guitar grid method-v2

(3) Major Scale Two-String Express (6) Know the Notes

(5) Chord Creation

(1) Introduction

2007 Bill Lints

(4) Pentatonics Modified

(2) Pentatonic Scale Two-String Express

Introduction Welcome to The GuitarGrid Method Vol. 2.

Vol. 2 uses the principles of Vol. 1 as leverage, once again making the difficult much easier. I trust you will enjoy and greatly benefit

from these new insights and applications of GuitarGrids.

Questions? Comments! Information...

CONTACT: guitargrid.com

~~~~~~~

Pentatonic Scale 2-String Express This lesson shows you a new way to navigate up and down the fretboard while playing with the

Pentatonic Building Blocks.

The Pentatonic Scale 2-String Express allows you to use 2 strings to see your way up or down the fretboard, and then to play left or

right of the 2 strings at any point along the way.

To the right is a 2-column grid view of the Pentatonic Scale. Centering it is a 2-Long Block. For initial learning purposes, this 2-Long Block will be your main reference point. Use it to get oriented before traveling up or down the Pentatonic Scale 2-String Express. Once you become familiar with this 2-String Express, recognizing any part of it as you play pentatonics will suffice as a reference point. Note: This view shows enough of the repeating pattern for you to see how it continues up and down. The top 2 dots are the bottom notes of a 2-Long Block, and the bottom 2 dots are the top notes of a 2-Long Block. Please keep in mind, although you can, you don't have to play any notes of this 2-String Express to reach a new position on the fretboard. In other words, you can also use it as a visual guide, choosing to begin playing at any point along the way.

Pentatonic Scale 2-String Express pg. 1

This view shows the Express' partial 2-Long Blocks being completed left and right of the Express. The 2-Long columns outside the Express have white dots, to keep the 2 strings of the Express standing out visually (for your ease of viewing).



This view shows the Express' 2-column partial 3-Short Blocks being completed left and right of the Express. Note: To keep the view uncluttered, 3-Short Blocks are not completed in Express areas where only 1 column of a 3-Short Block exists. These 1-column partial 3-Short Blocks are located directly left or right of each 1-column partial 2-Long Block. So use your knowledge of connecting 3-Short Blocks to 2-Long Blocks to easily complete and play these 3-Short Blocks.

Here are some tips for knowing the Express' pattern, going both up and down. Starting from the middle, at the 2-Long Block, notice the pattern up and down is similar: Up from the 2-Long Block are: - 2 columns of a 3-Short Block - 2 columns from 2 separate 2-Long Blocks - 2 columns of a 3-Short Block - Next up, a 2-Long Block (beyond this grid's view) Down from the 2-Long Block are: - 2 columns of a 3-Short Block - 2 columns from 2 separate 2-Long Blocks - 2 columns of a 3-Short Block - Next down, a 2-Long Block (beyond this grid's view) So, going up or down, the same pattern occurs: 2-Long Block > partial 3-Short Block > 2 separated 2-Long Block columns > partial 3-Short Block > 2-Long Block...etc. In other words, the pattern alternates between 2-Long Blocks and 2 separate 2-Long Block columns [with partial 3-Short Blocks between each alternation].


Below is the Pentatonic 2-String Express, along with two grid view reminders of the relationships between 2-Long Blocks and 3-Short Blocks.

Please include this in your practice: As previously mentioned in this lesson, learn to navigate the fretboard with the Pentatonic Scale 2-String Expressnot only by actual note playingbut also by visually scanning the fretboard as you play. This will allow you to "jump" from where you're playing to Building Blocks further away on the fretboard.


~~~~~~~

Major Scale 2-String Express This lesson shows you a new way to navigate up and down the fretboard while playing with the Major

scale Building Blocks.

The Major Scale 2-String Express allows you to use 2 strings to see your way up or down the fretboard, and then to play left or right of the

2 strings at any point along the way.

To the right is a 2-column grid view of the Major scale. Centering it is a 4-Block. For initial learning purposes, this 4-Block will be your main reference point. Use it to get oriented before traveling up or down the Major Scale 2-String Express. Once you become familiar with this 2-String Express, recognizing any part of it as you play the Major scale will suffice as a reference point. Please keep in mind, although you can, you don't have to play any notes of this 2-String Express to reach a new position on the fretboard. In other words, you can also use it as a visual guide, choosing to begin playing at any point along the way.

Major Scale 2-String Express pg. 1

This view shows the Express' partial 9-Blocks being completed left and right of the Express. The 9-Blocks' columns outside the Express have white dots, to keep the 2 strings of the Express standing out visually (for your ease of viewing).


This view shows the Express' 2-column partial 4-Blocks being completed left and right of the Express.

Here are some tips for knowing the Express' pattern, going both up and down. Starting from the middle, at the 4-Block, notice the pattern up and down is similar: Up from the 4-Block are: - 2 columns of a 9-Block - 2 columns from the center of a Powerful Little 4x4 [an "S" shape] - 2 columns of a 9-Block - The next complete 4-Block Down from the 4-Block are: - 2 columns of a 9-Block - 2 columns from the center of a Powerful Little 4x4 [an "S" shape] - 2 columns of a 9-Block - The next complete 4-Block So, going up or down, the same pattern occurs: 4-Block > partial 9-Block > 4x4's inner "S" shape > partial 9-Block > next complete 4-Block ...etc. In other words, the pattern alternates between 4-Blocks and 4x4 inner "S" shapes [with partial 9-Blocks between each alternation].


Below is the Major Scale 2-String Express, along with three grid view reminders: The Powerful Little 4x4, and two reminders of the relationships between 4-Blocks and 9-Blocks.

Please include this in your practice: As previously mentioned in this lesson, learn to navigate the fretboard with the Major Scale 2-String Expressnot only by actual note playingbut also by visually scanning the fretboard as you play. This will allow you to "jump" from where you're playing, to Building Blocks further away on the fretboard.

~~~~~~~


Pentatonics Modified This lesson uses the Pentatonic Building Blocks as a framework, and modifies it, giving you new ways to

enhance your playing.

While you experiment with these modifications, remember to apply your knowledge of modes. Then you will command additional variations upon

these variations of the simple underlying pentatonic structure. For example, notice what a difference in sound quality you can create just by playing back

and forth between the minor and Major modes of the Blues Scale.

Think of these modifications less as scales to be practiced, and more as notes you can throw in here and there, as you play. Use the variety of

possible notes to add new flavors to what you already play, and of course also to help generate new musical ideas.

Remember you can "bend up" from one note to achieve the pitch of a higher notefor example to get from a Pentatonic Building Block note to a modified

note, or from a modified note to a Pentatonic Building Block note.

The Blues Scale This is the pentatonic scale, plus what is known as the "Blue Note"labeled "B."

Blues ScaleVariation 1

Pentatonics Modified pg. 1



Mixo Blues Scale


Hybrid Scale The Major and minor pentatonic scales' notes combined.

Hybrid ScaleVariation 1 The Major and minor pentatonic notes combined, with the "Blue Note" added in. This is known as the "Texas Blues Scale."

Hybrid ScaleVariation 2 Like the Hybrid ScaleVariation 1, this too has been called the "Texas Blues Scale."


The Indian Pentatonic Scale Here is a pentatonic (5 note) scale, which is a little different than what is commonly considered "the" pentatonic scale. Omit the 2-Long Block's bottom right note, and play it one half-step (one fret) higher.

The Voodoo Blues Scale Omit the 2-Long Block's bottom left note, and play it one half-step (one fret) lower.

The Major Scale Here is the pentatonic framework with the two notes added in that turn it back into being the Major scale.

~~~~~~~


Chord Creation This lesson shows you how to build your own chords

around any single note on your fretboard.

Below are a ChordGrid and a Chord Spellings List. You will use these in combination to create chords.

ChordGrid Guide The "R" represents the fretboard note used to build a chord. "R" stands for Rootthe root note of the chord, and equals the number 1. The root note is the note used to name whatever kind of chord is created. The 1s with one dot under them are an octave higher than the "R." The 1s with two dots under them are two octaves higher than the "R." For ease of recognition, the "R" and other 1s are black, and the 3s, 5s, and 7s are different shades of gray. The 2s with a 9 under them, the 4s with an 11 under them, and the 6s with a 13 under them are all in an octave one octave higher than the notes of "R's" octave. You will play those 2s, 4s, and 6s, when a 9, 11, or 13 is in a chord's spelling. Here is why those 2s, 4s, and 6s are also labeled with a 9, 11, or 13. Counting through two octaves (two different ways), reveals that the "R's" second octave's 2, 4, and 6 can also be numbered 9, 11, and 13, respectively. R 2 3 4 5 6 7 1 2 3 4 5 6 7 R 2 3 4 5 6 7 8 9 10 11 12 13 14 [Adding 7 to numbers in the second octave gives the same results.]

Chord Creation pg. 1

ChordGrid


Chord Spellings List

Added 2nd R, 2, 3, 5

Suspended 2nd R, 2, 5

7th suspended 2nd R, 2, 5, b7

diminished triad R, b3, b5

diminished 7th R, b3, b5, bb7

half diminished 7th R, b3, b5, b7

minor triad R, b3, 5

minor 6th R, b3, 5, 6

minor 7th R, b3, 5, b7

minor 9th R, b3, 5, b7, 9

minor 11th R, b3, 5, b7, 9, 11

minor 13th R, b3, 5, b7, 9, 11, 13

minor/Major 7th R, b3, 5, 7

Added 4th R, 3, 4, 5

Flat 5th R, 3, b5

7th flat 5th R, 3, b5, b7

Major triad R, 3, 5

6th R, 3, 5, 6

6/9 R, 3, 5, 6, 9

7th R, 3, 5, b7

7th flat 9th R, 3, 5, b7, b9

9th R, 3, 5, b7, 9

7th sharp 9th R, 3, 5, b7, #9

11th R, 3, 5, b7, 9, 11

13th R, 3, 5, b7, 9, 11, 13

Major 7th R, 3, 5, 7

Major 9th R, 3, 5, 7, 9

Major 11th R, 3, 5, 7, 9, 11

Major 13th R, 3, 5, 7, 9, 11, 13

Added 9th R, 3, 5, 9

Augmented triad R, 3, #5

7th sharp 5th R, 3, #5, b7

Suspended 4th R, 4, 5

7th suspended 4th R, 4, 5, b7

5th (power "chord") R, 5


Chord Spellings List Guide The spellings are based relative to the notes in the Major scale, which is represented in the ChordGrid. The spellings are listed in a numerical order, and are grouped according to the first number to the right of the "Rs." Bold numbers are the notes required to get the chord's intended sound quality. Non-bold numbers can be omitted. Yet, if the root note is already being played, for example by a bass guitar, then you can also get away with omitting it. A "b" in front of a number indicates "flat"meaning play that note one half-step lower in pitch (one fret down) from where that number is in the ChordGrid. The "bb" in the "bb7" of the diminished 7th chord indicates "double flat"meaning play that note 2 frets down from where a 7 is in the ChordGrid. A "#" in front of a number indicates "sharp"meaning play that note one half-step higher in pitch (one fret up) from where that number is in the ChordGrid.


Chord Creation Instructions 1) Choose a chord from the Chord Spellings List. 2) Choose a note on your fretboardthat's your root note ("R"). 3) Look at the ChordGrid. If any notes you choose will land on the B and high E strings, you will need to play them up one fret from what you see in the ChordGrid. The Shifting Up will bring some notes of the ChordGrid into playing range, while moving others out of range. You can make the string you choose for "R" work to your advantage. 4) After accounting for any necessary Shifting Up, locate (on your fretboard) at least one of each of the chord spelling's required notes. And you can add any note from the spelling more than once, including adding other 1s [remember, the "R" is a number 1 note]. 5) Also, if the note of an open string works for a chord, you can include it. 6) Find your own creative ways to hold a chord's notes down. You can use a finger to play more than one note, including barring all strings at once. You can mute a string you don't want played, by having the flesh of a finger keep it from vibrating. And there are even situations where using your thumb can be helpful. 7) Hold down your chosen notes, along with the "R," and strum! Experiment to discover and hear a chord's different possible sound qualitiesputting its spelling's notes in a variety of combinationsincluding having a note other than the root note be the lowest note in the sequence.

~~~~~~~


Know the Notes This lesson shows you a way to know the notes on the fretboard using a pattern you've

already learnedthe 9-Block.

The C Major scale's 9-Block contains all the notes found in the C Major scale. When you know where all, or even part of a C Major scale's 9-Block lands on

your fretboard, you can also easily know the note names at that location.

Before we get to the C Major scale's 9-Block, let's take a look at the inlay markers as found on most fretboards. They will be used as reference points. On the first twelve frets, these inlay markers are commonly located at frets 3,5,7,9,12 or 5,7,9,12. Two markers are often placed at the 12th fret. Although suggestions will be given, feel free to use the markers in any ways you like, to help you locate the C Major scale's 9-Blocks and the other groups of notes covered in this lesson. Note: The inlay markers found at frets 3,5,7,9,12 will from here on in the lessons simply be called inlay markers 3,5,7,9,12 (without mentioning "fret"). Also, if you don't already know them, please learn the

open strings' note names: E-A-D-G-B-E. They are also the notes' names at the 12th fret.

Know the Notes pg. 1

Here is the C Major scale's 9-Block. For starters, memorize it as three columns: G,A,B, - C,D,E, - F,G,A The more familiar you become with the notes of this 9-Block, the faster you will be able to name the notes on the fretboard. Note: To simplify communication, from here on in this lesson, "9-Block" will be used to replace, yet still mean the "C Major scale's 9-Block."

Here are 4 non-intersecting fretboard locations of the 9-Block. Use this view to become familiar with where these 9-Blocks land on the fretboard. The 2 upper locations contain all 3 columns of the 9-Block. Notice how the upper right 9-Block's 2 right columns are shifted up 1 fret from the leftmost column. The 2 lower locations each contain only 2 columns of the 9-Block. The missing column of each 9-Block lands outside the fretboard.


The 9-Blocks' location details: Upper Left 9-Block: This whole block is lined up with and directly to the left of inlay markers 3,5,7. Upper Right 9-Block: The leftmost column's G note is the open G-string, and its A and B are 1 fret above and below inlay marker 3, respectively. The 2 right columns land on the 2 thinnest strings [B,E] and are shifted up 1 fret from the leftmost column. Notes C,F are at fret 1. Notes D,G are in line with inlay marker 3, and notes E,A are in line with inlay marker 5. Lower Left 9-Block: Only the 2 right columns land on the fretboard and they land on the 2 thickest strings [E,A]. The bottom notes of these 2 right columns [notes E,A] are at inlay marker 12. Lower Right 9-Block: Only the 2 left columns land on the fretboard and they land on the 2 thinnest strings [B,E]. The bottom notes of these 2 right columns [notes B,E] are at inlay marker 12.


This view has 1 9-Block with its notes filled in, while the other 3 9-Blocks are blank. This is the one 9-Block that has all 3 columns' notes land on the fretboard, without any shifting up. Use this filled in 9-Block to help you visualize and know the notes in the 3 blank 9-Blocks.


These are the fretboard notes not covered by the 4 non-intersecting 9-Blocks. Notice they land in 3 fretboard areas: Top Left: F,B,E [below open string notes E-A-D and above the top of a 9-Block]. Middle Right: C,D,F,B [C,D being directly to the right of inlay markers 5,7, respectively]. Bottom Middle: B,C,D,E,F,G [B,E are in line with inlay marker 9, and D,G are in line with inlay marker 12]. These are ways to help you know the notes in each area: Top Left: F,B,E The three open strings [E, A, D] above this area show the way. E>F A>B D>E. Middle Right: C,D,F,B Use this mnemonic device, or make up your own. "See The Flying Bee" = Cee Dee Flying Bee. And the pattern C,D,F,B makes looks like a flight path a flying bee could take. Bottom Middle: B,C,D,E,F,G Use the fact that B,C,E,F is a 4-Block of the C Major scale to know the 2 columns here are B,C,D and E,F,G.


Ok, now use this view to test yourself. With all the C Major scale's note names left blank, and the 4 9-Blocks showing, can you name any note, including the notes in the 3 non-9-Block areas? While testing yourself, keep in mind eventually when you're looking at your fretboard, the inlay markers will be much more helpful than you may think at this point. So, please give appropriate consideration to the relationships between the note groups and the inlay markers.


With the 9-Blocks' outlines removed, mentally locate the 4 9-Blocks and the 3 non-9-Block groups of notes, and name their notes. Sharps and Flats The unmarked spaces between the notes shown here are called "sharps" and "flats" of the marked notes. "Sharp" means one half-step (one fret) higher, and "flat" means one half-step (one fret) lower. So, for example, on any given string, the note in the unmarked space between notes G and A can be named either G-sharp or A-flat.


Now we're back to where we started, just the open strings, frets, and inlay markers. Use this view to mentally apply what you've learned. Locate the 4 non-intersecting 9-Blocks, and name their notes. Locate the 3 non-9-Block groups, and name their notes. Randomly pick any note location. - Is it in one of the 4 non-intersecting 9-Blocks? or - Is it in one of the 3 non-9-Block groups? - Is it by chance a sharp or flat of one of the C Major scale's notes? ...Name that note.

Practice Suggestion: Practice playing only the notes of the C Major scale. (This is a very effective way to finalize your knowing the notes.) Simply play (fairly slowly) around the fretboard, taking turns playing in each of the 4 non-intersecting 9-Blocks and in each of the 3 non-9-Block groups. Jump from one to another if you likenaming each note you play.


~~~~~~~

One Last Tip: Here is a powerful benefit to what you've learned in this lesson, which goes beyond knowing the names of the notes. This benefit is a result of your ability to jump around to and from 9-Blocks and non-9-Block groups. The idea is you can use the 9-Blocks and non-9-Block groups as navigation aids, even if you're not playing the C Major scale (or a mode of the C Major scale). As an example, imagine you are playing the top right note of a pentatonic 2-Long Block. Notice its position is in one of the 4 9-Blocks, or in one of the 3 non-9-Block groups. Using that information, jump to another fretboard location of that noteknowing that the new location is where the top right note of your pentatonic 2-Long Block will be played (even if it's not the first note you play at the new location).


ContentsIntroductionPentatonic Scale Two-String ExpressMajor Scale Two-String ExpressPentatonics ModifiedChord CreationKnow the Notes

guitar grid method-v2

Documents

long block partial

long blocks

long columns

long block columns partial

express pattern

short blocks

express areas

pentatonic scale