
to thirty minutes set aside to practice. I recommend you focuson chord shapes,scales,songmelodies,and
that you spendthe first five to ten minutespracticing arpeggiosduring your practicetime, you completely
chord shapes,scale patterns, arpeggios,or simple focus on only one key a week. This week all of your
song melodies. Don't try to learn new material here, practiceis focusedon the key of G. Next week you
spendthis time working with the material you know work with a different key, say C. Then the next week
the best and focusingon all of thoseother elementsof a differentkey, maybeD, etc. Each week Johnworks
good music like tone, dynamics,timing, etc. If you all of his practice exerciseswith focus on a different
are focusedand have a routine, you will be amazedat key. Working this way, in a matterof threemonthsyou
how much you can accomplishin five to ten minutesof will haveworkedthroughall twelvekeys. If you don't
practice. After that, spendthe next five to ten minutes want to pay any attention to the flat keys right now,
working on new material-new songs,new exercises, then you can completeone round in 6 weeks,then you
new alrangementsto songs that you already know. startover again.
Then spendthe remainderof the time running through ln fact, you could break this scheduledown even
songsthat you alreadyknow. Everydayof the week furtherand work with a differentaspectof your playing
that you practice,run throughthe sameroutine. Do this on eachday of the week. Monday focuson major scales
as a minimum. If you are seriousabout gettingbetter with a concentrationon tone and dynamics. Tuesday
on the guitar,you can at leastdedicate20 to 30 minutes work with simplesongmelodieswith a specialfocuson
everyday to a seriouspracticeroutine. If you can do it timing and phrasing. Wednesdaywork with arpeggios
twice a day,that is much better. while also paying attentionto note clarity, articulation,
If you practicednew materialfor l0 to l5 minutes and duration. Thursday work with chords, rhythm,
in the morning and then set it aside for a while and and syncopation. Friday go back to scales,but work
come back to it for l0 to 15 minuteslater in the day, with shifting, folded scales,and harmonizedscales
you will be amazedat how much you haveimproved while working to build speedin incrementswith the
during the periodof time that you were awayfrom your metronome. Then on Saturdayand Sundayjust have
guitar. Your brain and body continue to absorbeven a ball andjam! Then the next week do it all again,but
whenyou don't haveyour handson the instrument.So work with a different key. You can make up whatever
if you practiceearly in the day, and then come back to kind of scheduleworks for you, but takeit slow,steady,
the samething later in the day, it ends up being more and in small incrementsand you will be amazedwith
efficient than hammering away at somethingfor an your progressover time.
hour straight. During the eveningsession,also spend
time jamming with jam tracks,having fun, noodling, 6) Write it Down: A great idea is to sit down and
whatever. Just have the guitar in your hands. This designa practiceprogramlike the one I have outlined
"unfocused"time will give the focusedpracticethat aboveand then write it down. If you write down a
you spentearlier in the day a chanceto sink in. schedulefor each day of the week, you are more
Tim StaffordandDavid Grier both like to spendtime likely to sit down and practice that routine insteadof
playingwhile they aresittingin front of the television. picking up your guitar and saying,"What am I going
Try that sometime,but don't let thatbe the sumtotal of to practicetoday?" If you have a plan your practice
your practiceefforts. Allow the two practicemethods will be more efficient. Remember, out of all the
to complimenteachother. I emphasizethe focused practicetime that you spendeachday,I'm only asking
r23
Flatpickirzg Essentials Volume 4: [Jnderstanding the Fingerboard & Mouing Up-the-Neck
you to spendl0 to 15 minuteson the fundamentals.I 8) Jam with Other People: This is anothervery vital
know that you are probablyplaying the guitar for fun, elementof practicethat many peopledo not engagein
relaxation,and enjoymentand you may view working becausethey don't feel confident playing with other
on the fundamentalsas being "too much like work." people,or they just don't make the time for it. All of
However,if you will just dedicatea little bit of time the bestplayersthat I know havespenthoursand hours
on fundamentalseveryday,you will be able to avoid jamming with family and friends,and they continueto
the frustrationthat you may feel now if you've been do it even afterthey've turnedprofessionaland play in
playingfor yearsanddon't feel like you've mademuch a band. No matterwhat your skill level, find a friend
progress. that you can pick with and vow to get togetheron a
So, write up a simple program and stick to it for a regularbasisand play music. Oncea week is ideal. If
while. Don't go overboard. Keep it simple. Don't you can only do it every otherweek,or oncea month,
try to bite of more than you can chew in terms of the that is OK. Anything is betterthan nothingat all.
amount of material or the difficulty of the material. When you seekout someoneto pick with, ideallyyou
Move forward in slow steps. Try it for just one month want to find someonewho is aboutyour ability level,
and be very consistentand you will be amazedat how or just a little better. You also want to find someone
much progressyou can make! who you are comfortable with, meaningthat you are
not going to feel embarrassedif you make a mistake
7) Practice Deliberately: To practice deliberately in front of them. If you ever want to become good
means that you have an achievable goal for each at improvisation,the only way to do it is to become
practicesession.You want that goal to be just outside comfortable with mistakes and not be afraid to step
your reach, but not somethingthat is so far outside outsideyour comfort zone. Here are somegreatquotes
your reachthat you can't accomplishit in one practice to think aboutin that regard(I don't rememberthe exact
session. Writing down a practice routine and then quotes,so I'm paraphrasing here):
running through it is not enough, you want your From Dan Crary: "The bestimprovisersarethosewho
goal for each practice sessionto be defined in more are not afraidto improvise."
detail. For instance,if your practicesessionincludes From a sign in Steve Kaufman'steachingroom: "I
practicing a folding scalein the key of G using Box know that you play betterwhen you are at home."
Pattern3, then setyour goal for the day to play it at 120 From Bryan Sutton: "You are only as good as the
beatsper minute while achieving good tone and note performanceyou give when you are nervous."
clarity. After eachtime throughthe scaleevaluateyour The lessonshere are: Don't be afraidto improvise.
performance.You might recordit in order to help with Don't get frustratedwhenyou can't performat a jam the
your evaluation.If you did not achieveyour goal,think way you can play when you arealone. Keeppracticing
about why you didn't reach it and then run through at home sothatyou canperformin front of others,when
the scale again focusing on the trouble spots. Work you are nervous,as if you areby yourselfat home.
until you achieveyour goal for that session.If you run
throughthe scalea numberof times andjust can't get 9) Listen: One last thing that is importantto practice
it, don't get frustrated.You may have setyour goal too that I've not mentionedyet is ear training. You can
high. Tomorrow bring it down a few notchesin tempo go about this in a number of ways. You can try to
and try again. Eventuallyyou will get a good feel for transcribeotherpeople'ssolos,you can hunt and peck
how to set your goals for eachpracticesessionso that to find melodieson your guitar as you did when you
they are high enoughto show improvement,but not so worked with Volumes2 andJ, and/oryou can buy any
high that they are unattainable during that session. number of ear training coursesthat are available on
In additionto settingan achievablegoal,flatpicking audio CD or computer softwareprograms. There are
legend Dan Crary says that once you achieve that many ways to go about it. Add one of them to your
goal, it is also importantto shareyour successwith practice scheduleeveryday. The more you work to
someonewho is going to be supportiveand share in develop your ear, the betteroff you are going to be in
thatsuccess with you. You can showthem what you've every musicalsetting.
accomplished,or just tell them about it. Getting
positive feedback,or even constructivecriticism can OK, that is enoughof my ear bending. Let's move
be very helpful. on and take a look at arpeggios!
124 F latpic king E s sentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
 Understanding
theFingerboard,
Part
3:
Working
withArpeggios
In the first sectionof this book we studiedchords most stablenotesof any melody,so knowing how to
and chord forms and in the secondsectionwe studied find thosetoneson the guitar neck can be very helpful.
scales.Now we are going to take a look at arpeggios, ln VolumeI , we played somebasslines that were
or what some like to call "melted chords," or "broken basedon arpeggios . In Volume3, we discoveredsome
chords." As you learned rn VolumeI , arpeggiosare simple songmelodies,like the simple arrangement of
chord tonesplayedin a sequence, versusbeing played "Forked Deer," where the melody somewhatfollowed
all at once as they are when you strum a chord. When the arpeggionotesfor each chord change. Many jazz
you practicescales,you are practicingevery note that playersusethe notesof arpeggiosas a their "base" for
existsin a certainkey. When you practicearpeggios, improvisation.
you arepracticingonly thosenotesthat makeup a given Bassplayersrely on arpeggiosto constructmany
chord. If you arepracticinga majorchord,you areonly of the bass lines that they use. When the chord
working with threenotes- breakthosenotesapartand progressionis on the G chord,they will play the notes
play them one at a time and you havean arpeggio.It's of the G arpeggio.When the progressionmovesto the
that simple. C chord,they will typically play the root nore(C) and
As I have pointed out many times throughoutthis then follow with the notesof the C arpeggio,etc. Of
course,thosethreechord tonestend to be three of the course,they will also use other scalenotes,however,

Arpeggio
Exercise
I
G Major Arpeggro Fretboard Diagram Audio Track 2-21

Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing ()p-the-Neck

using arpeggios perfectly fits one of the fundamental this book. If you want to play a G major arpeggio,start
elementsoftheirjob description,which is to outline the with the G note on the third fret of the low E string and
chords. Playing arpeggiosis the best way for the bass then trace the notesofthe F shapechord form. It's that
player to outline the chordsbecausehe or sheis playing easy, and it is a valuable exercise. Before we move
all of the chord tones when they "walk" an arpeggio, forward, go aheadand try that with all for of the chord
and bass players in bluegrass and folk music don't forms that you studied in the first section of the book.
typically play chords. So, for them, walking the chord As a reference,refer to the diagramson page 39. Start
tonesis a way to outline the chords in the progression. on the root note and then walk root,3rd,5th, root,3rd,
We gave a few examples of bass movement that was 5th, then reversedirection and walk back. You are now
basedon arpeggiosback in Volumel. playing simple arpeggios!
If you think about it, you also studied arpeggios While the practiceofthe simple arpeggiosmentioned
when you worked with the crosspicking technique in above is valuable,practicing arpeggiosin that manner
Volumes2 and 3. The art of crosspickingon the guitar is the equivalent of practice the box scale patterns.
is very much basedon the use of arpeggiosbecausethe In order break out of that box, you'll need to expand
technique involves holding a chord shapeand playing your knowledge of arpeggiosby taking a look at how
those tones in a repetitive sequence.So, you are more arpeggios can be used to move your fingers up and
familiar with first position arpeggiosthan you think. down the fretboard. Basically you are going to learn
All of the arpeggio examples that you were exposed how to connect all of the various chord form notes by
to in the first three volumes of this coursestayedin the using arpeggiosthat move up and down the length of
open position and were derived from the notes of the the neck.
open position chords. In regard to crosspicking, you Take a look at the G major arpeggio arrangementat
have had some experiencewith up-the-neckarpeggios the bottom ofthe previouspage. Take a minute to study
in this book back when you played all of thoseversions the diagram and play through the tab. The diagram is -
of "Bile the Cabbage Down," and when you played arrangedin a style that is used by Flatpicking Guitar
the arrangement of "Blackbeny Blossom" that was Magazine columnist John Carlini (this particular
provided on page 50. diagram was used in an article that John wrote about
The simplest way to get started working with the G major arpeggio back in Jan/Febof 2004). The
arpeggiosis to play the notes, one-by-one,of any of letters shown on the fingerboard indicate the note that
the chord shapesthat you studied in the first sectionof you are playing, the small number next to the letter

Dee/'Example
"Forked Audio Track 2-22

C C G

a a
I
I
a I

?
T ) o
c
-)
A t
FT
rvl 7 7

tr, L
I () I
lw

C F CF G C

- -
I

\Lt

t)

() I\J o IV I \_' o o
7 I \_'
I
)
l\J I\J

r26 Flatpicking Essentials Volume 4: Understanding the Fingerboard. & Mouing Up-the-Neck
 G$cale Notes
&Chord GArpeggio 2
Exercise

+ @@OOO@ G=openstrins

Ir
+ (
)Q t( )
G=3rdFret

Qr )

+ Ir )QAA+ G=5th Fret

)0tt I
+ o+ G=BthFret 7th

0r)+
)

+ )o()+Qr G=1OthFret

.)
- -ooo- G=12th Fret

+
+f+0
-> )+ X
+
( ( ) G=l 5th Fret

Qr )

o - G root note

o - G chordnote
o - G scalenote(not in G chord)
127
Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
indicatesthe fingerto useon that note. The grey line is You can seethe locationsof the largetowns,and maybe
the line to travel when playing the arpeggiosequence. a few major highways,but you don't have the details.
Position shifts are also indicated. Comparethe tab to Working with arpeggiosgives you a more detailed
the diagramand you'll seehow it works. Play through pictureby addingmoreof the smallerroadsthat connect
this arpeggioexerciseseveraltimes. Can you seehow the towns aswell, asthe smallerroadsthat exist within
this sequenceof notes servesto connect the various the towns. Practiceall of the arpeggioexercisesthat
chord forms that you studiedin the first sectionof this I've providedon the next few pagesand seeif you can
book? relate to my analogy and get a feel for how the two
Now takea look atthediagramsshownon theprevious ways of approachingthesenotesdiffer.
page. If you comparethe G arpeggiosequenceas they As I statedin the introductionto this book, you
are shown in the right handdiagramwith the note map can learn a lot about the fingerboardby only studying
diagramon the left handsideof the page,you shouldbe one of the "road map" methods.However,if you study
able to easily seehow the arpeggiofollows the chord all three and are able to understandhow they relate to
shapesthat you worked with in the beginningof this each other,you will have a more completepicture in
book. The first two notesare from the Lower A-shape your mind. If you only studiedchord forms, you'd
chord form, the next two notes are from the F-shape have the big picture map, but not the more detailed
chord form, the next three notesare from the D-shape maps. Holvever,if you only studiedscales,you'd have
chord form, and then the last note is from the Upper the detailedmaps, but you may get lost in the details
A-shapechordform. So, in practicingthis three-octave becauseyou don't have the big generalizedmap. So,
arpeggio,you havetouchedall four of our FDAA chord in my opinion,you are going to get the best mental
forms. Therefore,you can see how arpeggioscan be picture of the guitar's fingerboardif you work with all
usedasroadmapsthatconnectthe chordforms that you threemethods-chord form, scales,and arpeggios.
learnedin the first sectionof this book to one another. As I statedin the introductionto this book, the use
Play through the arpeggioexercisefrom the previous of arpeggiosin arranging and improvising becomes
page once again and see if you can identify all of the more useful when you start to studyjazz and swing.
associatedchord forms. I think that those styles are more arpeggio-based,
whereasbluegrass,folk, and fiddle tune solosare more
Taking a Look at "Forked Deer" scale-based.So, we are not going to spenda lot of
lf you take a look at the arrangementof "Forked time on arpeggiosin this book. We will take another
Deer" that is shown at the bottom of page 126, you look at arpeggiosand how they might be usedto build
will noticethat, in termsof note choice,it is the same improvisationswhen we discussswing andjazz laterin
alrangementthat you worked with tn Wtlume3 . You this series.
also worked with this melody earlier in this volume For the time being, work through the G major
on pages9 and 1l . This arrangementusesthe same arpeggioexamples( I through5) that I have provided
notes,but at differentpositions. If you play through in this section.When you work througheachexample,
this arrangementyou are going to feel as if it is, in try to seeif you can identify which G major chordforms
theory,exactly like the solo that appearson page I l. you areconnectingwith asyou play eachnote. Also, as
Meaning, we simply changedchord positionsas the always,try to identify patternsand seeif you can work
chordschangedin the songand found the melody notes to transposethese patternsto other keys. Of course,
in thoselocations.So, in theory,arran_qing songsusing when you transpose, you aregoingto haveto makethe
arpeggiosis very similarto arrangingsongsusingyour B stringcompensations.
chordforms sincethe chord forms andthe arpeggiosall
usethe exactsamenotes. So, you may ask,why study I-IV-V Arpeggio Practice
both? Good question! In order to get you startedtransposingsome of the
I'd say that the differencebetweenthinking about G major arpeggiosinto other keys,I've transposedG
the chord shapesand thinking about the arpeggiosis Arpeggio Exercise #2 over to the keys of C and D as
that the chord forms give you a big picture, while the shownin the diagramson page I 3 | . If you comparethe
arpeggiopracticegivesyou moreof the details.Having threearpeggios,you will seethat the C major arpeggio
a knowledgeof the chord forms and their locationsis is exactly like the G major arpeggiopatternwith two
like having a big generalizedmap of the entire state. exceptions. Number one is that I moved it over one
128 Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
 GArpeggio
Exercise
3 GArpeggio
Exercise
4
Audio Tiack 2-23 Audio Track 2-24

Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing tJp-the-Neck t29
 Exercise
GArpeggio 5 string so that the patterncould start on the C note on the
third fret of the A string. Number two is that when I hit
Audio Track 2-25 the B string I had to make that B string compensation.
Now, if you comparethe C major arpeggio to the D
major arpeggio(shownon the samepage),you will see
that all I had to do in order to play the arpeggioin D
lst was move the entire patternup two frets. So in this
instancethe patternstayedexactly the same.
Work with the C major arpeggiopattern and the D
major arpeggiopatternas they are shown on the next
page. Play throughthem until you havememorizedthe
3rd position of the notesand can play through them fairly
smoothly.You'll haveto work out your fingerpositions
so that you can make the transitionswithout fumblin-e.
Onceyou've donethat,takea look at the I-IV-V pattern
in the key of G that is shown at the top of page 132.
5th This patterncombinesG patternnumber2 with the two
C and D patternsshown on the next page. You play
the G patternover the first two measures,the C pattern
over measures3 and 4, the D patternover measures5
and 6, and then end with a slightly differentG arpeggio
7th o pattern(basedon the F-shapeG chord at the third fret).
This is a very fun way to practicearpeggios. Put on a
rhythm track, like the onesprovidedby Brad Davis on
theFlatpickingEssentialsweb site (www.flatpick.comi
essentials)and then play through each arpeggioas the
9th chordschange.Many jazz playersusea similarprocess
when they arebeginningto learnhow to improvise. We
will delve more into that topic when we start to study
jazz and swing musiclaterin this course.

Arpeggio Improvisation
If you playedthroughthe tab that appearson page 132
with a rhythm track and enjoyed doing that, why not
12th expandthat exercisea bit and practicea little arpeggio
improvisation? Working with thosesamethreeG, C,
and D arpeggiosand a I-IV-V rhythm track in the key
of G, go aheadand alter your timing, note sequences,
andphrasingand play to your heart'scontent. Have fun
with it! As long as you stay in time, use the arpeggio
road maps,and keep up with the chord changesit is
going to soundgreat. Try to set up somenice grooves
15th with your timing and phrasing. You may find that you
comeup with a lot very nice soundingmusic.

Arpeggios Summary
As you can see,arpeggiosliterally representlinear
presentations of chords. Chords form the underlying
structure-thefoundation-of all songs.As I discussed
rn VolumeI ,if your chordsarenot definedin your solo,
130 Flatpicking E ssentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
 CArpeggio
Exercise DArpeggio
Exercise
Audio Tfack 2-20 Audio Track 2-27

lst lst

3rd 3rd

5th
sth

7th
7th

9th
9th

12th
12th

15th

15th

17th

Flatpicking Essentials Volume 4: Understanding

131
the Fingerboard & Mouing Up-the-Neck
 |.ru.V
Arpegglo
Exercise Audio Ttack 2-28

andyou don't haveaccompaniment, thenyour audience So there are two ways to practice these notes, one
will not be ableto identify with your music. The chords involvesthinkingaboutthe chordshapesandpositions,
are the glue that holds the solo together,especially the other involves thinking about the arpeggio lines.
if you are improvising and your solo straysfrom the One approachis areaspecific,while the other is linear
melody. If you are playing a solo piece of music on in nature. The arpeggioexamplesin this section of
your guitar and have a strong senseof arpeggios,and the book are aimed at breakingyou out of thosechord
utilize them in your solo, you will be able to createa shape"boxes" and gettingyour mind to think in ways
solo that your audiencewill understandbecauseyour that move you up and down the fingerboard. Having
solo will be stronglytied to the chord changes. both of theseperspectivesin your headand under your
In order to tie your solo closely to an arpeggio, fingerswill be beneficial.
you could simply hold the chordforms asyou practiced
in the first section of this book and that would work I hopethatthroughthis shortintroductionto arpeggios
perfectly. In fact, if you think about it, when guitar you are forming another perspectiveregarding the
players say they are "thinking about chords," or layout of the guitar's fingerboardand the variousways
"holding chord positions,"when they aresoloing,they that you can navigateyour way up and down the neck
are really playing solosbasedon the arpeggiosnotes. while you areplayingsolos.

1.32 Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
 Examples
Song
In the next short sectionof this book, I'm going to In the B sectionI simplified things. I used a sparse
provideyou with five songexamplesthat you can work arrangementand stayedin the areaof Box Pattern3.
with in order to help you learn the fingerboard. One,
"BlackberryBlossom"you've alreadyworkedwith a lot Fisher's Hornpipe: This one was arrangedso that
in this book. Three others,"Fisher's Hornpipe,""Red you'd have plenty of opportunity to practice your
HairedBoy," and"CherokeeShuffle,"you workedwith floating and crosspickingtechniques, Notice that in
in Volume 3. The final tune, "Flowers of Edinburgh" some areasyou'Il be picking acrossmore than three
hasnot beenpresentedin previousvolumes. Practicing strings. This arrangementis also a great right hand
chord positions,scales,and arpeggioshelp to build a picking exercise.Seeif you can identify someof your
foundation of knowledge and experience,however' chord shapepatternsin the crosspickingsectionsof the
ultimately,you aregoingto want to arrangeandperform B part.
songs.So,practicingfingerboardmovementis typically
more interestingwhen you can do it in the contextof a Red Haired Boy: In the A sectionyou will work out of
song. Throughouteachsectionof the book I've tried to two of the box patterns,number3 and number2. In the
tie all of the theoryinto specificsongexamples. first half of the B part you will useopenstringsto move
As I have stated previously, the song examples arounda little bit. Then, in the secondsectionof the B
that I have usedthroughoutthis book are alrangedin part,you will move back to Box Pattern2.
the form of etudes. They were arrangedso that you
could work to learn a specific technique. They were Cherokee Shuffle: In the A sectionof this tune I've
not arrangedwith the idea that the arrangementwould worked in somefloating licks that move you up to the
be one that you could, or should,use in the contextof positionof box patterns3 and4. thenI usea descending
a jam sessionor a performance. In someinstancesthe harmonizedscalerun. In the B sectionI use slidesto
affangementswould be very hard to play at full tempo move up the neck, follow that by a floating lick, then
dueto their complexity. In othercasesthe arrangements a harmonizedscale run. Then I use open notes to
usedtoo much of a specifictechniqueto be interesting move aroundthe neck a little, then I concludewith a
in the context of a performance. They were simply harmonizedscalerun. I tried to pack a lot into this one
exercises. so havefun with it!
The arrangementsof the five songs that I am
presentinghere can also be approachedas exercises. Flowers of Edinburgh: For this one I've included
What I've tried to do with eachsong is includea lot of threeA partsand two B partsso that you'd haveplenty
the techniquesthat you have worked with in this book to work with. In the first A sectionI start in the open
and so my mental processin arrangingthem was one position,thenI usean opennoteto move up to the ninth
of thinking about how I could fit the most number of fret, thenI descendback down-the-neck(goodshifting
techniquesinto one solo, and not on arranginga song practicehere). I then executea slide up to the seventh
as I would play it in a jam or in a performancefor an fret. The remainderof the first A part usesopen notes
audience. to shift positionsseveraltimes.
So go aheadand work through each of thesesong The first part of the secondA sectionis similar in
arrangements with a metronomein the contextof using form. It startsup at Box Pattern3, descendsalong the
eachasan exerciseto help you studyvarioustechniques B string and then slidesback up. In the secondhalf I
in the contextof a song. Below I've listeda few notes start in Box Pattern3, go way up the neck along the
abouteachtune: high E stringand return to Box Pattern3.
The first B partmostly makesuseof movementup and
Blackberry Blossom: You may be sick of this one by down the neck using open strings. The secondB part
now, by I'll ask you to work throughit one more time. is designedto makeuseof the lower pitchedstrings. I
In theA sectionI tried to arrangeit so that it meandered alsoprovidean alternateA partthat is heavyon floating
all over the fingerboardin small steps. Your shifting licks. This one is basedon an arrangement that Orrin
techniquewill come in handyhere,and be usedoften. Star submittedto Flatpicking Guitar Magaz.ine.
r33
Ftatpicking Essentials Volume 4: [Jnderstanding the Fingerboard & Mouing Up-the-Neck
 Blossom
Blackberry

t34 Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
 Fishe/s
Hornpipe

FLatpiching Essentials Volume 4: Understanding 135

the Fingerboard & Mouing Up-the-Neck
 2'31
Audio Track

Red BoI
Haued F

ing IJ p'the'It
d & Mou
the F ingerboar
stund'ing
IJ nder
4:
V oLume
E ssen'tiats
FlatPiching
 Shuffle
Cherokee Audio Track 2-32

Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck

r37
 Edinburgh
Flowersof Audio Track 2-33

Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck

 (con't)
ofEdinburgh
Flowers

Flowers ASection Audio Track 2-33

ofEdinburgh-Alternate'rFloating"

Note: This alternate"floating" A part is based heavily on an

arrangementby Orrin Starthat was printed in Volume 8, Number
2 Volumc of Flatpicking Guitar Magaz.ine.

139
Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
 toGoFrom
Where Here
Congratulations on completing Flatpicking bag of tricks by teaching you advancedflatpicking
Essentials,Volume4t If you've not alreadydone so, techniquesand advancedarrangementsof the songs
the first thing you might want to do afteryou've studied that you havebeenworkingwith thusfar in this course.
all of your chord forms, scales,and arpeggiosis to turn In that volume you will be introducedto concepts,
to the appendix and study a little bit about intervals. ideas,and techniquessuchas falseharmonics,playing
If you've alreadyread through the IntervalsAppendix, harmony duets, more advancedchord-melodysolos,
and practicedthe exercisesin that section,you'll now hybrid picking, note bending,advancedcrosspicking,
want to move on and complete the remainderof the syncopation,alternatetuning,and "quoting."
FlatpickingEssentialscourse.If you've workedthrough Volume7 is titled "Advanced Rhythm" and in that
all of the material in each volume so far, then your are volume you will be learninga lot of new chords. We
half way throughthe course! Congratulations! will add minor chords, 7th chords, 6th chords, 9th
While you've comea long way,I'm surethatyou are chords,diminishedchords,andaugmented chords.Plus
awareof the fact that this road that you are traveling- you will work with chord voicing, chord inversions,
the study of the acousticguitar-never really ends. passing chords, chord substitutions,jazz and swing
There is always somethingbeyond the horizon...and chords,Celtic style rhythm,and many other advanced
I'm not just talking about Volumes5 through8 of this rhythm and groovetopics.
course. I'm also referring to more work with material ln Volume8, you will studyhow to solo in stylesand
that you havebeenexposedto in this volume. genresbeyond bluegrassand fiddle tunes, including
This volume hasgiven you enoughinformationabout Celtic, swing, andjazz.
the rudimentsof music to get you started. In order to
continueto learn and improve,you will want to work As you continueto practice,rememberto be consistent,
with scales,chords,and arpeggiosfor the remainderof and havea written,deliberatepracticeplan that is based
your musicallife. No matterhow proficientyou get,you on the achievement of small,reachablegoalseveryday.
can never learn enoughabout,or have enoughpractice Good luck and good pickin'!
with, the fundamentalprinciplesof music. So, as long
asyou have that guitar in your handsI recommendthat
you continueto work with and explorethe materialthat
I've presentedin this book. This materialwill continue
to inform everythingthat you do in music. However,
you can also move forward with this coursewhile you
are at it!
The materialthat you will study in the remainderof
this coursewill be basedon the materialyou've been
learningand practicingto date. ln Volume5 Tim Muy
and I are going to give you exposureto some of the
"classic"flatpickinglicks and phrasesby presentinga
study of flatpicking styles. We will be taking a look
at how the guys that are our flatpicking heroes-like
Doc Watson,Tony Rice, Norman Blake, Dan Crary,
ClarenceWhite, Charles Sawtelle,Pat Flynn, David
Grier,andothers-have utilizedthe techniques thatyou
havebeen learningin the first four volumes order to
in
developtheir uniqueflatpickingstyles. Along the way
you will also be exposedto somenew techniquesthat
we haveyet to discuss.
Volum.e 6 is titled "AdvancedFlatpicking,"and in
that volume we will continueto add to your flatpicking
140 Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
 Appendix
Intervals
An "intervalo'is definedas the musical"distance" quantity is definedby the scaledegree. For instance,
betweenany two notes. At the beginningof the scales sincethe C noteis the 4th noteof the G scale,the interval
section of this book you learnedthat the "distance" between the G note and the C note is referred to as a
betweenthe two notesthat sit right next to eachother "fourth." I have usedthis interval naming convention
on the guitar's fingerboard(onefret apart)was referred in all of the volumesof this book, so the quantity aspect
to as a "half-step" and the distancebetweennotesthat of naming intervalsshouldbe familiar to you'
were two frets apartwas calleda "whole step." The G# There are two specialquantitiesthat are not
note is a half-stepdistanceaway from a G note. An A referredto by their scaledegreenumber,"unison" and
note is a whole-stepdistanceaway from a G note. A B "octave." The term "unison" is used tO describetwo
note is four half-steps,or two whole steps,awayfrom a notesthat are exactly the same-you could call it the
G note. AC noteis five half-stepsaway from a G note, Zerointerval. The term "octave" is used to describe
etc. Every note is some numberof half-stepor whole notes that have the samename, but are 12 half-steps
stepdistanceaway from any other note. apart. In otherwords,it is the distancefrom one G note
Counting the half-step or whole-step intervals on the fingerboardto the next higher pitched G note.
betweennotes in a scalein order to define the relative It could be referredto as an "eighth," but insteadit is
distancebetweenthem can get cumbersome.While it calledan octave.
is accurate,it is an inefficientnomenclatureconvention. The quality aspectof naming intervals is based
In order to make it easierto identify intervals,another on five qualities, as follows: major, minor, perfect,
systemof namingintervalswasdevisedwhich consists diminished,and augmented. Without getting into the
of to parts-the interval quantityand the quality. The reasonwhy,in a majorscaletheunison,fourth,fifth, and

ofG
intheKey
Intervals
Major Second MajorThird PerfectFourth PerfectFifth
o

Major Sixth Major Seventh PefectOctave

@

t47
Flatpicking Essentials Volume 4: [Jnd.erstanding the Fingerboard & Mouing Up-the-Neck
 Chord Intervals
(Triad Formulas)

Triad Formula Scale Intervals Example

Major Majorthird,
Minorthird lto l, tov GroB, BtoD
Minor M i n o r t h i r dM, a j o r t h i r d tto t b,t btov GroBt,BbtoD

Diminished Minorthird,Minorthird tto t L btoV GtoBt,BttoD

Augmented Maiorthird,
Majorthifd ltollt, tov# GtoB, BtoD#

octave quantities have the quality of being "perfect." distance between triad notes in a chord, you can talk
The qualities assigned to the second, third, sixth, and about their respective intervals as shown in the chart
seventh scale degrees in a major scale are referred to above. Take a look at the chart and you'll see that a
as "major." See the chart at the bottom of the previous major triad has a major interval between the lst and 3rd
page for the names of all the intervals in a major scale. scale degrees and a minor interval between the 3rd and
OK, that covers the interval namesof eight notes of a fifth scaledegrees.A minor triad hasjust the opposite.
major scale,but, you may be thinking, "What about the It has a minor interval between the lst and 3rd scale
other notes?" There are severalways to determinehow degrees,but a major interval betweenthe 3rd and 5th.
the other intervals are named. One is the "derivative" Ifa triad has a minor interval betweenboth the lst and
method,which derivesthe other namesfrom the names 3rd scale degreesand between the 3rd and 5th scale
and positions of the notes in the major scale. I'll use degreesit is called a diminished triad. Ifboth ofthose
that methodhere. intervalsare major, it is called an augmentedtriad.
In order to derive the namesof all of the intervals in Another handy thing to know about intervals is "the
the chromatic scalefrom the intervals in a major scale, Rule of Nine" as shown below. From the right side of
the rule of thumb is that if you move a half-stepdown the chart you can see that the interval between the G
from the "major" quality, you call that note a "minor." note and the A note that is located a whole-stepabove
In other word the interval that is a half-stepdown from
a major third is a minor third. lf you move a half- Interval Inversions &The Rule of Nine
step down from a perfect interval, that new interval is
referredto as "diminished." If you move a half-step .^, Major Second .^.
up from a perfect interval, that new interval is called --'-;
Minorseventh 71
"augmented." For example,an intervalthat is a half- r-vfr
stepdown from a perfectfourth is called a diminished
MajorThird
fourth. An intervalthat is a half-stepup from a perfect -
! p1;ner
Sixth .'-..
fourth is called an augmentedfourth. 3-o=J
irl-uj
The charton the next pageshowsthe intervalnames
for all of the intervals in both the major scaleand the .^, PerfectFourth ,--
chromaticscale. Notice that the two notesin the boxes '='-;g perfect Fifth .^.
are actuallythe samenote,but they havedifferentscale lyR
degreenames,or different quantities. Thesenotesare
.^. Perfect Fifth .^.
referredto as "enharmonic." In other words a G# note '--'- perfectF,
and an A flat note sharethe exact samepitch and are
ffi 5+4=e
played on the exact sameposition on the fingerboard.
Becausetheir quantity (scaledegreename)is different, .^. Major Sixth
their interval name is also different, even though the -r-MinorTh ttd
pitch is exactlythe same. ,..g' (O 6+3=9
Now that you know interval names,you can use
them to describe the musical distance between any s.".\O
faj1.t
two notes. For instance.when you are referring to the \:,/
){ Minorsecond ,....
€-s/'i-2=>
142 Fhtpicking Essentiqls Volume 4: lJnd,erstanding the Fingerboard. & Mouing IJp-the-Neck
 Major Scale Chromatic Scale
Intervals Intervals

G Perfect (/nison G Perfect (Jnison G

G Augmented Unison

Minor Second
G

Major Second Major Second

A G A
Augmented Second
G

Minor Third
G

Major Third Major Third

G B
Perfect F ourth Perfect F ourth
C G C

G Augmented Fourth

Diminished Fifth
G
Perfect Ftfth Perfect Ftfth
D G D
Augmented Fifth
G

Minor Sixth
G
Major Sixth Major Sixth
E G E
Minor Seventh
G F
Major Seventh Major Seventh
F# G

Diminished Octave
G
Perfect Octave Perfect Octave
G G G
143
Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
the G is a major second.However,the intervalbetween an ascendingperfectfourth interval in G, you'd move
thosetwo notesis not always a major second. If the A from the G note up to the C note. If we looked at the
note is below the G note in pitch, the interval will then sameinterval,but descenddown from the G note, the
be a minor seventh. You always referencethe interval descendingperfect fourth interval would land you on
from the lower pitchednote. So, moving from A up to the D note. Since the descendingperfect fourth (G
G, you'd work with the A major scale. In the A major down to D), can also be reversedand looked at as the
scalethe G# note is the major seventh,so the G note ascendingperfect fifth (D up to G), the Rule of Nine
(a half-steplower than the major seventh)is the minor still applies.This is just anotherway to look at it.
seventh. When you move from the perspectiveof the
interval from G up to the next higher pitched A note, Practicing Interval Exercises
then look from that sameG down to the next lower A Therearemanymoreinterestingthingsthat we could
note, that is called an "interval inversion." The scale study about intervals,like "extended"intervals(9ths,
degreesof intervalinversionsfollow "the Rule of Nine" llths, l3th, etc.),but we will leave thosealone for
as shown on page 142. The Rule of Nine saysthat if now. Naming intervalsis less importantthan working
you move from any note up to anothernote, and then with intervalson your guitar in order to learn how to
move from the sameroot, down to the lower pitched recognizethem by ear. If you play through the tab
note of the samename,the two scaledegreesadd up to shownbelow you can get a sensefor how eachinterval
nine. Take a look at the chart on page 142 and you'll in the G major scale soundsrelative to the root note
get the idea. (G). If you can recognizeeachof theseintervalsby ear
it is saidthat you havegood "relativepitch."
Ascending and DescendingIntervals Working to recognrzeeach of theseintervals by
The Rule of Nine pertainsto moving from a root note ear is the first goal of any ear training method. If you
up to a give note,say the A note, and then down to that practice the exercise below, and the exercisesthat
samenoteat a lower pitch. So, the relativenotesstayed I've presentedon the next two pages,you can start to
the same,but the interval name changed.However,we developthe ability to recognizetheseintervalsand find
can also look at this processfrom anotherperspective, them on the fingerboard. Notice that for the intervals
one where the interval name stays the same,but the presentedon the next two pagesI've only shown the
note names change. In other words, if we looked at

Playing
Intervals
Relative
totheRoot Audio Track 2-34

Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck

 Intervaf
Exercises
Audio Track 2-35
Thirds

Fourths

Sixths

Flatpicking Essentials volume

4: (Jnclerstand,ing
the Fingerboard
& Mouing (Jp-the-Neck
145
 Interval
Exercises
(con't) Audio Track 2-35
Sevenths

ascendingversion.You can work out, andpractice,the listen to the interval and work to etch it into your brain
associated descending intervalson your own. as a musical frame of reference.
There is great value in being able to make the
connection between each auditory interval and the SongAssociation
position of thoseintervalson your guitar fingerboard. Another way to start to recognrzeintervals is by
Every songthat you will play on the guitaris basedon songassociation.Study somesimplemelodiesand see
relative intervalsbetweennotes. when you practice if you can discover a referenceto each interval in the
scales,there is a consistentpattern to the intervals, first two notes of a song that you know by heart. For
however,in songsthoseintervalsareeverchanging.If instance,in the song"somewhereover the Rainbow."
you can hear intervalsand immediately find them on The interval betweenthe first two notesof the melody
your guitar,thenyou can play whateversong,lick, riff, (the notes associatedwith the singing of the words
or chordthat you hear! That is the goal of ear training. "Some" and "where") is a perfectoctave. If you have
You want to be able to hear somethin,e,whether it is that songassociationin your head,you can easilysing
with your ears or just in your head,and then play it or hum that interval.
on your guitar. Practicingintervalexercises, like those Singing or humming an intervalwithout a point of
presentedin this appendix,will help you begin to referencecan be very difficult, however, if you have
developthat skill. an easy frame of reference,like the first two notes of
When you practicetheseexercises,play them at a a song,it makesthings much easier. In order to build
very slow tempo and really focus on trying to hear the a frame of reference for each interval, simply play
interval. See if you can establishin your brain some through some of the simple song melodies that we
sort of auditory uniquenessfor each interval. when worked with in volume 2 and see if you can identify
you practicethe first exercise(shownon page 144),go variousintervalsby just looking at the first two melody
aheadand say the intervalnameas you play it. Don't notes.
just mindlesslyplay through these exercises.Realry
t46
Flatpicking Essentials Volume 4: (Jnderstand.ing the Fingerboard. & Mouing Up-the-Neclz
 The first two notesof "You Are My Sunshine"area Common DescendingAssociations:
perfectunison interval becausethey are the samenote. Here is a list of songs that are associatedwith
For "Will The Circle Be Unbroken" we have a major commondescendingintervals:
third. For "She'll Be Coming Around the Mountain" Minor Second:Joy to the World
we have a major second. The flrst two melody notes Major Second:Mary Had A Little Lamb, Three Blind
of "I've Been Working On the Railroad" area perfect Mice
fourth. Go throughall of the songsthatyou havelearned Minor Third: Star-Spangled Banner,Hey Jude
and identify the intervals in this way. Some of them Major Third: GoodnightLadies, Swing Low Sweet
will really pop out and strongly identify the interval. Chariot, Summertime, Beethoven's Fifth (between
Use those examplesas your frame of reference. Sing third and fourth notes:Da Da "Da-Da")
or hum the interval and try to eet that referencelodeed PerfectFourth: Oh Come All Yee Faithful
in your brain. PerfectFifth: Feelings,The FlintstonesTheme
Minor Sixth: Love Story Theme
Common Ascending Associations: Major Sixth: NobodyKnows the TroubleI've Seen
Below I've listed the most common ascending
intervals with associatedsongs. Take a look at each, Get out your guitar and explore theseintervals in
sing the first two notes and seeif you can identify the associationwith these well-known songs. Any tool
interval. that you can useto get theseintervalsin your headwill
Unison: Twinkle Twinkle Little Star. You Are Mv be helpful.
Sunshine,Happy Birthday
Minor Second: Wildwood Flower,Themefrom Jaws Studying intervals is a very important part of
Major Second:FrereJaques,SilentNight ear training. Run through the exercisesand song
Minor Third: Greensleeves, SmokeOn The Water associationsin this appendix and it will greatly help
Major Third: She'll Be ComingAround the Mountain, your ear training progress. So that your earsand brain
When the SaintsGo Marching In do not get confusedwith theseintervals,I suggestthat
Perfect Fourth: Red River Valley, Amazing Grace, you work with one at a time until you can recognize
Here Comesthe Bride that interval before you move on. For instance,start
PerfectFifth: Star Wars with the perfect unison and perfect octave as those
Minor Sixth: The Entertainer(big interval after pick- are probably the easiesttwo intervalsto recogntze. I
up notes) would then move on from there and really drill the
Major Sixth: My Bonnie Lies Over the Ocean,"N-B" perfect fifth, then the major third (two of your major
C from NBC theme triad tones),andthenwork on the perfectfourth. If you
Minor Seventh: StarTrek theme can learnto recognrzethoseintervals,youwill be well
Major Seventh: FantasyIslandTheme on your way to improving your ability to utilize your
Octave: Take Me Out to the Ball Game, Somewhere earto find songmelodies.
Over the Rainbow,The ChristmasSong

ScaleDegreeNames: Throughoutthis book,I've referredto eachnotein the majorscaleby its associated

scaledegreenumber. However,you may alsorun acrossbooks,or individuals,who referto themby their
"scaledegreename." Just so you have that information,here is a quick run down of the scaledegree
names:

ScaleDegree: First Second Third Fourth Fifth Sixth Seventh Eighth (Octave)

Name: Tonic Supenonic Mediant Subdominant Dominant Submediantor Leading Tone Tonic
Superdominant

t47
Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck
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148 Flatpicking Essentials Volume 4: Understanding the Fingerboard & Mouing Up-the-Neck