I've been playing guitar for 10 years now, but I am going through your Guitar Fretboard Workbook to be able to visualize the fretboard better. So far, knowing the root shapes is definitely coming in handy. However, I have come across something that doesn't quite make sense to me. When I get to the Natural Minor Scale section of the book, exercise #13 doesn't quite make sense to me. For example, #3 is E Minor Pattern 1. I understand the scale formula and I also realize that the Natural Minor corresponds to the 6th degree (aeolian) of diatonic harmony. Now, I can see how you would conclude that #3 deals with "root" shape 1, but it doesn't make sense to me that you would call it "pattern" 1. That particular scale shape seems like it corresponds with "pattern" 5 in terms of playing all the notes of the scale. Hopefully you understand what I am trying to say and can clear things up for me. I really am enjoying your book, but for some reason exercise #13 doesn't quite make sense in terms of what pattern you would call each scale. I would greatly appreciate your help. Thanks much, take care.
Anthony
Hi Anthony,
I think I understand what you're suggesting. You're saying it would make more sense if a scale fingering were to retain the same pattern number no matter which of its notes is used as the root.
For example you want to refer to E minor scale Pattern 1 as Pattern 5, because it is the same fingering as G major scale Pattern 5, and just remember that the roots are different.
(The relative minor concept is drilled on Exercise 14, right after where you are.)
That approach might seem easier at first, but it is harmful to musicality later. Unfortunately I may not be able to explain why it is disadvantageous until you've looked at later chapters. But I'll make a short good-faith attempt.
When you work with chords, arpeggios, intervals, and modes, you'll see that the root shape determines the pattern number in every case, and all the other notes of these things are measured in comparison to a major scale from the same root---not from a different root. Do it this way until you have these basic shapes clearly planted in your mind. The method you're proposing as your primary thought process will help you later in certain circumstances, for harmonic substition and mode location.
So, we are going to say that because it has root shape 1, the E minor scale in 4th position is a Pattern 1 minor scale, even though the Pattern 5 G major scale uses the same notes and the same fingering, and in spite of the hardship of recognizing the b3, b6, and b7 in the "new" scale.
Any note except the root can be altered against the natural-degree markers on the yardstick of the major scale. For example, you can have a scale that is the same as C major except its 7th is flatted: C Mixolydian. Its Pattern 2 fingering is at fret 2, like C major. We call it Pattern 2 of C Mixolydian (again, even though it is equivalent in fingering to F major Pattern 5).
When you play the C7 chord that goes with this scale, it'll help you understand that we don't necessarily want to be thinking about F major.
C7
-3-
-5-
-3-
-5-
-3-
---
This chord does go to F major quite easily, but it could also be used in other situations that have nothing to do with F at all. Therefore we want to measure it in comparison with a major scale from its own roots: Pattern 2 in this spot on the fingerboard. The scale is C Mixolydian. Start with the 2nd finger.
C Mixolydian
------------------
------------------
-----------2-3-5--
-----2-3-5--------
-3-5--------------
------------------
This explanation may or may not make sense to you at your current position on the learning ladder. If not, I'm going to have to ask that you temporarily trust that the book's system contains the most-reduced and simplest methodology and reserve any suggested changes until after you've gotten through Chapter 21. Please contact me when you reach page 67!
Thanks,
Barrett
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