Jose Bernardo’s Fretboard Mastery Fretboard Mastery by Jose Bernardo - Article #1 for Guitar Bench 1/2013 For my Þrst article on Guitar Bench, I would like to start by taking the two most common Fretboard by Jose Bernardo - Article #1 for Guitar Bench 1/2013 questions I Mastery get as a guitar teacher: For my Þrst onmy Guitar I would like to start by taking the two most common 1) How do I article improve timeBench, keeping? questions I get as a guitar teacher: 2) How do I Þgure out where all the notes are? 1) How improve my time keeping? Bernardo - Article #1 forbecause Guitar Bench 1/2013 lacks IFretboard do not do likeIMastery teachingby myJose students through memorizing the information 2) How do I Þgure out where all the notes are? value. Instead, I teach the logic of how things are linked; thus, giving the information value Fretboard Mastery by Jose Bernardo - Article #1 for Guitar Bench 1/2013 Fretboard Mastery by Jose Bernardo - Article #1 for Guitar Bench 1/2013 For my Þrst article on Guitar Bench, I would like to start by taking the two most common beyond sheer memorization. Iquestions do not like teaching my students I get as a guitar teacher:through memorizing because the information lacks Forvalue. my my Þrst article on Guitar Bench, like like toare start by taking the twothe most common For Þrst article on Guitar Bench, I would tolinked; start by taking the two most common Instead, I teach the ofI would how things thus, giving information value Since I am not certain if mylogic audience are beginners, intermediate, or advanced players, I questions I get as a guitar teacher: questions I get as a guitar teacher: beyond sheer memorization. 1) How I improve my time will try todomake sure that therekeeping? is something for everyone here. I invite anyone with 2) How door I Þgure out where all the questions comments to email menotes and I are? will be happy to elaborate on the things I have 1) How doI Iam improve my my time keeping? 1) How do Inot improve time keeping?are beginners, intermediate, or advanced players, I Since certain if my audience covered here. [email jbernardo@riffcentre.com] 2) How doto Ido Þgure out where all the notes are?are? 2) How I Þgure out where allisthe notes will make sure that something for everyone here. I the invite anyone with I dotry not like teaching my there students through memorizing because information lacks questions or comments to email me and I will be happy to elaborate on the things I have value.begin. Instead, teach the are logicinofstandard how things are linked; thus, giving the information value LetÕs (AllI examples tuning) I docovered like like teaching my jbernardo@riffcentre.com] students through memorizing because the the information lacks I not do not teaching my students through memorizing because information lacks here. [email beyond sheer memorization. value. Instead, I teach the the logic of how things are are linked; thus, giving the the information value value. Instead, I teach logic of how things linked; thus, giving information value NOTES beyond sheer memorization. beyond sheer LetÕs (Allmemorization. examples in standard tuning) Sincebegin. I am not certain if myare audience are beginners, intermediate, or advanced players, I to make sure there later is something forlike everyone here. I invite anyone with Iwill willtry return to the 1stthat question and would to begin by exploring the second Since I amI am not not certain if my audience are are beginners, intermediate, or advanced players, I I Since certain if my audience beginners, intermediate, or advanced players, NOTES questions or comments to email me and I will be happy to elaborate on the things I have question. will will try to suresure thatthat there is something for everyone here. I invite anyone withwith trymake to make there is something for everyone here. I invite anyone covered here. [email jbernardo@riffcentre.com] questions or comments to email me me andand I will be happy to elaborate on the things I have questions or comments to email and I will be happy to elaborate on the things I have IHow will return the 1st would do we to Þgure out question where alllater the notes are? like to begin by exploring the second covered here. [email jbernardo@riffcentre.com] covered here. [email jbernardo@riffcentre.com] question. LetÕs begin. (All examples are in standard tuning) There are many tricks to remembering intervals on the guitar. How many of us have heard LetÕs begin. (AllÞgure examples are are in all standard tuning) LetÕs begin. (All examples inthe standard tuning) How do we NOTES the following: ÒGo out two where down and twonotes over are? and thereÕs your octaveÓ? There is nothing wrong with using this type of method to remember where the octave is and this is how I NOTES NOTES There many toisremembering on to thebegin guitar. manythe of us have heard I will return tosince thetricks 1st question andintervals would like byHow exploring second think ofare it too that how later I learned it. the following: ÒGo two down and two over and thereÕs your octaveÓ? There is nothing question. I willwrong return to the 1stthis question later andand would like like to begin by exploring theand second I will return to the 1st question later would to begin byoctave exploring the second with using type of method to remember is how I However, I believe that there is a a better way. LetÕswhere think the about whatistype ofthis instrument question. question. think of it too since that is how I learned it. Howguitar do weis? Þgure out where the notes are? the It is what I call aallÒclusterÓ instrument. While we could certainly take a linear approach to each string, to make sense of the instrument as a whole we need to think in HowHowever, do we Þgure out out where all the notes are?are? How do we Þgure all the notes believe thatwhere is a a better way. LetÕs think about what typeofofus instrument There are Imany tricks tothere remembering intervals on the guitar. How many have heard clusters. the guitar is? It is what I call a ÒclusterÓ instrument. While we could certainly take a linear the following: ÒGo two down and two over and thereÕs your octaveÓ? There is nothing There are are many tricks to remembering intervals oninstrument the guitar. How many of us heard There many tricks to to remembering intervals on the guitar. How many of have us to have heard approach to each string, make sense of the as a whole we need in wronga with using type ofinstrument. method to Everything remember where octave anditthis isthink how I Take piano. It isthis a ÒlinearÓ is in a the straight lineisand never moves. the clusters. following: ÒGoÒGo twotwo down andand twotwo overover andand thereÕs youryour octaveÓ? There is nothing the following: down thereÕs octaveÓ? There is nothing think of it to toovisualize since that how I learned it. of each octave from the lowest to the highest It is easy theisrepetitive pattern wrong withwith using thisthis typetype of method to remember where the the octave is and thisthis is how I I wrong using of method to remember where octave is and is how note. think of it too since that is how I learned it. think of it too since that is how I learned it. Take a piano. It is athat ÒlinearÓ Everything in a straight line type and itofnever moves. However, I believe thereinstrument. is a a better way. LetÕsisthink about what instrument It is easy to visualize the repetitive pattern of each octave from the lowest to the highest the guitar is? It is what I call a ÒclusterÓ instrument. While we could certainly take a linear However, I believe thatthat there is aisa abetter way.way. LetÕs think about what typetype of instrument However, I believe there a better LetÕs think about what of instrument note. approach to each string, to make sense of the instrument as a whole we need to think in the the guitar is? is? It isItwhat I call a ÒclusterÓ instrument. While we we could certainly taketake a linear guitar is what I call a ÒclusterÓ instrument. While could certainly a linear clusters. approach to each string, to make sense of the instrument as aaswhole we we need to think in in approach to each string, to make sense of the instrument a whole need to think clusters. clusters. Take a piano. It is a ÒlinearÓ instrument. Everything is in a straight line and it never moves. It is easy to visualize the repetitive pattern of each octave from the lowest to the highest Take a piano. It isItaisÒlinearÓ instrument. Everything is inisainstraight lineline andand it never moves. Take a piano. a ÒlinearÓ instrument. Everything a straight it never moves. note. It isIteasy to visualize the the repetitive pattern of each octave fromfrom the the lowest to the highest is easy to visualize repetitive pattern of each octave lowest to the highest note. note. The black keys show us very easily where the half steps are in relation to the white keys and it makes for a very quick navigation on the instrument. The black keys show us very easily where the half steps are in relation to the white keys and it makes for a very quick navigation on the instrument. GUITARBENCH MAGAZINE ISSUE 5 PAGE 1
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Issue 5 2013
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WE HOPE YOU ENJOYED THIS ARTICLE! Please consider supporting us by subscribing. Just $8 for all 4 full Issues in 2013 EDITORSNOTE Thank you for viewing our free article from Issue 5 of Guitarbench! Our magazine focuses on acoustic & classical guitars with the odd ukulele and lap slide.
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If we were to apply the same black and white note idea on the guitar we would have the following diagram: I
III
V
VII
E
F
G
A
B
B
C
D
E
G
A
D
E
A
B
E
F
B
F
IX
XII
C
D
E
F
G
G
A
B
C
D
C
D
E
F
G
A
F
G
A
B
C
D
E
F
C
D
E
F
G
A
B
C
G
A
B
C
D
E
F
G
That looks complicated and maybe even a bit scary. If you are a beginner, I highly recommend that you do the following exercise: Ex. 1 (Beginner) Please see the notated/tabbed exercises to see how it should be played. A) Play all the “white” notes on each string and say the name of the note as you play it to reinforce knowing which note you are on. (repeat on all strings) B) Play all the “black” notes on each string and say the name of the note as you play it to reinforce knowing which note you are on. (these are the notes such as F#, G#, A#, C# and D#) (repeat on all strings) If you are intermediate or advanced, I assume you already know where the notes are located. The next step is to then do something “musical” with this information, and for that we can use scales. A trick I’ve known since I was a little boy is that if you played all the white notes on a piano, starting from C and ending on a C above, you’ve played the C Major scale.
If we analyze the step wise relationship of each note in the scale, it is easy to see following: C -> D is a whole step (or tone) D -> E is a whole step (or tone) E -> F is a half step (or semitone) F -> G is a whole step (or tone) G -> A is a whole step (or tone) A -> B is a whole step (or tone) B -> C is a half step (or semitone)
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This is the recipe for a major scale. In fact, all major scales are built on this principle. Every one of them is built using this exact relationship between the notes. Now let’s see how that looks on the guitar. Linear expression: Blue = lower octave, Green = higher octave I
III
V
VII
E
F
G
A
B
B
C
D
E
G
A
D
E
A
B
E
F
B
F
IX
XII
C
D
E
F
G
G
A
B
C
D
C
D
E
F
G
A
F
G
A
B
C
D
E
F
C
D
E
F
G
A
B
C
G
A
B
C
D
E
F
G
Okay, that is not so bad. However, playing the scale in a linear fashion on the guitar requires much work, so it is easier to play them in one position. Below is a representation of two positions to play the C Major scale. I
III
V
VII
E
F
G
A
B
B
C
D
E
G
A
D
E
A
B
E
F
B
F
IX
XII
C
D
E
F
G
G
A
B
C
D
C
D
E
F
G
A
F
G
A
B
C
D
E
F
C
D
E
F
G
A
B
C
G
A
B
C
D
E
F
The C major scale in blue represents one octave and the C major scale in green represents the pattern in two octaves. (Apply one Þnger per fret and start with your 2nd Þnger to play) (see the music/tab Ex. 2A and 2B)
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If you’ve already learned the two positions above, here are three more for you to consider: (Ex. 2C - start with your 4th Þnger) I
III
V
VII
E
F
G
A
B
B
C
D
E
G
A
D
E
A
B
E
F
B
F
IX
XII
C
D
E
F
G
G
A
B
C
D
C
D
E
F
G
A
F
G
A
B
C
D
E
F
C
D
E
F
G
A
B
C
G
A
B
C
D
E
F
G
(Ex. 2D - start with 1st Þnger. Change position twice, 1st when going from 5th to 4th string, then from 3rd to 2nd string.) I
III
V
VII
E
F
G
A
B
B
C
D
E
G
A
D
E
A
B
E
F
B
F
IX
XII
C
D
E
F
G
G
A
B
C
D
C
D
E
F
G
A
F
G
A
B
C
D
E
F
C
D
E
F
G
A
B
C
G
A
B
C
D
E
F
G
(Ex. 2E start with 1st Þnger and look for position changes like 2D) I
III
V
VII
E
F
G
A
B
B
C
D
E
G
A
D
E
A
B
E
F
B
F
IX
XII
C
D
E
F
G
G
A
B
C
D
C
D
E
F
G
A
F
G
A
B
C
D
E
F
C
D
E
F
G
A
B
C
G
A
B
C
D
E
F
G
If you are a beginner, go through these slowly and make sure the mechanics of your hand are getting worked on so that you can play these comfortably. Once the initial hurdle of getting the left hand mechanics together are achieved, move on to practicing to a metronome.
For the upper intermediate and advanced players, let’s have a different look at the fretboard within the context of C Major. [Ex. 3 & 4 notated/tabbed] I
III
V
VII
E
F
G
A
B
B
C
D
E
G
A
D
E
A
B
E
F
B
F
IX
XII
C
D
E
F
G
G
A
B
C
D
C
D
E
F
G
A
F
G
A
B
C
D
E
F
C
D
E
F
G
A
B
C
G
A
B
C
D
E
F
G
No, that isn’t the periodic table of elements. (haha) All the notes above are in the C Major scale. I have used red to mark “C” to show all the places where the “root” can be played. The notes in blue are the notes below the lowest “C” on a guitar tuned in standard tuning. Even if they are below the lowest “C”, they are all available to be used in the context of C Major. The notes in green represent the notes in the 1st complete octave of C Major between the lowest C and the C an octave above the lowest C. The notes in yellow are the notes in the 2nd octave of C and the notes in orange are in the 3rd octave of C. So really, we should not be limiting ourselves to playing within the “box” position shapes of scales. While they make for quick learning and are great patterns that can be useful in a pinch, they are not where the learning should culminate. Proper mastery of the fretboard requires one to know where all the available notes of the scale are and not just the ones that Þt nicely in a ÒboxÓ shape. All this covers the notes to only one of the 15 keys of the Circle of Fifths. There are 14 more of these to go before one can possibly know every note for every major scale in every position that is useful in practical music. Becoming comfortable with all of them takes a lifetime and it is the journey of learning where the fun comes from. TIME This brings us back to the Þrst question, how do we improve our time keeping skills?
Jose Bernardo lives in Hong
The answer is simple, work with a metronome. I cannot stress how important it is to work Kong and can be reached with a metronome.
at: josebernardo.net or by
While the answer to the question is simple, the bit about getting it done is a bit harder. So image of his here is a general guide to working on time keeping clicking and a few on rulesthe to remember.
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Fretboard Mastery - Article #1 - Guitar Bench 1/2013 Jose Bernardo
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2013 Copyright © Jose Bernardo (Published by Guitar Bench with Permission)
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GUITARBENCH MAGAZINE ISSUE 5 PAGE 15
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WE HOPE YOU ENJOYED THIS ARTICLE! Please consider supporting us by subscribing. Just $8 for all 4 full Issues in 2013 EDITORSNOTE Thank you for viewing our free article from Issue 5 of Guitarbench! Our magazine focuses on acoustic & classical guitars with the odd ukulele and lap slide. We have an emphasis on gear features, and in depth interviews with luthiers and players. Our lessons section is maturing with many professionals contributing tab and articles. We’d love to keep producing content like this, and would like to appeal for your help. By subscribing, we can keep these articles coming! Just click on this link. Warmest Regards and happy reading, Terence Tan, Editor.
° & 4
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GUITARBENCH MAGAZINE ISSUE 5 PAGE 19
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PREVIEW Stay tuned for Issue 6 of Guitarbench Magazine. With our usual mix of great guitars, vintage and contemporary...
and with different perspectives...
interviews with luthiers..
and lessons from professionals....
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