Wednesday, March 25, 2020

Diminished Lattice

This pattern is made up of minor 3rds which form a kind of symmetrical lattice across the fretboard. In this instance the pattern begins and ends on G, but as long as the internal geometry is maintained, it can be placed anywhere on the fretboard.

Notice that there are two "phases" shown. Phase One spans from the 3rd to the 9th fret, and Phase Two covers the 9th to the 15th. Study both phases carefully. You'll see that they are identical in their structure, but because they cover different areas, they each have a different relationship to a given key.

Also notice that both phases combined completely cover an entire octave span, which would be the case regardless of the key.



Friday, October 12, 2018

Funnels and Hats

You are looking at a single chord shape as it is arrayed across the fretboard.

The interval structure of these voicings is shown below:
The shape can be rotated 180ยบ to form two voicings of minor 7th and major7th chords
as well as one voicing of dominant 7th and one voicing of a minor(major7th) chord.
The chords on the four top strings are all minor 7ths.
The chords on the bottom four strings are all major 7ths.
The chord in the middle four strings is a dominant 7th.

All these forms of the shape can, of course, be moved to any fret position and retain their interval structure, however, certain keys allow open strings to be added and so the funnel/hat form can be treated as both open and moveable chords. 

Next you can see all of the Funnels. Try playing them in this order using the Roman numeral Root notes a a guide:

VI IV II - V - IIII ...

Here's notation for the pattern:




Thursday, May 31, 2018

Commonalities: The Big Picture

The Commonality Patterns comprise four of the five Diatonic Zones, omitting the V Zone. But even so, all the note positions of the every key are included. In other words, the entire fretboard can be distilled down to two fingering patterns, each one occurring in two positions per key.

The diagram shows all four positions of the patterns. The top grid shows the II and VI Zones — the bottom grid shows the III and VII Zones. They are separated in the diagram for clarity, since   they overlap. Notice the dotted lines indicating the Axis frets.
Play the green arpeggio paths first as ascending lines. The blue and purple paths represent isolated 3rds. See how the junctures between the patterns, on the 6th and 1st string (the highest fret position of one pattern to the lowest fret position of the next), are always either a whole-step or a major 3rd, i.e.; I to II, II to III, IV to VI, and V to VII. This will help navigating between the Zones.

The diagram below shows the background Zones of the Commonalities. The starred note positions correlate with those omitted from the Commonalities. The IV is left out of the VI and VII Zones, while the VII is left out of the II and III Zones.

Wednesday, May 30, 2018

Commonalities: VI and II Zone

Like the previous examples, these patterns each comprise the same interval relationships and geometry in two separate zones. Again, one zone omits the IV and the other omits the VII and in doing so eliminates the notes which are not common to both zones:

Play the green paths as shown in the notation below for the key of A:

There are may ways to apply these patterns. Experiment with rhythmic variations and breaking the sequence up into ascending and descending melodic ideas, juxtapose different chords, etc.

Wednesday, May 9, 2018

More Commonalities: Two For the Price of One

You are looking at the common notes of the VII and III zones. The starred note positions are the IV (C) and VII (F#) of the Key of G. Notice that when these stars are excluded, both zones are geometrically identical:

 When the C and the F# are removed the remaining notes follow the same geometry even though they are in different places within the key. Notice the grey ellipses which indicate the 'half-step cluster' positions ...
There are many ways this patten can be brought into your repertoire. Consider that you can use precisely the same fingerings in both positions and never go outside the key. That's two notes for the price of one.
Using scale degrees, you can move the pattern to any position. There will always be two patterns in any key in the same relative positions as dictated by the ket degrees.

Wednesday, April 25, 2018

"Goes to Eleven" (Commonalities in Diatonic Zones VII and III)


The VII Zone and the III zone are the only two patterns which contain all the notes of a key across all six strings within single hand positions. There are a few interesting similarities in the arrangement of notes within these two patterns. Knowing their common characteristics will give you an edge in finding your way around as you play.

Here we see all of the 3rds which align the same way in both zones. Since the same exact fingerings happen in two places within any key, if you practice these forms in one position you are practicing the other at the same time. Your muscle memory will thank you.

The first diagram shows the patterns using Roman numerals which are the same for every key. Notice the differences in the peripheral notes between the two patterns. As you become familiar with the highlighted patterns, you can start adding the other notes in, being aware of how these notes relate to the commonalities.

The next diagram shows the patterns in the key of F:

Here is notation for the patterns in the key of F:

Next, here's the pattern in the key of G:
Try playing the VII Zone ascending and the III Zone descending at a steady tempo: