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 Fretboard THEOR y
Complete Guitar Theory Including Scales, Chords,
Progressions, Modes, Song Application and More.

Discover the secrets to songs by:

Led Zeppelin
Jimi Hendrix
Eric Clapton
The Beatles
Pink Floyd
Pearl Jam
Santana
Metallica
The Eagles
Lynyrd Skynyrd
The Grateful Dead
The Rolling Stones
S t e v i e R a y Va u g h a n
D a ve M a t t h e w s B a n d
a n d 1 0 0 s m o re !

• Pentatonic & major scale patterns! Acoustic Guitar

• CAGED chords, inversions & arpeggios! Electric Guitar
• Chord progressions & playing by numbers! Bass
• Keys, music modes & applying scales!
• Hundreds of popular song references!
• Learn from a guitar player’s perspective!
Desi Serna
Fretboard THEOR y
by Desi Serna

http://Guitar-Music-Theory.com
www.DesiSerna.com
Published by Desi Serna
http://Guitar-Music-Theory.com

Copyright © 2005-2008 Desi Serna. All rights reserved. No part of this book may be reproduced in any form or by
any means, without written permission from the publisher.

Cover Design by Desi Serna

Cover Photo by Richard Caldwell
Text Design, Illustrations and Layout by Desi Serna
Text Composition and Editing by Dyan Serna

Printed in the United States of America

“For we are His creation—created in Christ Jesus for good works, which God prepared ahead of time so that we should walk in
them.” -Ephesians 2:10 (Holman Christian Standard Bible)
 Contents

Fretboard Theory.....................................................................................................................................................I
Introduction

Chapter 1.......................................................................................................................................................................1
A Quick Review

Chapter 2.......................................................................................................................................................................9
The Pentatonic Scale

Chapter 3....................................................................................................................................................................19
CAGED Template Chord System

Chapter 4....................................................................................................................................................................53
Five Is the Magic Number

Chapter 5....................................................................................................................................................................65
The Major Scale

Chapter 6....................................................................................................................................................................77
Chord Progressions & Playing by Numbers

Chapter 7....................................................................................................................................................................99
Roots, Keys, and Applying Scales

Chapter 8.................................................................................................................................................................109
Modes

Chapter 9.................................................................................................................................................................117
Intervals

Chapter 10..............................................................................................................................................................129
Chord Extensions

Chapter 11..............................................................................................................................................................145
Conclusion
 I

Fretboard Theory
Introduction

About This Book

Fretboard Theory is an excellent resource for musicians who are serious about jamming, understanding and creating
guitar-driven music. The material contained in this book is based on a lifetime of professional experience teaching,
publishing and performing in the world of guitar. I’ve compiled my expertise into one comprehensive book that will
teach you the information that you’ll find most beneficial to really understand and play guitar-oriented music. Fretboard
Theory is a well-tested, proven, hands-on visual approach that will educate you about what you really want to know about
jamming your favorite tunes and creating your own musical masterpieces.

What You’ll Learn

Studying this book will teach you the musical elements that are most commonly used by popular guitarists and bassists.
You’ll learn how to build the most important of all chord forms, connect them to cover the whole fretboard, and break
them up to create interesting shapes and voicings. You’ll learn the two scales that dominate popular music and are
used to compose and improvise melodies, riffs, solos, and bass lines. You’ll learn how to chart chord progressions, play
by numbers and recognize roots and keys. You’ll finally uncover the simple truth about modes. You’ll harmonize with
intervals and add extensions to chords. And you’ll learn all this as it relates specifically to the fretboard and popular
songs which are listed throughout each chapter.

Other Benefits
But wait, there’s more! The information contained in this book will not only help you develop your improvisational and
compositional skills, but enhance your ability to transcribe recorded music, improve your communication with other
musicians, and increase your capacity to understand other instrument parts. After Fretboard Theory teaches you how
things fit, you’ll not only pick up on things quicker but retain more of what you learn.

What’s Missing?
Fretboard Theory won’t cover reading standard musical notation or playing obscure and exotic music. Some formal
vocabulary, traditional terms and outdated concepts have been purposely omitted in order to focus instead on more
practical, useful information. The methods outlined on the following pages can work for anyone but a certain degree of
knowledge is necessary before beginning your study.

What You Should Know

Fretboard Theory is intended for intermediate and advanced level guitar players. You should be familiar with open
chords, barre chords, and playing songs.
II

Can Bass Players Benefit Too?

This book is full of relevant information for guitar and bass playing. Since bass strings E, A, D, and G are tuned
exactly one octave lower than the respective guitar strings, and because the scale patterns and chord shapes on these
four strings are the same on both instruments, it’s unnecessary to illustrate bass and guitar separately. Bassists can play
and learn from guitar parts just as they do bass lines. Likewise guitarists can benefit from learning bass parts.

Seven-String Guitars and Five-String Basses

There are no illustrations or explanations for seven-string guitars or five-string basses in this book. However, all the
information still applies. If you play an instrument with an extra string, I recommend you ignore it initially with each
lesson plan. You can work on incorporating it on your own once you’ve learned the material.

What about Left-Handers?

This book is written and illustrated from a right-hander’s perspective. Unfortunately, left-handers will need to reverse
the diagrams and explanations themselves.

How Fretboard Theory Works

Remember matching shapes in kindergarten? Now you can put that skill to good use. The combination of horizontal
strings and vertical frets creates a grid out of the fretboard. Rather than emphasizing the notes of the scales and chords
you play it’s easier and absolutely necessary to visualize their patterns and shapes and how they connect. This is what
separates the guitar from other instruments such as the piano (which has corrupted the teaching of guitar for too long).
Material in this book is presented through a guitar player’s perspective and by visualizing everything on the fretboard.

What You’ll Need to Do

Each lesson is presented using illustrations, explanations, exercises and lots of song references. You’ll need to practice
and memorize scale patterns, chord shapes and exercises along with read all the text. You’ll be instructed to learn
independently some of the songs specified in each lesson.

Learning Songs
Learning and memorizing a chord shape or scale pattern is just the beginning. You absolutely must learn songs that
demonstrate how to put something to good use. Songs are the glue that make everything you learn about music stick.
This book makes good use of that rule by referencing popular guitar-oriented songs to demonstrate its principles. You’ll
find hundreds of examples of guitar-driven songs for you to research on your own as you work through each lesson in
this book.

It’s not necessary to learn all the songs I suggest. Focus on the songs that most interest you but don’t be afraid to try
something new. I recommend that you first learn a song as it’s notated, then explore other ways the same parts could be
played. Then you can apply what you learn to your own music.

In order to learn the songs listed in the lesson plans of this book you’ll need to seek out accurate transcriptions and
recorded versions of the music. You may also find it helpful to work with your friends or find a good instructor.
 III

Transcriptions
Fretboard Theory is not a tabbed songbook but rather a method for learning the theory behind music and popular songs,
with lots of references present. The song recommendations will need to be looked up and learned on your own. You can
find these songs transcribed in guitar magazines, tab books, other instructional books, and video websites.

I urge you to consult with the most accurate sources available. At this stage of your development you want to make sure
you’re not missing the important details so don’t be afraid to pay for the good stuff. The tab you find on the Internet is
rarely complete or accurate.

During my research for this book I relied heavily upon tab books published by the Hal Leonard Corporation. This company
has an excellent selection of authentic guitar and bass transcriptions. For more information including a complete listing of the
artist series tab books and sheet music available visit your local music store or log onto http://musicdispatch.com. Also, check
out http://musicnotes.com and http://sheetmusicdirect.com. These two web sites offer you the option of purchasing
and immediately printing authentic tab by individual song. You don’t have to wait for materials to arrive in the mail and
you don’t have to pay for a whole book!

Don’t forget to also search the videos posted at http://youtube.com and http://video.google.com for live performance
clips and song learning lessons.

Recordings
In order to successfully learn the song examples I recommend, you’ll not only need tab but also copies of the recordings.
Listen to the songs carefully especially when working out the parts. Always check that you’re reproducing the parts just
as you hear them. Play along with the songs until you can follow the band without missing a beat.

Getting music these days is incredibly easy. All the examples listed in each lesson are, of course, guitar-oriented so you’re
likely to already own copies of the recordings. If you don’t have a specific tune ask a friend. If not, there are websites like
http://rhapsody.com that allow you to stream unlimited songs for a small monthly fee (they offer a free trial). If you
prefer, songs can be purchased and downloaded individually there and also at iTunes (http://apple.com/itunes) and
http://amazon.com.

Studying with an Instructor

There are lots of songs that you’ll need to learn on your own and a good teacher can make a huge impact on your
progress. Unfortunately, it’s not always easy to find such an instructor. A good instructor is one who can construct lesson
plans that cater to your interests and has the talent, experience and know-how to help you achieve your goals even if
that means simply learning songs.

Look up all the instructors in your area who have a good reputation of helping students build their repertoire. Meet
them and explain to them exactly what tunes you want to learn. Attend their performances to see if their style is a match
for you. Ask their students how satisfied they are with their lessons. Your efforts will be well worth it if you find the
right teacher.
IV

The Importance of Songs

Not interested in learning songs? Consider this. I’ve never met an accomplished, successful musician who didn’t know
how to play a ton of popular songs. The players I meet that struggle with their musicianship despite having a reasonable
amount of knowledge and ability always seem to be the ones who have failed to learn, practice and study parts from
recorded music. Whether they stubbornly refuse to be influenced by another’s work, or are too lazy to go the extra mile,
these half-hearted musicians never get everything totally together. Don’t let this happen to you!

Let’s Get Started

Are you ready to get started? In the first chapter you’ll review some basic information that will help you assimilate
the rest of the material in this book. Don’t skip it! Take your time and follow all the instruction. You’re on your way to
solving a big puzzle. Good luck!
 1

Chapter 1
A Quick Review

About This Chapter

In this first chapter you’ll review the notes on strings six
and five and explore a few tricks to help you remember
the location of these key notes. You’ll also learn some
important things about whole-steps, half-steps, flats,
sharps and octaves. Since chord shapes and scale
patterns usually originate from either the sixth string
or the fifth string, this information is necessary in order
for you to follow the lessons in each chapter throughout
this book.

Topics Covered

1. Natural notes

2. Notes on string six

3. Notes on string five

4. Whole-steps and half-steps

5. Sharps and flats

6. Octaves

Underlined Letters
In order to avoid confusion between the text and letters
that represent musical notes, all notes are underlined
throughout this book. For example, A minor scale, G
major seven, etc. Likewise, some numbers and Roman
numerals are underlined.

Natural Notes
Natural refers to a note that isn’t followed by a flat or
sharp sign. The natural musical notes are simply the
letters A through G. There are several associations that
are helpful in remembering the location of these notes
on strings six and five. If you follow these tricks, then it
will be very easy to fill in the blanks and learn the rest
of the fretboard.
2

Notes on Sixth String E

The sixth string open is E and it’s the root of the common open E chord. The third fret is G and it’s the root of the
common open G chord. The fifth fret is A and it matches the open A string. This is why the fifth fret is commonly
used for relative tuning. The twelfth fret is E one octave higher than the open position and is specially marked with an
additional dot.

E F G A B C D E
half-step whole-step

Open E Chord Open G Chord Relative Tuning

A
E Root G Root A

Octave

E E
 3

Notes on Fifth String A

The fifth string open is A and it’s the root of the common open A chord. The second fret is B and it’s the root of the
fairly common open B7 chord. The third fret is C and it’s the root of the common open C chord. The fifth fret is D and
it matches the open D string. The seventh fret is E and it’s one octave higher than the sixth string E (exactly the same
as the twelfth fret of string six). The twelfth fret is A one octave higher than the open position.

A B C D E F G A

whole-step half-step

Open A Chord Open B7 Chord Open C Chord

A Root B Root C Root

X X X

Relative Tuning
D
D
4

Octave

A A

E Notes

E
E E
octave unison

Whole-Steps and Half-Steps

Musical notes are used in order A through G. Some notes are two frets apart while others are only one. Two frets are
equal to the musical distance known as a whole-step. One fret is equal to the distance known as a half-step. This is a
little confusing at first. You’d expect that moving up one whole fret would be equal to one whole step but it’s not.

The distances between the notes remain the same in every octave regardless of location. In other words, A to B is always
a whole-step (two frets) regardless of their location on the fretboard. B to C is always a half-step (one fret), and so on. B
& C along with E & F are only a half-step apart. There’s no space between these notes. All other notes are a whole-step
apart and will always have a fret between them.
 5

String Six: Filling in the Spaces

1. E & F are always right next to each other, just a half-step apart. Wherever there’s an E, an F note is always a half-
step higher in the very next fret. So, if the sixth string open is E, then the first fret must be an F.

2. You already know that the third fret is G and the fifth fret is A. If the fifth fret is A, then the next note to locate is
B because the notes are used in alphabetical order.

3. B is a whole-step, two frets, above A.

4. B & C are always right next to each other, just a half-step apart. Wherever there’s a B, a C note is always a half-step
higher in the very next fret.

5. C to D is a whole-step

6. You should already know that the next note is E, one octave higher than the open E. Two dots or inlays mark the
twelfth fret for this reason.

String Five: Filling in the Spaces

1. If the fifth string open is A, then the next note to locate is B. If the fifth string open is A, then B is a whole-step
higher at the second fret (the root of the fairly common open B7 chord).

2. You already know that the third fret is C and the fifth fret is D.

3. From D, E is a whole-step higher.

4. From E, F is at the very next fret a half-step higher.

5. F to G is a whole-step.

6. The next note is at fret twelve. What is it?

Exercise
Following the alphabet and the half-step/whole-step layout, move up the neck playing and saying aloud each natural
note on strings six and five. Once you have the notes down, try starting at the twelfth fret and moving backward.

The Twelfth Fret

Notice how the notes repeat again in a higher octave every twelve frets. That’s why most guitars have the twelfth fret
specially marked with two dots. It’s at the twelfth fret where all the open string notes repeat in a higher octave. Or,
it’s where the fretboard starts over one octave higher. The inlays, or dots, between the open position and twelfth fret
correspond to the inlays after the twelfth fret in terms of notes. For example, G is located at the first dot (most guitars
have a dot at the third fret) from the open sixth string and likewise an octave G is located at the first dot from the
twelfth fret on the same string.
6

Groups
The following diagrams illustrate the location of two groups of key notes. The first diagram illustrates how F, G and A
are all a whole-step apart and where this group is located on strings six and five. The second diagram illustrates how
A, B and C are one whole-step and one half-step apart and where this group is located on strings six and five. Take a
moment and study these examples.

whole-steps
F G A
F G A
whole-steps

whole-step half-step
whole-step half-step
A B C
A B C

1 4 D
1 4 B

Sharps# and Flatsb 1 3 5th G

1 3 3rd of the sixth string is F# meaning a half-step
Sharp (#) means a half-step, one fret, higher. For example the second fret
higher than F at the first fret. Flat
1 (b) means one 3half-step lower. The same F# is also considered
R Gb
ii meaning
iii aIV
half-step
lower than G at the third fret.1The fret between G and A4is G# or Ab and so on up the neck. There’s no fret between
I B
& C, or E & F. If you need help remembering the difference between sharp and flat, think of a flat tire. It makes a car
lower to the ground.

1 2 3 4

R 3rd 5th 3rd

Root G

E F G A B C D

E F # b G # b A # b B C # b D # b E
F sharp
ii G flat iii IV V vi vii
I
 1 5 1
sixth (6th)
6 1 6 1 7
6 1
1 6 1
Octaves
6 1 6
If you know the notes along strings six and five, then you can use the
6 octave system to1locate these notes elsewhere on
the fretboard. The octave system works as follows.
1 6 1
1. Any note on string six can be played in the next octave by moving over two strings and up two frets.
seventh (7 )
th

7
1 be played in the next octave by moving over two strings and up two frets.
2. Any note on string7five can also 1
7 1
3. Any note on string four can be played in the next octave by moving over two strings and up three frets.
1 7 1
7
4. Any note on string three can also be played in1the next octave by moving over two strings and up three frets.
7 1
You can also play octaves between strings six and three and strings four and one. These octaves along with the octaves
described above are all illustrated1 in the following diagram. In this example all the notes are G. 1
octaves

The Important Strings

In upcoming chapters you’ll learn that chord shapes and scale patterns originate from either the sixth string or the fifth
string. In addition, any note on the other strings can be traced back to these strings using the octave system. Because of
this, it’s only necessary to study the notes on these strings. Sharps and flats can easily be used to fill in the spaces so you
need only to review the natural notes. Make sure you review and practice the info in this chapter before you move on. If
you don’t know the location of these key notes, then you’ll easily get confused in later chapters. Learn the notes!

Conclusion
Now that you’ve reviewed the important notes on strings six and five and have learned to associate these notes with
common chords you’re ready to get into the good stuff. The next chapter deals with the very popular and useful
pentatonic scale.
8
 9

Chapter 2
The Pentatonic Scale

About This Chapter The Pentatonic Scale Template

The pentatonic scale is a very popular scale used to The concept of matching shapes and connecting
create riffs, solos, and basslines. It’s frequently used patterns is how players of fretted instruments navigate
in conjunction with common chords to create more around the fretboard. In order to learn and use this scale
complex and melodic rhythm parts. It can even be used effectively, it’s necessary to chop up the notes into easy-
to compose parts for other instruments including voices. to-play patterns. As you can see in the next group of
For those of you who feel you already understand the diagrams, there are five different pieces that connect to
pentatonic scale well enough to skip this section, don’t! complete the whole puzzle.
Odds are you’ll learn something new and valuable.
These patterns should be completely memorized. Start
with pattern one and play up and down it repeatedly
Topics Covered until doing so becomes a routine and you don’t have to
think about what you’re doing. When you’ve memorized
1. Scale template pattern one completely, continue with the others.

2. Matching shapes & connecting patterns pattern 1

3. Playing across the whole fretboard

4. Fingering

5. Major and minor tonalities pattern 2

6. Playing in all keys

7. Practicing

8. References to familiar songs pattern 3

About the Scale

“Penta” means five. “Tonic” means tones or notes. The
pattern 4
pentatonic scale is a five-tone scale. For example: The E
minor pentatonic scale uses the notes E-G-A-B-D. Scale
tones can be played in any octave and in any position.
As a result, the five notes occur scattered all around
the fretboard. Below you can see where the E minor pattern 5
pentatonic scale notes are located on the fretboard.
10

Pentatonic Scale E minor

        
Pattern 1

  
Gtr.      
       
 


 
           
   
Bass
 

This notation and tablature shows you how to play up and down pattern one. Play up and down the remaining patterns in the same manner.

Fingering Connecting the Patterns

There are a few different ways you can finger the patterns The diagrams on the next page are color coded to
that make up the pentatonic scale template. There is no illustrate how a portion of each pattern is reused for the
perfect fingering and you’ll surely end up utilizing more following pattern. It’s essential for guitarists to visualize
than one depending on what you’re trying to play. As these shapes and how they connect to one another. As
a general rule don’t use your index and middle fingers you put the whole pentatonic scale puzzle together, don’t
alone. This approach isn’t efficient and will make you dwell on the fret numbers. They will always be different
look and sound like a hack. depending on the key. The shapes, and how they connect,
will never change. Match the shapes!
Many guitarists learn the patterns best by using all four
fingers. The notes of each pattern are spread across four Pattern one connects to pattern two. Pattern two
frets. The exception to this rule is pattern three which is connects to pattern three and so on. The patterns start
spread across five frets. Using four fingers allows you to over an octave higher after pattern five. Pattern five
use one finger per fret and makes it easier to visualize the connects to another pattern one. The new pattern one,
patterns. You may prefer to use only your index and ring an octave higher than the original, connects to another
fingers. This approach helps many guitarists generate pattern two and so on until you run out of fretboard.
more power and control without getting adjacent fingers
tangled up. The neck diagrams used throughout this book only
illustrate patterns just past the fifteenth fret. When
By the way, if you’re not already doing so, alternate you’re piecing together the pentatonic scale template
your pick! Bass players should alternate their index and you should continue connecting patterns until you run
middle fingers. out of fretboard. Things get easily crowded past the
twelfth fret. You may have to change your fingerings.
Acoustic guitar players may have to give up before the
Matching Shapes entire fretboard is finished.
The methods in this book emphasize matching shapes.
The combination of horizontal strings and vertical frets
creates a grid out of the fretboard. Rather than focusing
on the notes of the scales and chords you play, it’s easier
and absolutely necessary to visualize the patterns and
shapes that result on the fretboard. This is what separates
guitarists from other instrumentalists.
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