Fretboard Frameworks By

Home , Major chord, Relative key

FRETBOARD FRAMEWORKS BY

JEFFREY NEVARAS

CONTACT: JEFFREY NEVARAS

[email protected]

508 572 8052 Available for online, in-person instruction, Zoom lessons, and music/guitar education writings.

i TABLE OF CONTENTS

FRETBOARD FRAMWORKS …………………………………………………………………………………………. ii

C.A.G.E.D 2.0 …………………………………………………………………………………………. vi

TRIAD CHORDS …………………………………………………………………………………………. 1

TRIAD APRPEGGIOS …………………………………………………………………………………………. 20

DROP - 3 CHORDS Strings …………………………………………………………………………………………. 33 6-4-3-2

DROP - 3 CHORDS Strings …………………………………………………………………………………………. 43 5-3-2-1

DROP - 2 CHORDS Strings …………………………………………………………………………………………. 52 5-2

DROP - 2 CHORDS Strings …………………………………………………………………………………………. 61 4-1

4 - PART ARPEGGIOS …………………………………………………………………………………………. 71

PENTATONIC SCALES …………………………………………………………………………………………. 84

MODES …………………………………………………………………………………………. 88

ALTERED SCALES …………………………………………………………………………………………. 102

APPENDIX …………………………………………………………………………………………. 107

1 Hello, and congratulations!

This book will be an invaluable reference tool for you as you embark on your guitar playing journey. Careful consideration was taken to save you time. Notice that there are suggested fingerings written for every diagram. Also, all diagrams use numbered-color- coded labels. The numbered-color-coded labels help you hear the sound of the fingerings. As you learn the fingerings, remember to also memorize their sound. Knowing their sound is essential to hearing what you play. For example, try hearing scale degree 3 , before you play it. Sing the note and memorize where you can play ALL of the 3rd’s in ALL fingerings more on this topic later. Repeat this process for ALL chord/scale tones in all fingerings. Learning to hear what you play can be achieved by simply playing and singing the notes you are playing. As you practice the forms, sing them while you play them. At first, this may seem difficult, but I assure you with consistent practice it will become easier and eventually natural

For Clarification Throughout This Book: • The words fingering, diagram, and forms are used interchangeably. • The words tonic and root are used interchangeably. • CAGED 2.0 labels = C form, A form variation , A form, G form, E form variation, E form, D form. • Form-number labels = form 1, form 2, form 3, form 4, form 5, form 6, form 7. • Tonic = Root of the chord, scale or key. The root names the key. • Relative view = using the key as reference. C major = A minor • Parallel view = using the root as reference. C major, C minor • Root 6 = the root is on the 6th string. • Root 5 = the root is on the 5th string • Root 4 = the root is on the 4th string

What This Book Is:

This book is a reference book, not a method book. Within these pages, you will ﬁnd chord, scale, and arpeggio diagrams. These diagrams are written in a movable format using numbered-color-coded labels to indicate the chord/scale degrees.

1 2 3 4 5 6 7 1 1-2-3-4-5-6-7-8 (Do Re Mi Fa Sol La Ti Do )

Do (1) = the tonic (root) of the key. Whichever note the root is on, names the key (e.g., if Do is “E” then the key, chord, or scale is E). A basic understanding of music theory is needed to fully grasp the meaning of the numbers. I am available via email and free website lessons are in the members section httseffrenearascommembers if help is needed. However, if you do not iiviii understand the meaning of the numbers you will still benefit by memorizing the diagrams. The numbers seen above reference the major scale. ll the scale/chord degree’s in this boo are altered from the major scale.

How To Get The Most Out Of This Book:

The major scale, minor scales, modes and pentatonic scale diagrams in this book are labeled two ways. 1) the CAGED 2.0 system for guitar and 2) form-number labels.

Why Two Labels?

The reasoning for this duel-labeling is to save you time when memorizing and implementing the scales into your playing. The major scale forms are numbered 1-2-3-4-5-6-7. These form-number labels reference the scale degree which the form begins with (e.g., form 1 begins on the 1st degree on the 6th string played with the 1st finger, form 2 begins on the 2nd degree on the 6th string played with the 1st finger, form 3 begins on the 3rd degree on the 6th string played with the 1st finger etc. etc.)

NOTE: The pentatonic scale labels are 1-2-3-4-5, these numbers do not correspond to scale degrees. The pentatonic scale form-number labels are simply a label for the scale diagram. The major scale is the only scale labeled with corresponding form-number labels to scale degrees.

Duel-Labeling:

The CAGED 2.0 labels are the best way to organize the fingerings from a performance perspective. The CAGED 2.0 system connects your chords, arpeggios, and scales from the same reference point (usually the same string and same finger). This perspective aids in seamless transitions from rhythm to lead as well as a providing a thorough learning system. However, cross-referencing the form-number-labels (form1, form 2, etc.) with the CAGED 2.0 labels (C form, A form, etc.) will allow you to view the same diagram functioning in a variety of harmonic settings. This dual perspective will give you a better understanding. Meaning, (see fig.1 ) E form is form 1 in the major scale, and E form is form 6 in the natural minor scale (Aeolian). Also, notice form 1 in the major scale is C form in the natural minor scale (Aeolian). The form-number-labels ALWAYS keep the same form-number. The CAGED 2.0 forms ALWAYS place the root in the same spot in the form. The root is always played on the same string with the same finger for ALL CAGED 2.0 fingerings that share the same label. In other words, all C form fingerings for example have the root on the 5th string played with the 3rd or 4th finger regardless whether they are major or minor. Notice that the color-coded-scale-degree labels change to reflect their relationship (sound) to the harmony. Meaning, the same fingering SOUNDS different within a different context. As we see in fig. 1 form 1 sounds different when functioning as C form in Aeolian.

The numbered-color-coded-scale-degrees match the sound. The sound changes with the context. THE SOUND CHANGING WITH THE CONTEXT IS ESSENTIAL TO HEARING WHAT YOU PLAY AND PLAYING MUSICALLY.

THE SOUND CHANGING WITH THE CONTEXT IS ESSENTIAL TO HEARING WHAT YOU PLAY AND PLAYING MUSICALLY.

iii9 ﬁg. MAJOR AEOLIAN AEOLIAN

SAME SHAPE SAME SHAPE

Why is CAGED 2.0 the best way to reference the scales, chords, and arpeggios?

With the CAGED 2.0 forms, the reference note will alway stay in the same place (played with the same finger on the same string) within the fingering. To master these fingerings you must not think in relative terms (the same key). In other words, even though C major and A minor are the same notes. It is important to think in terms of the tonic. What do I mean? If you are playing in the key of A minor it’s best to visualize the forms from the perspective of A minor (not C major). The CAGED 2.0 system will give you the perspective from the tonic which is a parallel perspective (not relative).The parallel view is best for performing. The form-number labels will give you the relative key perspective. I believe seeing both perspectives empowers you with a broader understanding that translates to faster progress.

Examples of the parallel view:

• Example 1 - A-major chord, root 6 at the 5th fret CAGED 2.0 options:

CHORD SCALES ig.

MAJ. PENTATONIC MAJOR LYDIAN

10iv • Example 2 - A-major chord, root 5 at the 12th fret CAGED 2.0 options:

Fig. 3 CHORD SCALES

MAJ. PENTATONIC MAJOR LYDIAN

The CAGED 2.0 system facilitates an easy path to play any scale over any chord. These connections will unveil an amazing array of sonic possibilities. For example, if the chord is a major triad in E form your scale choices are any E form major scale (see fig. 2). If your chord is a major chord ( Maj7, Maj6, etc. ) in C form (see fig. 3) then your scale choices are any C form major scale. In the above example notice the different sonic colors that result with each scale choice. oeer choosing the best fitting scale for the context is beyond the scope of the book.

NOTE: Any CAGED 2.0 scale form is an option with the form. For example, as long as the root is on the same note it is perfectly valid to play an E from chord and play a C form scale. However, playing a an E form chord and connecting an E form scale is the closest option. This may not alas be the most musical option. oeer Its up to you to decide what is most musical.

Connecting DROP-2 and DROP-3 chords

Drop-2 and drop-3 refers to an arranging technique where the 2nd note (drop-2) or the 3rd note (drop-3) from the top is lowered (dropped) an octave. This technique widens the voicing. Chords that are drop-2 and drop-3 are four note chord voicings that are open-voicings (NOT OPEN-STRING) . Meaning, the chord voicing spans past one octave. After you are familiar with the CAGED 2.0 fingerings you can make connections with drop-2 and drop-3 voicings to CAGED 2.0 fingerings.

REMEMBER - Even though the original CAGED and CAGED 2.0 system begin by referencing major chord fingerings. The fingerings of your chords, arpeggios, and scales can be any chord type, e.g., major, minor, dominant, diminished, etc. The forms are named by the position of the tonic (root) in the fingering and which finger plays the root.

v11 The CAGED system for guitar has been around for decades. Like any system, there are pros and cons. I have modiﬁed the original CAGED system by eliminating the cons and improving the pros in my 2.0 version.

The original CAGED system has many benefits:

• The CAGED system is a practical solution for real-life “on stage” playing situations.

• This system builds upon what most guitarists already know.

• CAGED stands for chord forms or grips related to the guitar only. The piano player will have no idea what you are referring to ;-)

• The CAGED system provides a thorough learning and reference system.

• Applying scales and arpeggios to chord progressions becomes automatic.

• Non-diatonic chords are no longer a stumbling point.

Where does the original CAGED system come from?

Think of the CAGED system as a way to label and organize fingerings for guitar. These fingerings derive themselves from the open-string-chords 115 (cowboy-chords) we learn as beginners. Think of the open-string-chords as templates you transform to v forms. You can alter these forms to major, minor, dominant, diminished, or any chord flavor.

How does CAGED 2.0 differ from the original CAGED ?

The original CAGED system uses five fingerings played in position. Two fingerings are root 6 (E-form, G- form), two fingerings are root 5 (A-form, C-form) and one fingering is root 4 (D-form). In CAGED 2.0 I have added an E-form variation, an A-form variation (when applicable) as well as three-note-per-string scale diagrams. Additionally, I have associated arpeggios, drop-2 and drop-3 chords with the CAGED 2.0 forms.

A-form is derived from the open-string A chord. (Including A-form variation from CAGED 2.0.)

G-form is derived from the open-string G chord.

E-form is derived from the open-string E chord. (Including E-form variation from CAGED 2.0.)

D-form is derived from the open-string D chord.

• The root names the key, chord, arpeggio, and scale. (e.g., root on C = key of C, C chord, C scale).

• Root 6,5,4, etc., refers to the string number. (e.g., root 6 means the root is on the 6th string).

• C form is always root 5. Root is played with the 3rd or 4th finger. • A form (including variation) is always root 5. Root is played with the 1st finger or 2nd finger. • G form is always root 6. Root is played with the 3rd or 4th finger. • E form (including variation) is always root 6. Root is played with the 1st finger or 2nd finger. • D form is always root 4. Root is played with the 1st finger.

• The forms will always relate to each other in the same sequence. However, the key will determine the the sequence starting from the nut moving up the neck. The placement of the forms on the neck will always spell: C-A-G-E-D; A-G-E-D-C; G-E-D-C-A; E-D-C-A-G; C-A-G-E.

• The CAGED 2.0 forms are not exclusively major. The forms are parental forms that produce any kind of harmony major, minor dominant, etc.

• I believe that playing rhythm is what the majority of guitarists play most often. The CAGED 2.0 system builds upon the chord forms you play when playing rhythm in a song. With the CAGED 2.0 system, playing a single-note i , scales, arpeggios, and chords from the same perspective/forms.

• Learning scales, chords and arpeggios from the same perspective facilitates a seamless connection. Therefore, transitions between rhythm (chords) and leads (single notes) become instant, seamless, and ﬂawless.

I have discovered from my 30-plus years of teaching experience that writing out diagrams to remember ﬁngerings is a huge time-saver. I did not realize the traditional black-n-white

MINOR PENTATONIC SCALE 1-b3-4-5-b7

E Form D Form C Form Form 1 Form 2 Fingers Form 3 1 4 b7 b3 5 1 5 1 4 1 1 11 5 1 b3 b7 b3 11 4 b7 b3 1 4 2 2 1 1 1 1 1 1 5 3 5 4 3 b3 b3 4 b7 b3 4 4 b7 4 44 331 5 1 4 b7 5 3 3 34 3 b3 4

A Form G Form Form 4 Form 5

5 1 4 b7 5 5 1 1 111 1 11 b7 b3 4 b7 1 b3 11 11 5 1 3 3 b7 b3 4 b7 1 4 b7 b3 5 1 4 4 34 334433

General Fingering Guidline

UNLESS INDICATED

Use your 1st and 3rd fnger with notes that are 2 frets apart on the same string.

Use your 1st and 4th fnger with notes that are 3 frets apart on the same string.

All Rights Reserved by Jefrey Nevaras © 2018 Have comments or questions ? Email: [email protected] diagrams were always incomplete. When viewing the black-n-white diagrams, all the dots are visually the same. However my ear told me they were not. I could not find a book that represented the notes as different, unique tones. The color-coded diagrams show that each note a unique relationship with the harmony. Since I could not find a book that showed the notes as I heard them, I decided to write one. The dots represent scale-degrees, and every scale degree's relationship within the key is unique. In other words, every note in the scale sounds different, because the relationship is different. This relationship is the essence of melody. To prove my point, try playing the open E string (1st string) while playing the following sequence of notes in the bass, C - B - A - G. Notice how the high E sounds different with each new bass note.

I believe that when we learn our scales, we should know the sound of the degrees. This way, we can label and connect the sounds we hear with their scale degrees. Connecting the sound with the label is more thorough and complete i i . I have found the color-coded-scale-degrees to be an invaluable and straight-forward improvement over the standard back-n-white diagrams. I am sure you will also find this book a valuable tool in your musical development. ivix I sincerely hope my efforts will help you improve your guitar playing and musicality at a faster pace with less effort.

I wish you all the best!

Remember, have fun!!!

Sincerely,

Jeﬀrey Nevaras

B.M. Berklee College of Music M.M Boston University jeff@jeffreynevaras.com https://www.jeffreynevaras.com https://m.youtube.com/channel/UCT43su9NKgwMhthb9xQ7klQ https://Facebook.com/jnevaras

v x Who is Jeﬀ Nevaras?

Jeﬀrey Nevaras is a Boston Massachusetts, area guitarist, music educator, vocalist, bandleader, and producer. He has been teaching and performing professionally since 1991. He earned a bachelor's degree in Music Performance from Berklee College of Music and a master's degree in Music Education from Boston University. He is a faculty member at The College of Holy Cross and Assumption College. He has also taught at Berklee College of Music.

TESTIMONIALS:

I first met Jeff Nevaras many years ago when he studied guitar privately with me at Berklee College of Music in Boston, a position I have held since 1988. At the time, his drive, enthusiasm, resourcefulness and raw talent made him a standout. By the time he graduated, I began of him as the friend and contemporary he is today. Since then, we've always stayed in touch. His name is on the “short list” when I'm asked to recommend other guitarists for gigs. During one conversation Jeff and I had, he told me of a philosophy he follows, “Under-promise and over-deliver.” Thinking back over the years I've known him, he has always stayed true to that philosophy. In today's world, that kind of integrity and humility is rare - J. Finn

Jeﬀ is an amazing teacher who provides practical strategies for students of every level to improve their guitar playing ability. He has a deep knowledge of music theory, which enables him to impart a deep understanding of music to his students and not simply the ability to copy someone’s riﬀ. I highly recommend him - S. Colman

Jeﬀ most certainly was the best and most comprehensive teacher I have ever had. His knowledge base is quite broad. He was always able to address any topic I would choose to explore. His treatment of various areas of study was always legitimate. If he was not an expert in some area of study he would make that known; and he would always take the initiative to do any extra research. His technical proﬁciency on the instrument is superb, covering a wide range of styles. His communication skills with respect to teaching were always clear and direct and I think most importantly his level of maturity and musicianship are quite solid. - R. Crawford

i xi PENTATONIC SCALES

84 MINOR PENTATONIC SCALE 1-b3-4-5-b7

E Form D Form C Form Form 1 Form 2 Fingers Form 3 1 4 b7 b3 5 1 5 1 4 1 1 1 1 5 1 b3 b7 b3 4 b7 b3 2 2 1 1 1 4 1 1 1 1 1 5 1 4 5 3 3 b3 b7 b3 4 b7 b3 4 4 1 4 5 1 4 b7 5 4 4 3 3 3 3 3 4 3 b3 4

A Form G Form Form 4 Form 5

5 1 4 b7 5 5 1 1 1 1 1 1 1 1 b7 b3 4 b7 1 b3 1 1 1 1 5 1 3 3 b7 b3 4 b7 1 4 b7 b3 5 1 4 4 3 4 3 3 4 4 3 3

General Fingering Guidline

UNLESS INDICATED

Use your 1st and 3rd fnger with notes that are 2 frets apart on the same string.

Use your 1st and 4th fnger with notes that are 3 frets apart on the same string.

E Form D Form C Form Form 2 Fingers Form 1 Form 3 ( ) 1 1 4 b7 b3 5 1 1 b5 5 1 5 4 2 b5 1 1 1 1 4 b7 b3 1 4 1 1 1 1 1 1 b3 b5 b7 b3 3 5 4 2 2 1 1 b5 b5 2 2 5 4 b3 b5 b7 b3 3 5 1 4 b7 5 3 3 3 4 3 4 b7 b3 1 4 4 4 4 3 3 b5 b3 4 4 ( b5 ) b5 4 4

A Form G Form Form 4 Form 5 b5 ( b5 ) ( b5 ) 1 1 1 5 1 4 b7 5 5 1 1 1 1 1 1 1 1 b5 b3 b7 b3 4 b7 2 1 1 1 1 1 5 1 b5 3 3 2 b7 b3 4 b7 1 4 b7 b3 5 1 4 4 3 4 3 3 4 4 3 3 ( b5 ) ( b5 ) 4 4

General Fingering Guidline

UNLESS INDICATED Use your 1st and 3rd fnger with notes that are 2 frets apart on the same string.

Use your 1st and 4th fnger with notes that are 3 frets apart on the same string.

( b5 ) Choose only one to play.

E Form D Form C Form Form 2 Form 3 Form 4 3 6 2 3 3 6 2 5 3 1 1 1 1 1 1 1 1 1 1 5 1 2 5 1 6 2 1 2 1 1 1 1 1 1 1 1 3 3 6 3 3 3 2 5 1 6 2 3 6 2 5 3 4 4 4 3 3 3 3 3 4 3 4 5 4 1 3 2 4 5 1 4

A Form G Form Form 5 Form 1 Fingers 3 6 1 1 1 6 2 5 1 3 6 5 1 2 5 1 1 1 1 2 3 3 6 2 6 2 5 1 3 6 1 5 1 3 3 4 4 3 3 4

General Fingering Guidline

UNLESS INDICATED

Use your 1st and 3rd fnger with notes that are 2 frets apart on the same string.

Use your 1st and 4th fnger with notes that are 3 frets apart on the same string.

E E min E 7 0 = OPEN STRING O O O O O O O O O O O X = DO NOT PLAY 3 3 5 1 5 1 5

Fingers 2 3 1 2 3 2 1 A A min A7 X O O X O O X O O O D b3 X X O 5 1 3 5 1 5 3 5 3 1

2 3 4 2 3 1 2 3 1 3 2 D min D 7 C X X O X O O C 7 X X O X O b3 b7 1 1 5 5 3 3 3 1 1 1 b7

2 3 1 2 1 3 3 2 1 3 2 4 1 G G 7 B 7 F O O O O O O X O X X b7 3 5 1 3 3 1 b7 5 3 1 1 1 1

1 2 3 4 5 6

There are 2 spots where ½ step’s occur naturally E to F and B to C everything else is a whole step away

E - F - F#/Gb - G - G#/Ab - A - A#/Bb - B - C - C#/Db - D - D#/Eb - E

Important Musical Terms You Should Know

· Key: The tonal "center" of a piece of music. A key can be thought of as "home base" in a song, the harmonic "resting point". In written music, the key is denoted by the "key signature," just to the right of the treble clef. Often, but certainly not always, the first chord of a piece of music and even more often the last chord of the piece, tells you the key.

· Major Scale: (Do-Re-Mi-Fa-Sol-La-Ti-Do). The most elementary scale (in Western music). Can be considered the "source material" for the ways in which we understand and analyze music. Also, the same notes as the major key.

· Root: Name’s the scale or chord. Can also be referred to (in more formal terms) as the "tonic".

· Arpeggio: Notes of a chord played one at a time (broken chord).

· Half Step: ( ) The interval ("distance") from one note to the note immediately next to it. One fret is a half step on the neck of the guitar. NOTE: (see diagram above) E and F are a half step apart, and so are B and C. This is VERY important to remember.

· Whole Step: ( ) The interval from one note to the note two frets away on the guitar.

· Octave: The distance of twelve half steps, the distance from one "C" to the next "C", for example, and a guitar covers slightly less than four octaves (24 fret guitars cover 4 octaves).

· Harmony: Groups of notes, how they relate to one another, and the resulting effects that can be heard when they are combined. A chord is an example of notes played in harmony. Also, a chords progression can be thought of as harmony.

· Sharp: (#) raises the note by a ½ step.

· Flat: (b) lowers the note by a ½ step.