Fretboard Evolution Vol. I - Steve Rieck

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© Copyright 2011 Steve Rieck FRETBOARD EVOLUTION VOL. I A GUITARISTS GUIDE TO HARMONY (Revision 2 – March. 7 th , 2012) Forward This book was written with a specific type of guitar player in mind – One who's played for several months or years and is comfortable with open major and minor chords as well as barre chords and some scale patterns. If you feel like most of what you do on the guitar is based on visual patterns and shapes and it’s hard to make a lot of logical sense of it, this book is for you. If you’ve had a good background in music theory but feel blurry on some aspects or how to relate it to the guitar, this book is also for you. Although much of the information is presented in the context of what is known as “jazz harmony” and is written with guitarists in mind, the information is universally useful to most styles of music and instruments. In addition, each chapter contains a summary quiz as well as a series of exercises to practice on your guitar. The goal of this book is to embrace the patterns and shapes we all must know and at the same time liberate you from being able to approach the guitar from only that angle. Hopefully the result will be better ideas all around. You should also be aware that I’m going to start simply, from the beginning. Without a doubt, many of you will already have knowledge to varying degrees of many of the things presented in this book but again, my hope is that the information can fill in the gaps and be presented in the most effective way possible. © 2011 Steve Rieck – all rights reserved 2
Why many guitarists are challenged by music theory The visual shape and pattern-based nature of the guitar fretboard is great news to any beginner. Not many instruments allow a novice with good ears and instincts to memorize a few shapes and fingerings and simply shift those same shapes up and down to change keys, develop music etc. That’s one of the reasons the guitar is so popular. Consequently, a lot of players develop who can play a lot of music but suddenly feel lost when they try to step out of their comfort zone. The guitar eventually becomes an endless, compounding game of visual memorization. It's interesting to notice that from the first lesson, a piano or wind player needs to think about the notes on their instrument and some basic music theory in order to get almost anything done. String instruments, by their very nature, lend themselves to playing by instinct alone. The real goal of course, is to get the information so under control that it becomes something much more subconscious. A place where we can feel the creative possibilities expand. The two most important things! Ultimately, this book is about putting the missing pieces of music theory and harmony together for a guitarist who has the mechanical basics covered. The fact is, if you want to advance any amount of theory information and be able to apply it in any practical way you MUST start with two critical things: (The first chapters of this book are devoted to simple exercises for developing both of these.) 1] You must become effortless in your knowledge of all of the notes on your fretboard, the octave relations and why the notes occur where they do. 2] You must become effortless in your knowledge of the seven notes of all of the major scales with and without your guitar. © 2011 Steve Rieck – all rights reserved 3
Page 4 and 5: The good news is that once that cri
Page 6 and 7: The first 13 Chapters are what I'd
Page 8 and 9: CHAPTER 1 UNDERSTANDING THE FRETBOA
Page 10 and 11: Logically, the next important term,
Page 12 and 13: Regardless of the specific notes of
Page 14 and 15: Look back to the fretboard diagram.
Page 16 and 17: Play a simple melody anywhere on th
Page 18 and 19: Unlike the C major scale, the other
Page 20 and 21: The LAST four notes of the C major
Page 22 and 23: A Major Scale A B C# D E F# G# A E
Page 24 and 25: Gb Major Scale Gb Ab Bb Cb Db Eb F
Page 26 and 27: Db Major Scale Db Eb F Gb Ab Bb C D
Page 28 and 29: So to summarize: 1. we began with t
Page 30 and 31: Take some time to play a single maj
Page 32 and 33: What is a more common enharmonic sp
Page 34 and 35: augmented), the most important conc
Page 36 and 37: Ex. 3 (E to C / C to E) Ex. 4 (G to
Page 38 and 39: Perfect Intervals Now look at examp
Page 40 and 41: C to Gb = Diminished 5 th (6 half-s
Page 42 and 43: Minor 3 rd (C to Eb) Major 3 rd (C
Page 44 and 45: • A minor or perfect interval tha
Page 46 and 47: The only perfect intervals by defin

Fretboard Evolution Vol. I - Steve Rieck

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