The harmonized fretboard (guitar)
Olav Torvund's Guitar Pages
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January 2005
Fretboard Navigation
New Lessons
Navigate Your Fretboard
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Introduction
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Introduction to the fretboard series
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Part 1 - Major scales
G-major in Open
Position and Major
Box 1
E-major and F-major
in Major Box 3
Major Box 6, C-major,
G-major and A-major
open
Major Box 3B - GG-major in Major Box 2 major and D-major in
Open Position
Connecting Major Box
5 and 6, C-major
F-major in Open
Position and in Major
Box 2
Major Box 4 - G-major
and C-major in Open
Position
Major Box 7, C-major,
G-major and G-major
open
E-major in Open
Position
Connecting Box 3 and
4 - G-major
Connecting Box 6 and
7 - C-major
Major Box 5, G-major,
G-major in Major Box 3 C-major and Bb-major
open
Closing the Major Box,
C-major and G-major
Connecting Box 1, 2
and 3 - G-major
Practising the Major
Scale
Connecting Major Box
4 and 5, G-major
Minor pentatonic and blues scales, from the Blues
Guitar series
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The minor pentatonic scale - a
simplified blues scale in A
Pentatonic boxes in all positions,
A and E
The "Blue notes" - the blues scale
in A
Minor pentatonic scale in Open D
tuning
Blues scale in E
Minor pentatonic scale in Open G
tuning
Scales: Dorian Mode
Box 1
Box 2
Box 3
Box 4
Box 5
Box 6
Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Dorian
Progressions: Dorian, but not Grey
Dorian - i - (b)III - IV - (i)
Scales: Phrygian Mode
Box 1
Box 2
Box 3
Box 4
Box 5
Box 6
Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Phrygian
mode.
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Progressions: The "Spanish" progression
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Open C Tuning
Silent Night in
Open C Tuning
Minor Blues
Reading Music Lesson 3
Reading Music Reading Chords
Blues
Turnarounds
A Chord
Excercise - jazzy
7th chords
Open Chords
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The harmonized fretboard (guitar)
Scales: Lydian Mode
Box 1
Box 2
Box 3
Box 4
Box 5
Box 6
Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Lydian
Scales: Mixolydian Mode
Box 1
Box 2
Box 3
Box 4
Box 5
Box 6
Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Mixolydian
Scales: Aeolian Mode (Natural Minor)
Box 1
Box 2
Box 3
Box 4
Box 5
Box 6
Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Natural minor
Scales: Locrian Mode
Box 1
Box 2
Box 3
Box 4
Box 5
Box 6
Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Locrian
Part 2 - Intervals
Intervals - introduction
Thirds - Basci Shapes
Sevenths - harmonic, horizontal
Fifths - harmonic, horizontal
Thirds - harmonic, horizontal
Sevenths - harmonic, vertical
Fifths - harmonic, vertical
Thirds - harmonic, vertical
Sevenths - melodic
Fifths - melodic
Thirds - melodic
Octaves - harmonic, horizontal
Fourths - harmonic, horizontal
Sixths - harmonic, horizontal
Octaves - harmonic, vertical
Fourths - harmonic, vertical
Sixths - harmonic, vertical
Octaves - melodic
Fourths - melodic
Sixths - melodic
Chord positions (triads)
Major triads, root position
Major triads, 1st inversion
Major triads, 2nd inversion
Minor triads, root position
Minor triads, 1st inversion
Minor triads, 2nd inversion
Diminished triads, root position
Diminished triads, 1st inversion
Diminished triads, 2nd inversion
Sus4 triads, 1st inversion
Sus4 triads, 2nd inversion
Augmented triads
Sus4 triads, root position
Scales harmonized in triads
Harmonized scales with Triads
Root
C
C#/Db
D
D#/Eb
E
F
F#/Gb
G
G#/Ab
A
Bb
B
1. inv
C
C#/Db
D
D#/Eb
E
F
F#/Gb
G
G#/Ab
A
Bb
B
2. inv
C
C#/Db
D
D#/Eb
E
F
F#/Gb
G
G#/Ab
A
Bb
B
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The harmonized fretboard (guitar)
Scales harmonized with 7th chords
Harmonized scales with 7th chords
Root
C
C#/Db
D
D#/Eb
E
F
F#/Gb
G
G#/Ab
A
Bb
B
1. inv
2. inv
3-inv
Chord arpeggios (scalar)
Triads
11th chords
7th chords
13th chords
9th chords
Sonic positions
Further references
Ls:G1 1999-09
GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar *
G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar
I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review
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Navigating the Fretboard - guitar scales etc
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Fretboard Navigation
Introduction to the Guitar Fingerboard series
Books
No matter what kind of music you play: If you want to go beyond the very beginners level, you have to know
the fingerboard. Scales, intervals and chord shapes should become second nature. You do not have time to
think where to put your finger when you are playing.
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This series is designed to help you learn how to navigate the fingerboard. Compared to the keyboard, the
guitar fingerboard does not seem to have the same kind of logic. We do not have black and white keys, and
the same note can be found in many different positions. In practise this means that it takes more time to
learn the basics, and the learning curve is steep in the beginning. But the guitar have one great advantage
over the keyboard: All postitions that do not include open strings are moveable! Once you have
learned how to play a scale, or a sequence of closed chord positions in one key, you have learned them in all
12 keys.
If you learn to play seven "scale boxes", then you have learned how to play major, all pentatonic scales and
all modal scales in all 12 keys all over the fingerboard. If the learning curve is a bit steeper and longer
compared to other instruments, the reward is much higher.
Harmonic minor and melodic minor are a bit more difficult to finger, as you have to break out of the
boxes. And there are some more exotic scales that may be a bit harder to play. But again you have learned all
keys if you have learned one.
When playing scales, be sure to play in an even tempo. Use a metronome, a drum machine or a backing
track. Your audience will get sea sick if you are not able to keep a steady rhythm. Concentrate on precision
and tone, not on speed. Speed will come eventually, and you will be able to play clean and with a good tone
at high speed. If you concentrate on speed, then you will end up playing sloppy.
Further references
GP= Guitar Player * TG=Total Guitar * GT=Guitar Technique * AG=Acoustic Guitar * FsG=Fingerstyle Guitar *
G1=GuitarOne * GWA=Guitar World Acoustic * Gu=Guitar * Gst=Guitarist * HTPG=How To Play Guitar
I=Interview * F=Feature * A=Analysis * Ls=Analysis * C=Comment * Li=Licks * R=Review
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Navigating the Fretboard: The major scale - Major Box 1, G-major
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The major scale - Major Box 1 and open postition
G-major
Even though many guitar players in idioms like jazz, rock, blues and country often use other scales than the
major scale, the major scale is nevertheless the basic point of reference. You should of course continue to use
your pentatonic scales, blues scales, dorian scales, mixolydian scales, etc., just as you are using them now. But
if you want to expand and deepen you knowledge, then you should start learning the major scale and build
from there. And if you do not know what a pentatonic scale, a blues scale, a dorian scale, a mixolydian scale or
any other scale is, don't worry. They will be covered, and they will be cross-referenced with the corresponding
lessons on harmony.
Practising scales
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1. Use a metronome, a drum machine and keep a steady beat. Your playing should not sound like a cassette
player on low batteries.
2. Take it easy and play slow. Do it right before you try to do it fast. You should concentrate on getting a
good and clean tone, not on speed. Speed will come eventually. If you start too fast, you might end up as
someone playing sloppy at a high speed. But it will never sound good.
If we should cover general theory, or play keyboard, we would have started with the key
of C, because it has no sharps or flats. It is just the white keys on the keyboard. But Gmajor is a better starting key for scale practise on a guitar. G-major has one # (sharp),
for those of you who are interested in this kind of knowledge (you should be!). It has the
notes G-A-B-C-D-E-F#-(G). To get an introduction to scales in general, go to my series
on Music Theory. Here we concentrate on how to play them.
I give you the G-scale in open position first. It is good to know, even if it is not moveable
-- or more precise: We have not made it moveable yet..
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On the guitar, we play scales in "boxes", "forms", "position", or what you prefer to call
them. I call them Boxes, and since there are many scales, I refer to a box for a major
scale as Major Box. It is common practise to refer to them with numbers, but there is no
standard for what should be No 1, No 2, etc. So don't be too confused if you come across
other numberings than mine. The first one is of course Major Box No 1. The numbers in
this diagram indicates the note number in the scale, and not the fingering. R=Root note,
2=2nd note, etc.
Use your first finger on the 2nd fret, the middle finger on the 3rd fret, the ring finger on
4th fret and the little finger (4th finger) on 5th fret. Some of you might have trouble
getting the 4th finger to work properly. It is only due to lack of practise. Because the
finger is weak and not used to work independent of the other fingers, many guitar
players do not use it. And by not using the finger, you make sure that it will stay weak. It
is one of the many short cuts that does not pay of in the long run. If your little finger is
weak, you have to put it to work and give it some exercise. When playing scales in
positions like this, your hand should stay in the same position. Your fingers shall move,
not your hand.
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Navigating the Fretboard: The major scale - Major Box 1, G-major
The following is the G-major scale played within Major Box 1.
You can go down to F# on 2nd fret 6th string, and up to A on 5th fret 1st string without changing position and moving your hand. But
I decided to to include just the two octaves from G to g'.
Playing scales up and down does not produce interesting music - and it will not become more interesting just by playing the scale
faster. You should practise many scale based licks or patterns. First play only the first five notes up from each of the scale notes. For
this and the following examples, you will need the Free Finale Viewer to be able to use the files.
Play chunks of four notes, starting on each note of the scale. You will play up a fourth.
Play the same notes, but going down.
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Navigating the Fretboard: The major scale - Major Box 1, G-major
When playing such scale exercises, experiment with rhythm and phrasing. You may find some nice and useful licks hidden in these
scale exercises. I have put togehter various scale exercises for you to use when practising.
Scale Excercises for Box 1, G-major
Back to Main Box 1, G-major page
Thirds* 4 notes, Thirds - Part 1 * 4 notes, Thirds - Part 2 * 5 notes, Fifths * 6 notes, Fifths part 1 * 6 notes, Fifths part 2 * 6 notes,
Fifths part 3 * 6 notes, Fifths part 4 * 6 notes, Fifths part 5 * Chained four note groups * Sixths and Sevenths * Octaves and
Modes * Triad arpeggios within the scale * 7th Chord arpeggios within the scale * 9th Chord arpeggios within the
scale * Triplets * The Long Wave *
G-major is a very popular key in bluegrass and other playing styles where you will use a lot of open strings in your solos. So you
should practise G-major in open position as well.
Scale Excercises for G-major, open
Back to G-major, Basic page
* 4 notes, Thirds * Chained four note groups * Octaves and Modes * Triad arpeggios within the scale * 7th Chord arpeggios within
the scale * 9th Chord arpeggios within the scale * The Long Wave *
For a more extensive list of exercises that you can adapt to any key in any position, go to the G-major, Box 1 page.
Another way to practise scales is to play melodies. Choose melodies that you know very well, that is solid major and that has no
chromatic notes outside the scale. I have chosen Oh Susannahas an illustration.
Oh Susannah(Finale file)
Try to play it one octave down, to practise these scale notes as well.
Oh Susannah one octave down(Finale file)
Other songs you might use are Yankee Doodle, Jingle Bells, Silent Night, Sound Of Music, Ob-la-di Ob-la-da, Hey Judeand
With A Little Help From My Friends, just to mention a few. In these melodies, you play only notes from the scale. The melodies will
usually start at one of the notes from the root chord. In G, this is of course the G-chord, which has the notes G-D-B.
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The major scale - Major Box 3, E-major and F-major
This lesson is included to remind you that these positions are moveable. So far we have played E-major in
open position (which really is box 2), and we have played F-major in open position and box 2. Here you
have these two scales in box 3. If you have any problems in understaning how to connect box 2/open and
box 3 in these keys, you have to go back to the previous lesson.
E-major
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F-major
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Navigating the Fretboard:
I have include one exercise for each of these keys in box 3.
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The major scale - Major Box 6, C-major, G-major and Amajor open
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Scale Excercises for G-major, Box 6
Back to Box 6 page
Waves * Thirds * Thirds in waves * Modes 1 * Modes 2 * The long wave * Triads 1 * Triads 2 * Seventh
Chords 1 * Seventh Chords 2 * Ninth Chords *
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Navigating the Guitar Fretboard: The major scale - Major Box 2, G-major
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The major scale - Major Box 2, G-major
The next box might be a bit hard to play, as it requires some finger stretching. Some
have bigger hands than others. But you will eventually be able to stretch your left
hand fingers more. It just takes practise. As all these positions are moveable, you
might practise this box at another key in a higher position, where there is a shorter
distance between the frets. If you start from 8th fret instead of 3rd, you will play in
the key of C. But we will stick to G-major, and then make it even worse by going
down to F-major in the next lesson.
As this box spans five frets and we have only four fingers available at our fretting
hand, we cannot stick to the rule of using one finger for each fret. Our first finger will
have to do most of the work, and cover the two lowest frets - fret 3 and 4 if we play
in G-major. Then 2nd finger takes care of 5th fret, 3rd finger play 6th fret - which in
practise mean that the 3rd finger has nothing to do unless we throw in a chromatic
note or two. Our 4th finger play the 7th fret. Notice that you can play the same high
5th note (D in G-major) in two positions.
It is hard to play in this position. It is not the box you will use very much, as it give
you only one extra note, compared to Major Box 1 (the high B at 1st string, 7th fret).
But it is a passing position when you start to climb ut the fretboard. If you don't know
it, then it will be hard to play smooth and fluent up and down the fretboard.
Without further comments, we play the same kind of exercises as we did with Major
Box 1. You should be able to transfer the exercises from box 1 to box 2, so I will only
give you a few examples now. First of all it is the G-major scale.
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Navigating the Guitar Fretboard: The major scale - Major Box 2, G-major
Scale Excercises for Box 2, G-major
Back to Main Box 2, G-major page
* 4 notes, Thirds * Chained four note groups * Octaves and Modes * Triad arpeggios within the scale * 7th Chord arpeggios within
the scale * 9th Chord arpeggios within the scale * The Long Wave *
For a more extensive list of exercises that you can adapt to any key in any position, go to the G-major, Box 1 page.
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Navigating the Fretboard:
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Fretboard Navigation
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January 2005
The major scale - Major Box 3B, G-major and open D-major
Box 3B is a variation of Box 3. Instead of going down one fret on 3rd and 4th string, we go up on 4th and 5th
string to reach the same notes. The disadvantage of Box 3 is that there is a position shift in this box. The
disadvantage of Box 3B is a long stretch. Which one to prefer depend on what your are playing.
G-major
As always, we start with the key of G-major. As for Box 3, we find the root on the 4th string.
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And then we go up and down the G-major scale, covering the whole range of this playing position.
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D-major open
The Box 3B is the one to use when you play D-major in open position.
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Navigating the Fretboard:
And we go on with the full range of notes. As the lowest string is open, we cannot come deeper without retuning the
guitar. To get that deep D, it is often nice to tune to Dropped D tuning when playing in D. But here we stay in
standard tuning.
It should not be too difficult to transfer the exercises from Box 3 to Box 3B, so I will not give you any exercises in
G-major this time. But I will give you some in D-major, open position.
Scale Excercises for D-major, Open
position
Back to Box 3B page
Waves * Thirds * Thirds in waves * Modes 1 * Modes 2 * The long wave * Triads 1 * Triads 2 * Seventh Chords
1 * Seventh Chords 2 * Ninth Chords *
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Book of the
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Fretboard Navigation
The major scale - Connecting Major Box 5 and 6, C-major
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Navigating the Fretboard:
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January 2005
The major scale - F-Major in Box 2 and in open
position
This is to a very large extent the same lesson as the previous. Everything is just moved down one note (two
frets), to F-major. There are at least two reasons for doing this: To illustrate that these positions are moveable,
and to remind you that you have to play the scales in all keys. Now you have two boxes and two keys.
You should also know the open position F-major scale. I give you only the box and the scale, and then you
should be able to figure out the rest. Notice the relation between these two boxes.
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F-major
Open position
F-major
Box 2
First we play the F-major scale in Box 2.
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Then you can play the same scale in open position.
Scale Excercises for Box 2, F-major
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Back to Main Box 2, F-major page
Navigating the Fretboard:
* 4 notes, Thirds * Chained four note groups * Octaves and Modes * Triad arpeggios within the scale * 7th Chord arpeggios within
the scale * 9th Chord arpeggios within the scale * The Long Wave *
For a more extensive list of exercises that you can adapt to any key in any position, go to the G-major, Box 1 page.
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The major scale - Major Box 4, G-major
G-major
Box 4 is the next in line, starting from the 7th fret if we are in the key of G. We start with the G-major scale.
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The next is all the notes that are available within Box 4.
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Scale Excercises for G-major, Box 4
Back to Box4 page
Waves * Thirds * Thirds in waves * Modes 1 * Modes 2 * The long wave * Triads 1 * Triads 2 * Seventh
Chords 1 * Seventh Chords 2 * Ninth Chords *
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The major scale - Major Box 7, C-major, Gmajor and G-major open
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Scale Excercises for G-major, Box 7
Back to Box7 page
Waves * Thirds * Thirds in waves * Modes 1 * Modes 2 * The long wave * Triads 1 * Triads 2 * Seventh
Chords 1 * Seventh Chords 2 * Ninth Chords *
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The major scale - E-major in open position
We continue our journey down the neck through various keys. E-major in open position is
really the same as Major Box 2, except that we play the lowest positions on open strings.
When you have the box and the scale, you should have no trouble in figuring out all the
other exercises.
Scale Excercises for E-major,
open
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* 4 notes, Thirds * Chained four note groups * Octaves and Modes * Triad arpeggios
within the scale * 7th Chord arpeggios within the scale * 9th Chord arpeggios within the
scale * The Long Wave *
For a more extensive list of exercises that you can adapt to any key in any
position, go to the G-major, Box 1 page.
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The major scale - Connecting Box 3 and 4, Gmajor
As Box 3 already has a move down the neck when shifting from 5th to 4th string, it is not easy to get an
upward movement from this positions. So if you are on your way up the neck, you should use Box 3B rather
than Box 3. So in the examples, i use the Box 3B fingering. I will remind you that some general points about
shifting positions are discussed a little more in depth in the lesson on Connecting box 1, 2 and 3. And you
should not forget that where to shift depends on what you are playing. A fingering that works well in a scale
exercise may not work as good in acutal music, so you have to figure it out for your favorite phrases.
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The major scale - Major Box 3, G-major
Now it is time for a new box, and we go back to our favorite key for scale exercises: Gmajor.
Now you see why I prefer to start with G-major in Box 1: It has the root on the
lowest string and on the top string, an spans two octaves between these root notes.
Major Box 3 has the disadvantage that you cannot reach the low root on the 6th
string - the G on 3rd fret as long as we are in G-major. You can of course change
position, and in real playing you will do that. We can start from the root two frets
below the box, which means starting in Major Box 2 (or 1) on the lower string, and
change to when playing on the higher strings. We will come back to that in the next
lesson.
It is a bit tricky to play this box, as you have to change position. If you start from the bottom, you start with
the first finger on 5th fret, 6th string (assuming that you are in G-major). When you play the 4th fret on
the 4th string you move your first finger down one fret. I prepare for that by using the 4th finger on 7th
fret, 5th string, instead of the third finger. When going up to 5th fret when you are reaching the 2nd string,
you use your first finger on 2nd sting, fifth fret. When coming down, I use 4th finger on 3rd string, 7th
fret, and then again first finger on fifth fret, fifth string. These position shifts makes some of the exercises
surprisingly hard to play. Sometimes it easier to strech up to 9th fret instead of going down to the 4th, which
gives you what I call the Box 3B position. I will come to that in the next lesson. But we cannot say that one
position is better than the other - it depends on the passage you are playing. So you have to learn them both.
For the exercises, I have chosen to stay within the box. But I do not want to loose the sense of being in Gmajor, so I always start and end on the root note (or root chord).
In this box there is only one continous scale from G to G:
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To cover all the notes from the G-major scale, playable within this box, I have extended the scale as far up
and as far down as you can reach. But I start and end on the root note.
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Scale Excercises for Box 3, G-major
Back to Main Box 3, G-major page
* 4 notes, Thirds * Chained four note groups * Octaves and Modes * Triad arpeggios within the scale * 7th Chord arpeggios within
the scale * 9th Chord arpeggios within the scale * The Long Wave *
For a more extensive list of exercises that you can adapt to any key in any position, go to the G-major, Box 1 page.
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In Box 5, the root is on the 5th and the 3rd string. The lowest reachable note is the fifth note on the 6th
string, and the highets is the sixth note on the 1st string.
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Scale Excercises for G-major, Box 5
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Chords 1 * Seventh Chords 2 * Ninth Chords *
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The major scale - Closing the Major Box, C-major
and G-major
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The major scale - Connecting Major Box 1, 2 and
3, G-major
When you have been playing these boxes for a while, you might start to ask "How do I get out of here?" You
may want to get to a higher position to reach higher notes, or to a lower position to reach lower notes. Or you
might just want to go the another position that is better for a certain passage. You have to connect the boxes
and move between them. And you should be able to shift position without interupting the flow of music. Your
audience should not hear that your are shifting position, unless the sound of a slide is exactly what you want.
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As long as you stay within a box, we can say that this is the right way to finger the scale. When moving
between boxes, there are no such set rules. But: If there is a rest in the music, then it is a good oportunity to
shift position. Even i a fast solo, it will give you the split second you need for a quick move without interfering
with the music.
Often there are no rests to use for position shifts. You have to shift while playing. The easiest way is to slide
from one position to another. But your audience will hear the slides, so you should not choose this solution
unless you want them to hear the slide. (OK, sometimes the alternative is worse if you do not have the proper
technique, but you should be able to make these shifts without sliding.)
If you slide, you have several choices. The first is if you want to pick the note you slide into, or if you will just
let it ring from the attack before the slide. If you pick the note it will be stronger, and of course weaker if you
do not pick it. The next choice is if you want to slide into a strong note, or out from the strong note. If you
slide into a down beat, the slide sounds as some kind of a pick up note. If you do not pick the down beat that
you are sliding into, then you will break the rhythm and get some kind of a syncopation – which might be OK.
If you slide from a down beat, the note you slide into will sound more like a passing tone. If you do not pick
it, it will be weaker. But it will not change the rhythm. If you slide from one position to another, where to do it
is more a question of what fits the music than what fits the fingering. Technically it does not really matter
where in the boxes you put your slides. Experiment with sliding from one box to another. Choose different
notes, try to pick and not to pick the note you are sliding into, and try sliding into and out from down beats.
And listen to the different sounds.
Then we come to shifting positions without sliding, and then it is time to discuss technique. On this page I will
present the G-major scale over two octaves. I have indicated the fingering under the tablature. The first
example is box 2 and box 3. They fit together so nicly that you hardly notice that you are changing position.
In the other example I have included box 1. You will find more examples if you go to the exercises.
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Box 2 and box 3 combined. As box 2 and box 3 overlap, I have indicated the overlaping by puting the new box in parenthesis
where the overlap starts.
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Scale Excercises for connecting Box 1, 2 and 3, Gmajor
Back to Main Connecting Box 1 2 and 3, G-major page
* Scale - Connecting Box 1, 2 and 3 * Thirds - Connecting Box 1, 2 and 3 * Thirds i wave form - Connecting Box 1, 2 and 3 *
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The major scale - Connecting Major Box 4 and 5,
G-major
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Practising the Major Scale
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Navigating the Fretboard: Dorian Mode
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Dorian mode - Box 1
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Scales: Dorian Mode
Box 1
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Ex 1
Ex 1
Ex 1
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Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Dorian
Progressions: Dorian, but not Grey
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Scales: Dorian Mode
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Ex 1
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Navigating the Fretboard: Dorian Mode
Scales: Dorian Mode
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Ex 1
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Ex 1
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Theory: Modal, Dorian
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Scales: Dorian Mode
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Ex 1
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Ex 2
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Ex 2
Theory: Modal, Dorian
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Scales: Dorian Mode
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Ex 2
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Ex 2
Theory: Modal, Dorian
Progressions: Dorian, but not Grey
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Scales: Dorian Mode
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Ex 1
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Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Dorian
Progressions: Dorian, but not Grey
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Scales: Dorian Mode
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Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Dorian
Progressions: Dorian, but not Grey
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Dorian mode- Box 1 - Exercise 1 - Thirds
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Scales: Dorian Mode
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Box 7
Ex 1
Ex 1
Ex 1
Ex 1
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Theory: Modal, Dorian
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Scales: Dorian Mode
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Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
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Ex 2
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Ex 2
Ex 2
Theory: Modal, Dorian
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Box 3
Box 4
Box 5
Box 6
Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Dorian
Dorian - i - (b)III - IV - (i)
Progressions: Dorian, but not Grey
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Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Dorian
Progressions: Dorian, but not Grey
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Navigating the Fretboard: Dorian Mode
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Ex 2
Ex 2
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Theory: Modal, Dorian
Progressions: Dorian, but not Grey
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Navigating the Fretboard: Dorian Mode
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Dorian
Progressions: Dorian, but not Grey
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Navigating the Fretboard: Dorian Mode
Scales: Dorian Mode
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Box 6
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Dorian
Dorian - i - (b)III - IV - (i)
Progressions: Dorian, but not Grey
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Navigating the Fretboard: Dorian Mode
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
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Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Dorian
Dorian - i - (b)III - IV - (i)
Progressions: Dorian, but not Grey
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Navigating the Fretboard: Dorian Mode
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Dorian
Dorian - i - (b)III - IV - (i)
Progressions: Dorian, but not Grey
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Navigating the Fretboard: Dorian Mode
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Navigating the Fretboard: Dorian Mode
Scales: Dorian Mode
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Dorian
Dorian - i - (b)III - IV - (i)
Progressions: Dorian, but not Grey
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Navigating the Fretboard: Dorian Mode
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Box 5
Box 6
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Dorian
Progressions: Dorian, but not Grey
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Dorian - i - (b)III - IV - (i)
Navigating the Fretboard: Dorian Mode
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I appreciate comments
Navigating the Fretboard: Dorian Mode
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Dorian mode- Box 5 - Exercise 2 - Thirds
Books
Scales: Dorian Mode
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Box 6
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Dorian
Progressions: Dorian, but not Grey
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Dorian - i - (b)III - IV - (i)
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Navigating the Fretboard: Dorian Mode
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Dorian
Progressions: Dorian, but not Grey
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Navigating the Fretboard: Dorian Mode
Olav Torvund's Guitar Pages
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Scales: Dorian Mode
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Navigating the Fretboard: Dorian Mode
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Box 3
Box 4
Box 5
Box 6
Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Dorian
Dorian - i - (b)III - IV - (i)
Progressions: Dorian, but not Grey
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Box 6
Box 7
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Phrygian mode.
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Progressions: The "Spanish" progression
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Scales: Phrygian Mode
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Phrygian mode.
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Scales: Phrygian Mode
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Box 7
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Phrygian mode.
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Scales: Phrygian Mode
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Box 5
Box 6
Box 7
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Phrygian mode.
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Navigating the Fretboard: Phrygian mode
Scales: Phrygian Mode
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Box 5
Box 6
Box 7
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Phrygian mode.
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Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Phrygian mode.
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Phrygian mode.
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Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
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Scales: Phrygian Mode
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Box 3
Box 4
Box 5
Box 6
Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Phrygian mode.
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Scales: Phrygian Mode
Box 1
Box 2
Box 3
Box 4
Box 5
Box 6
Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Phrygian mode.
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Phrygian mode.
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Navigating the Fretboard: Phrygian Mode
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Box 6
Box 7
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Phrygian mode.
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I appreciate comments
Navigating the Fretboard: Phrygian Mode
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Books
Scales: Phrygian Mode
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Phrygian mode.
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Theory: Modal, Phrygian mode.
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Ex 2
Ex 2
Ex 2
Theory: Modal, Phrygian mode.
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Ex 1
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Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Phrygian mode.
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Navigating the Fretboard: Phrygian Mode
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Phrygian mode.
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Navigating the Fretboard: Phrygian Mode
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Phrygian mode.
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Progressions: The "Spanish" progression
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Navigating the Fretboard: Phrygian Mode
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Scales: Phrygian Mode
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Phrygian mode.
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Progressions: The "Spanish" progression
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Navigating the Fretboard: Phrygian Mode
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Phrygian mode- Box 6 - Exercise 2 - Thirds
Books
Scales: Phrygian Mode
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Box 4
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Box 6
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Phrygian mode.
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I appreciate comments
Navigating the Fretboard: Phrygian Mode
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Phrygian mode- Box 7 - Exercise 2 - Thirds
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Scales: Phrygian Mode
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Box 6
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Phrygian mode.
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Progressions: The "Spanish" progression
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Navigating the Fretboard: Lydian mode
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Lydian
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Navigating the Fretboard: Lydian mode
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Lydian
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Navigating the Fretboard: Lydian mode
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Lydian
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
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Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Lydian
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Navigating the Fretboard: Lydian mode
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Lydian
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Lydian
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Navigating the Fretboard: Lydian mode
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Navigating the Fretboard: Lydian mode
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Box 6
Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Lydian
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Ex 1
Ex 1
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Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Lydian
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Lydian
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Lydian
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Ex 1
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Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Lydian
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Navigating the Fretboard: Lydian Mode
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Scales: Lydian Mode
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Lydian
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I appreciate comments
Navigating the Fretboard: Lydian Mode
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Scales: Lydian Mode
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Box 6
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Lydian
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I appreciate comments
Navigating the Fretboard: Lydian Mode
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Scales: Lydian Mode
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Box 4
Box 5
Box 6
Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Lydian
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I appreciate comments
Navigating the Fretboard: Lydian Mode
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Scales: Lydian Mode
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Box 6
Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Lydian
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Navigating the Fretboard: Lydian Mode
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Box 6
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Lydian
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Theory: Modal, Lydian
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Theory: Modal, Lydian
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Ex 2
Ex 2
Ex 2
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Ex 2
Theory: Modal, Lydian
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Navigating the Fretboard: Lydian Mode
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Ex 2
Ex 2
Ex 2
Ex 2
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Theory: Modal, Lydian
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Navigating the Fretboard: Lydian Mode
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Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Lydian
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Navigating the Fretboard: Mixolydian mode
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Mixolydian
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Mixolydian
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Navigating the Fretboard: Mixolydian mode
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Mixolydian
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Navigating the Fretboard: Mixolydian mode
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Ex 1
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
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Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Mixolydian
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Navigating the Fretboard: Mixolydian mode
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Mixolydian
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Navigating the Fretboard: Mixolydian mode
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Mixolydian
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Navigating the Fretboard: Mixolydian mode
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Mixolydian
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Theory: Modal, Mixolydian
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Theory: Modal, Mixolydian
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Mixolydian
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Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Mixolydian
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Navigating the Fretboard: Mixolydian Mode
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Scales: Mixolydian Mode
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Mixolydian
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Ex 1
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Ex 1
Ex 1
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Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Mixolydian
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Navigating the Fretboard: Mixolydian Mode
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Mixolydian
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Navigating the Fretboard: Mixolydian Mode
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Books
Scales: Mixolydian Mode
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Box 6
Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Mixolydian
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Scales: Mixolydian Mode
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Box 7
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Mixolydian
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Navigating the Fretboard: Mixolydian Mode
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Books
Scales: Mixolydian Mode
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Box 6
Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Mixolydian
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Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Mixolydian
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Navigating the Fretboard: Mixolydian Mode
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Scales: Mixolydian Mode
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Box 7
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Mixolydian
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Navigating the Fretboard: Mixolydian Mode
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Books
Scales: Mixolydian Mode
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Box 4
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Box 6
Box 7
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Mixolydian
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Navigating the Fretboard: Aeolian Mode
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Box 7
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Natural minor
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Box 7
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Natural minor
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Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Natural minor
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Navigating the Fretboard: Aeolian Mode
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Box 7
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Natural minor
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Navigating the Fretboard: Aeolian Mode
Scales: Aeolian Mode (Natural Minor)
Box 1
Box 2
Box 3
Box 4
Box 5
Box 6
Box 7
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
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Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Natural minor
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Navigating the Fretboard: Aeolian Mode
Scales: Aeolian Mode (Natural Minor)
Box 1
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Box 3
Box 4
Box 5
Box 6
Box 7
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
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Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Natural minor
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Navigating the Fretboard: Aeolian Mode
Scales: Aeolian Mode (Natural Minor)
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Box 3
Box 4
Box 5
Box 6
Box 7
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Ex 1
Ex 1
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Ex 2
Ex 2
Theory: Natural minor
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Navigating the Fretboard: Aeolian Mode
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Aeolian mode (natural minor) - Box 1 - Exercise 1 - Thirds
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Scales: Aeolian Mode (Natural Minor)
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Box 7
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Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Natural minor
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Navigating the Fretboard: Aeolian Mode
Scales: Aeolian Mode (Natural Minor)
Box 1
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Box 3
Box 4
Box 5
Box 6
Box 7
Ex 1
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
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Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Natural minor
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Navigating the Fretboard: Aeolian Mode
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Scales: Aeolian Mode (Natural Minor)
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Box 6
Box 7
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Natural minor
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Navigating the Fretboard: Aeolian Mode
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Fretboard Navigation
Aeolian mode (natural minor) - Box 4 - Exercise 1 - Thirds
Books
Scales: Aeolian Mode (Natural Minor)
Box 1
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Box 3
Box 4
Box 5
Box 6
Box 7
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Natural minor
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Navigating the Fretboard: Aeolian Mode
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Fretboard Navigation
Aeolian mode (natural minor) - Box 5 - Exercise 1 - Thirds
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Scales: Aeolian Mode (Natural Minor)
Box 1
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Box 5
Box 6
Box 7
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Natural minor
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Navigating the Fretboard: Aeolian Mode
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Fretboard Navigation
Aeolian mode (natural minor) - Box 6 - Exercise 1 - Thirds
Books
Scales: Aeolian Mode (Natural Minor)
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Box 5
Box 6
Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Natural minor
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Navigating the Fretboard: Aeolian Mode
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Fretboard Navigation
Aeolian mode (natural minor) - Box 7 - Exercise 1 - Thirds
Books
Scales: Aeolian Mode (Natural Minor)
Box 1
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Box 3
Box 4
Box 5
Box 6
Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Natural minor
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Navigating the Fretboard: Aeolian Mode
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Fretboard Navigation
Aeolian mode (natural minor) - Box 1 - Exercise 2 - Thirds
Books
Scales: Aeolian Mode (Natural Minor)
Box 1
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Box 3
Box 4
Box 5
Box 6
Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Natural minor
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Navigating the Fretboard: Aeolian Mode
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Fretboard Navigation
Aeolian mode (natural minor) - Box 2 - Exercise 2 - Thirds
Books
Scales: Aeolian Mode (Natural Minor)
Box 1
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Box 3
Box 4
Box 5
Box 6
Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Natural minor
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Navigating the Fretboard: Aeolian Mode
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Fretboard Navigation
Aeolian mode (natural minor) - Box 3 - Exercise 2 - Thirds
Books
Scales: Aeolian Mode (Natural Minor)
Box 1
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Box 3
Box 4
Box 5
Box 6
Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Natural minor
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Navigating the Fretboard: Aeolian Mode
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Fretboard Navigation
Aeolian mode (natural minor) - Box 4 - Exercise 2 - Thirds
Books
Scales: Aeolian Mode (Natural Minor)
Box 1
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Box 3
Box 4
Box 5
Box 6
Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Natural minor
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Navigating the Fretboard: Aeolian Mode
Olav Torvund's Guitar Pages
Fretboard Navigation
Aeolian mode (natural minor) - Box 5 - Exercise 2 - Thirds
Books
Scales: Aeolian Mode (Natural Minor)
Box 1
Box 2
Box 3
Box 4
Box 5
Box 6
Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Natural minor
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Navigating the Fretboard: Aeolian Mode
Olav Torvund's Guitar Pages
Fretboard Navigation
Aeolian mode (natural minor) - Box 6 - Exercise 2 - Thirds
Books
Scales: Aeolian Mode (Natural Minor)
Box 1
Box 2
Box 3
Box 4
Box 5
Box 6
Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Natural minor
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Navigating the Fretboard: Aeolian Mode
Olav Torvund's Guitar Pages
Fretboard Navigation
Aeolian mode (natural minor) - Box 7 - Exercise 2 - Thirds
Books
Scales: Aeolian Mode (Natural Minor)
Box 1
Box 2
Box 3
Box 4
Box 5
Box 6
Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Natural minor
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Navigating the Fretboard: Locrian mode
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Locrian mode - Box 1
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Navigating the Fretboard: Locrian mode
Scales: Locrian Mode
Box 1
Box 2
Box 3
Box 4
Box 5
Box 6
Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Locrian
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Navigating the Fretboard: Locrian mode
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Scales: Locrian Mode
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Box 2
Box 3
Box 4
Box 5
Box 6
Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
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Box 6
Box 7
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Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
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Box 6
Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
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Box 6
Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
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Fretboard Navigation
Navigating the Fretboard: Locrian mode
Scales: Locrian Mode
Box 1
Box 2
Box 3
Box 4
Box 5
Box 6
Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
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Fretboard Navigation
Navigating the Fretboard: Locrian mode
Scales: Locrian Mode
Box 1
Box 2
Box 3
Box 4
Box 5
Box 6
Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Locrian
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Navigating the Fretboard: Locrian Mode
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Fretboard Navigation
Locrian mode- Box 1 - Exercise 1 - Thirds
Books
Scales: Locrian Mode
Box 1
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Box 3
Box 4
Box 5
Box 6
Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
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Navigating the Fretboard: Locrian Mode
Scales: Locrian Mode
Box 1
Box 2
Box 3
Box 4
Box 5
Box 6
Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Locrian
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Navigating the Fretboard: Locrian Mode
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Fretboard Navigation
Locrian mode- Box 3 - Exercise 1 - Thirds
Books
Scales: Locrian Mode
Box 1
Box 2
Box 3
Box 4
Box 5
Box 6
Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
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Navigating the Fretboard: Locrian Mode
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Locrian mode- Box 4 - Exercise 1 - Thirds
Books
Scales: Locrian Mode
Box 1
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Box 4
Box 5
Box 6
Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
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Navigating the Fretboard: Locrian Mode
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Fretboard Navigation
Locrian mode- Box 5 - Exercise 1 - Thirds
Books
Scales: Locrian Mode
Box 1
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Box 3
Box 4
Box 5
Box 6
Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
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Navigating the Fretboard: Locrian Mode
Olav Torvund's Guitar Pages
Fretboard Navigation
Locrian mode- Box 6 - Exercise 1 - Thirds
Books
Scales: Locrian Mode
Box 1
Box 2
Box 3
Box 4
Box 5
Box 6
Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
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Navigating the Fretboard: Locrian Mode
Olav Torvund's Guitar Pages
Fretboard Navigation
Locrian mode- Box 7 - Exercise 1 - Thirds
Books
Scales: Locrian Mode
Box 1
Box 2
Box 3
Box 4
Box 5
Box 6
Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Locrian
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Books
Scales: Locrian Mode
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Box 3
Box 4
Box 5
Box 6
Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Locrian
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Navigating the Fretboard: Locrian Mode
Olav Torvund's Guitar Pages
Fretboard Navigation
Locrian mode- Box 1 - Exercise 2 - Thirds
Books
Scales: Locrian Mode
Box 1
Box 2
Box 3
Box 4
Box 5
Box 6
Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Locrian
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Navigating the Fretboard: Locrian Mode
Olav Torvund's Guitar Pages
Fretboard Navigation
Locrian mode- Box 3 - Exercise 2 - Thirds
Books
Scales: Locrian Mode
Box 1
Box 2
Box 3
Box 4
Box 5
Box 6
Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Locrian
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Navigating the Fretboard: Locrian Mode
Olav Torvund's Guitar Pages
Fretboard Navigation
Locrian mode- Box 4 - Exercise 2 - Thirds
Books
Scales: Locrian Mode
Box 1
Box 2
Box 3
Box 4
Box 5
Box 6
Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Locrian
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Navigating the Fretboard: Locrian Mode
Olav Torvund's Guitar Pages
Fretboard Navigation
Locrian mode- Box 5 - Exercise 2 - Thirds
Books
Scales: Locrian Mode
Box 1
Box 2
Box 3
Box 4
Box 5
Box 6
Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Locrian
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Navigating the Fretboard: Locrian Mode
Olav Torvund's Guitar Pages
Fretboard Navigation
Locrian mode- Box 1 - Exercise 2 - Thirds
Books
Scales: Locrian Mode
Box 1
Box 2
Box 3
Box 4
Box 5
Box 6
Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Locrian
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Navigating the Fretboard: Locrian Mode
Olav Torvund's Guitar Pages
Fretboard Navigation
Locrian mode- Box 7 - Exercise 2 - Thirds
Books
Scales: Locrian Mode
Box 1
Box 2
Box 3
Box 4
Box 5
Box 6
Box 7
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 1
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Ex 2
Theory: Modal, Locrian
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Navigating the Fretboard:
Olav Torvund's Guitar Pages
Book of the
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January 2005
Fretboard Navigation
Intervals - introduction
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Navigating the Fretboard: Intervals - Major Thirds, the Basic Shapes
Olav Torvund's Guitar Pages
Book of the
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Fretboard Navigation
Intervals - Major Thirds, the Basic Shapes
Intervals - Minor Thirds,
the Basic Shapes
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There are two kind of thirds: Major thirds and Minor thirds. Go to the Thirds lesson in the Theory series
for a discussion of these two kind of thirds.
For each of the thirds, there are two basic fingerings. One fingering applies to the string pairs 6-5, 5-4, 4-3
and 2-1, and one fingering that apply to the string pair 3-2. If we include open strings, the Major Third is
fingered like this:
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Notice that the interval between the 3rd and 2nd string is a major third, meaning that we can play both
strings open.
It should be easy to figure out how you can make these shapes moveable:
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Navigating the Fretboard: Intervals - Major Thirds, the Basic Shapes
You also have to know the Minor third fingerings.
More on Thirds
●
●
●
Theory: Intervals Thirds
Intervals - Major
Thirds, the Basic Shapes
Intervals - Minor
Thirds, the Basic Shapes
●
●
●
Fretboard:
Scale, 3rd,
Fretboard:
Scale, 3rd,
Fretboard:
Scale, 3rd,
Harmonized
Horizonatal
Harmonized
Vertical Part 1
Harmonized
Vertical Part 2
●
●
●
Gutiar Scale Exercises
in G-major, Box 1
Guitar Scale Exercises
in G-major, Box 1 - 4
notes, Thirds - Part 1
Guitar Scale Exercises
in G-major, Box 1 - 4
notes, Thirds - Part 2
Intervals - Minor Thirds,
the Basic Shapes
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Book of the
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Fretboard Navigation
Intervals - Harmonic Sevenths, played
horizontally
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Navigating the Fretboard:
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Book of the
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January 2005
Fretboard Navigation
Intervals - Harmonic Fifths (including Diminished
Fifth/Tritone), played horizontally
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Fretboard Navigation
Intervals - Harmonic Thirds, played horizontally.
Intervals - Minor Thirds,
the Basic Shapes
Intervals - Harmonic Thirds,
played vertically - Part 1
Books
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Blues Guitar
Usually you will not play a scale or a harmonized scale horisontally. But it easier to see the relationships
between the intverals when played like this. So for this reason, I will start with 5 scales played horizontally,
with the major third in open position, and continuing with closed positions. Make sure that you really listen to
these intervals
The first is F-major, played on the 6th and 5th strings.
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The next is Bb-major, played on the 5th and 4th string.
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When we move up to 4th and 3rd string, we will be in Eb-major.
As the interval between the 3rd an 2nd string is a major third, we can start with both strings open in Gmajor.
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Navigating the Fretboard:
And finally we are in C-major on the two top strings.
Now, go on to play these harmonized scales vertically.
More on Thirds
●
●
●
Theory: Intervals Thirds
Intervals - Major
Thirds, the Basic Shapes
Intervals - Minor
Thirds, the Basic Shapes
●
●
●
Fretboard:
Scale, 3rd,
Fretboard:
Scale, 3rd,
Fretboard:
Scale, 3rd,
Intervals - Minor Thirds,
the Basic Shapes
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Harmonized
Horizonatal
Harmonized
Vertical Part 1
Harmonized
Vertical Part 2
●
●
●
Gutiar Scale Exercises
in G-major, Box 1
Guitar Scale Exercises
in G-major, Box 1 - 4
notes, Thirds - Part 1
Guitar Scale Exercises
in G-major, Box 1 - 4
notes, Thirds - Part 2
Intervals - Harmonic Thirds,
played vertically - Part 1
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Intervals - Harmonic Thirds, played vertically - Part 1
Intervals - Harmonic Thirds,
played horizontally
Intervals - Harmonic Thirds,
played vertically - Part 2
Books
Box 1 and 2, G-major
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Blues Guitar
We start in Box 1, G-major. As you can see, we have to break out of the boxes to play these thirds, as we
cannot play two notes at the same time on one string. We can go down, as will mean including some open
strings in this box:
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The next will give us the same notes, but with different fingerings. We go up the neck instead of down. What
we are doing is actually combining box 1 and box 2.
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The next group, still in G-major, is based on box 3 and 4.
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We can move this down 5 frets, and we get into D-major.
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Navigating the Fretboard:
●
●
●
Theory: Intervals Thirds
Intervals - Major
Thirds, the Basic Shapes
Intervals - Minor
Thirds, the Basic Shapes
●
●
●
Fretboard:
Scale, 3rd,
Fretboard:
Scale, 3rd,
Fretboard:
Scale, 3rd,
Intervals - Harmonic Thirds,
played horizontally
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http://www.torvund.net/guitar/Fingerboard/28-intervals_thirds_vertically.asp (3 of 3)10.01.2005 01:26:02
Harmonized
Horizonatal
Harmonized
Vertical Part 1
Harmonized
Vertical Part 2
●
●
●
Gutiar Scale Exercises in
G-major, Box 1
Guitar Scale Exercises in
G-major, Box 1 - 4
notes, Thirds - Part 1
Guitar Scale Exercises in
G-major, Box 1 - 4
notes, Thirds - Part 2
Intervals - Harmonic Thirds,
played vertically - Part 2
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I appreciate comments
Navigating the Fretboard:
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Book of the
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January 2005
Fretboard Navigation
Intervals - Melodic Sevenths
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http://www.torvund.net/guitar/Fingerboard/35-intervals_melodic_sevenths.asp10.01.2005 01:26:04
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Navigating the Fretboard:
Olav Torvund's Guitar Pages
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January 2005
Fretboard Navigation
Intervals - Melodic Fifths (including Diminished
Fifth/Tritone)
Books
Happy Traum:
Blues Guitar
New: Blues
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Navigating the Fretboard:
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Intervals - Melodic Thirds
Gutiar Scale Exercises in G-major, Box 1 - Thirds
Intervals - Harmonic Thirds,
played vertically - Part 2
Books
Happy Traum:
Blues Guitar
Now we play the thirds melodic. If you think you have seen these excercises before, it might be because you have
been playing some of the scale exercises.
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Here we are playing the same intervals in a kind of wave shape.
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Navigating the Fretboard:
More on Thirds
●
●
●
Theory: Intervals - Thirds
Intervals - Major Thirds,
the Basic Shapes
Intervals - Minor Thirds,
the Basic Shapes
●
●
●
Fretboard: Harmonized Scale,
3rd, Horizonatal
Fretboard: Harmonized Scale,
3rd, Vertical Part 1
Fretboard: Harmonized Scale,
3rd, Vertical Part 2
●
●
●
Gutiar Scale Exercises in
G-major, Box 1
Guitar Scale Exercises in
G-major, Box 1 - 4 notes,
Thirds - Part 1
Guitar Scale Exercises in
G-major, Box 1 - 4 notes,
Thirds - Part 2
Intervals - Harmonic Thirds,
played vertically - Part 2
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Navigating the Fretboard:
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Fretboard Navigation
Intervals - Harmonic Octaves, played horisontally
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Navigating the Fretboard:
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Book of the
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January 2005
Fretboard Navigation
Intervals - Harmonic Fourths (including
Augmented Fourths/Tritone), played horizontally
Books
Happy Traum:
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New: Blues
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Intervals - Harmonic Sixths, played horizontally
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University of Oslo
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olav@torvund.net
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Navigating the Fretboard:
Olav Torvund's Guitar Pages
Book of the
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January 2005
Fretboard Navigation
Intervals - Harmonic Octaves, played vertically
Books
Happy Traum:
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Guitar lessons
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http://www.torvund.net/guitar/Fingerboard/37-intervals_Octaves_vertically.asp10.01.2005 01:26:12
© Olav Torvund
University of Oslo
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olav@torvund.net
I appreciate comments
Navigating the Fretboard:
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Fretboard Navigation
Intervals - Harmonic Fourths (including
Augmented Fourths/Tritone), played vertically
Books
Happy Traum:
Blues Guitar
New: Blues
Guitar lessons
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University of Oslo
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olav@torvund.net
I appreciate comments
Navigating the Fretboard:
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Book of the
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Fretboard Navigation
Intervals - Harmonic Sixths, played vertically
Books
Happy Traum:
Blues Guitar
New: Blues
Guitar lessons
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University of Oslo
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I appreciate comments
Navigating the Fretboard:
Olav Torvund's Guitar Pages
Book of the
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January 2005
Fretboard Navigation
Intervals - Melodic Octaves
Books
Happy Traum:
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© Olav Torvund
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Navigating the Fretboard:
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Fretboard Navigation
Intervals - Melodic Fourths (including Augmented
Fourth/Tritone)
Books
Happy Traum:
Blues Guitar
New: Blues
Guitar lessons
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© Olav Torvund
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments
Navigating the Fretboard:
Olav Torvund's Guitar Pages
Book of the
Month
January 2005
Fretboard Navigation
Intervals - Melodic Sixths
Books
Happy Traum:
Blues Guitar
New: Blues
Guitar lessons
in PDF format.
Bestsellers
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site, give me
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© Olav Torvund
University of Oslo
NRCCL
olav@torvund.net
I appreciate comments