Parallel 3rds (Symmetrical Pattern)

This pattern divides the 3rds of the key of C into two zones within the top four strings. One lower zone spanning from the open strings to the 5th fret and another higher zone from the 5th to the 10th fret. Each 3rd in the pattern comprises two notes separated by one string and one fret. This is an easy pattern to remember due to its clear symmetry.

The lower zone runs in a descending order from the Tonic 3rd (C-E on the 2nd and 1st strings, respectively) to the IV (F-A on the 4th and 3rd strings). The upper zone ascends from the Tonic (C-E on the 4th and 3rd strings, respectively) to the V (G-B on the 2nd and 1st strings).

In the diagram below, fingering is shown below the notation as italic numbers. The Roman numerals are the corresponding scale degrees. The green bars are major 3rds / The purple bars are minor 3rds. Notice all the connected notes in the pattern between the 2nd and 3rd strings (B-G) are minor, and the rest are major.

Once you have practiced the pattern as written, try reversing direction, playing the first part as an ascending sequence from IV up to I, and the second part descending from V down to I.

(Fretboard note positions outside the notated pattern (grayed out) are shown in the diagram for reference.)

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The Center of the Fretboard

Have you ever pondered the question of where exactly, is the 'middle of the fretboard?' Maybe 'center' is a better word than 'middle'. One certainty is that there is no clear comprehensive answer. The best answer is probably;"It depends."

If what it depends on is the Diatonic Key, then the answer can be more precise;

In Fretography, the center of the fretboard is considered the center of the key (and vice versa). So, in the key of C major/A minor, the center of the fretboard is the 5th fret between the 2nd & 3rd strings (G and B string). The 2nd and 3rd strings form what is, in Fretography, the "Third Rail." This refers to the 3rd interval between those strings. Since the tuning relationship between these strings is unique, they are given special focus. They become the pivotal strings around which all the note patterns revolve. The principal of rotating symmetry becomes quite clear when you focus on this position before exploring the rest of the fretboard.

The four encircled tones in the diagram above are the four compass points to the rest of the fretboard. In the key of C, they are B-C-E-F. The 7th, Tonic, 3rd and 4th of the key, respectively.

Below, the same pattern in the key of D;

Notice that the four center notes are now C#-D-F#-G. These are the 7th, Tonic, 3rd and 4th of the key.

This cluster of tones, VII - I - III - IV  are positioned on a fret which forms an Axis.  Notice that there are three unique Axis frets on the fretboard in the above diagrams. There are four actual Axes, but in both of the keys shown above, there are two with identical note names; EADGB. These matching fret positions can be considered the same theoretical Axis.

If we ignore the far right Axis in the first diagram (Key of C, 12th fret) and the far left Axis in the second diagram (Key of D, Open Strings), then we have a set of three Axes, with the target notes in the Center Axis.

This Axis is shown below with Roman numerals which represent the scale degrees which apply to every key, regardless of which fret position the Axis is placed;

The four notes of the Center Cluster can be found in three places within the span of the four top strings;

The same notes, an octave lower are positioned as shown below with blue targets;

Let's see where these notes fall on the piano keyboard. The diagram below shows the BCEF clusters in three octave positions on the fretboard and piano.  Also shown is the very low EF 'semi-cluster' - the two lowest notes on the guitar (in grey), as well as the high BC semi-cluster on the 7th & 8th frets of the 1st string (yellow) and the low EF semi-cluster on the 12th & 13th frets 6th string (blue);

These notes are not only the tonic, 3rd, 4th and 7th of the key – as such, they are also the half-step positions. Learn the positions of these four notes. They are the compass points which show the way to the whole system.

All contents of this blog are © Mark Newstetter

4-String Modes Rooted on the 6th String, Key of Bb

Here are the same lower string modes in the key of Bb. Notice that the symmetry is clearer in this key;

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4-String Modes Rooted on the 6th String, Key of C

The lower four strings are all tuned in 4ths (E-A-D-G from low to high) which yields symmetrical patterns. The following diagrams show all the 4-string modes in the key of C;

All contents of this blog are © Mark Newstetter

4-String Modes, Rooted on 5th String

When 4-string mode forms are rooted on the 5th string, they lose their symmetry. This is because the interval pattern of the strings is asymmetrical. That is, the interval pattern of the upper four strings (4-3-2-1, from low to high), the interval pattern is Perf. 4th / Maj 3rd / Perf. 4th, which is symmetrical. However the interval pattern of the four middle strings (5-4-3-2) is Perf. 4th / Perf. 4th / Maj 3rd, which is asymmetrical. So the patterns which span these four strings are asymmetrical.

Interestingly, three of these patterns - Mixolydian, Aeolian and Dorian - though lacking the rotational symmetry of the standard module forms, share the same silhouette;

The diagram above shows the key of G. Below you can see the Dorian and Mixolydian modes in the key of C;

The Ionian and Phrygian modes, which are a symmetrical module in the upper and lower strings, are very different in the middle four strings;

Likewise, the Lydian/Locrian module becomes a mixed bag;

All contents of this blog are © Mark Newstetter

4-String Mode Forms

The simplest single octave mode forms span three strings. We have looked at all of these forms in previous posts, and they are included in the iPhone App, Modes 101. All of the 3-string modes are played starting from the 1st or 2nd finger (or an open string). Now we'll examine some mode forms which span four strings.

It may be more practical within a particular riff to begin the mode on the 3rd or 4th finger, because of the hand position dictated by a previous chord or riff. All the 4-string mode forms begin on either the 3rd or 4th finger, and cannot start with an open string (but may begin with the 2nd finger if the mode includes open strings).

Let's start with the Ionian/Phrygian module spanning the upper four strings. The symmetry is clear;

Notice that the Phrygian mode begins with two notes on the lowest string of the pattern and ends with one note on the top string. The Ionian mode is exactly the opposite.

Next, the Mixolydian/Aeolian module;

These forms overlap in this view. Notice that the silhouettes of the modes are identical. They both begin and end with a single note on the low and high string. Starting on the 4th finger and ending on the 1st.

And here are the 4-string mode forms in the Lydian/Locrian Module on the 4 upper strings;

Dorian Mode, in these 4-string upper forms, would be rooted in the 12th fret or on the open 4th string in the key of C, which is not a very practical position. Below, it's shown in the key of G where it is rooted on the 7th fret;

All contents of this blog are © Mark Newstetter