Antony Nispel Fretboard Rosette

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Fretboard Rosette:

A key to mastering the guitar

Antony Nispel

Paidia Academic Press(408) 971-0810

[email protected]

895 N. 7th St.

San Jose CA 95112


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This work is dedicated to two exceptional music teachers and friends who inspiredme: Edward Rodriguez and Arta Rollins

Copyright 2003 by Paidia Academic PressAll Rights Reserved

This volume may not be reproduced in whole or in part in any form without written permissionfrom the publisher.

Printed in the United States of America


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Foreword

The title,Fingerboard Rosette, is a play on words that captures the essence of this

book. The guitar fingerboard supports enumerable scales, arpeggios, and chord patterns

that evokes the image of the beautifully woven pattern that encompasses the guitar sound

hole, called a rosette. Also, the word rosette reminds me of the historically important

Rosette Stone, which served as a decoding document for reading ancient Egyptian hiero-

glyphics. The goal of this book is to provide the aspiring guitarist with a key to under-

standing and mastering what appears to be a bewildering guitar fretboard. These concepts

should begin to crystallize with diligent practice, serving as a foundation for making senseof the million and one variations the guitar is capable.

The idea for writing this book came about from a nagging discontent I had with my

conventional guitar knowledge: although I could play by ear and sight read, I did not feel I

had a good command of the guitar neck. The popular method book, The Mel Bay Modern

Guitar Methodtaught me that there were 12 positions on the guitar neck without discuss-

ing where these came from and why these and not others were important. The Carcassi

Methodtaught me how to play beautiful etudes in each key but it did not explain how

these keys are interrelated. So when I began to teach students of my own, it was natural to

think critically about how the guitar neck worked in order to help my students learn

quickly.

My findings are significantly different from most other guitar books, for I show that

the guitar lends itself to side-to-side analysis, rather than the traditional bottom to top anal-

ysis of the fretboard. This approach drastically conserves both the amount of fingering pat-

terns the student must learn and the amount of hand movement involved in order to

master the guitar neck.

There are three parts to this book. The first part is practical: I introduce the beginning

student to the concept oflateral translation and apply it to the simple major, minor chords

and pentatonic scales. Next, the student advances by applying lateral translation to major

and minor diatonic scales, arpeggios and advanced chords. I limit the scope of the chord

demonstrations to only those in root position. I think these other items are best mastered


8/1086 Fretboard Rosette: A key to mastering the guitar

once you know how to sight read (see my companion book:Reading Rosette: A key to

mastering essential scales and arpeggios). Nevertheless, the essential concepts pre-

sented here will apply to those other chords and the diligent student should be able to

anticipate them without too much trouble. The second part will help a student to system-

atically develop their finger-picking coordination. Part three deals with the first princi-

ples of harmony. It covers the origin of the pentatonic and diatonic scales along with

their intervals. It also explores the properties of musical cadence so the student can better

understand and predict the chords of a song.


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Fretboard Rosette Table of Contents 7

Contents

Foreword 5

The Major and Minor Chords 9

Introduction: Pentatonic Scale Tones 15

Scale practice 16Blues Improvisation Using the Minor Pentatonic Tones 20

Vertical Transposition 23

Lateral Translation for Scale Forms 27

Minor and Major Diatonic Scale Patterns 34

Triad Patterns 42

The Moveable Key Patterns 47

Complex Chords 53

Arpeggios 62Developing Dexterity in the Picking Hand 69

Origins of the Pentatonic Scale 75

Origins of the Diatonic Scale Tones 78

Derivation of the Just Major Scale 86

Steps 88

Temperament 89

The Harmonic Scale: the Key to Music 91

The Cycle of Fifths 92Dynamic Harmonic Elements 94

History of the Guitar 101


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Contents

8 Fretboard Rosette Table of Contents


11/108Fingerboard Hand Development 9

The Major and Minor Chords

First there is the E chord

The guitar seems to be built with the E

-major chord in mind, since the first and last "open" strings are

both E

-notes. The open-position E

-chord is illustrated as follows:

This chord also spells 6 tones of the harmonic series

(See page 99)

along the E

string: E-E

1

-B-E

2

-B

1

-

G

#

-D-E

3

. If you produce harmonics by laying your left-hand finger lightly above the E

string as you

pluck the note with your right hand at positions 1/2, 1/3, 1/4, 1/5, 1/6, 1/1, you will hear the harmonic

series tones that make up the E

chord. This is a remarkable fact about the guitar and serves as a corner

stone for your deep understanding of how it works. You only need to consider one other fundamental

property of the guitar to gain a comprehensive understanding of how all major and minor chords relate to

the E

chord and its harmonic series of tones.

The Logic of the Guitar Neck

If you already know how to perform relative tuning

on your guitar, you may be familiar with the con-

cept I present here. The open string tones of the guitar (playing each string without any fretting) are orga-

nized so that as you jump from one to the next, the tone advances asub-dominantinterval. This simply

means that the subsequent tone sounds 4/3 the frequency of your previous tone. For example, from the

Figure 1: Open E chord

CHAPTER 1

Practical Section


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Fingerboard Hand Development 11

Translating the major open chord patterns

A key is made up of tones according to a strict mathematical formula. Two of the most important

intervals within harmony are the root

and

subdominant

intervals (see page 94)

, whose tones vibrate 4 / 3

frequency apart. But you know from the principle of lateral translation that the subdominant tone is

located at the string next door. This is very convenient because we can translate our root chord to its

subdominant by mapping each fingering one string over as shown below (See figure 3)

:

This will maintain the 4/3 frequency difference necessary to create the subdominant chord tones.Recall, however, that between the B

andC

string, there is a smaller interval, a major third

, so that to

maintain a subdominant difference, you must compensate by moving up one fret when translating this

fingering. Take a look at the complete set of major chords in the open position and see

Figure 3: Lateral translation example of open position chord, E to A major.

Like, I've never had guitar lessons, bass lessons, piano lessons, music-writinglessons, song writing lessons, or horse-riding lessons, for that matter, or paint-ing--I do some of that. I always jump into things, and so by the time I'm ready

for my first lesson, I'm beyond it. I always did try to have music lessons. Ialways tried to have someone teach me to notate music, because I stilldon't know to this day.

Paul McCartneyGP May "90


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12

Fretboard Rosette: A key to mastering the guitar

how they follow the principal of lateral translation:

You might also be wondering what happens to the tone at the end right edge of the guitar neck (on the

1st string)? The guitar neck simply repeats itself, because this is an E

notethe same E

note you began

withbut two octaves higher. Therefore when you translate the fingering from this string, it becomes the

fingering of the A

string (5th-string), once again. Also, you will notice that some of the fingerings are

optional. I do not recommend most of these because they change the normal order of the standard 3-note

chord where the root note should come first. When you can visualize subdominant chords by lateral trans-

lation, you have a nice way of remembering your chordsparticularly the important ones in the key of

songs that you learn. Of course you do not want to sit there thinking about each chord as you play your

song. Therefore I recommend that you practice the lateral sequence daily as a drill until you become

skilled at it.

Figure 4: Lateral translation of open position major chords

Practice is the best of all instructorsPublilius Syrus


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Translating the minor open chord patterns

Just as the major chords of the guitar correspond to the overtone-series, so does the minor chords,

select tones of the undertone series (see page 100)

: E

4

-Fb

4

-B

3

-A-E3-G3-B2-E2Like the major chord

scheme for demonstrating all major chord forms by the method of lateral translation, we can do the same

for the minor chords:

The open minor series of chords should be easy to learn if you think of the principal of lateral transla-

tionespecially if you already know the major chord series well. Just work your way across the guitar

Figure 5: Open Em-chord

Figure 6: Lateral translation of open minor chords



neck as you did for the open-major chord forms. You may find the chord form translation from Dm to Gm

less intuitive than the others because the guitar neck seems to run out of room. What happens is that we

reduce all the notes by 2 octaves so that the translated form begins to appear at the other side of the guitar

neck. You may study the figure above to see how the translation works.

Do you have an overall philosophy you try to impress on students?

No. In fact, my philosophy in terms of teaching has been to make people

aware of what their weaknesses are. But that is not really true, either,because with each person it is different. Some people really need to be

encouraged that it is possible for them to become good players, and other

people need to be made aware that there are things that they should work on

other than what they have already got together. Players get to that interest-

ing level where they can already play pretty good, and that is kind of a dan-

gerous period because they tend to start playing only things they can play

well instead of things they can not play well. This is especially true of people

who are interested in improvisation. It is very difficult to masteror even get

together at allbeing able to play on chord changes. It is one thing if one is

a very good modal player, but to actually be able to play on changes is a dif-

ficult thing that sometimes gets ignored. Learning that can help your modalplaying too.

Pat MethenyGP Dec. 1981



Introduction: Pentatonic Scale Tones

There is no scale as ancient, simple, and beautifully expressive as the pentatonic. Its harmonic integ-

rity makes the playing of unpleasant melodies almost impossible (see page 75). Perhaps this is why most

popular musiccountry and blues, jazz and folk uses the pentatonic. Also, from the student point of

view, the pentatonic is useful because it serves as stepping stones to the more complex diatonic (7-tone)scales (see page 86).

There are two sides to mastering the pentatonic scale tones: by practicing scales and by improvisa-

tion. These two ways of practicing the scale-tones are not interchangeable, for scales are used to achieve

fluency, while improvising helps you to achieve melodic excellence. First, I will explain how to execute

scales, then I present an improvisational approach to mastering the pentatonic tones.

Let us begin the important pentatonic scales in the open position.

Chords underlying the open position pentatonic scale patterns

One of the important characteristics of the pentatonic scale patterns is that they can be thought of as

extensions to underlying chords (this is true for most other scales as well). For example, within the Em

minor pentatonic scale pattern, you will find the Em chord. This is a helpful feature for learning the vari-

ous scales because you will be building on your chord knowledge to conquer the unknown scales. More-

over, when performing, you will often want to play the scale patterns between strumming the wholechord that belongs to it.

To learn a new scale, assume the chord fingering as a general finger position reference and begin from

rootnoteusually the lowest note of the chord pattern. Study the Examples of the important open position

What are the limitations of the guitarist?

Your own ability, your own incapacity, your own lack of inspirationas Paco says, you work, you

fight against these limitations in the hope that you have one night where you fly like an eagle. And

when that happens, it makes everything worthwhile. That moment of freedom is the happiest thing in

the world, the most satisfying, the most of everything you can think of.

John McLaughlinGP March 1981


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out in tablature below: For the sake of symmetry, play the simple country pentatonic scale too.

Below is the open position country pattern for the key of G. Notice that it uses the same scale box as

the open-E blues pattern, but begins and ends on different notes:

Ascend entire scale in open position, and return as written in tablature form below:

While scales are primarily played in sequence from the root to the octave note, there are many varia-

tions that will enhance your fingering technique. Not only will these scale variations strengthen your fret-

board fingers to play nimbly, they will also coordinate them to play in sync with your string-plucking

fingers to achieve a smooth, confident sound.

Figure 9: Simple Em pentatonic scale drill

Figure 10: Open G major pentatonic scale pattern

Figure 11: Simple major pentatonic scale drill

T

A

B 0 20 3

0 20 2

0 30 3 3 0 3 02 0

2 02 0

3 0

T

A

B0

0 23

00 2

2

0 3 33

03 0

2 02 0

2 03



Try the following patterns:

-- Ascend 2 notes and descend 1; when you arrive at the final octave, return.

Figure 12: Up 2, back 1 major and minor pentatonic scale drill

T

A

B0 3 0 3

0 0 23

00 2 2

0 2 0 2

5

0 0 22

00 2 2

0 3 0 30 0 3

3

9

0 03 3 0 3 0

20

2 0 2 0 02 2

13

0 2 0

2

0

2 0 2 0 03 3 0 3 0

Open Pentatonic Scale(2 up; 1 back)


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pattern:

Notice how the Am-chord, which is the principal chord of the key, signified by the chord function I,

gets four measures before the Dm6-chord (chord function IV6) gets two measures, etc. Altogether, this

adds up to 12-bars or measures.

The general chord function formula for these 12-bar blues is:

Of course the formulation above will describe 12-bar blues in any key. Have a friend perform these

rhythm chords or tape them yourself so that you can practice playing the lead or melody parts to the pro-

gression. Soon you will be able to improvise over the minor pentatonic scale notes while getting a won-

derful feel for this music.

Helpful tips

The following are some helpful tips to improvise by:

1) As a beginner, it is easy to over-do the lead guitar playing. Remember that often times less ismore, so try sticking to two or three notes played slowly, soulfully, and evenly over this simplerhythm.

Figure 14: 12 bar blues cadence example in G

12-bar blues cadence by chord functions

I I I I

IV6 IV6 I I

V7 IV6 I V7

Am Am Am Am

5 Dm6 Dm6 Am Am

9 E7 Dm6 Am E7


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Figure 16: Closed major chords derived from open chords



Again, see how the minor open chord forms are changed to create closed ones:

Figure 17: Closed minor chords derived from moveable open chords

I practice every daysometimes even longer than five minutes! You canpractice subconsciously, you know, and if you're watching TV, it's better tohave something strapped around your neck than not. But you're not gonnaget in there if you don't practice. You have to sit there until you get it right.

Jeff BeckGP May 2000



Modal Playing: Following the Chord

As you improvise with the pentatonic scale tones, you will soon find that certain tones sound better

than others, relative to the particular chord that is being played. For example the C-note will sound good

when the C-chord is being strummed. The reason for this is that the pentatonic scale is built around the

chord which gives it its nameas you learned for the open position pentatonic scale patterns (See page

77). An extension of this principle is to play the pentatonic scale modallythat is, playing the scale tones

such that you shift to the scale pattern for each chord played in the cadence. For example, when the

rhythm chord is G, play the G-major pentatonic scale. When the chord switches to, say, C, play the C-

major pentatonic scale. This modal playing also works well for the blues, however, beware: while provid-

ing greater refinement in your lead guitar work, it is a bit more tricky to handle. Remember that you can

always fall back on the single scale pattern of the key. You will not be able to do much modal guitar work

unless you know how to play a variety ofclosed scale forms, particularly with the pentatonic scale.

Closed form pentatonic scales

Corresponding to the closed form chords are the closed pentatonic scale patterns that you would play

away from the guitar nut (the thick white fret at the beginning of the fretboard). For example, the Em-

pentatonic pattern at fret zero (the "open position") played at the first fret becomes the Fm-pentatonic

scales, just as the Em- becomes the Fm-bar chord. (Note that the tones which were stopped at the nut

have to be fretted when moving horizontally. In effect, you learn to play the open positions as variations

of the moveable scale patterns). Finally, it is good to practice a scale pattern by progressing and regress-

Basically, I learned through dividing the neck into positions, where thechords were in their various forms. It's a good way to practice. Take E, forexample, and find the chord in each of its forms all the way up the neck.Then learn the scale in each position to go with it. I see everything in visualpatterns in my mind. But it was always the chord that came first. For exam-ple, when I practice I'll play major, minor, diminished, and augmentedscales. I really don't know the technical names for them, and I don't knowwhat half the chords I use are. But I know for every chord there has to be ascale that fits it. And I find those notes on every position on the neck. Youdo this enough, you'll get the whole neck programmed into your mind.Playing by ear really is a feeling. But it only comes with the knowledge ofthe neck. It has to be ingrained in your mind ahead of time.

Roy Buchanan

April 1983

Guitar Player Magazine


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begins on the next string overthe A string. The shape of the scale, which I will refer to as its pattern, dif-

fers only on the B-string. For example, in the fretted notes along the G-string, G and A, shift upward one

fret to notes C and D, during the lateral translation.

Once you can visualize this relationship and generalize it for other scale patterns, you will possess a

rich organizing principle of the guitar that will allow you to quickly acquire scale patterns and arpeggios

with little trouble. Of course, merely visualizing these patterns is not enough. You should also practice the

patterns you learned from lateral translation by playing adjacent scale patterns, one after another (i.e. Em-

to Am- to Dm- to Gm- to Cm- to Fm-pentatonic, etc.), in order to make these transitions second nature.

The following chart is the complete set of closed scale patterns for the minor pentatonic scale in a sin-

gle position. Just as in the case when you learned the open position pentatonic patterns, you should imag-

Figure 19: Lateral translation of a pentatonic scale

I like to play rhythm guitar and then think about what the solo is going to be if I want

a really spontaneous, bluesy, rocky soulI will make an attempt. I can do that

sometimes...

Do you think playing Indian music and the Sitar has influenced your slide-guitar

playing?Absolutely.

George HarrisonGP Feb. 1987



ine the underlying chord of each scale as a general reference.

You will also want to learn the closed major pentatonic scale patterns as follows: Fretboard System of

Figure 20: Closed patterns minor pentatonic scale patterns with their underlying chords

You do not want to play like B.B. King, you do not want to play like JasObrecht or somebody else. You want to be you. So what you do is listento Jas, listen to B.B., listen to anybody else you like. I do not use the wordsteal, but try to borrow a little bit from each guy, if you can. Youapply that to yourself, like learning to read or write. You hear wordsthat you like, and you add that to your vocab, but you do not try toalways sound exactly like the other one. And like that you become you.

B.B. King

Jan. 1998

Guitar Player Magazine



Closed Chord Patterns:

With lateral and vertical translation, you realize that similar fingering patterns occur throughout the

fretboard, where the tonal value changes. However, the fretboard also has the opposite characteristic

where the same notes can be played in a different fingering pattern.1For example, an E major chord in the

open position sound similar to an E major chord played at the 3rd fret, having an entirely different finger-

ing patterna closed D form. Keep in mind that the fretboard system of closed patterns is relative to where

you start on the fretboard: the name of the closed chord patterns depends on the fixed value of the root

note of the closed chordsin other words, the actual note on the fretboard over which you begin the closed

chord pattern. Furthermore, the system applies equally well for the scale patterns based on the underlyingmajor and minor chords, so that, for example, an open Em pentatonic scale pattern can be played as a Dm

Figure 21:

1.These patterns are sometimes referred to as the CAGED pattern because the vertical sequence of chords spells -C-A-

G-E-D-



pentatonic pattern at the beginning of the 3rd fret.

Figure 22: The Fretboard system of closed chord patterns


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Figure 24: Fully extended pentatonic scale patterns


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Extending the pentatonic scale patterns to learn the diatonic scale tones

If you already know the major pentatonic scale patterns, you can readily learn the diatonic patterns by

simply adding a 4th and 7th tones. For example, to a C major pentatonic scale, C-D-E-G-A-C, you would

add the F and B notes to create the 7-note diatonic major: C-D-E-F-G-A-B-C. This fact should make it

easy to learn the various diatonic major scales. Below are the open pentatonic scale patterns with the dia-

tonic notes added:

Figure 26: Open position major pentatonic scale patterns with diatonic notes added

Many people have asked me how to become an excellent guitarist. Ianswer, Be a hard-working perfectionist, which personally makes upfor my lack of talent in a lot of areas. Our goal should be to overcomewhat we lack in talent or ability by what we have in dedication and com-

mitment. This takes self-disciplinethe ability to regulate your conductby principles and sound judgment, rather that by impulse, desire, highpressure, or social custom. It is the ability to subordinate the body towhat is right and what is best. Self-discipline means nothing more thanto order the priorities of your life. It is the bridge between thought andaccomplishment, the glue that binds inspiration to achievement.

Chris Parkening

Guitar Method, Vol. 2

The Chris Parkening


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Below are the closed pentatonic scale patterns with the diatonic notes added:

The characteristic of extending the pentatonic to create the diatonic scale patterns is also generally

true of the melodic minor scale patterns, however the resemblance is not striking: the 2nd, and 6th note

are added and the 7th note is raised the last note of the pentatonic scale. It is better to learn the minor dia-

tonic scale patterns as altered major scales.

Figure 27: Closed major pentatonic scale patterns with diatonic notes

leave us that musical mode that would fittingly imitate the utterances and the

accents of a brave man who is engaged in warfare or in any enforced busi-nessAnd another for such a man engaged in works of peace, not enforced butvoluntary

Plato


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Diatonic Scale Patterns

The complete set of major scale patterns are posted below:

The Melodic Minor

The melodic minor

scales follow the same logic as the major scales, however they are complicated by

the property that you run up the scale differently than you run down. The ascending step pattern

has half

steps (see page 88)

between the 2nd and 3rd, as well as the 7th and 8th tones. Yet when you descend,

there are half-steps between the 2nd and 3rd, 5th and 6th tonesnot the 7th and 8th tones. The ascending

section of the scale is a compound of the natural minor scale for the first four notes, and the major scale

for the last four notes. The reason for the inclusion of the major scale pattern in the last four tones of the

ascending scale is an open question. Some musicologist argue that the imported half step between the 7th

and 8th tones of the major scale provides a leading tone push towards the final note of the scale. The

descending portion of this minor scale is the natural minor

scale tones. The practical result of this asym-

metric property is that you must learn two patterns for each keyone for ascending and another for

descending. Think of the minor scale pattern as a major scale where the 3rd tone is lowered a half step

(one fret), while traversing upward and lowered a whole step (2 fret) descending from tones #8 to 7 and 7

Figure 28: Low and high major scale patterns


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to 6. The following chart shows the minor scale patterns starting at the low finger position

:

Figure 29: Minor scale patterns starting at low starting point

People have heroes, and they copy themI mean, we copied things very care-fully when we started. But you do not get this picture and then do everything tofit it. You do what you do. The musicians are there to contribute to the bandsound. The band isn't there for showing off solos or egos. A lick on a recorditdoes not matter who played it. All that matters is how it fits. The chemistry towork together like that has to be there. You have to work on it, alwaysfigureout what to do with it. But basically it is not an intellectual thing you can thinkup and just put there. It has to be there. You have to find it.

Keith RichardsGP Oct. 1976


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The following chart shows the minor scale patterns starting at the high finger position

:

Figure 30: Closed minor scale patterns

How important do you think chops areexecution, facility on the neck, dexterity?

I think it depends on what kind of music you want to play. If what really moves you is music that

has a lot of notes in it, then you have got a lot of hard work ahead of you. On the other hand, if the

music that really gets you is accompanying yourself on folk guitar, then there is not as much asor,

actually, I suppose you could put as much effort into that and become the greatest fold guitarist in

the world. To me, everybody finds their own path in terms of technique. It gets me when the tech-

nique becomes the featured item. It is almost like somebody who spends hours polishing the water

faucet thinking that is going to make the water pure or tastier. It does not really work like that. Justfrom my own experience, I have found that I have never really sat down and worked on techniqueit

just kind of takes care of itself as you become a better musician.

Pat MethenyGP Dec. 1981


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Extended Diatonic Scales

It is helpful to learn scales that incorporate two adjacent patterns of the same key. These compounded

patterns I will call extended scales. For example, to play an extended E-major scale pattern, you could

play the low E-pattern and low D-pattern (with the root at E) in sequence. The diagrams that follow

illustrates the practical extended major and minor scale patterns. Notice that the final tone of the first pat-

tern is replaced with the index fingering of the second pattern. This feature makes the fingering transition

between scale boxes smooth.

Figure 31: Extended major scale patterns


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chord, then next, on to the D major, and so on. If you continue in this way, you will cover half of all the

major and minor chords as you advance across the fretboard. To perform the other half of the chords, you

would begin with the E minor chord and advance to the A major, and so on. Yes, this method also works

for scale patterns.

Triad Patterns

Galaxies within galaxies! Upon each note in a scale, a 3-note triad(see page 91) can be built. Your

knowledge of a key would not be complete without knowing how to play these because they will make it

easy for you to construct all kinds of complex chords and arpeggios. The following charts display the

major and minor triads, based on the closed scale patterns

Major Triad Charts

Figure 33: E/F-triad forms

Figure 34: A-major triad forms



Figure 35: D-major triad forms

Figure 36: G-major triad forms

Figure 37: C-major triad forms



Minor Triad Charts

Figure 38: E/F-form triads. Play the notes within the triangles only when they point in the direction you are advancing.

Figure 39: A-minor triad form

Figure 40: D-minor triad forms



Vertical triad forms

Another set of useful triad pattern are those built on the first three strings, advancing vertically up the

guitar neck. In the following diagram I have outlined the major and minor triad fingerings that can be

played in sequence or as short chords. Notice that these forms are limited to the feasible E- through D-

forms (see page 46).

Figure 41: G-minor triad forms

Figure 42: C-minor triad forms

Above all, strive for personal excellence. True success is not measured by

worldly accomplishments or by comparison with others. Rather, it is work-

ing with diligence, to the best of your ability, toward achieving excellence in

whatever task you have set before you.

Chris Parkening



Figure 43: Vertical triad forms



The Moveable Key Patterns

The moveable key system is a practical way to comprehend the guitar fretboard when playing actual

songs. The basis for this system are the principal closed major chords: E, A, D, G, and C. Each moveable

key based on one of these chord patterns contains the fundamental chord and scale patterns belonging tothe key. However, the actual key name is relative to where you play these patterns on the guitar neck. For

example, the moveable C patterns could show the key of C where the root note of the C pattern begins on

a C note of the guitar neck. The moveable C key could also show the key of D, if you were to translate the

patterns so that the root note of the C form covers a D note. You will always find the root note of the

moveable patterns as the first note of the namesake chord pattern (see next page).

I have never practiced scales in my life, so I could not do some of

these heavy metal runs. I figure a lot of that is just because the guys

are properly trained, and that is what they have learned -- scales.

Some of it, I think, is, well, boring. Some of it is just endless scales.

Paul McCartneyGP May 1990

...I can say...that when I am on form and at ease with the instrument,which is not always, I feel that the instrument is totally a part of me.

And when it is a part of me, I can express what I feel about life, about

philosophy, about many things, through the abstract quality of musi-

cal sound. Because I do not think I am a great artist, but I know I am a

good onethat I have got something to say, however modest. And I am

happy to be alive and to be able to say it with some degree of elo-

quence to people, people I do not know, strangersthis seems to be a

most wonderful gift and the most worthwhile thing to do in life. For

me at least.

Julian Bream

Guitar ReviewSpring, Aug. 1982


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Figure 46: Moveable D-key form



Figure 47: Moveable G-key form


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(3 frets) as follows:

Once you know the interval size of the complex chord interval and you know the interval finger posi-

tion of the closed chord forms, you can easily visualize where to place your fingers. Moreover, learning

the intervals of the closed forms is not so difficult once you know one form well. Simply use the principle

of lateral translation to learn the other closed chords. For example, take the E7 form: you learn to trans-

late it across the fretboard to create the A7 form. Not only is this method a fast way to learn your chords,

it also is an ideal formula for keeping the root note in the bass stringswhere it belongs. You see, when

you build chords, you always want to consider the ideal orchestration of a chord(see page 99). Chords

that most closely follow the distribution of tones found in the overtone and undertone series sound best in

most cases.

The limitations of the guitar fretboard, with only six strings, makes the design of good sounding

chords sometimes challenging. Many times, you will have to compromise between practical fingering

and good chord orchestration. Nevertheless, I have found that through ingenuity and the use of lateral

translation, most of these chord fingerings work. For those occasional forms that do not follow the regu-

lar patterns, you will simply have to memorize these items separately.

Oh, the way to calculate the interval size on the fretboard is easy. Treat each string as a chromatic

scale where every fret equals a half-step (see page 88).

In the example above, you know (or can quickly find out) that the dominant 7th interval is 1-1/2 steps

above the dominant interval (V). So you move the fingering upward 3 fretsone fret for each half step.

What about intervals beyond the octavethe 9th, 11th, and 13th? For these you subtract the number 8

from them, to find the equivalent interval within the octave. A 9th interval is one more than 8the octave

note. You locate this note a whole-tone beyond the tonic. However, in keeping with good harmonic form,

it is best to place this note at least an octave above the tonic note. One of the nice things about complex

Figure 49: Example of complex chord construction

Figure 50: Fretboard intervals

2nd 3rd 4th 5th 6th dom7 maj7 octave


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plex forms that follow:

In order to build a minor from a major form, lower the fingering for the third interval a half step to a

minor third. Where there is an X symbol, do not include the string when sounding the chord.

Forms: E A D G C

Figure 52: Major chord forms

Forms: E A D G C

Figure 53: Minor chord forms



The Sustained Four chord (a favorite of Who guitarist Peter Townsend) is created by raising the 3rd

interval a half step to the 4th. I prefer to raise the highest 3rd rather than the one closest to the root note to

get a better soundexcept where it makes the fingering awkward: There are a host of other less used sus-

tained chords: 7Sus4, 13Sus11, etc. Also, although the charts show the chord fingerings for the closed

position, most of these chords sound best in the open position.

The Seventh chord forms

To build the dominant seventh forms, lower the tonic (I) interval a whole step; you may also advance

the fifth degree 1-1/2 steps to reach the seventh degree. Notice that the E7th form shows an optional 7th

Forms: E A D G C

Figure 54: Sustained 4 chord forms

At first, he taught me a couple of things, and then he taught me how toteach myself --and that's the right way.

Stevie Ray Vaughan

GP Oct. "84



note under the pinky fingering that is not translated to the other forms.

To build the Minor 7th, you will need to drop the third back a half-step.

To build the Major 7th chord, advance the 7th degree by a half-step, or lower the tonic one whole

step. For the sake of uniformity, I include here a GM7 form that is a little unwieldy. You may wish to sub-

stitute an easier form that I do not show. Also be aware of the difference between the Dominant 7th and

Major 7th chords. The Dominant 7th has a strident quality due to the lowered 7th tone, while the Major

Forms: E A D G C

Figure 55: Dominant 7 chord forms

Forms: E A D G C

Figure 56: Minor 7 chord forms



7th has a rich harmonious quality with its raised 7th tone.

Diminished and augmented chord forms:

Diminished chords require a lowered third and fifth degree. Notice that the rule of lateral translation

is broken between the D and G-forms. I did this in order to maximize the diversity of chord forms. Other-

wise, the C-form would look exactly the same as the E-form.

Note that you can avoid sounding the X-marked strings by muffling them with the fleshy part of your

fingers, used for other fingerings. Note that the diminished G* and C*-forms are lowered one fret so that

it would fit in my restricted page space.

Forms: E A D G C

Figure 57: Major 7 chord forms

Forms: E A D G* C*

Figure 58: 7 diminished 5 chord forms



The Augmented chord is built by raising the 5th degree a half-step and leaving the 3rd alone (unlike

in the Diminished chord).

Sixth Chord forms:

The Major 6th chord is created by raising the 5th degree one whole step, or lowering the 7th degree

one half step. Some of the following chord forms could have been made orchestral chords by baring all

the way across the fretboard to produce a fuller sound. Notice that the rule of lateral translation is broken

between the D and G-forms by including the tonic in the later. A well orchestrated chord tends to place

the tonic and 5th degree at the bottom end.

Forms: E A D G C

Figure 59: 7 augmented 5 chord forms

Forms: E A D G C

Figure 60: 6 chord forms



The Minor 6th chord is exactly like the Major 6th, but with a lowered 3rd degree:

How to learn the chord forms

To learn complex chords well, you should go through the three stages that you did when you learned

the scales:

-- Understand the chord interval formula (see page 99)

-- Learn how to derive a chord form by adding appropriate intervals to the E/F-Majorform (see page 53).

-- Imagine how the rule of lateral translation produces the A, D, G and C-forms (seepage 11).

-- Practice the forms regularlyfirst with the diagrams, and then by rote until theybecome second nature.

Forms: E A D G C

Figure 61: Minor 6 chord forms

Have you ever taken a shot at singing?

I do not have the voice for it. I would love to be a singer, but I think my frustration of not being

able to sing comes out in my playingwhich I think is what causes me to communicate withother people. That is the only explanation I can think of for why I had about 20 hit singles. It is

communication.

Duane Eddy

GP Feb. 1979


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you will also want to reach for a final A-note along the 1st string to complete the arpeggio:

You get the idea. Although most do, not all Major and Minor arpeggio forms come together so tidy as

the examples given above.

Here are the rest of the major arpeggios in their entirety:

Figure 63: Example 2 of how arpeggios are built on the fretboard

Figure 64: Major triad arpeggios.

Note that some diagrams are truncated to reduce the size of the graphic.


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The Major 7 arpeggios:

The Diminished arpeggios:

Figure 68: Major 7 arpeggio forms

Figure 69: Diminished arpeggio forms


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Developing Dexterity in the Picking Hand

The previous section is about developing your fretboard sense. In this section, you will see how to

systematically develop yourpunteado (finger picking) skill. Note that I do not discuss plectrum pick-

ing here because it is relatively straight forward and it does not concern classical-style guitars.

I would suggest that you spend 10% of your practice time devoted to the exercises presented here

to increase the strength, dexterity and speed of your picking hand. It is the effective way to acquire a

professionally polished tone. The idea behind the exercises in this section is to maximize the natural

strengths of your playing hand.

The Architecture of the Hand

Your hand is functionally organized. The essential function of the hand is that of a pincer. The

thumb compliments the remaining fingers to grasp objects. The guitar player exploits this by using

the thumb on the top 2 or 3 bass strings in counterpoint with the other fingers working the bottom 3 or

4 treble strings.

You have 4 fingers which may work in tandem with the thumb, but the most important will be the

index finger since it is the most powerful and coordinated of the four. Therefore, the first drill will be

to play a scale up and down while alternating the thumb and index finger of the picking hand. You

will achieve a surprising level of speed and accuracy using this combination. Unfortunately your

Do you ever play in modes, or are you conscious of playing certain scales overchords?

No, not particularly. I used to practice scales, but I think mainly in positions. I do

runs that go from position to position, basically around chord shapes. I can get

around pretty easily going from one position to another, and on a good night it

sounds pretty hot. Ill take chances. I seem to be able to end up on the wrong footand somehow get back again. Sometimes Ill trip over myself, but most times Im

lucky.

Albert LeeGP May 81

CHAPTER 2

Fingerboard Hand Development


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Try some of the following sequences without the thumb.

5.

6.

7.

8.

These finger sequences should feel natural without much practice. With practice, they can be

downright mesmerizing as flamenco guitarist can prove. For real progress, practice these finger

sequences deliberately and consistently.

The Free and Rest-Strokes

There are essentially two ways to pluck the guitar string: they are thefree stroke andrest stroke.The free-stroke is what you are probably already using if you follow through, without hitting or rest-

ing your picking finger on the next string. It produces a brilliant twang-like sound.

In contrast, the rest-stroke usually takes some learning and it makes a softer and deeper tone. You

i m i m...

m a m a...

i m a i m a...

i m a m i m a...

Figure 2: Free stroke: before and after

My fingerpicking is a sort of cross between Pete Seeger,

Jimmy Page

Earl Scruggs, and total incompetence.

July 1977Guitar Player Magazine


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really simple. Its a 2 up, 1 down sequence, with an occasional switching of strings.

Figure 4: Tarrega Exercise for coordination fingerboard hand

T

A

B

0 1 0 1 2 1 2 30

2 3 30 1 0 1 2 1 2 3 2 3 4 3

0 04 4

8

1 0 1 2 1 2 3 2 3 4 3 4 5 4 5 6 5 6 7 6 7 8 7 8 9 8 9 10

15

9 10 11 10 11 12 11 12 13 13 12 11 12 11 10 11 10 9 10 9 8 9 8 7 8 7 6 7

22

6 5 6 5 4 5 4 3 4 3 2 3 2 1 2 1 0 1 04

04 3 4 3 2 3 2

29

1 2 1 0 1 0 03 3 2 3 2 1 2 1 0 1

Tarrega Exercise

2 1 2 3 2 3 4 3 4 2 1 2 3 2 3 4

3 4 2 1 2 3 2 3 4 4 3 2 3 2 1 2 1 3 4 3 2 3 2 1 2 1 3 4

Fingering:

3 2 3 2 1 2 1 3 4 3 2 3 2 1 2 1 0


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79/108Theory Section 77

there are five notes in the pentatonic scale, there are five possible starting places for our note series to

begin. Each starting point would define a different mode of the pentatonic note series. The modes we

are interested in (at least in this book) are the ones that define the popular styles of country and blues

music.

The major pentatonic scale

In the case of country music, the pentatonic scale will begin and end on the second dominant

notethe Cnote in our example. The interesting thing about this mode of pentatonic scale is that it

features a major triad in the root position. Perhaps this explains the bright quality of country music

(See figureFigure 5:)

The minor pentatonic scale

In contrast to the optimistic sound of country music, you get a moody sound in the pentatonic

mode that begins at the first subdominant notetheA note in our example. You can also see that this

pentatonic mode, features the minor triad in the root position. Therefore, from now on, I will refer to

this mode as the minor pentatonic scale. See the diagram below (See figureFigure 6:)

Figure 5: The major triad underlying the major pentatonic scale

Figure 6: The minor triad underlying the minor pentatonic scale


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quency of C, 2, and then divide this sum in half.

This new interval is calleddominant. In the example we are using, the primary interval is middle

C, the dominant note created is G. Keep in mind that the middle C tone we chose for ourunison inter-

val in this illustration is arbitrary. We could have begun with, say a D, for example, and derived a dif-

ferent dominant tone. Nevertheless, the interval name is more important than the particular note we

use as an example. Any interval whose tone is 3/2 the frequency of another is always called the dom-

inant interval. The particular G tone that we derived in this example simply represents the dominant

interval in the key of C.

Recall how we derived the new intervalthe dominant. Between the middle C and its octave

above, you get a G tone, having a dominant relation to the middle C. Is this the only interval we

derived? Look again. While its true that G has a dominant relation to C, it has quite another relation to

C1 above! Are you confused yet? The confusion depends entirely on which tone you play first and

which subsequent tone you compare it to. You see, when we derived the dominant interval, I assumed

that we sounded the lower C before the G tone. If, instead, we had sounded the G firstin other words,

played G as the roottone, we would have produced thesubdominantinterval. To calculate the fre-

quency of this interval ratio we begin with the dominant ratio, 3/2, as the root and look for a ratio that

multiplies1 with this to produce the octave ratio, 2/1:

Now, if we wish to hear the subdominant interval with C in the root position, we would have toplay an F tone, because F has a frequency 4/3 of middle C. For the guitarist, this concept of dominant

and subdominant intervals are important because the open guitar strings are tuned a dominant interval

between each pair, going from the high E string up to the low E string (see page 9). When you tune

Figure 8: Derivation of the dominant interval

Interval Name: dominant subdominant octave

Note example: G F C1

Interval ratio: 3/2 X 4/3 = 2/1

Figure 9: Dominant and subdominant interval chart

1.When you add tones together as two lengths of vibrating strings, you multiply the ratios of their frequency. For

example, a G-tone(3/2) added to an F- tone(4/3) equals 3/2 x 4/3 = the octave (2/1).

C C1+

2------------------ 1 2+

2------------ 3

2---= =


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The interval diagram looks like this:

In the diatonic scale, we do not use a minor 2nd interval. However, it is clear how we would proceed.

To determine the ratio of the minor 2nd, we treat the major 2nd tone as the root, and the major 3rd as the

upper bound ratio. Our result is 10/9, as shown below:

The Dominant 7th

The dominant 7th is an important unit of harmony because it introduces a dynamic quality into a

chord, as we shall see (see page 94). Yet there is nothing special about its construction. We simply derive

the interval as the compliment of the major 2nd, as shown below:

Next, we calculate the frequency ratio, which proves to be 16/9::

Figure 18: Major 2nd interval graph

Interval Name: major 2nd minor 2nd major 3rd

Note example: D^ D E


Figure 19: Minor 2nd interval chart

Figure 20: Dominant 7th interval graph

Interval Name: major 2nd dominant 7th octave

Note example: D Bb C1


Figure 21: Dominant 7th interval chart

1/1 5/4 2/1

major 3rd

9/8

major 2nd

1/1 2/19/8

major 2nd dominant 7th



And since there is only one 2nd interval in the diatonic scale (no minor 2nd), there is only the one

dominant 7th and no minor 7th here. Next we will find the semi-tone and the so-called major 7th. to

complete the set of intervals used in conventional western music.

The Semi-tone

As we build our system of intervals, there comes a point where the distinction of tones based on

these small intervals becomes problematic. More important, the introduction of each interval refine-

ment, opens the door for doubling the quantity of notes. For these reasons, in western music, we rec-

ognize the semi-tone as the smallest interval. We derive the semitone using the same process as

before: first we derive the major semitone by taking the average of the tonic ratio, 1/1, and the major

2nd ratio, 9/8:

The minor semitone will be complimentary ratio that spans from the major semitone, 17/16, to the

major 2nd, 9/8. However, as in the case with the minor 2nd, the minor semi tone is neglected.

The Major Seventh

The major seventh is the final interval of our analysis. It bares the name, major seventh, because it

defines the seventh note within the major scale, just a half step above the dominant seventh and half

step below the octave. The major seventh, however, is unrelated to the dominant seventh in the sense

that it is the complement of the semitone, and not the 2nd interval. To derive the major seventh, 32/

17, we establish the major semi tone, 17/16, as the root ratio and the octave, 2/1, as the upper bound-

ing ratio::

Figure 22: Semitone interval derivation

Figure 23: Major 7th interval graph

1 9 8

2

17

16

+

=

1/1 2/117/16

semitone major 7th


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The Minor Scale

Earlier, I showed you how the minor 3rd interval is the tonal distance (ratio) between a major

third and the major fifth (see page 80). For the purpose of demonstration, let us transpose this interval

to the tone in the key of C in order to eliminate the appearance of accidentals. We then have the minor

triad A-C-E (with no accidental because there are 1-1/2 steps between A and C). Using the same

architecture we used to construct the Just major scale, we will stack a minor triad on the dominant and

subdominant intervals and we get the Just minor scale in the key of Am is shown below:

In this chart, you can see the interesting property that the C major scale is virtually identical to the

Am scale, except that it starts two note later. You can think of the two scales as different modes of the

same scale patternin other words, a mode is just the same set of notes played from a different starting

point. And since the minor scale is made of 3 minor triads and the major scale is made of 3 major tri-

ads, the same pattern of notes share 6 essential chords. More about this in the section onKeys (see

page 91).

Figure 27: Triad notes that make up a major scale

Figure 28: Minor triads that make up the Just minor scale


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The Harmonic Scale: the Key to Music

Music really has two dimensions: one is the single note sequence that forms its melody, the other

is the chords which forms its harmony. While the major and minor scales consist of tones of three tri-

ads, the triads themselves work as a chord. It should come as no surprise to find that the fundamental

triads of a keythose built upon the tonic (the principal triad), subdominant and dominant tonesarethe principal harmonic elements in a key. Yet a key consists of 7 chords. The fundamental chord can

be thought of as home base, while the subdominant and dominant chords act as 1st and 3rd bag

(sorrythe analogy does not accommodate 2nd base). The subdominant and dominant chords help to

create the musical motion in a tune, with the tonic chord serving as the goal. For convenience, musi-

cians symbolize the tonic, subdominant, and dominant chords with the upper-case Roman letters: I -

IV - V; the minor chords are symbolized with the lower-case Roman letters: i, ii, and iv. While the I,

IV, and V-chords constitute the principle chords of a key, there are also the latent ii, iii and iv-minor

chords which also harmonize within the key. These minor chords are built on the weaker tones in the

major scale that share the same set of scale tones. Below, the 3 major and 3 minor chords are grouped

together to show how they constitute the chords of the C major key.

A step-wise ordering of these chords along the C major scale yields the following harmonic scale:

Note that the exceptional triad is B-diminished, which is a relative of no other chord, but is

Figure 33: Chords of the C-key

Figure 34: The harmonic scale in C


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(vi), Am (ii), Bm (iii). (see page 93) Em

Figure 35: The cycle of fifths



Dynamic Harmonic Elements

Ships have sails, cars run on gas, and sex makes the world go round, but how does a song move? If

you listen closely to a melody, you notice how it rises and falls. You might also notice that certain notes

anticipate others. There is a magnetic force in tones that draws or repels them together or apart. In this

section of the book I will demonstrate how the mathematical symmetry of the intervals determines theirbehavior.

The subdominant and the Dominant Generation

When we constructed the dominant and subdominant interval, we found that they compliment each

otherthat is, the addition of the two intervals equals one octave. We could have represented complimen-

tary intervals as the upward and downward generation of middle C. The interval generated upward is G at

3/2, while downward complimentary interval tone is F at 2/3 the frequency of C (C is the blackened note

in the chart below).

The Minor and Major Third Generation

When the major and minor third intervals are generated, the interval generated upward is the major

third, E at 5/4, while the downward complimentary interval tone is the minor sixth, Ab at 4/5 the fre-

quency of C.

The Push of the Minor Triad; The Pull of the Major Triad

When we combine the results of the dominants and thirds shown above, you get a 5-note column. The

Figure 36: The generation of dominant and subdominant intervals

Figure 37: The generation of major and minor third intervals


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plete set of harmonic intervals that we cover in this text:

The upper four intervals, beginning at C and extending to Bb, constitute the dominant seventh chord.

The lower four intervals, beginning at F (sic), constitute a minor sixth chord. The importance of the sub-

dominant asserts itself as the root tone so that the seeming major second interval is heard as a major sixth

above the minor triad built on F.

Try playing a subdominant Fm6 and then a C7b. These chords should anticipate one another with

vigor. The magnetic character of the chord elements suggested in each of the examples above underlie

most of the harmonic dynamic of music heard today. In the next section, I will show how these elements

work in two actual musical examples.

Analysis of Chords within Song Examples

It may come as a surprise to some that you can not only enjoy a song, but understand how it works.

There are a few benefits to this: you can learn songs quicker and even write tunes yourself that sound half

Figure 41: The generation of the dominant 7th and minor 6th chords

Figure 42: The generation and separation of the dominant 7th and minor 6th chords

Happily, nothing is perfect. And though obviously one has got to retain very high ide-

als in terms of technical finish and production in one is performance, finally, these

are only tools towards a greater significance. And it is that greater significance in

music which Im after. But I am always and forever honing my chisels and sharpen-

ing my plane-blades.

Julian Bream

Guitar ReviewSpring, Aug. 1982


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need to use chords that compromise between the limitations of your fingering possibilities and the natural

harmonic distribution of tones. For example, even the open E chord does not cover the fundamental E

tone of the distribution; it begins on the higher, E1.

The undertone harmonic series

As the father of soul, James Brown, once put it: you cant go over until you go under. Just the same

for harmonics. The list of harmonic tones would not be complete without the undertone harmonic series,

for when you combine them with the overtone series, all the tones of the scales are accounted for. The

only catch is that there really is no such thing as an undertone harmonic series because it is impossible to

generate harmonics with a frequency less than a whole tone. For example, you can not induce an under-

tone harmonic on your guitar, since it implies a position greater than one whole guitar string. Neverthe-

less, the series does exists in abstract, and you can even artificially create such tones on your guitar string

if you imagine that one of the higher harmonic tonesthe 16th, for exampleis the fundamental wholetone. See chart below:

The undertone series provides the other half of the interval spectrum that serves as an arch-type for build-

ing chords and scales. For every overtone, you have a complimentary undertone as illustrated in the fol-

frequency 1/16 2/16 3/16 4/16 5/16 6/16 7/16 8/16

note C C1 F1 C2 Ab2 F2 D2 C3

Figure 47: Harmonic undertones of C

Figure 48: Harmonic overtones notes along the bass and treble staffs



lowing chart:

You basic chords are based on these tones (See Practical Section:The Major and Minor Chords).

History of the Guitar

Mythological and Archeological Explanations

The guitar, perhaps because of its simple form, has a rich historical and mythological origin.

Among the Greek myths it was held that Mercury, the god of manual dexterity contrived an eight-

stringed lyre by stripping a tortoise of its shell and dedicating each of the applied strings to one of the

eight muses. Proud of his fine new instrument, Mercury presented it to Apollo in exchange for the

caduceus (a rod intertwined with two serpents). Perhaps Mercury, the god of manual crafts, signifies

the dexterous aspect of virtuosity, which when combined with the harmony or artistic sensibility

attributed to Apollo, describes the essential qualities entailed in mastering the instrument.

As for the empirical account of the guitar's origin, archeologist speculate that primitive huntsmen

twanging their bow strings for its pleasurable sound, initiated the evolution of modern multitude of

stringed instruments. A hapless, slow-moving tortoise may indeed have supplied the original sound-

ing chamber of the first guitar.

Early History

Many guitar-like instruments arose among the early civilizations. For example, the Assyrians

played the catarrh; the Hebrews, the kinnura,; the Chaldeans, theguitra; the Persians, thesitar, and

the Greeks, the kithara.

While most of the ancient musical devices were forgotten with the collapse of the Roman Empire,

gypsies and traders from Persia are thought to have re-introduced various stringed instruments to

Western Europe during the early medieval era. At this time (700 A.D.) the Moors invaded Spain and

there introduced the rebeca bow stringed instrument with a remote likeness to the modern guitar.

Moreover, in the twelfth-century, the Crusaders had acquired many lute andvihuela instruments from

their sojourns in the near east.

overtones C C1 G1 C2 E2 G2 Bb2 C3

undertones C C1 F1 C2 Ab2 F2 D2 C3

Figure 49: Overtone and contrasting undertones


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If ever there were a silver bullet to mastering the guitar, this is it. Fretboard

Rosette: The key to mastering the guitar fretboardis an essential frame of

reference for learning the many basic chord, arpeggio and scale patterns

that you need to know to play all musical styles on the guitar.

While the octave interval dictates the shape of the guitar neck, the sub dom-

inant dictates the tuning of the guitar. Therefore, in order to master the

instrument, you need to develop a working knowledge of how scales,

chords, and arpeggios are inter-related according this side-to-side tuning

pattern of the fretboard. Good guitarists learn these relationships through

years of playing without necessarily being able to explain what they do. This

book demonstrates and explains these important relationships explicitly by

providing you with:

Numerous fingerboard charts

Clear explanations and examples

A thorough treatment of first principles

Antony Nispel has been teaching recreation guitar in the Santa Clara valley since 1992,carrying on the work of his acclaimed teacher, Edward Rodriguez. Antonys two otherguitar manuals include:Beginning Guitar for the New Millenniumco-written with Mr.Rodriguez, and Reading Rosette: A key to mastering essential scales and arpeggios

the sister volume to this text.

Documents

Antony Nispel Fretboard Rosette