Tag Archives: how to learn the fretboard on a guitar

The Biggest Problem With Scale Positions and How They Can Ruin Your Progress

You have probably already realized that it is important to practice the right things so that you don’t waste time, and one of the things that most people, including myself, often tell you to work on is learning scales in positions but is that really what you should be working on? One aspect of this approach can waste a lot of time, but being aware of that can also be very useful for pretty much everything else you want to practice.

3 Position systems

There are different ways of creating scale positions with 3 main systems. I actually used or use two of them:

CAGED:

5 positions, built around 5 campfire chords and emphasizes never spreading your left-hand fingers.

3 notes per string:

7 positions built on consistently having 3 notes on each string

The Berklee scale system:

7 positions is focused on staying in one position on the neck.

 

Of course, they all work for more than major scales, so for each system,you have arpeggios and other scales that work together.

I learned scale positions very early on, first a mix of CAGED and 3NPS and later the Berklee scale position system, really just going with what I was told to practice by my teachers, and it was not presented as a grand system that would solve all my problems. On a recent video, I had a conversation with a commenter where we also talked about how we don’t always know exactly how people like Wes and Charlie Christian practiced.

Some of the later guys like Joe PaSs taught things to students and wrote books, so with them there is a better picture of how they worked on things like scales.

ish

With Wes, I don’t know how he thought about it, and I can’t really see it in his playing, but with Charlie Christian, you often clearly see chord voicings as the basis of the line,

which is also why he uses drop2 chords as arpeggios here and there. I think he played from chord shapes more than separate scale shapes.

For this video I am not going to get too much into a discussion of whether you should practice scales at all, it worked for me,  it is clear that Joe Pass did, and Barry Harris uses scales really a lot in his teaching, which is also a part of why it worked for me. I also don’t really want to get into the huge discussion of which scale position system is better, I used the Berklee system and 3nps the most but I also have had periods where I don’t practice scales in positions at all. You can check the old video on my technique practice on the channel if you want to know how that works

Scale Positions Are Great!

Before we get to the problems then let’s first look at why scale positions are useful, because In my experience both as a teacher and a student, then learning scales in positions is a very efficient and practical approach.

#1 Chunks

It is a way to make fretboard overview easier to learn. Instead of learning the entire neck, you can get a very solid overview of a small part of the neck and still start to improvise and develop those skills, so you can learn C major here and improvise over a song in that key and use the diatonic arpeggios to hit the changes.

#2 Moveable

You can move them around. On the guitar, you can move around positions and learning one position really means learning it in all 12 keys, and learning 5 or 7 positions is a lot easier than having to learn the neck for every key, and since the same scales go together in songs then you can move those relationships from song to song and key to key as well.

#3 Complete You won’t play yourself into a dead end in the middle of a solo – Illustration: playing a moving line on Cmaj7, but then have to move back to the play something on D7

It is also very complete. Sometimes I have seen students who were free over some chords in the song and then very limited on other chords, and which meant that they could solo all over the neck but kept being pulled back to one place when certain chords came by.

So there are many reasons for beginners to start with positions, and Joe Pass actually demonstrates a C major CAGED position in the video. (show video with diagram?) and later a scale position that certainly isn’t CAGED, maybe more Berklee System.

Scale Positions Can Be Tricky!

But no system is perfect, and working with positions then there are also things that you do need to take care of so that you actually make the information useful and can use it freely when improvising. Though these first ones are not that difficult to overcome, and not as serious as the last one.

#1 Open up the scale

You need more than just playing the scale. You don’t want to end up sounding like you are just running up and down the scale and only playing scale melodies.

You want to really play lines, and Jazz lines also have other things like arpeggios, triads, and chromatic phrases.

However all of these things can be practiced in the scale, so you can practice other melodies in positions by working on diatonic triads, chords, and triad inversions. Of course, you need to practice using them as well but working on that makes sense for so many reasons, and this is of course also what you will hear if you study Barry Harris stuff:

#2 Tie It Together

You want to Connect the information! This is probably one of the most important parts of fretboard visualization. I mentioned in the beginning that all of the different scale systems are not only major scales, they also have arpeggios and other scales, and you want to connect these things as well to get the full benefit of what is going on.

Getting those connections is not that difficult if you are already practicing, for example arpeggios and major scales, just choose a chord and a scale where that chord is diatonic, play the scale position, and try to see the arpeggio in there.

Maybe see if you can make some lines with that material.

Keep in mind that this is the kind of thing that you don’t want to approach in a too systematic way, something I will get back to later.

#3 Scale Boxes Should Not Be Prisons

Another common problem that you will need to overcome is that when you play then you want to be able to move from position to position. The positions should not be walls on the neck that you can’t get over, and there are some really good exercises to really connect the fretboard and become free.

The main thing to spend some time on is to improvise forcing yourself to change position, getting used to seeing the notes in the positions around the one you are playing in, and being able to move to them while continuing your phrase.

Another thing that is useful to work on is practicing along the neck with scales, arpeggios, and other things that you also use in the positions, hopefully recognizing those same shapes in the scale positions.

Here you have a Cmaj7 arpeggio in a C major scale position (using 3NPS)

It Is How You Think About It

B-roll: practicing a scale with overlay of scale fingering? or picture of a neck with overlay

What I mostly see getting in the way with scale position systems is that they are systems and that everything should be approached as a system. It is easy to think that we should learn things in a system, but if you think about it then it quickly becomes clear that working like that is probably going to have you practicing exercises in positions 14 hours every day for years and years, while not playing any music which is not going to work.

You can quickly learn to play the scales in a way that requires very little effort. You see the notes on the neck and use muscle memory, and you also take some exercises to that level, like diatonic triads or 7th chord arpeggios,

but you can’t have that as a goal for every exercise, and at some point playing an exercise probably becomes more about relying on how well you know those basics and then hearing your way through the scale and using that you know the position. It is about a much more useful flexibility.

In the roadmap course, I teach a song using a small area of the neck because I want the students to practice some scale stuff, but the important lesson is what you can do with that, and what many also experience is that if they work on it like that then it becomes something that you can actually improvise with. But in the Roadmap I also get questions about making all the exercises into huge projects in all keys and all positions, and in my experience, that really doesn’t work and you end up not getting the material to a level where you can really use it in your solos.

The main thing to get rid of is probably the idea that you need to play things entirely automatically or as muscle memory, but instead it is about working on exercises to become better at moving and hearing them as melodies through the scale position.

Get the PDF!

You can also download the PDF of my examples here:

Get the PDF and GuitarPro on Patreon:

You can get the PDF and GuitarPro files on Patreon here:    

https://www.patreon.com/posts/biggest-problem-77083652

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

Sign up for my newsletter – Get the II V I Ebook

 

Jazz Guitar Insiders Facebook Group

Join 7500+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

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.

Freedom on The Fretboard – Great Exercises

Of course, you want to play the guitar and be completely free to find whatever lick or melody wherever you are playing on the neck. That is the goal of knowing the fretboard.

And you need to have a solid overview so that you can use it while you improvising.
In this video, I am going to show you a strategy and some of the best exercises to develop that.

Content

0:00 Intro

0:26 Jazz as a Language and You can use that

1:02 onlyapesappreciateheavymetal

1:45 Charlie Parker Lick 

2:27 Side-note using a Finnish Sentence 

3:24 Exercises you probably already know

3:38 Basic Scale overview

4:22 Adding Harmony

4:46 Really Understanding How To Play Arpeggios

6:08 Moving Around Real Music

8:44 Important point about All Positions and All Options

9:22 Like the video? Check out my Patreon Page!

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

Get the PDF!

The PDF for this lesson is available through Patreon in the Patreon FB group. By joining the Patreon Community you are in the company of 200 others supporting and helping shape the content on my YouTube channel.

Jazz Guitar Insiders Facebook Group

Join 700+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: http://bit.ly/InsidersFBGroup

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.

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:

Get a free E-book

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

Get the PDF!

You can also download the PDF of my examples by signing up for my newsletter here:

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.