Or combinations of the three. It has to be, precisely because the fretboard is a six by twelve matrix; a two-dimensional universe.
Each of these next 3 lines is connected by the same note name; a C. When they connect at this angle, I call that a unison line. Each parallel line is a different octave. They don’t insect. Visualize this ‘
’ for dependable reference. Add this visual to your overall fretboard vision the same way a pianist sees his reoccurring patterns from referencing a single key! We see that the green unison line would be C4, the middle C on a keyboard. Our two dimensions expand our single sonic reference across 20 frets.
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Of our instrument. Play the C harmonized major tetrachord across the range of your fretboard. Notice the notation below the fretboard for each harmonized tetrachord.
Visualize periodically the 3 parallel unison lines for all 12 note names. Each note name set will be unique. Add targeting these unison lines to your targeting of notes for your overall fretboard vision. Accept that our unison line has the same note from which to select and reference. Each position on the core unison line (middle C) here offers a unique note range advantage for planning your musical goal.
We retain the symmetry where it’s available simply because it’s there, a fact. We are imprinting and growing a truthful vision for reference and application, not suggesting a limitation of any kind regarding performance. To a keyboardist, middle C is only one key, to a guitarist, it’s a 20-fret diagonal! Big difference. Simply the truth. Theory is all about the truth regardless of the idiosyncrasies of any instrument. We accept this and move on.
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To the unison lines. Yet, we’ve retained the fingering in all but the stringset, our known exception, so we skipped that stringset to retain our fingerings. For each harmonized tetrachord we’ve
Pitch to impress the location of the middle C diagonal (C4) across our fretboard. That bears mentioning because of a fact that may come as a surprise to many of our fellow guitarists.
Although the guitar is a concert C melody instrument, it is also a transposing instrument sounding an octave lower than it is written. If it wasn’t transposed an octave, the guitar’s note range would occupy lower ledger lines than notes on the staff. It would look like this:
C Major Guitar Scale
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How To Play Intervals On Guitar
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On the guitar you can use the notes along strings 6 and 5 to track any note on the fretboard with the help of octave shapes. An octave is the distance between one pitch and another with half or double its frequency. In other words, it’s a higher or lower version of the same pitch.
rnYou can also think of an octave as the same pitch in a different register. Octave pitches are also called unison pitches. On the guitar fretboard, octaves follow certain spacings or shapes that you finger in different ways.
rnIn music, the word unison can mean a couple of things. Firstly, it refers to two identical pitches being sounded by separate or different instruments, including voices. For example, two guitar players both playing their 6th strings open produce unison pitches.
rnSecondly, it can refer to pitches that are the same but separated by an octave or more. For example, one guitarist playing the 6th string open and another playing the 1st string open, both E, produce unison pitches.
rnHow to shape octaves with your 1st finger on strings 6 and 5
rnThe first octave shape you need to know stems off of strings 6 and 5. Place your 1st finger somewhere on the 6th or 5th string and use another finger to reach over two strings and up two frets. You now have the same note an octave higher. Notice that you can also play octaves of the open strings.
rn
You can finger these octave shapes with either your 1st and 3rd fingers or your 1st and 4th fingers — whichever is more comfortable. You also have the option of picking the strings separately, fingerpicking them together, or muting the unwanted strings as you strum.
rnGuitar players usually opt to strum octave shapes on strings 6 and 5 by using a pick and leaning their fretting fingers back to touch (but not fret) other strings to prevent them from ringing. This technique creates a raking sound from the muted strings.
rnJazz guitar legend Wes Montgomery was famous for playing melodies and solos by using octave shapes, opting to strum across the strings with the pad of his right thumb for a soft, mellow sound. You hear this technique in his song “Bumpin’ on Sunset.” Jimi Hendrix strummed the same kind of octave shapes with a pick, using distortion, for his songs “Fire” and “Third Stone from the Sun.”
rnThere is a demonstration at Chapter 2, Video Clip 1: Octaves on Strings Six and Five.
rnIf you need to identify a note on string 4 or 3, use octave shapes to trace it back to the notes you have memorized on strings 6 and 5.
rnHow to shape octaves with your 1st finger on strings 4 and 3
rnYou can play octave shapes with your 1st finger on string 4 or 3 and the octaves on string 2 or 1, although the shapes are slightly different than they are on strings 6 and 5. With the way the 2nd string is tuned (one half step lower), you need to move over two strings and up three frets to reach the octave.
rn
Remember that you can also play octaves of the open strings.
rnIf you have to identify a note on string 2 or 1, use octave shapes to trace it back to strings 4 and 3 and then again to strings 6 and 5. However, keep in mind that the 1st string is E just as the 6th string is E, and the positions of all the notes on both strings are the same.
rnHow to shape octaves that are three strings apart
rnAnother octave shape that’s less common but still good to know reaches over three strings and in the direction opposite the previous shapes direction. You can play these octaves by placing your 1st finger on either string 1 or 2 and then reaching over to either string 4 or 5 with either your 3rd or 4th finger.
rn
Octaves beyond the 12th fret
rnFortunately for your memory, everything — including notes and spacing — repeats at the 12th fret. Hence, all the inlay markers beyond the 12th fret correspond to the inlays before the 12th fret, which is why most guitars specially mark the 12th fret with two inlays.
rnJust as strings 6 and 5 open are E and A, the same strings are E and A at the 12th fret. Just as the first inlay marker past the open 6th string is G, the first marker past the 12th fret is also G. On the 5th string, C is at the first markers in both positions.
rn
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How To Play Intervals On Guitar
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On the guitar you can use the notes along strings 6 and 5 to track any note on the fretboard with the help of octave shapes. An octave is the distance between one pitch and another with half or double its frequency. In other words, it’s a higher or lower version of the same pitch.
rnYou can also think of an octave as the same pitch in a different register. Octave pitches are also called unison pitches. On the guitar fretboard, octaves follow certain spacings or shapes that you finger in different ways.
rnIn music, the word unison can mean a couple of things. Firstly, it refers to two identical pitches being sounded by separate or different instruments, including voices. For example, two guitar players both playing their 6th strings open produce unison pitches.
rnSecondly, it can refer to pitches that are the same but separated by an octave or more. For example, one guitarist playing the 6th string open and another playing the 1st string open, both E, produce unison pitches.
rnHow to shape octaves with your 1st finger on strings 6 and 5
rnThe first octave shape you need to know stems off of strings 6 and 5. Place your 1st finger somewhere on the 6th or 5th string and use another finger to reach over two strings and up two frets. You now have the same note an octave higher. Notice that you can also play octaves of the open strings.
rnYou can finger these octave shapes with either your 1st and 3rd fingers or your 1st and 4th fingers — whichever is more comfortable. You also have the option of picking the strings separately, fingerpicking them together, or muting the unwanted strings as you strum.
rnGuitar players usually opt to strum octave shapes on strings 6 and 5 by using a pick and leaning their fretting fingers back to touch (but not fret) other strings to prevent them from ringing. This technique creates a raking sound from the muted strings.
rnJazz guitar legend Wes Montgomery was famous for playing melodies and solos by using octave shapes, opting to strum across the strings with the pad of his right thumb for a soft, mellow sound. You hear this technique in his song “Bumpin’ on Sunset.” Jimi Hendrix strummed the same kind of octave shapes with a pick, using distortion, for his songs “Fire” and “Third Stone from the Sun.”
rnThere is a demonstration at Chapter 2, Video Clip 1: Octaves on Strings Six and Five.
rnIf you need to identify a note on string 4 or 3, use octave shapes to trace it back to the notes you have memorized on strings 6 and 5.
rnHow to shape octaves with your 1st finger on strings 4 and 3
rnYou can play octave shapes with your 1st finger on string 4 or 3 and the octaves on string 2 or 1, although the shapes are slightly different than they are on strings 6 and 5. With the way the 2nd string is tuned (one half step lower), you need to move over two strings and up three frets to reach the octave.
rnRemember that you can also play octaves of the open strings.
rnIf you have to identify a note on string 2 or 1, use octave shapes to trace it back to strings 4 and 3 and then again to strings 6 and 5. However, keep in mind that the 1st string is E just as the 6th string is E, and the positions of all the notes on both strings are the same.
rnHow to shape octaves that are three strings apart
rnAnother octave shape that’s less common but still good to know reaches over three strings and in the direction opposite the previous shapes direction. You can play these octaves by placing your 1st finger on either string 1 or 2 and then reaching over to either string 4 or 5 with either your 3rd or 4th finger.
rnOctaves beyond the 12th fret
rnFortunately for your memory, everything — including notes and spacing — repeats at the 12th fret. Hence, all the inlay markers beyond the 12th fret correspond to the inlays before the 12th fret, which is why most guitars specially mark the 12th fret with two inlays.
rnJust as strings 6 and 5 open are E and A, the same strings are E and A at the 12th fret. Just as the first inlay marker past the open 6th string is G, the first marker past the 12th fret is also G. On the 5th string, C is at the first markers in both positions.
rn
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