Using Octave Patterns as A Mnemonic Device

[szulc]

By using the tuning of the Open strings as a reference, we can easily find octaves of any given note on the 'E' or 'A' string by moving two strings toward the floor and 2 Frets toward the bridge. To do the same procedure from the 'D' or 'G' string, move two strings toward the floor and 3 Frets toward the bridge.

Since the interval between the 'E' and 'A' strings is equal to the interval between the 'D' and 'G' strings and equal to the interval between the 'B' and 'E' strings, we can construct patterns of our favorite scales on two strings using the groupings of 'E' and 'A' and reconstruct the same pattern in the next octave by moving 2 frets toward the bridge and starting on the 'D' string, then once again another octave higher starting on the 'B' string, this time 3 frets toward the bridge. The SAME pattern works on each set of 2 strings.

With pentatonic scales you will get 10 patterns, 2 for each starting note.
I'll show the first two.

[The Bash]

That’s just what I was thinking of. I couldn’t find the right word: Warp Refraction.
Maybe it’s just me but I find Fretboard Geometry not only cool but extremely useful.
Thnxs for the post.

[szulc]

I wondered If anyone would reply to this!

[The Bash]

Maybe it’a a topic that doesn’t strike people as cool, but I know stumbling across this kind of thing expanded my fretboard knowledge considerably. Then stumbling across some Jon Finn articles in GFTPM blew my simple way of thinking out of the water. I realized what I thought was a mountain of an idea (and yes I was young enough at the time to actually believe I invented the idea) was only the very tip of the Ice Berg.

A simple Trick to expanded your knowledge of chord shapes.
Make any 6th string chord you know (Bar chord, whatever, doesn’t matter).
Now simply move that exact shape down one string set:
Example: If you have a 6th string A Major bar chord under you fingers move everybody down one string (you should have something that looks like a 5th string D minor bar chord under you fingers).
Now, and this is the most important part, Move the note currently occupying the second string up one fret (You’ll need to adjust your fingers to do this, but were focusing on notes not fingers. Most likely You’ll Bar it so you get a 5th string D major chord shape.
Big deal huh?
Well the trick is to convince your mind that this new 5th string shape and the old sixth string shape are identical. The point here is refraction (just like holding a stick in a pool of water the refraction causes the stick to appear broken, distorted or shifted when in fact the stick hasn’t changed. Only our perception of it has changed.
If that last thought was confusing don’t worry about it. It’s more important for the time being that you know how to do it. Latter the why part will make more sense.

Ok now take that shape (the new one you just made that looks like a 5th string D major Bar chord) and move it down one string set.
Now once again simply move the note that happens to fall on the second string up one fret (once again you may need to rearrange your fingers to do this, but remember were moving the note that occupies the second string up one fret, not necessarily the finger)
Now you get something that looks like an open postion D chord with a barred first finger 2 frets behind it. This is a 4th string G chord. Again twist your mind to see that nothing changed its all an illusion its still the same shape you started with (just twisted thanks to refraction).
My examples dealt with root position Bar Chords to keep it simple for the newer players (I assume a majority of you guys already know this) but they work with any chord in any inversion.

Important note: The above is totally useless unless you know what and where the root note is. Notice we built 6th string A major, 5th string D major and 4th string G major.
The chords were all in root position thus the lowest note is our root.
So to Simply Learn 3 easy root position shapes for A major adjust the root.
The 6th string chord is good to go its already an A in root postion.
The 5th string chord needs to be flown up to the 12 fret (5th string/12th fret is where our A’a at).
The 4th string form needs to go to the 7th fret (4th string 7th fret is where the A is at. Of course if you read the first post you knew that already.

I hope that made sense.

[szulc]

This is a thread that didn't get the number of hits I expected.
So I am bringing it back to life to see what interst there is in this idea.

[badgas]

That's really cool, szulc.
As I said before, I learnt scales on the 3/3 method.
Many times I've bumbled my way around to get from one end of the neck to the other.
So much easier......

[szulc]

Badgas,
This should look familiar to you! Since you are reading excerpts from my book that cover these ideas.

[badgas]

Yes. I saw that it was related.
We spoke about the advantages of using the 3/2 and 3/4 method before in another thread also.
I'm using it all the time now.
Like adding some nitro to my old truck.

[szulc]

Are you using these ideas to make music or just to practice?

[badgas]

I'm practicing a lot on all these threads you've posted and the excerpts you sent me. This is all new to me. I have to go over it and understand what it's potentual is before I feel I can use it to make music.

The only music I'm making using any of these concepts is a song related to Latin.

I'm pressed for time here because I have a daughter and her kids here with me for a few weeks. I don't get a lot of time alone to practice that much.

I'm getting it though. You explain things very well, and with Bongo backing up your explainations with his own it makes things much more understandable.

[szulc]

The main this is that it is easier to remember.