Half Step Cluster Paths

The half-step clusters can be played as a set of two patterns - or paths - running from the lowest string to the highest and, in the key of C, from the open strings to the 13th fret. The term path is used because it best describes the linear nature of these patterns.

Try playing the paths using this fingering (lowest string first, slashes indicate string change);

Phase One: [ 0, 1 / 2, 3 / 1, 2 / 3, 4 / 1, 2 / 3, 4 ]

Phase Two: [ 1, 2 / 1, 2 / 3, 4 / 1, 2 / 3, 4 / 3, 4 ]

The first path, called Phase One, ascends from the open 6th string, beginning on the IIIrd scale degree of the key (bottom E) and ends at the 8th fret of the 1st string at the Tonic (C). Phase Two ascends from the 7th fret of the 6th string on the VIIth scale degree (B), and ends at the 13th fret of the 1st string, on the IVth scale degree (F). Notice that the fret positions of the end of Phase One coincide with the beginning of Phase Two, and that the end of Phase Two at the 12th and 13th frets on the 1st string coincides with a repeat of the same two notes on the 6th string. These bottom string notes then become the beginning of Phase One again.

If we transpose the pattern into other keys, the geometry remains the same, though the fret positions change accordingly. So, in the key of A, for example, Phase One, which begins on the IIIrd scale degree, would originate at the 9th fret of the 6th string (C#), while Phase Two would start out at the 4th fret of the 6th string (G#).


All contents of this blog are © Mark Newstetter

Fretboard Symmetry

The diagram above shows the tones of the key of C as they are arrayed on the fretboard from the open strings to the 10th fret. There are no tones in the key on the 11th fret, and the system begins again at the 12th fret. By splitting the system into two groups of strings, upper and lower, we can see the clear embedded symmetry.

The 'upper string group' comprises the top four strings (D, G, B, E from low to high), the 'lower string group' comprises the three bottom strings (E, A, D from low to high), the 4th string (D) is shared by both groups.

The three half step clusters in the upper string group each comprise the same four pitches - middle B, C, E, F on the piano - shown as VII, I, III, IV in the diagram. The two clusters in the lower string group contain the same four tones and octave lower. Also, each of the string groups contain two partial clusters with two tones in each.

Just as the repeating pattern of black and white keys on the piano is essential in understanding and accessing the tones on the piano keyboard, this method of mapping and diagramming the guitar fretboard has real advantages over the conventional linear approach.

Every scale, mode, interval and chord can be understood more comprehensively with the help of the symmetrical approach offered by Fretography. Regardless of the style of music you play, your understanding of music theory as applied on the guitar will be enhanced.

Take some time to study the diagram above. Find your way around the fretboard using it as a guide. Let yourself meander, don't try to play scales, but treat the diagram as a roadmap and learn the terrain the way you would make your way around if your were visiting a new city.

You might start with the central half step cluster, positioned at the 5th fret, and then venture out from there in all directions, returning to the center again. Remember that the symmetry is based on two separate string groups, so stay within the top four strings for a while, then the lower three, before crossing between the two groups.


All contents of this blog are © Mark Newstetter

Half Step Clusters

In the diagram above, dark ellipses indicate the positions of the diatonic half steps. The lighter gray regions are the zone patterns we have discussed previously. Notice that each of the two zone patterns contain two half step clusters consisting of four notes, and one 'partial cluster' consisting of two notes. There is a skewed cluster at the center of the system between the two zones.

Notice that this diagram replaces alphabetical note names with Roman numerals. C=I, D=II etc.

Learning the positions of these clusters will go a long way toward helping you to be able to clearly visualize all the note positions as you play. Memorize the fret and string positions of each cluster. Once you've done this you will know the positions of 4 of the 7 tones in the key of C. The remaining three tones are all whole steps apart, so you can navigate from any half step cluster in either direction on any string and play either two or three whole steps to get to the next cluster. More precisely, there are two whole steps going up from the highest tone in the cluster (IV), and two whole steps going down from the lowest cluster tone (VII) before arriving at the next cluster.

It may appear that the patterns are only roughly symmetrical. However, as well see in the next entry, there is a very precise symmetry embedded in the fretboard if you know how to look at it.


All contents of this blog are © Mark Newstetter