In Chapter 2, I show you how to use the pentatonic scale across the whole fretboard and in all keys.
Think “Purple Haze” by Jimi Hendrix and “Breakdown” by Tom Petty just to name a few examples. It’s used for playing melodies, riffs, solos, and basslines. The pentatonic scale is one of the most widely used scales. In Chapter 1, I show you which notes you need to know and how to easily remember them. But, you don’t need to memorize all the notes on the neck or anything crazy like that. You need to be familiar with certain notes in order to follow along. You move all over the fretboard in Fretboard Theory. Each chapter focuses on a particular subject you need to know in order to master the styles of your favorite players.īelow is a summary of the first ten chapters.
The video is organized into two levels that are each broken up into ten chapters. If you want to know why the opening chords to “Stairway to Heaven” work so well together or how Carlos Santana creates such expressive melodies, keep reading.įretboard Theory includes over 30 hours of video instruction. If you’re looking for a traditional music theory course that is taught from a piano player’s perspective and emphasizes the reading of standard notation and the playing of classical music and show tunes, look elsewhere. These connections are what guitarists rely upon to navigate the neck, improvise and compose. You see how shapes and patterns connect on the fretboard grid. The system works by mapping everything out on the fretboard. So, what exactly is the “right kind of music theory”? It depends on your interests and playing goals.įretboard Theory is geared specifically toward guitar and the songs you hear on classic rock radio stations. The right kind of music theory is like a light to your feet so you never get lost. When you get to know these trails, you go places. Certain things fit together like puzzle pieces on the fretboard. There are relationships between scales and chords. Whether you want to learn songs or create your own music, you’ll do it better when you know how things go together. Good players don’t just memorize-they know what they’re doing. The gal who understands how chords go together can quickly figure out a song’s chord progression and then play various forms of the chords all over the fretboard. The guy who knows the scale might be able to figure out the riff by ear and then improvise a solo with it. Understanding what you play is another.įor example, it’s one thing to memorize a riff from a song using tablature, but it’s another thing to know in which scale the riff is played. Back to our originally scheduled program…