Tag Archives: fretboard memorization

3 Things You Want To Know In All Keys And Positions

When you play jazz you are improvising over chord progressions that move through different scales. And you need scale positions that you can connect and have an overview off in a way that makes it easy to improvise solos.

In this video, I am going to go over a basic way to practice and test your fretboard knowledge by taking progressions and use them to work on scale positions on the guitar neck. This will help you memorize the right information in the right context for when you want to improvise solos and will help you become freer when you play.

The 3 Levels

I am going to go over the exercises in 3 levels getting more and more difficult, but the exercises are essentially quite basic. This is about knowing essential chord progressions, scales, and arpeggios in a position and being able to improvise with them.

Working on this is not really something that belongs to every day practice for hours and hours, just go check this and find ways to work on this that also involve the repertoire you play.

2 Approaches

When you work on this type of exercise you can do this 2 ways: Staying in one position and going through all keys or choosing one key and going through all positions. Both are useful and you should try what works better for you.

Level 1 – 1 Position, Basic Scale and Chords

The idea is to work on knowing essential material for a position. If you improvise in G major, then the G major scale and the arpeggios for the basic cadence are essential to know. The same goes for the arpeggio from the 3rd of these chords.

For G major we have this scale position:

And the basic cadence is Am7 D7 Gmaj7.

These arpeggios are shown below:

And the arepggios from the 3rds of these chords would be

Am7: Cmaj7, D7: F#ø, Gmaj7 Bm7.

Once you know these arpeggios you should work on being able to make lines with them in this position on a II V I.

Two examples of this, one with the basic arps and one with the arpeggio from the 3rd are shown below:

Level 2 – Altered Dominant

A logical next step would be to alter the dominant, in this case D7.

Let’s first take a new position for G major:

And for the D7alt I am using an Ab7 and a Cø arpeggio.

Both are found in the D7 altered scale and contain the C and the F# really spelling out the D7 sound.

And the arpeggios from the 3rd (with Cø being the arpeggio from the 3rd of Ab7)

Improvising with these arpeggio sets could yield lines like these two:

Level 3 – Making it a complete Turnaround

The next thing to do is to add a secondary dominant for the II chord. This is one of the most common dominants to come across so it makes perfect sense to add this to the exercse.

First a new scale position:

For the E7alt I am doing the same thing as the D7alt which gives us a Bb7 and a Dø arpeggio.

And then the basic arpeggio positions:

The Arpeggio from the 3rd:

Get Your Changes Playing from Turnarounds to Giant Steps.

If you want to check out some more material on how to really nail changes and still play great lines then check out this lesson on using Target notes on Rhythm Changes:

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Fretboard Visualization – How To Develop A Complete Overview

Using limitations to check and develop your Fretboard Knowledge.

In this video I am going to go over a way to practice that teaches you how to find material and use it everywhere on the neck when you are improvising. One thing is to practice all the things you need like scales and arpeggios in all positions. You also have to make sure that you get it to a point where you can use it in music. And ironically the best way to become free all over the neck is it to limit yourself to limit yourself to one position while playing a song.

For me this was an essential way of building my ability to move around the fretboard freely. I have, by now, spend a lot of time with this and still keep coming back to it to work out a bit on tunes I am studying. You can always find new things here and develop further.

Content:

0:00 Intro

0:22 Limit Yourself to remove your limitations

0:53 The Exercise – Practice to be Practical

1:28 The Four step process

1:51 #1 The Song/Progression

2:35 #2 Choose the Position

3:08 Be realistic and practical with position playing

3:14 Prepatory Exercises

4:33 Think in Long term goals

5:03 #3 Playing the Song

5:42 Solving problems you come across

5:57 How to Look for basic material

6:44 Be Practical!

7:54 #4 Creating Variations and New Material

8:43 Practicing while making music

9:00 Improvising only with Scale Movement

9:45 Like the video? Check out my Patreon Page

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If you have any questions, comments or suggestions for topics then please let me know. Leave a comment on the video or  send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter Google+ or Facebook to keep up to date with new lessons, concerts and releases.


Fretboard Visualization That makes musical sense for Jazz Guitar

Fretboard Visualization is the way I organize and visualize the notes on the neck. Which also reflects how I think about the notes and order them for improvising.

In a guitar solo a note is not just a note: It can be a chord tone, a passing tone or extension or even a chromatic passing note. The way I try to think about the notes on the guitar I try to take this into consideration and have a way of thinking that will help me solo and categorize the notes in a useful way.

List of Contents:

0:00 Intro — Fretboard Visualization for Jazz Guitar 

0:35 3 Layers of note priority 

0:43 Layer 1: The Chromatic scale 

1:16 Layer 2: The Key or the Scale 

2:02 Layer 3: The Chord and the Arpeggio 

2:24 Practical Example on a (very) simple song 

2:59 The Key of the song 

3:30 The Arpeggios of the Progression 

4:23 How to play all modes of all scales 

4:36 Practicing towards this way of thinking 

5:07 Seeing a Scale on the neck 

5:20 Learning Positions ( I use 7) 

6:07 Examples of Scale Positions 

6:19 Learn the scales and the notes in them! 

7:01 Connecting The Positions 

7:32 Learn the Arpeggios in the scales (Literally!) 

8:49 All Arpeggio notes in a position 

9:46 The advantages of this approach 

10:13 No Modes! Just Diatonic Arpeggios and subsets! 

11:54 Further Perspective on this approach and the next level 

12:36 What is your approach to view and organize the notes on the fingerboard 

13:36 Like the video? Check out my Patreon Page!