Guitar Fretboard Notes
Guitar Fretboard Notes
When learning your Guitar Fretboard Notes there’s many ways to go about mastering this process. Many of which are far too complex and over-thought. Having been a guitar instructor for over 20 years I’ve seen a lot a ways that my students have trained themselves to understand the notes on the fretboard, and have analyzed most of them.
What I most commonly find is that they put more demand on themselves than need be. In fact, most of the time it becomes more complicated to understand the Guitar Fretboard Notes when using some of these complex methods.
Today I’m going to show you an easy to understand method of mastering your Guitar Fretboard Notes fast and easy, once and for all. There’s just two shapes you need to remember and rest will fall into place once you begin practicing this method.
The best part of this method is that you’ll learn all the octave locations across the neck at the same time, as well as the Guitar Fretboard Notes. This makes it much easier to see the entire neck for each and every key, on demand.
1st Triangle Shape For Guitar Fretboard Notes Memory.
- Figure #1.
Guitar Fretboard Notes - G Octaves
As you can see, the starting point is on the sixth string, third fret. From there you’ll diagonally cross over to the fourth string, fifth fret. Finally, all the way down to the first string, third fret.
These three “G” notes create the triangle you see in the diagram. The starting point on the sixth string will always represent the key signature that you’re in.
As you move this shape up or down the neck, the triangle stays exactly the same, and the starting note on the sixth string will always be the key your are in. This is the best way to view your octaves from the sixth string perspective. You’ll want to practice this triangle shape all the way up the neck and all the way back down the neck, calling out each key that you’re in as you practice them in sequence.
Once you get the hang of moving this shape around and calling out the keys, you’ll start seeing all the Guitar Fretboard Notes easier than ever before. You’ll wonder why you didn’t catch on to this simple method sooner.
2nd Triangle Shape For Guitar Fretboard Notes Memory.
- Figure #2.
Guitar Fretboard Notes - C Octaves
This one is slightly different, in that it starts on the fifth string, third fret. From there you’ll diagonally cross over to the third string fifth fret. Finally, down to the second string, first fret.
These three “C” notes create the triangle you see in figure 2. The starting point on the fifth string will always represent the key signature that you’re in.
As you you move this shape up and down the neck, the triangle stays exactly the same, and the starting note on the fifth string will always represent the key you’re in. Again, this is the best way to view your octaves from the fifth string perspective. You’ll want to practice this triangle shape all the way up the neck and all the way back down the neck, calling out each key as you’re practicing them in sequence.
Once you get the hang of moving this shape around and calling out the keys, you’ll start seeing all the Guitar Fretboard Notes super easy.
These Two Triangle Shapes Will Unlock All Of The Guitar Fretboard Notes.
What you’ll start noticing when you practice this method, is that you’re able to simply look at the guitar fretboard without playing anything, and actually see all of the Guitar Fretboard Notes by just viewing the guitar fretboard. The same thing happen if you close your eyes and visualize the neck, you’ll still see all the notes. This is what you want.
If you practice these shapes daily, you’ll find that within a week the neck will have a whole new look to it. You won’t see the neck the way you did before, as just frets and dots… You’ll begin to clearly see all notes by name and will be much more comfortable playing in different keys. You’ll also notice a major improvement with improvising.
When you unlock the Guitar Fretboard Notes your creativity goes way up, and the quality of your music improves as well. It’s only natural that it would, because you’ll now have complete control over the fretboard. If you feel this has helped you, please leave a comment in the box below.
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Guitar Stereo Pedals and Pedal Placement
Guitar Stereo Pedals and the order in which they are placed is a critical factor when it comes to your guitar tone. Of course, anything that involves the manipulation of your guitar tone is subjective.
However, there are definitely guidelines to follow that can help you immediately.
After examining the theories and methods of three of the industry’s top pedalboard designers, I found some interesting points to consider.
One of the things I found interesting when using stereo pedals, is that every stereo pedal that comes after the first stereo pedal, has to be “true stereo” with “discrete stereo inputs and outputs”, otherwise you’ll experience undesirable mismatched results.
If you only use one stereo pedal and you placed at the very end of the chain, you’ll be good to go without problems. If you are using more than one stereo pedal you may have a problem due to the fact that most stereo pedals quite often have only a single mono input.
Also, many pedals with two inputs are often not actually “True Stereo” because the two inputs are summed to mono before feeding the stereo processor.
Even when using true stereo pedals, you still have to watch out for phase and other imaging issues.
I find this information to be very helpful because if you’re not aware of issues like this, you could easily find yourself spending tons of time trying to correct a phase or stereo imaging issue in other areas that aren’t related to the core problem. Then once you figure out where the problem is coming from, you’ll then wonder why… and it won’t make sense. Bottom line is you must use “True Stereo Pedals” if you are using more that one.
As far as pedal placement is concerned… this is very interesting.
Bob Bradshaw puts the distortion devices early in the chain, then adds filters, wahs, and other modulation devices. He adds all delays at the end of the chain. This is implementing the idea of a harmonically rich distorted signal being filtered, rather than filtering a clean sound going into an echo.
Normally you wouldn’t place your delays first before going into your distortion boxes, unless you were looking for a very specific sound.
Pete Cornish, uses compression first directly out of the guitar, steering clear of any volume pedals prior, as it would defeat any compression and leave the system with maximum noise if the volume pedal was reduced to zero.
He runs higher gain pedals before lower gain pedals, and has found that the higher gain pedals control the sustain better and the lower gain pedals control the tone better when connected in that order. He then incorporates the modulation effects.
It’s useful to use a volume pedal before delays, as you can control the swell better. If you use a volume pedal at the end of the chain it makes a great master volume and mute.
Any boosting devices are used at the very end, as not to overload any part of the signal chain.
Dave Friedman agrees with the concept of compressors before overdrives, and then adding the modulation devices towards the middle, and using all delays and echos at the end of the chain.
The wah-wah pedal is always a personal preference for its position due to the way it may react within your personal pedalboard design. Sometimes it’s placed early in the chain, and other times it’s placed after the overdrives.
In fact, Dave describes a situation where the the bass player of “Rage Against The Machine” likes to place his wah pedal at the end of the chain, after the delay. This method allows you to filter the delays and other effects.
I hope this information has been useful to you, as I found it to be very interesting. This could be a big “Ah ha” moment for those experiencing stereo imaging and phase problems, as well as helping to spawn new pedal placement ideas for enhancing “The Big Picture” of your sound.
*** Please leave a comment below and share your thoughts. Thank You.
~ Robert Lee Molton
Killer Guitar Tone In 7 Days
How To Get Killer Guitar Tone In 7 Days Or Less Guaranteed!
There are many things that affect the tone of your guitar. Some things are more drastic than others, but the truth is that until you understand how this affects you, it’s very possible you are being robbed of great guitar sound right now and not even know it.
One of the biggest problems is that these tone stealing factors can compound and make it very tough to figure out where to start, or figure out what is actually causing the tone erosion.
It’s highly recommended to start with the absolute bare essentials when you are trouble shooting and correcting problems. This means starting with your guitar directly into the amp, and directly into the cabinet. Nothing else connected at all. Then begin your analysis and trouble shooting procedures.
This video will go over the basic elements of what may be robbing you of great guitar sound right now. These elements tend to be the root of what most people are experiencing, and often times don’t even know it.
Please leave a comment and share your thoughts.
