es eeJake Willson / Fretboard Navigation Masterclass 2 INTRODUCTION Hello, and thank you for checking out Fretboard Navigation! - The idea for this course came from a simple, frustrating ~ observation. When we learn guitar, we're told to “learn the fretboard’, but we are rarely told HOW to do this! How do we learn the whole guitar fretboard in a systematic way? How did professional players do this when they were learning? There are many advantages to being able to work fluently within a single fretboard position, but there's so much more you can do when you use the whole fretboard. That's what this course is all abot By developing strategies for moving around the fretboard, you'll gain several advantages: more freedom in creating melodic lines; the ability to work more idiomatically (break out of the blues boxes!); and in some instances you can choose strings fretboard positions for reasons of tone, rather than just convenience. This course will also help you develop an awareness of “problem zones”: the difficulties and obstacles caused not by a lack of fretboard knowledge, but, a quirk of the fretboard layout. As you work through the exercises, you will come across a LOT of awkward, challenging fingerings. I want you to do two things here: try to play them as cleanly as possible and make a conscious note to avoid them if you can! Gradually, you'll develop effective strategies to avoid these "problem zones" (specifically when playing fast) so they won't trip you up in the future. WJITCJake Willson / Fretboard Navigation Masterclass a To play effective and interesting lines, | think we need to develop a variety of techniques to connect these useful pathways and THINK AHEAD in the fingering. For that reason, welll be exploring the roles played by fingering and slides in moving around the fretboard. Again, the application of the raw concepts leads to some very awkward moments, but at the same time, they also illuminate some valuable pathways with which to explore the fretboard. COURSE OUTLINE 1, PRIMER: You can never do “enough’ fretboard navigation work, and the Primer section of this course will add to your essential fretboard knowledge and provide you with a solid foundation 2. NEIGHBOURING POSITIONS: Starting from your “home” position, exploring ways to visualise and connect with the fretboard positions above and below. Also we'll work on linear approaches with limited string groups. 3. INTERVALS AND ARPEGGIOS: Applying linear concepts to these fundamental building blocks of music, learning how to use them creatively in our lines. 4. TRANSITIONAL STUDIES: This section provides some strategies for moving around the fretboard in wider-ranging, “diagonal” moves. 5. ETUDES AND CHALLENGES: This final group of exercises provides some difficult tests for your left hand and offers some creative ideas for navigating the fretboard. WJITCJake Willson / Fretboard Navigation Masterclass 4 6. VAMP LICKS, 7.CONTEXTUAL LICKS: The exercises in sections 1-5 work with raw concepts and methods for moving around the fretboard. In these last two sections, I've used licks to demonstrate the pathways that have developed in my own playing. Some of them may be difficult if you're not an advanced player, but | still encourage you to study the methods behind INTRODUCTION the movements around fretboard, applying them to your own playing, I hope you enjoy this journey ~ it will be dry and repetitive at times, but | guarantee that this will be some of the most valuable work you do to improve your playing All the best with it! WJITCJake Willson / Fretboard Navigation Masterclass 5 CHAPTER 1 Before we start moving freely around the neck, we must start with a strong basis in “positional” approaches. We need to REALLY know the major scale and several diatonic permutations (interval patterns or triads). As you'll see, we start with all positions of the C major scale. This is essential! Welll be using a strict three-notes-per-string approach, because this allows for more consistent visualisation. IMPORTANT: Exercise 1 is long and works through all the positions, but from Ex2, the Tab shows only the first two positions. However, the idea is for you to continue the sequence through all positions. It's long and boring work sometimes, but it's very important that you work out how to apply the sequences and patterns to other positions. This will make stronger connections in your brain as opposed to simply reading off the tablature. Even if you have to write down the other positions to figure them out, that will still be better for you than simply reading the tab off the screen. Eventually, you'll find that you start to hear the patterns and this ability is developed by by completing the sequences yourself. If you've never worked on this stuff before, it will take a while to learn properly. Work carefully and patiently, and only move to the next section when you can play the Primer exercises over the whole neck very solidly. Be hard on yourself! You will benefit immensely from this stuff in the future. Even if you feel these exercise are too easy, be honest with yourself: did you make ANY mistakes or hesitate at all? WJITCJake Willson / Fretboard Navigation Masterclass CHAPTER 1 If you can honestly say “no”, then increase the tempo and try inventing your own permutations. For me, intervals, sequences, triads and arpeggios are the building blocks of lead guitar playing. By focusing on them like this, you'll build the muscle memory, allowing you to deploy them creatively in your own playing. All that metronome work is worthwhile! The development of this muscle memory is essential - simply being able to compute the concepts and play them slowly is not enough. EXERCISE 1: Let's get to know all of the positions of the C major scale (CD EF GAB) - all the “white” notes on the guitar neck! You can think of each position as a "mode" if you like; we start by ascending Shape 4 and descending Shape 5 of C major, which equate to Shape 1 of F Lydian and Shape 1 of G Mixolydian. And then the pattern continues up the neck. Practise this long exercise until i's second nature and you can comfortably have a spoken conversation with someone while doing it. Achieving this level of familiarity will give you a good basis for the rest of the course (and your whole life as a musician). We're using a three-note-per-string system, here, so that it's easier to visualise the similarities and differences between each position. EXERCISE 2: In this exercise, we're using a three-note sequence, starting from each scale note in turn. When we get to the end of the Tab, it's up to you to continue the sequence up the fretboard. EXERCISE 3: This is like the previous exercise but with a four-note sequence. | highly recommend that you also try 5-, 6 and 7-note sequences. They all have different fingering quirks, so you'll always give yourself a useful workout. For another challenge, check out Ex... WJITCJake Willson / Fretboard Navigation Masterclass CHAPTER 1 EXERCISE 4: This is essentially the same as Ex3, but do you see what we're doing? We're still ascending and then descending through the scale, but the four-note sequence is backwards. The first four notes are now B-A-G-F instead of F-G-A-B. And then of course you should try applying this concept to sequences of different lengths (3 notes, 5 notes etc). EXERCISE 5: The next few exercises deal with applying diatonic intervals to the positions, starting with 3rds. “Diatonic” simply means that we're only using notes from the scale (C major). EXERCISE 6: This exercise demonstrates how these concepts can be morphed into more elaborate formations. This is the diatonic 3rds sequence from Ex5, but with a different melodic pattern. Notice the shapes of the minor and major versions of all of these intervals. For example, this exercise starts with two major 3rds (F-A and G-B) and then we have two minor 3rds (AC and BD), EXERCISE 7: Here, we use diatonic fourths. The fourth interval often involves using the same fret across two strings, so this can cause fingering problems. The exception is when it spans the G-B strings, or when you're playing an augmented 4th (F-B in this case) EXERCISE 8: Diatonic Sths. Notice how the larger intervals require us to skip a string at times. EXERCISE 9: Diatonic 6ths. EXERCISE 10: Diatonic 7ths. EXERCISE 11: Finally, octaves. WJITCJake Willson / Fretboard Navigation Masterclass CHAPTER 1 EXERCISE 12: In this exercise we're stacking two diatonic third intervals, creating diatonic triads. Note all of the different fingerings you encounter when you apply this concept across the entire fretboard. If you ever feel it's getting too easy and you're on auto-pilot, stop and try to name the triads as you play them. The sequence here is: F major, G major, A minor, B diminished, C major, D minor, E minor (repeating as you ascend through the strings). ((f you need to brush up your theory knowledge, try musictheory.net or dolmetsch.com) EXERCISE 13: Once again, this is the process from Ex6: we're ascending through the scale, but with descending triads. Then we descend through the scale with ascending triads. EXERCISE 14: This is another formulation of diatonic triads: ascending through one triad and coming down in the next (and, as usual, we're doing the opposite on the way back down). Here's your regular reminder to continue playing these patterns across the whole fretboard! EXERCISE 15: We're sticking with diatonic triads, but now we're moving into inversions. This is a sequence of diatonic first inversion triads. Here's a quick explanation of inversion. In root position the root is the lowest note, so a C major triad is C-E-G, low to high (root, 3rd, Sth). In first inversion the 3rd is the lowest note (E-G-C; 3rd, 5th, root). For a second inversion, you have the 5th at the bottom (G-C-E; Sth, root, 3rd). WJITCJake Willson / Fretboard Navigation Masterclass CHAPTER 1 EXERCISE 16: This is a sequence of diatonic second inversion triads. EXERCISE 17: We're back to root position triads, but now raising the third by an octave, so the voicing is root-Sth-3rd (“open voicing’). As before, do try to be conscious of what triad you're playing at any given time. By the way, don't all these triads sound pretty? Do you want an even harder challenge? Do this with the inversions, raising the middle note by an octave ~ they sound great! EXERCISE 18: By adding another diatonic third interval on the top of our triads we get diatonic 7th chords. This exercise runs through the diatonic 7ths of the C major scale. Again, try to be constantly aware of what arpeggio you're playing. The sequence here is: Fmaj7, G7, Am7, Bm7b5, Cmaj7, Dm7, Em7 (repeating as you ascend through the strings). EXERCISE 19: Much like the inversions discussed in Ex16-17, we can do the same thing with 7th chord inversions, but of course there's now a 3rd inversion, with the 7th at the bottom (7th, root, 3rd, 5th). This exercise is made up of diatonic first inversion 7th arpeggios. Recommended further work: All diatonic 7th inversions. Mixed sequences of diatonic 7th arpeggios (as in Ex13/14). Spread 7th arpeggios, as we did with triads in Ex17. Start with the 1-5 3-7 voicing. For the Cmaj7 arpeggio that'd give you the notes C-G-E-B. Up to you to figure out the fingering! Invent more ways of playing the interval and triad sequences. For example, alternately ascending and descending 4th intervals, and so on. Diatonic 9th, 11th and 13th intervals WJITCJake Willson / Fretboard Navigation Masterclass 10 CHAPTER 1 Diatonic 9th, 11th and 13th arpeggios. Stack multiple diatonic intervals. Four 4ths (C-F-B-E)? Eight 3rds (C-E- G-B-D-F-A-C-E)? Invent your own interval sequences and apply them diatonically. For example, “root, up a 6th, up a 2nd, up a 4th” (F-D-E-A, G-E-F-B etc) Don't just play arpeggios from low to high, or high to low. Change the order of the notes. Apply a variety of diatonic scale sequences (expanding on Ex2-4). Apply all of the above in other keys/modes. Apply the above to diatonic sus2 and sus4 chords (there will be a few of these that don't really “work” but do them anyway) Any other permutations you can think of. Get creative! The more of this stuff you do, the better. WJITCJake Willson / Fretboard Navigation Masterclass u CHAPTER 2 NEIGHBOURING POSITIONS In the Primer section of this course, we played within single fretboard shapes, only changing position when we got to the high and low E strings. This is great for thinking in “blocks”, but it's easy to forget that we can move around on any string or group of strings. That's what this section is all about: fluently connecting with the neighbouring positions on any group of strings. This help you to visualise how these patterns are connected and we'll also study various ways to use slides or alternative fingerings to transition up or down the neck, Welll also apply these concepts in a linear way, moving up and down the neck on one string or a restricted number of strings. As in the previous section, 'l introduce each concept, and then it’s your job to continue the pattern along the whole fretboard. While you're working on these exercises, pay close attention to what you find easy and what you find difficult. Experiment with creating faster lines using the concepts shown in this section. WJITCJake Willson / Fretboard Navigation Masterclass 2 CHAPTER 2 EXERCISE 1: This exercise uses slides to transition between the first and second shapes of the C major scale (think of this as “Major” and “Dorian” shapes if you like, but that's incidental). General note on sliding: Slides can be very useful when transitioning between positions, but it can also cause issues. In particular, it's a challenge to slide IN TIME. When you're working on this exercise and exercises like this, try to make the slide very precise and deliberate: aim for as much tonal clarity as possible, You will also find that sliding up or down has a different feel depending on which finger you're using. Some players have standardised their approach and only slide in certain directions which certain fingers. However, you should be able to slide with some success on any of your fingers, but do try working with the less “natural” fingers to challenge yourself. In Ex1 the little finger slides up and the index finger slides down ~ let's try another way... EXERCISE 2: This looks an awful lot like Ex1, but this time we're using the index finger for all of the sliding duties. Try spending some time comparing Ex1 and Ex2, to see how the mechanics of the slide motion affects the sound and feel of each exercise. EXERCISE 3: In the previous two exercises, we used slides to move up into Shape 2, but now we're moving down into Shape 7 (or “Locrian’, if you like). We're swapping the fingers from Ex1, using the little finger to slide down and the index finger to slide up. See how this feels to you EXERCISE 4: This exercise uses only the index finger to transition between Shapes 1 and 7. WJITCJake Willson / Fretboard Navigation Masterclass ” CHAPTER 2 EXERCISE 5: For the first few exercises we started from our “home” position (C major Shape 1, at the 8th fret) and moved either up or down to the next shape. This exercise goes both above and below, using a variety of slides. This kind of thing can be tougher to visualise as you have to keep more than two positions in mind while playing. Luckily, this gets easier over time, and towards the end of this course, you'll have to visualise larger chunks of the fretboard. EXERCISE 6: This is simply the two most familiar shapes for A minor pentatonic and C major pentatonic, connecting the shapes with slides, but you might notice how slides of more than two frets can feel a little dangerous. Also, notice that the shapes here encourage you to slide with your ring finger, and using two-note-per-string scales changes the natural rhythm of transition between the shapes. We use pentatonic scales all the time, so it’s worth working on them just as much as the major scale. EXERCISE 7: In this exercise, we're using only index-finger slides to transition between two different positions of the pentatonic scale. EXERCISE 8: Of course, we don't NEED to slide to make a transition between two shapes. We can simply use careful fingering. Try to keep your fretboard hand relaxed when making wider stretches. EXERCISE 9: This one is much like Ex8, but this time we're using 4th and 3rd fingers to slide down and 1st finger to slide up. EXERCISE 10: This exercise transitions both above and below the ‘home’ position using a variety of slides. There's a lot of movement here - try to deliberately visualise the positions on the neck rather than guessing them. WJITCJake Willson / Fretboard Navigation Masterclass “ CHAPTER 2 EXERCISE 11: Let's take this opportunity to ensure our slide technique is, working as we'd like. It's worth taking note of the inherent sonic qualities of different slides. Note how much “weaker’, sonically, the latter version of the exercise is when we use pure legato (only pick the first note of each line). Again, this does not mean one approach is “better”; just being aware of these differences can help you make more informed choices in the future. EXERCISE 12: Another sliding challenge! In this exercise, we're quickly sliding up and down (or down and up). This can be very tricky to control at first, but it's a useful technique to work on. Superficially, it's easy, but | often see people losing their timing with this kind of thing, so it pays to work on it EXERCISE 13: For the sake of completeness, let's try using an “inner” finger to slide. This is a little more awkward, so it doesn't happen so often, but it's still worth experimenting with it ~ in some situations it can be the only way to achieve the desired articulation. EXERCISE 14: Here, we're using our ring finger to slide while also using our little finger. This may feel very awkward at first, and it may not be as useful as other options. However, as with Ex13, it's still worth trying, and it may be the only way to achieve the desired articulation in certain passages. EXERCISE 15: Here, we're doing a lot of quick shifts between pentatonic positions. Try playing this a little faster ~ the rapid alternation of ascending and descending slides creates a really interesting texture. Also, note how well this sits under the hand ~ the fingers seem almost to fall naturally to the right position after each slide. EXERCISE 16: Moving on from sliding, let's look at other strategies we have to transition around the fretboard. Some people call this the “contraction” technique where the hand briefly moves in on itself, using the outer fingers (1 or 4) for a note that was previously played by the inner fingers (2 or 3). In WJITCJake Willson / Fretboard Navigation Masterclass 18 CHAPTER 2 some extreme cases, you might see fingers 1 and 4 swapping places on the same note. EXERCISE 17: The opposite of Ex16 is therefore what some call the “expansion” technique: the outer fingers stretch out to the new position to make the transition. Both Ex16 and Ex17 are extremely useful for transitioning between positions. For example, fellow JTC artist Tom Quayle tends to avoid slides in his lines, instead using expansion and contraction techniques to transition. We'll look into other manifestations of this technique later on. Asa slight aside, | use expansion less frequently than contraction when playing at speed; it's inherently more comfortable on the fretboard hand. EXERCISE 18: Let's mix things up. Here, we're using a combination of contraction and slides to transition between the Sth and 6th positions of C major. EXERCISE 19: This exercise uses an upward slide with the index finger and a descending contraction motion. Which do you find easier, Ex18 or x19? EXERCISE 20: Though musically similar to Ex16, we're now working on more than one string: two notes on the G string and one on the B string. This requires a slightly more subtle contraction-type technique. IMPORTANT: Remember that all shapes change when you use the G and B string pair. Sometimes these fingerings are more awkward, and sometimes they're more convenient. Make a mental note of where these are at all times. EXERCISE 21: Similar to x20, except this time we're reversing the pattern: two notes on the B string and one on the G string. Again, make a note of where things are awkward and where they are convenient. WJITCJake Willson / Fretboard Navigation Masterclass 16 CHAPTER 2 EXERCISE 22: In this five note sequence, the contraction technique plays out across two strings. As a result, the fourth interval (between the last note of one pattern and the first note of the next) is less awkward than if we played it ina single position (see Primer Ex7). EXERCISE 23: A very subtle variation on Ex22, adding one note to the pattern, but in my view this makes the transition dramatically easier. By returning to the string on which the transition is made, the hand seems to be in a much more natural position and ready to transition. EXERCISE 24: Again, another useful transitional strategy, here. Again, a quirk of the fingering layout makes the transition feel smooth. EXERCISE 25: This six-note linear sequence offers another useful way to get up and down the neck. Is it slightly more tricky when the little finger makes the position shift when descending? EXERCISE 26: This exercise presents another example of a “contraction” position shift. I's an attractive sequence that makes the shift fairly easy under the fretting hand. EXERCISE 27: This sequence smuggles in the position shift just before the accent, giving it a smooth, seamless quality. EXERCISE 28: More position shifting? Why not! You know the drill by now, but it's worth having as many of these things under your fingers as possible. EXERCISE 29: This method of transition uses a contraction at the end of each five-note pattern, facilitating the leap of a 6th interval at the top of the next line. These large leaps naturally occur when you have a descending sequence moving up the neck (or the opposite). WJITCJake Willson / Fretboard Navigation Masterclass ” CHAPTER 2 EXERCISE 30: Careful with this one - the 4th intervals between the sixnote groups can be awkward. It's worth mastering, though - it's perfectly playable at a moderate tempo. EXERCISE 31: Another linear/transitional move to get your fingers around. EXERCISE 32: And another linear/transitional move! EXERCISE 33: Here, we use the 4th interval to our advantage by “rolling” across the two strings at the same fret, and then using a contraction. This is something | do a lot of in my playing -| think | saw Richie Kotzen doing something like this and | stolel it. The only difficulty here is that the #4 (F- B) isn’t at the same fret. Also remember that you can use this same “roll” motion for a major 3rd on the G-B strings. There are loads of cool things you can do with this rolling approach, on both the 3rd and 4th fingers. EXERCISE 34: Back to slides to make linear transitions again — here are some more variations on that theme. EXERCISE 35: And more linear slide transitions. Enjoy! EXERCISE 36: For this exercise, the slides are there, but | want you to try to make them inaudible. Pick every note and aim for a consistent texture. This requires a very precise slide: this is for situations where we need to use this movement but don't want to hear the usual blurred, slurred sliding sound. EXERCISE 37: For linear pentatonic playing, we often have to use slides to cover the wider intervals, but in this exercise, we're using a transitional fingering to get up and down the neck EXERCISE 38: The contraction technique here is pretty extreme ~ at times, we have to replace fingers on the same fret to make the position shift. Again, awkward but perfectly doable with practice. WJITCJake Willson / Fretboard Navigation Masterclass 8 CHAPTER 2 EXERCISE 39: This pentatonic sequence uses slides to get around, but note the one exception in the descending part, where things just got too awkward. However, there's a slight slide before the finger is replaced, giving the impression of a consistent texture. EXERCISE 40: This exercise is another awkward pentatonic sequence, using 4ths and slides to move around the fretboard: a tricky one to end this section! CHAPTER 3 NTERVALS AND ARPEGGIOS Intervals and arpeggios are the cornerstone of my approach to lead guitar, and in this section we'll be looking at the various ways in which we can use them and move them around the neck. We'll also begin to explore the many ways you can access intervals and arpeggios on the fretboard, hoping that this AWARENESS opens up opportunities for you. Our aim is to be able to access these sounds at any point, whatever string, fret or finger you're using. also encourage you not to shy away from larger intervals ~ if you increase your awareness of what is available, you'll find it less challenging to incorporate these intervals into your lines than you expected. As always, pay close attention to what you find easy and what you find awkward and seek to apply these concepts as thoroughly as you can in your practice and playing WJITCJake Willson / Fretboard Navigation Masterclass 9 CHAPTER 3 EXERCISE 1: Naturally, we start with various ways to use diatonic thirds across two strings, using various position shifting methods ~ remember to make a mental note of what you find awkward and what you find less awkward/useful EXERCISE 2: Variation on Ex1 EXERCISE 3: Now using slides. EXERCISE 4: Onto diatonic 4ths. In the ascending part of this exercise, we're not “rolling” - each note is individually fingered. On the way back down, some rolling is essential, and generally, the transition is much more awkward. However, the “non-rolling” approach is often very useful and more accurate for 4th intervals, so work on both! EXERCISE 5: This 4ths exercise is a little more complex: perhaps it'd make for a good fusion line? EXERCISE 6: The next three exercises demonstrate three ways of accessing a sequence of diatonic 5ths. We'll start on the G-B strings. EXERCISE 7: Diatonic Sths, in the less common fingering on the D-B strings. EXERCISE 8: Diatonic Sths on the D-G strings. EXERCISE 9: We'll now do diatonic 6ths with a condensed version of the approaches from Ex6-8. Of course, for your own work, you should try applying these all over the neck in the manner of the earlier exercises. EXERCISE 10: A variation on Ex9. EXERCISE 11: Following the same approach as the last few exercises, but now with 7ths! Check out the first shape, which is not used often, WJITCJake Willson / Fretboard Navigation Masterclass 20 CHAPTER 3 EXERCISE 12: This exercise demonstrates various ways of accessing octaves on the neck. EXERCISE 13: Now diatonic triads. Here are various ascending, linear formulations of the diatonic triads of C major. Do also try descending with each shape, and as always, make a mental note of what's easy and what's awkward. EXERCISE 14: This sequence of root-position triads uses slides to transition. You might want to try applying the same patterns to the triad formations demonstrated in Ex13. EXERCISE 15: Here, we move on to inversions of diatonic triads. First, here's a way to play second inversion triads (5th on the bottom). EXERCISE 16: Here are the first inversion triads (3rd on the bottom). EXERCISE 17: Now welll introduce transitional slides for the diatonic first inversion triads. As always, experiment with different ways of accessing these pitches on the neck. EXERCISE 18: This is just a C major triad, but we're using it to transition linearly up and down the neck. Note the inversion fingerings that result from this approach. It's really important to be able to access specific arpeggios all over the neck, and the following exercises demonstrate some of the many ways of doing this, I's all about connecting shapes to make long, linear transitions. EXERCISE 19: This exercise applies the concept from Ex18 to the top three strings. EXERCISE 20: Similar to the last two exercises, but using the A minor triad (ACE), WJITCJake Willson / Fretboard Navigation Masterclass 2 CHAPTER 3 EXERCISE 21: Now using the diminished triad. Note how the diminished fifth interval (F-B) makes life a little tough sometimes. EXERCISE 22: Now let's move to 7th arpeggios. If you ever wanted to explain to your non-guitarist friends why the fretboard can drive us crazy, show them this exercise! It's a variety of ways to play the same C major 7th arpeggio. It's essential to develop the mental flexibility to visualise any of these formations instantly... especially if your aim is to become a fluent improviser. IMPORTANT: I'll be exploring various concepts throughout this section. To save time and space, I'll use a different arpeggio type for each concept. However, your task is to apply ALL concepts to ALL arpeggio types. It’s good for you! EXERCISE 23: Continuing with Cmaj7, this exercise shows the various 2-note-per-string formations of Cmaj7 (note the symmetry). These can be really useful in covering large areas of the fretboard. Are some of these shapes easier than others? EXERCISE 24: Here are some useful shapes | actually use quite a lot (sometimes, certain shapes are just more useful than others). Later on, I'll show you how | approach these raw, theoretical concepts when playing. EXERCISE 25: ...but first, let's continue to explore some more concepts. Here's another shape-based exercise (using a 2-1-2 fingering on the G-B-E strings) applied to the Cmaj7 arpeggio. By keeping the “formation” the same, you give your picking hand an easier job, and you can occasionally thread these things together for fast/sweep lines (there are a few of these in the Licks section). WJITCJake Willson / Fretboard Navigation Masterclass 2 CHAPTER 3 EXERCISE 26: These are 6-string shapes for the A minor 7th arpeggio. Remember to apply the concepts of the previous exercises to your studies of this arpeggio. EXERCISE 27: This is a useful G7 arpeggio sequence. Note how using a sequence can buy time to move our hands into position more comfortably EXERCISE 28: Another G7 sequence, but this time we're moving up the neck while moving down across the strings. In order to do this, we are using a 2-1- 1 shape. As usual, some of the transitions are easier than others. EXERCISE 29: Incidentally, the 2-1-1 move from Ex28 can also be applied to triads with varying success in different positions. Here's a C Major variation. EXERCISE 30: In this exercise, we apply a 2 the A string) to the different inversions/positions of the Bm7lI5 arpeggio. This particular formation is often useful. 1-2 formation (starting on EXERCISE 31: As in the previous exercise, we're applying the 2-1-2-1-2 formation again, now on all of the diatonic 7th arpeggios. EXERCISE 32: Sometimes less is more. You can use a smaller arpeggio shape to great effect. Here, we're applying a 2-1-2 shape diatonically EXERCISE 33: This exercise shows how | might connect arpeggio shapes for Cmaj7. Note that I've added some notes. The 9th interval (D) can be very useful both for the sound and the fingering. Typically, in a Cmaj7 tonality, you can use the 9th and 13th intervals without running into too much trouble. EXERCISE 34: Another Cmaj? arpeggio, with added notes. This descending figure covers a lot of ground, and isn't too tricky to finger... which is nice! EXERCISE 35: Another Cmaj7 arpeggio figure with additives. | do this kind of thing an awful lot! WJITCJake Willson / Fretboard Navigation Masterclass 23 CHAPTER 3 EXERCISE 36: Here's a position-shifting Dm7 (Dm9) arpeggio shape that | use a lot. Note how each transition is managed. EXERCISE 37: Another possibility for Dm7. EXERCISE 38: Continuing the theme of the previous exercises, here's a G7 arpeggio that | use a lot. EXERCISE 39: Another G7 arpeggio (with added notes) that | use quite a lot. Note the use of the 9th as well as the bluesy Bb-B move (the minor 3rd or #9th resolving to the major 3rd). These are useful “colours” but are also useful tools for creating continuity in the fingering. EXERCISE 40: Here's a Bm715 arpeggio that connects the two positions | use most frequently. EXERCISE 41: Back to triads for a moment. Here, we're looking at sliding to connect the “spread” shapes (think Eric Johnson). You can apply this concept to any chord ~ spend some time experimenting, and remember to be aware of inversion you're playing in each position. EXERCISE 42: This exercise takes the same concept as Ex41, but using a D minor triad (D F A) and a different set of strings. CHAPTER 4 WJITCJake Willson / Fretboard Navigation Masterclass 24 TRANSITIONAL STUDIES Now we're really starting to stretch our legs! In this section, we're looking at how we might move from one position to another more distant position. We'll encounter some of the usual awkward fingerings, but I've tried to fill the exercises with concepts | actually use. At this stage, you should be much more familiar with the fretboard, so we're ready to start looking at line creation. As always, remember to apply these concepts all over the neck. You might also try to join some of these concepts together and write a few lines. EXERCISE 1: Let's kick off with a four-note-per-string configuration. Notice how much more of the neck you can cover by adding one more note on each string, Also note the use of the slide to avoid awkward, large stretches Hopefully by this stage you don't have much trouble visualising how each position connects to the other ~ rather than having to visualise full shapes, you might be able to see the links between the shapes more easily. EXERCISE 2: By adding a contraction/finger-exchange shift to a sequential line we can can cover the same ground as Ex1, but making things considerably easier for the fingers and elongating the line, EXERCISE 3: In this exercise, we remain in position for an extra string and then use the transition mechanism of Ex2. Try creating a line that mixes up the concepts of Ex2 and Ex3. EXERCISE 4: The next two patterns are alittle more complex, but the WJITCJake Willson / Fretboard Navigation Masterclass 25 CHAPTER 4 transition methods should be familiar to you now. Get it under your fingers and try pushing the pace while striving for accuracy. EXERCISE 5: Here's a similar idea, but with legato. Don't forget to try playing these lines starting in different points of the scale and in different keys. EXERCISE 6: In Ex1-5 we were shifting position UP the neck while also moving UP across the strings (and the opposite: down and down). For the next three exercises, welll explore the useful approach of mixing them up: transitioning UP the neck while moving DOWN through the strings (and vice versa). These exercises use a variety of transition techniques and naturally cover less pitch range than Ex1-5, allowing for more “knotty’ lines. EXERCISE 7: A variation on Ex6, using triplets. EXERCISE 8: And here's the opposite direction, moving UP through the strings while transitioning DOWN through the fretboard positions. EXERCISE 9: This is an improvised line to demonstrate a variety of transitional moves while using the diagonal trajectory of the previous three exercises. EXERCISE 10: We'l now apply the previous concepts to A minor pentatonic (AC DEG). Note how the minor 3rd interval causes us grief at times - we need to find ways to make that less of a problem. Again, pay attention to which patterns are more comfortable under the fingers. Here's the scale in 3:note-per-string configuration which naturally shifts the line up the neck. EXERCISE 11: By using a 2-3 fingering pattern, we reduce the frequency of position shifts, meaning we move more slowly up the fretboard (and it’s easier to play at speed). WJITCJake Willson / Fretboard Navigation Masterclass 26 CHAPTER 4 EXERCISE 12: Now welll try a handful of slightly more complex transitional patterns with the pentatonic scale. By now you're familiar with how the transitions are managed. Try pushing the tempo for an added challenge. EXERCISE 13: Similar to Ex12, but in triplets, and with more slides. EXERCISE 14: Combining legato with transitional slides. EXERCISE 15: This pentatonic line covers the entire neck by effectively covering two position shifts on each string, It's admittedly a tricky line, and quite extreme, but this kind of move can be really useful in small doses. EXERCISE 16: Here, we're sticking with the pentatonic scale, but now we're applying the position shifts in the opposite direction (see Ex6-8). Moving up through the strings, but transitioning down the fretboard... and then the reverse, Though awkward, these moves can be really useful - make a note of where transitions are more friendly. EXERCISE 17: The same idea as Ex16, but now with slides. EXERCISE 18: A slightly more complex pattern. EXERCISE 19: Like Ex9, this exercise is an improvised line that incorporates a mixture of the transitional moves that | use in my playing. EXERCISE 20: Just to complete the set, you might try experimenting with one-, two-, or five-note-per-string scales. Here's the major scale played using two notes per string. This one's worth practising as | find it makes up a good “visual backbone" for transitional lines that move in this direction. WJITCJake Willson / Fretboard Navigation Masterclass 27 CHAPTER 4 Recommended further work: + Apply the concepts covered in this section to various keys and positions. i: Create lines that use a mixture of the transitional concepts covered. + Ifusing slides, try creating lines or exercises that skip to non-adjacent positions (moving two or three positions up or down). CHAPTER 5 ETUDES AND CHALLENGES As the title suggests, this section presents an array of short pieces designed to confront you with technical difficulties Each exercise is directed at a creative task, and one of the main concepts | want to cover is “available finger/available fret’. The idea here is that we see what notes are available for our left hand and decide what to play... in a split second. ‘Try this: put a finger (any finger) on any fret. Think of a harmonic situation where you would use that note. Now, think about all the available and accessible options available to you. There will be quite a few, and if you add in chromaticism, you might find that some interesting avenues open up. Of course, the faster you're playing, the harder it will be to access some of those options, but the main point is to increase awareness of what's available. I hope you enjoy this rather sadistic collection of exercises! Try not to get too frustrated... and remember to BREATHE! WJITCJake Willson / Fretboard Navigation Masterclass 28 CHAPTER 5 EXERCISE 1: Feel free to learn this note-for-note, but the main point is to be able to play diatonic thirds while changing strings at random up and down the neck. | improvised this take, choosing my route on the fly. Try applying this idea with all of the diatonic intervals as well as to major and pentatonic scales, EXERCISE 2: Similar to Ex1, but this time we're improvising a random(ish) route through a diatonic triad sequence. EXERCISE 3: We haven't really covered “chromaticism” yet, but it can be an extremely useful transitional tool. This short exercise demonstrates multiple ways to access the “blue note bridge” ~ the little chromatic run where the b5th is inserted between the 4th and 5th (D-Eb-E in the key of A, for example). This is preparation for Ex4... EXERCISE 4: This is an improvised etude that contextualises various chromatic moves and their potential roles in position shifting. For more in-depth detail on the use of chromaticism, check out the JTC masterclass Creative Chromatics. In particular, the subject of “chromatic enclosure” is very useful, but too much to explain here! While there's not much on chromaticism in the exercises, there are many examples of how | use chromaticism in the Licks section of this course. EXERCISE 5: In the last few challenging études. I've designed some exercises with several “rules” that will help you explore the fretboard in interesting and varied ways: + Use a specific arpeggio or scale. + Use large swathes of the fretboard + Use unusual slides + Use surprising large intervals if a fingering is available. + Deliberately exploit problems with the left hand technique. WJITCJake Willson / Fretboard Navigation Masterclass 29 CHAPTER 5 Some of these moves are not as tough as they sound... sometimes the opposite is true! Each has its own quirks and awkward moments, so try not to get too frustrated when working on them! In this exercise, we'll use the notes of an A minor 9 chord (AC E G B) as our “harmonic palette” EXERCISE 6: This time, our harmonic palette is the notes of a C Major 9 chord (CEG B D). EXERCISE 7: The notes of a G9 chord (G B D F A) form our harmonic palette in this exercise. EXERCISE 8: This time, the D minor pentatonic (D F G A C) is the harmonic palette. EXERCISE 9: The harmonic palette here is the full C major tonality (C D EF G AB) but allowing for chromaticism. This one is horrid! EXERCISE 10: Now we're in a D major tonality (D E F# G A B C#) and this exercise explores more of a mix of interval sizes while also exploring an array of useful transitions Further work: Write your own exercises in the style of Ex. 5-10. + Try writing transitional lines that move through different harmonic fields (one bar of A minor 9, one bar of F minor 9, for example). + Try applying some of these concepts to your own playing and see what sticks! WJITCJake Willson / Fretboard Navigation Masterclass 30 CHAPTER 6 VAMP LICKS The licks in this package are split into two sections. In this section, we're going to work on a collection of intermediate lines over a one-chord vamp. All the licks are improvised — | thought that this would show you what | actually do when applying the concepts of this course. Therefore, it will be useful to study how | manage the transitions from one fretboard position to another. You might notice that I lean on certain strategies, for example. Also, it's worth applying this level of analytical awareness when looking at the playing of any guitarist. These “vamp” licks, without chord changes, allow us to focus on chromaticism and more bluesy harmonies. However, if any of the lines are too fast for you, don’t worry - just work slowly and try to figure out what's happening. There won't be a lot of explanation for each lick as the subject matter should be clear in the music, but I'll lag up anything that may not be obvious The backing is a minimalist groove with just a Bli-based bass part to indicate the harmony. I'm mostly thinking Mixolydian (Bb C D Eb F G Ab) or Dorian (Bb C Db Eb F G Ab) but lots of bluesy, chromatic options are also available. WJITCJake Willson / Fretboard Navigation Masterclass a1 CHAPTER 6 VAMP LICK 1: This lick covers quite a few positions, At the start, there's a figure that brings out linear position shifting. Note the consistency of the ascending chromatic approach notes throughout. VAMP LICK 2: This lick starts with a chromatic/wide interval/two-part line moving down the neck. The use of chromaticism mixed with wide intervals gives the impression of two lines playing simultaneously and can be used to great effect. VAMP LICK 3: This line is characterised by its descending slides, especially the large one going 13-8 on the G string - effectively moving between the two common “entatonic boxes”. VAMP LICK 4: This line smuggles a “contraction” device into the opening arpeggio figure to transition up the neck. Although we stay in position for the second half, note the role of the 4th finger in reaching available wide intervals. VAMP LICK 5:Note the slide after the arpeggio figure, transitioning into the position below. VAMP LICK 6:This lick uses various techniques to transition most of the way down the fretboard. VAMP LICK 7: Lots of ascending slides are used to connect positions here. VAMP LICK 8: The first position shift is managed with a linear chromatic figure. This is then followed up by two ascending slides in quick succession to move further up the neck. VAMP LICK 9: Ramping up the pace, the line uses slides to connect similar shapes under the hand (i.e. the three-note chromatic figure). WJITCJake Willson / Fretboard Navigation Masterclass 2 CHAPTER 6 VAMP LICK 10: This lick is notable for its use of the “contracting” arpeggio position shift figure at the end. VAMP LICK 11: Various position shift strategies being used, here, but note the amount of ground covered in the opening arpeggio. VAMP LICK 12: Most of the interesting position shifting content occurs in the second half of this lick. However, also note the unusual use of the fretboard in the stretchy wide-interval pattern (fret 13 to fret 18) - we're playing C on the B string and Db on the G string below it. The major 2nd and minor 3rd, both from Bb Dorian, but the opposite way round from what we'd expect. A fun effect! VAMP LICK 13: Note how the slide down from the first arpeggio shape lands onto an area of the neck where the hand position doesn't need to change much to access the appropriate notes around it. WJITCJake Willson / Fretboard Navigation Masterclass 33 CHAPTER 7 CONTEXTUAL LICKS We'll now start working over a chord progression. These are more high-octane lines over a modern rock backing track. Also, while the Vamp Licks allowed for extensive chromatic exploration and bluesy major/minor ambiguity, these licks tend more toward diatonic lines. This is a modern rock style track, mainly in B minor. I've gone a bit more “shred” with this, as per the genre, but you should still observe how my solo lines reflect the chord changes and, of course, how I'm using position shifts at high speeds. CONTEXTUAL LICK 1: If two of the same shapes are available, sliding between them is a fairly easy and effective strategy, as can be observed in the connected arpeggios in the opening of this lick. CONTEXTUAL LICK 2: Though there are lots of shifts in this lick, | want to draw attention to the “available finger” figures in the middle (the pedal tone stuff around the 7th fret). Try picking a position on the neck and finding all the accessible notes from a single pedal point (like the famous intro to Eric Johnson's Cliffs of Dover). CONTEXTUAL LICK 3: In this lick, convenient scale-based patterns are connected via descending slides to similar shapes. CONTEXTUAL LICK 4: The same basic principle as Lick 3. WJITCJake Willson / Fretboard Navigation Masterclass a4 CHAPTER7 CONTEXTUAL LICK 5: This lick uses a variety of techniques to get around the neck. Most notable: the descending slide connecting pentatonic shapes; the “contraction” smuggled into the middle of the ascending arpeggio. CONTEXTUAL LICK 6: This lick starts with a linear position shift that takes us back to the Neighbouring Positions portion of this course. CONTEXTUAL LICK 7: Over the F#7 chord, there's a useful symmetrical diminished arpeggio - the whole shape simply moves up/down by a minor 3rd (three frets). The symmetrical nature of the figure can make position shifting fairly straight forward (and easier on the brain!) CONTEXTUAL LICK 8: The position shifts in this lick are made possible by very subtle “contraction” moves in the fretboard hand. With care, you can even make wide stretches with this approach. CONTEXTUAL LICK 9: This lick uses a fixed octave shape, moving it around the neck with a combination of shifts and slides — it might not look impressive, but it sounds really effective! CONTEXTUAL LICK 10: Lots going on here! Might be best to just look at the tab! CONTEXTUAL LICK 11: Here's another lick that takes a fretboard shape and moves it to other parts of the neck where similar/identical shapes are available. CONTEXTUAL LICK 12: Careful with the fingering on this one! | use two fingers for the first 4th interval at the 12th fret (i. finger). | find that this allows for a much more accurate fingering and a smoother transition when we slide down to the next position. not rolling with a single WJITCJake Willson / Fretboard Navigation Masterclass 35 CHAPTER7 CONTEXTUAL LICK 13: The 9th interval happens to be at the same fret in this configuration, so you can move freely between fretboard areas where this interval is available ~ | think this is a tragically under-used sound. In this lick, 'm just sliding that 9th shape around, avoiding any diatonic minor 9ths (much more tricky to finger) CONTEXTUAL LICK 14: This line uses a variety of intervallic techniques and position shifts. The unexpected large intervals are particularly attractive and might recall painful memories of the Etudes and Challenges portion of this, course! CONTEXTUAL LICK 15: Another lick that does so many different things that it's probably best to just look at the tab! By this stage, you should have all the tools you need to understand how the position shifts are being made. CONTEXTUAL LICK 16: This legato-based exercise starts with a hybrid/ string skipping line and slides into the position above. CONTEXTUAL LICK 17: With a combination of slides and large intervals, this lick practically covers the entire neck. CONTEXTUAL LICK 18: This is another example of sliding to connect similar fretboard shapes. Note the use of convenient unison fingerings to maintain momentum without running into awkward shapes. Well, that's it! | hope you've enjoyed working through this course, and | wish you many happy, frustrating years of exploring the fingerboard! If you have any questions, feel free to find me on social media and get in touch - I'l be only too happy to help with any queries. Jake WJITC'" ; | oP =90 Primer Exercise 1 JTCguitar.com Jake Willson - Fretboard Navigation a i pn a = 8 Ts 357 8 Tha et Sr FAAS 7-8-10-12-10-8 680 208 10-12-19-15-19-12 0219 72 ee 6192 1915171047 4412-10 pw ST ee aw 331210121315" woe ; » * Ga ele Tp Se 78 rey — ——== seve 7 aa 2g JamTTrackCentral Ltd 2020 Al Rights Reserved - International Copyright SecuredPrimer Exercise 2 JTCguitar.com Jake Willson - Fretboard Navigation i SRR Te | k = SS ee a 3 63 6 6 5 6 oe 686 5 65 6 [Se et eber eet iat pete rtp ey oe ooo Sa eS ue JamTTrackCentral Ltd 2020 Mu Al Rights Reserved - International Copyright SecuredPrimer Exercise 3 JTCguitar.com Jake Willson - Fretboard Navigation fe = SSS pS ee re Ja All Rights ResePrimer Exercise 4 JTCguitar.com Jake Willson - Fretboard Navigation 2=90 Pesaran aman aE Pe bo Cee oe et == | Ey ee BS =— oP =—_—_S= DP ONS =—_—_— DP ONS =—=— BS rule al «] al ‘ ‘| . “ . al |] ( 3 pal op Ja All Rights ResePrimer Exercise 5 JTCguitar.com Jake Willson - Fretboard Navigation Stes APE eee el | | 4 oa GO JamTTrackCentral Ltd 2020 Mu Al Rights Reserved - International Copyright Secured