10/09/2019 5 Powerful Fretboard Memorization Exercises

Step 1: Root Patterns

This exercise challenges you to identify and play a given note sequentially on all strings - a
skill that will ensure you can move between neck positions without hesitation.

While many guitarists successfully learn the note positions on each string, purely by parrot
fashion, when you're playing in the moment it's o en difficult to find your bearings. By
seeing notes in the form of patterns, you'll create more of a relative, spatial memorization
of these note positions and find it much easier to jump between them without having to
think about it too much.

Let's use the note A as our example. As you know, this note (like all notes) exists in several
positions across the neck...

The aim is to be able to pick any starting position and know where that same note exists in
close proximity.

We can memorize some patterns to help with this. Note that these patterns
are movable (i.e. relative to the note you're playing) and so work for any note...

All we're doing here is creating a spatial awareness of how the same note exists in close
proximity.

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For example, if you find a note on the 4th string, the same note lies three frets higher on
the 2nd string.

If you find a note on the 5th string, the same note lies two frets higher on the 3rd string,
or two frets lower on the 2nd string.

We can also see that the 1st and 6th strings create the same note at the same fret.

See if you can form similar string/fret relationships in your mind by using these note
patterns.

To help, we can break these "clusters" down as follows....

Let's apply the same root patterns to the note D....

So no matter which fret/string you start on, once you've learned these patterns you'll know
where the same note exists near by on other strings. As you learn chords and scales, these
root patterns will help you to identify where a particular note exists throughout the pattern
or shape, which will help you to find/keep your bearings.
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This kind of spatial awareness will start to work in the background the more you internalise
it.

Test yourself by picking random notes and playing between the note positions at regular
timing intervals. The less hesitation, the better!

Make sure you also take this exercise beyond the 12th fret, playing the octave positions of
the note.

To really test yourself (no pressure!), try this timed fretboard memorization game.

Step 2: Intervals
Here, we simply add an interval note to the root positions. Intervals are the building blocks
of chords, arpeggios and scales, so knowing your intervals will help you connect these
elements spatially and auditorily.

Minor 3rd
Let's take a minor 3rd (♭3) interval, again on the root of A, as our example...

Notice how the interval note can also be visualized using the same patterns we learned
earlier, but obviously using a different note...

Again, try playing between related positions, playing both the root and interval and just the
root or interval. While you're playing between the root and interval, really listen to how the
interval sounds - how the movement sounds the same no matter which position you use,
albeit higher or lower in pitch. Different positions for the same musical expression...
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Test your ability to move smoothly between the positions (although it doesn't have to be in
a specific order)...

To further test yourself, choose other starting notes and intervals and follow the same
process. Some other intervals to try...

Major 3rd

As well as moving from root to interval (e.g. 1 - 3) you should also explore how the
relationship appears moving from interval up to root (or root down to interval, whichever
way you look at it, e.g. 3 - 1).

Perfect 5th

Tip: you can also use these perfect 5th relationships to build power chords all over the
neck.

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Step 3: Note Sequences

The next logical stage is to start adding notes around your root/interval positions, creating
small four/five note sequences. What this does is help you develop the ability to visualize
sequences in several positions, which further helps to develop your spatial co-ordination.
It's also a great workout for your fingers!

You can either borrow sequences from scales you know or simply pick out a sequence of
four or five notes you like the sound of in your chosen starting position. It helps if you keep
a root in mind as you do this, as this will become your reference note as you move between
positions. However, you don't have to start the sequence on the root.

Here are some examples built around A to help you get started. You can repeat the
sequence on each position a few times before moving to a the next position if you like...

A major sequence around A...

Step 4. Arpeggios
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Arpeggios are a sequence of intervals that make up a chord. They can also be seen as the
skeleton of most scales you'll play. So they're very useful to be familiar with.

Like any other sequence, they can be played in several positions, again using a root as our
position "marker".

Major Arpeggio
Here's an A major arpeggio (1 - 3 - 5) across the neck...

Again, we're looking for memorable patterns and spatial relationships between the notes
and positions. For example, notice how the 5th is always three frets higher than the 3rd on
the same string.

In most cases, the 3rd lies one fret down from the root on the next string up, with the
exception of when the root is on the G string (because of a different tuning interval between
G and B), in which case the 3rd is on the same fret.

One slightly awkward thing about guitar is the tuning between the G and B strings changes
the visual relationship of notes by one fret. So you have to adjust to that.

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There are countless ways of visualising the relationship between notes, both across single
strings and multiple strings.

Anyway, back to the main exercise which is to be able to move between the positions
smoothly and timely (although here I've not used every single position)...

Minor Arpeggio
Try and play through the positions similar to the exercise above...

Step 5. Chords
We can use the note position method learned earlier to find other positions for our chord
shapes. Let's refer back to the A major arpeggio diagram from earlier...

An A major arpeggio shares the same intervals as a major triad (three note chord), just as a
minor arp shares the same intervals as a minor triad. The difference between playing an
arpeggio pattern and a chord shape is that we need three (or optionally more) strings for
the chord so each note can ring simultaneously. So using that pattern above, can you pick
out the positions we can play a three-string triad (1 3 5 although it doesn't have to be in
that order)?

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I probably missed a couple out there, but you get the idea!

As you play through the positions, try to memorise the spatial relationship between them,
referring to those root positions as marker points. This may prove difficult at first, but the
more you do it, the more it sinks in. It's a bit like developing muscle memory for your mind!
You can then try the same exercise on a different root using the same relative positions.

Now try and pick out the minor chord shapes (1 ♭3 5) in this minor triad pattern...

How These Exercises Will Help You

Developing good visual, spatial co-ordination of the fretboard is a huge part of becoming a
competent, confident guitarist. Whether you're writing songs on your own, in a band setting
or improvising on stage, the fruits of doing the exercises in this lesson (making sure to
practice them using different roots) will be working "in the background" to ensure you are
always aware of your relative place on the neck.

This concept of being able to visualise different positions for notes and note
sequences/patterns will translate into many areas of learning and playing, many of which
you may be yet to learn.

Overall, it will ensure you never feel stranded in one position on the neck. It'll give you
multiple starting points and light up the marker points to help you find your bearings and
connect your harmonies and melodies spatially as well as auditorily.

If you would like to keep pushing your fretboard knowledge to the next level, try my Chord
Connections course. It will help you to connect your visual recognition of notes and
patterns (including scales) on the neck with specific musical "colours" and expressions.
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Think of it as a marriage between visual training and ear training.

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Big Head Fred • a year ago

Mike, "The FretJam Man" has the best lessons!
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Long • 4 years ago

Thank you so much. Thank you for your devoted time!
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A d HNZ
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