Simple Fretboard Mapping

[edue1]

Hi Brendan!

Mainly how to go through the changes with lines that don’t sound like exercises, while at the same time allowing some freedom so as not to have to play the same pre-learned lines every time a specific chord sequence happens.

I’m thinking something like typical chord sequences of some genres (rock, metal, gypsy jazz, country) and different approaches to improvise with arpeggios and scales that are available specifically for DWPS, for example, and best ways to connect those arpeggios and scales from a macro (mapping) perspective that leaves enough room for personal input but is also structured enough that it provides a frame of reference and a big picture perspective.

I hope that made some sense : )

Thanks!

[ElDimo]

Hi all,

After a quick email conversation with Brendan I’d like to contribute and share my opinion on this subject.

I’m totally in favor of lessons on fretboard mapping and harmony, as it bridges the gap between technique and music; which is the end goal for most people.
It would be nice to have tutorials focused on musical thinking, and how to choose notes and phrase them over the chords in a cohesive way.

While there is indeed a lot of content on ways to learn the neck, I think there’s a huge difference in the application of various methods when playing fast or slow.
E.g., I tend to visualize and target specific intervals with CAGED at slow tempo, but focus more on three notes per string shapes when playing faster.

Bringing theory into fast lines is what really pushes the boundaries and makes people better.
I remember Troy talking about an Eric Johnson lick, as he played in E minor pentatonic and finished the run on a D triad resolving to G.
This I - V mini resolution wasn’t something I would have naturally thought of.
Giving a detailed explanation of what was being played made a lot of sense to me and helped me get more interesting sounds out of pentatonics!

Another subject might be how to use technique to free ourselves from “basic” chords, and pull out nicer voice leading with irregular amounts of notes per string or tricky hybrid picking patterns when writing progressions.

I know lots of people who just switch positions and avoid certain voicings because they don’t manage to play them cleanly.

[Milkweed]

I appreciate this focus on fretboard mapping. One of my guitar heroes, Herb Ellis, stressed linking melodic ideas to familiar chord shapes. It’s a big help, especially when playing music where the chords change often.

[Troy]

I think that’s really the only way the guitar is played through the changes. Whether the marker is actually a chord or not is kind of academic. But it has to be some kind of shape that connects to whatever the next shape is. I just say “chord” as a placeholder for “visual shape on the fretaboard which changes when the key changes” of which there are of course many. But I do think starting with an actual chord is probably the simplest way to get hands on with this, since everybody knows what a chord is.