The

Whole

Guitar Neck

Introduction

The Whole Diagrams …

Note for Beginners; And, Some Points for Everyone

There's nothing in this material that precludes a beginner from using it to full effect. You must know how to play the instrument in at least a fundamental way; meaning that you should know at least how to play some chords, and scales or figures, somewhere on the neck.

🎵 But, our method should not be considered a 100% complete instruction course. Nor is it a replacement for live instruction; or music instruction. We're not going to cover what or how you might play (nor how to turn out music from the scales); and we don't provide organized exercises either. However, we do give suggestions in the method that still could take you to full success on your own.

The diagrams alone do provide an outstanding way to feel comfortable playing (what you want); in any position, and all along the neck. Any player can simply keep them handy, and take out anything they may visualize there while exercising or playing — even if you only use them to "free up mental resources" and/or illuminate something new. Perhaps obviously also, they do outline the scale, and all of the chords and modes along the whole neck; and so you can use them simply to learn and finger the scale; and arpeggios, chords, etc., all over the whole neck.

Our complete method then breaks everything down to the musical rudiments; that give you orientations all over these diagrams, in all chords and keys. That is an excellent tool to learn; and also should be within reach, with a little study and exercise on your own. It will cover all of the musical components, and will provide what you need to understand how to feel oriented at any position, in any chord (or mode); and, be able to re-orient through changes, and movements; while eventually "rising above" the charts, with confidence on the fretboard.

👉 If you do consider yourself a beginner, then as we've said, you will need to bring in some music and/or exercises to play (and the method does provide some suggestions). And you should learn the scale well, and also become comfortable playing the scale across the neck, through all seven shapes that we'll cover in more detail in this introduction. But: the scale is not music; and so there is something more to take away. We all do learn scales, there is no doubt about that; and we learn them well; and we learn just how it is laid out all over the fretboard too; and we can simply play through the scale with comfort in any position. But, if you consider that looking at a diagram, you'd be able to see that the next note is over on the next string with your first finger; then, there is no "anchor" bubble on the diagram: no bubble is more "important" than any other; and any note may be the most "important" one at any given time. Our method is going to provide what you need so in the end, you will feel comfortable enough to see the scale or the chord that may be "important" underneath whatever you've just played.

🎵 At the same time, we also don't provide a true fundamental music background; so you should also be able to become familiar with the scale's musical construction. That implies that you should understand "what are" intervals, chords, arpeggios, and scales, from a musical point of view; and then be able to fret those by looking for the musical figures, and not just stopping at the markers on the charts. You only need to have some grasp of the basics, and then those concepts can grow right along with your familiarity on the neck.

We'll repeat that merely fingering the scales confidently is not the full musical end. You do need good familiarity with the scale and chords for orientations; and so you should understand that having confidence with those is one important goal. But the musical outcome is the true goal: to develop confidence and orientation on the neck, to play the very varied music. Our method is also not one that would try to bring you to the music from the shapes: the shapes are just a toolkit for the fretboard: and any music. But rest assured that everything can come together in its' own way; and there is nothing "wrong" with studying, or even composing the music with the fretboard in hand, so long as shapes are not where you stop. (You'll also see that the music is essential to getting freedom through the charts; and not feeling boxed into scales and chords.) Our method will bring you all the way to the musical end; and it is not hard, and also is applicable for a beginner.

Be sure you understand how to read the diagrams. The numbers on the markers are the degrees of the scale — meaning the notes of the scale, and not fingerings — and so the number 1 is the root note of the scale. Remember also that the diagrams include a duplicated unison scale tone, between the B and G strings. The preferred fingering is based on the stretch described below (the first choice is the tone with no stretch — illustrated with a visual shift).

Exercising Can Be Easy

Can you play exercises in one of those position diagrams per day? If so, then in only seven days you'd reinforce the complete Major and Minor scales up and down the whole neck! 😊 (Practice a bit with one diagram per day; and spend time in both major figures, and minor figures. Even end by connecting and moving between the previous one. And you can note that "Mode 6" of the Diatonic scale is the Minor scale — and Mode 1 is the Major scale.)

Modes and Scales

Modes are not the first thing you must approach with this material — and you can in fact put that off before going ahead and working in any scales, chords, or shapes anywhere on the whole neck. But if you're not familiar with modes, then a quick description is easy to understand. First understand two definitions:

So: you may be familiar with the Major scale; and the Minor scale. The Major scale is built from what's called the Diatonic scale (which for now, really is like just two names, for the same scale). The Major scale has all Major and Perfect intervals: M2, M3, P4, P5, M6, and M7. And now in fact, the Minor scale comes out of the same Diatonic scale. To lay out the Minor scale, you start playing that same scale from the 6th scale degree. This gives us the minor sequence of intervals: M2, m3, P4, P5, m6, and m7.

  • [Capital M is "Major", lowercase m is "Minor", and P is "Perfect".]

So now we'll see that even if the seven notes are the same notes, the interval sequence will be different when you start at a different note; and so, those two scales have different tonalities. The Diatonic scale with all natural notes is: C D E F G A B C. And: the Major scale: C D E F G A B C; sounds different than the Minor scale: A B C D E F G A; because the sequence of the (same) intervals is not the same.

So this way, you're "constructing" a new scale, from the same sequence of intervals (and even the same notes); yet, they are shifted when you anchor at a different root note. You then wind up with a different tonality — and that's a different mode.

The Minor scale is a Mode; and, it's the "6th mode of the Diatonic scale" (named the Aeolian mode). The Major scale is a mode too; and, it's mode 1 of the Diatonic scale (named the Ionian mode).

We can construct a mode by starting on any degree of any scale; so long as the sequence of intervals winds up different. And we say that: those scales, are all of the "modes" of that underlying scale.

So to sum this up: a mode is a scale, that is extracted from an underlying scale; by simply starting on a different scale degree; to yield a unique tonality; and is "just another scale".

🎵 It is up you your music to center on the root note and express the particular tonality.

Yay may also hear the term "mode" without referring to a particular scale — for example, you could simply be in a "Major mode", or a "Minor mode". But in our context, the mode is always referring to the particular scale.

Coming Full Circle — Diatonically

🎵 There's one more thing we can point out here; and it shouldn't "derail" you with too much information. The Diatonic scale (the Major scale) is constructed from two Tetrachords. A Tetrachord is just a set of four adjacent notes; that are separated by intervals of: "Whole step, Whole step, and Half step". So a "Tetrachord" is just four notes in sequence. The first Tetrachord starts on the scale's root: it is the scale degrees Ⅰ, Ⅱ, Ⅲ, and Ⅳ — Ⅰ-Ⅱ = Whole step, Ⅱ-Ⅲ = Whole step, and Ⅲ-Ⅳ = Half step. The second Tetrachord starts a Whole Step up from there — at the scale's Ⅴ — and wraps back onto the root — Ⅴ, Ⅵ, Ⅶ, and Ⅰ. So there's a Whole Step between the two Tetrachords (between Ⅳ and Ⅴ). You should see that the pair of repeated Tetrachords leads to a lot of similarity in those two sections of that scale!

(Shows the Scale Degrees)

Play Along

Align the Fretboard Diagram with the first fret on your neck. Place your fretting hand in the second position: finger 1 plays fret 2 without stretching; and your four fingers are at frets 2, 3, 4, and 5. The diagram shows 5 frets, and the lowest fret is reached by your first finger with a stretch, "out of position". Play through the scale, from marker 1 to marker 1. Your fingering should match the fingers in the illustration. See where the notes on the staff appear at those frets and strings on the neck.

Preamble to the Introduction

Before we begin the Introduction, we'd like to say something about our complete method. The method goes much deeper that what we cover in the introduction, which seems to cover only the seven position shapes. We're going to "go inside" to the music; and we will learn the musical components that build all of the shapes out; and we're also going to break the shapes down that way. Those musical components are going to give you the orientations for your playing: they are musical orientations, which do appear anywhere on the neck; in and around simple shapes.

The orientations are not merely about feeling comfortable anywhere on the neck, but feeling comfortable anywhere in the music; and then, on the neck in that part of the music where you want to be — and, through the changes, and the movements, etc.

So we've really added this primarily because the introduction may seem to focus on only the seven anchor shapes. We do want to clearly understand where the shapes come from, and how they contain only the notes on the fretboard; yet, all of the notes, in all of the chords and modes — and so then, all of the musical figures as well. Your goal is to always understand that the shapes simply outline the notes on the fretboard; and you must always see the notes that you're playing on the neck; which do happen to form some shape that way.

We don't intend to be repetitive when we reiterate that our goal is in finding the music on the fretboard, and not merely shapes. The charts show you the notes as they lie on the fretboard, and the musical orientations will be revealed in the shapes; and that's what's going to give you the confidence on the whole neck.

Introduction

Clearly, the diagrams are a large component our method. In here, we're going to expose a lot of atomized approaches, and "musical gravity"; that will put a "Shape" into perspective as a real tool. We're also going to break them down to smaller components; and not leave you with nothing more than 7 Shapes — though those Shapes are a powerful toolkit in and of themselves. (And we're not going to make it harder either!)

Our complete method will then give you a perspective of moving back up through the introduction, from the "markers-out". We do expect that eventually becoming familiar with the pictured anchor Shapes is considered a valuable takeaway; and the introduction is an important part of the complete method. Do note that we consider the material included only with the book, a higher value takeaway.

Two Fundamental Angles

Approach the diagrams from at least two perspectives:

Throughout this introduction, we'll be sure to tell you not to ever feel that the diagrams are there to dictate what you play. Yet at the same time, we will lay out dozens of them in front of you, and dig in to see quite a lot in any one diagram.

So one approach is in using the diagrams to see the notes on the neck. Importantly, the "reverse" is also just the same: at any time, be sure to approach the diagrams with the music over them; and let them lay out underneath the music. Put differently again: be sure to switch your viewpoint, and see the fretboard's notes for what they are; and also see the musical figures on the fretboard, in the "shapes" that do happen to be formed by that music.

And an Approach

In our writing style, and the way our method is constructed, the best way to proceed is to read straight through the introduction and the complete method; before digging all the way in with the instrument. From there you can begin to study the important points on the fretboard, and you'll have the insight you need to keep things simple, and powerful. The method is also not constructed through ordered exercises, and you will be able to visit any point in the "toolkit" from many angles and at any time. (Some points do lead further on to the next, so we'd recommend that you read straight through one time.)

Begin

Background: Position Playing

Each of the single-position shape diagrams is a "complete" snapshot of one section of a given scale, at one fretting position (and shows the scale degrees). They are essentially based on, but are not locked into, position-playing. If you are new to position playing, here is a brief explanation.

Playing in position is simply where the fretting hand does not move up or down the neck. Strictly speaking, a position covers four adjacent frets — one for each finger. You may stretch with either the first or fourth finger, to reach another fret; yet the fretting hand still doesn't move out of position.

When looking at the fretting hand on the neck, your playing position is identified by the fret on which the first finger plays. So this way, if the first finger is at the second fret without stretching, you're considered to be in the second position. Your four fretting fingers cover frets two, three, four, and five; and you may stretch to either one or six. So then, each of the position shapes outlines the complete scale over all six strings; in the one position.

Position playing is only one aspect of guitar playing; and we'd like to add something here. First, it is prevalent: it does provide "economy of motion"; and in fact you should understand that the instrument was designed essentially to put six strings within your reach there in one position. And you can see further that the chords are basically fretted based on the single position's reach. You'll also see that there is an "inevitability" to at least one aspect of it. Below we put it this way: simply grip the neck; and now, you are fretting in some position right there! Additionally, you will see that there are worlds of sounds in just one position; and so, a lot of time can be spent there too.

Don't Be Expected to Stay In Position All of the Time

We're going to say in several ways that you're also not expected to always be playing strictly in position. This will become more clear when we cover more substance; but be aware that we're not expecting, nor prescribing, that you will always play in position. It's a fact that many players will actually "shift positions" even when playing only notes that appear in one position Shape; and stretching, and more. And obviously, we expect you to be playing figures that do cross positions. The choices will be yours, and it is dependent on your own context at any particular point in time; and we're really just bringing this up to be sure to remember that you're not expected to be "boxed in" by any shapes.

So the "preferred" fingerings are in the traditional positions, which is simply because if you can play your figures that way, then it should be the one with the least stretch and more natural fingerings for you. When you feel you'd want to move out of position, just be sure to keep your musical orientation. You'll also then always arrive at your next note, and you can choose a new orientation there. Let the music come first, for whatever your own reasons may be, and then it's either in or out of position as it so happens to be. The important part about the shapes is that they just always provide you with the notes on the neck — and you're playing the notes on the fretboard, which you'll become comfortable with; and not simply the shapes.

Duplicate Tones; and Finger Stretches

Almost all of our shape diagrams outline both a finger stretch; and, a "duplicate, unison, scale tone" between the B and G strings.

Duplicate Tones

The duplicated tone is pictured by design. Our diagrams are designed to show you all the notes available at the position, and not elide choices. The diagrams are also not scale fingerings alone; and do also contain the chords. The preferred choice of the duplicate tone, when playing in-position, is the one where the finger doesn't stretch. And we can notice that when we're considering simply playing the ascending or descending scale through the duplicate tone; then you simply "omit" the duplicate.

Again, the diagrams can be considered as a "complete" chart, and not just one shape; though the whole shape is something to take away.

Finger Stretches

Our shape diagrams also cover five frets; and so there is a stretch pictured. There will be only a stretch with either the first or fourth finger — and not both.

In all shapes, the finger that makes the stretch is the one with the fewest notes along that fifth fret. But if they are the same, then the book shifts the diagrams to indicate the preferred stretch. (Our diagrams do also choose the first finger as the preferred stretch. It’s selected that way by the “traditional approach”; since it’s easier to stretch with the longer first finger, than the shorter fourth.)

The Shapes    Manageable Pieces of the Neck

The "Shape diagrams" are the singe-position diagrams; which as we've said, outline the complete section of the scale at one position. The diagram to the right is Diatonic "Shape 7".

In addition to charting the complete scale in the one position; in perspective, the complete shape is also not too hard to learn well enough to fully remember. And so, these diagrams form position anchors in our method. You can take away the complete blank shape, and simply remember it; and you can then see that the numbered shape reveals the scale's notes in that shape.

Understand that the diagram that you see here is showing all of the notes available in the scale, in the whole position. The scale lays out across the fretboard, and the string tuning allows you to reach through the scale, tone-by-tone, while staying in position. So that's why the shape is what it is (it has come out of the facts of the neck: the frets and strings). The duplicate tone can be viewed as an optional fingering choice, or a chord tone; yet it is simply the note that is within reach in this position, and is available to you in-position. As we've said: the instrument is tuned that way to bring more chord tones closer together; and so the position anchor should include the chords.

At the same time, simply remember that the anchor Shapes don't just outline position playing. While there is one Shape for each position in a given scale, the Shapes also link up and down the neck, and they overlap. Taken together, they cover the complete scale over 12 frets.

When looked at from a learning or reinforcement perspective, the whole neck is broken down into manageable pieces; and, each can provide an anchor.

Diatonic Shape 7

The individual position diagrams are each termed a "Shape". Any single Shape lays out all of the notes within your scale at the single position — across all six strings, and over five frets.

It also happens that all of the chords, and all of the modes of a given scale are also laid out by the same set of Shapes; and, they link in the same order for every mode, and chord.

😊

Stay Free

Again we don't prescribe anything fixed or limiting. For some new readers, the shapes may actually seem to restrict your value to simply playing in one disconnected position. But the end goal is free application, that backs up your own individuality. The music always does go past just the shapes; and that's why you must "bring the music to the shapes" and not vice versa.

At the same time: any anchors, connections, figures, or shapes, that you do see in there, should be taken away as a value. You might find just a smaller figure or shape that begins to call up the neck for you; and that is something of value.

✌ 👉 You'll see that, like it or not, the shapes are just always there on the fretboard. So in the end, you will wind up becoming familiar with many shapes, no matter what approach you take! 🤓

We'll repeat to be clear, that we do expect you to become familiar with the Shapes. We just also don't expect you to do that only in a rote study manner; and nor is that the only goal. You can become familiar with everything piece by piece, and we'd want to leave the ultimate approach to that open-ended. Our method is going to give you the tools that you need to get inside the shapes, and work from any orientation: there is more in there, and it also won't be hard.

From the Method:

What we do know about the shapes is that they were never written down to limit you in any way. They are simply the facts of the musical figures on the guitar neck; and the purpose is nothing more than laying out those options and orientations. That is why we broke down the diagrams to see the ways that the music constructed them: be sure to keep the fretboard and the musical shapes on it as the most important perspective. The shapes are just tools, but they can be very clear about certain musical aspects of the instrument.

Diatonic Shape 7

Scale Construction Is What Makes the Shape    Fixed Interval Shapes

Breaking the position diagrams all the way down, let's talk just about one shape. The first thing to note is that the "shape" itself is just a product of the given scale construction. In other words, the Diatonic scale lays out its' intervals (half steps and whole steps); and it's the resulting locations of the notes on the fretboard that defines the given shape. It's always fixed for that "section" of the same scale — those are the fixed intervals.

For example, the diagram to the left is once again "Shape 7" of the Diatonic scale. If you imagine that the root note is the second finger on the low E string, then you should see that this shape outlines the Major scale from there.

This shape always outlines this one section of the Diatonic scale. The particular shape is just a consequence of the whole steps and half steps; and it is fixed.

You can notice also that, each position Shape is the same for any chord or mode: it's still just always "this section" of the underlying scale; and is always fixed.

Uncontrived

This is why we call our diagrams uncontrived: they simply show the notes available to you in one position, including a stretch with one finger only. The shape of the markers is the shape of the notes on the fretboard on those frets; and we haven't inserted any choices!

Uncontrived by Design?

To illustrate that there was a deliberate choice in designing our diagrams fully in-position; we'll talk about one possible other approach we could take, which is to design diagrams with a "consistent" three-fingers-per-string shape. That's a method that would include a shift up at the B string; and still build a similar, complete set of anchor "shapes".

That would avoid the duplicate B string tone. They may also seem visually “simpler” — they'd conform more rigidly to a reduced set of "one-string shapes". However, as we've said, the instrument is tuned that way for a reason; and, the chords are in the shapes too! We'd actually feel that could be considered a "quirk" in an "anchor" Shape.

We believe you could agree that would make a better scale fingering, than a fretboard anchor. The shift up would lean every anchor in that one direction; and we feel that'd introduce a quirk: either there's a different root anchor note between the high and low E strings; or, they may seem to "leave a missing link anchor" in "top-right" in the one position. (Note that by simply playing up to the high strings in the same position, you'd cross into the next lower shape — and also, one anchor would actually be in two positions.) As we've said also, you'd be missing chord tones in the one anchor!

From our point of view, t's a kind of "quirk" if that's an "anchor", because: in shifting the high strings, the shape has in fact selected one of two choices at the duplicate tone. Not only might you prefer to stay in position, you could play the duplicate tone.

So this points out that we do feel comfortable with the uncontrived, and musically sound nature of our diagrams; which have been constructed from traditional musical rudiments on the neck, and nothing more.

Seven Diatonic Shapes    Consistent Parts

Since the Diatonic scale has seven tones, there are seven Diatonic shapes. For any scale, there is one shape that is anchored on each scale tone, from the first finger on the low E string.

If you imagine moving up the neck, you can move up to a new position for each of the seven scale tones along the low E string. Anchoring your position at each scale tone, you then see a new shape at that position, encompassing that section of the scale across all six strings. Moving up through all seven tones covers the entire scale, and 12 frets; until then the shapes will repeat at the octave. Note that all of the shapes will overlap; and it's because you can reach four to five frets from each position. So you can consider that each Shape is one section of the full scale, along the whole neck. And there are seven Shapes because there are seven scale tones.

Notice that the shapes always "link together" in the same order: all seven shapes link up and down along the whole neck: and, in any mode or chord — and you can always move from shape to shape, in the same order (which you can note is numerical, 1-7, due to the scale tone numbering). So, the seven shapes are always one link in the complete scale; and they cover the whole neck. You'll be able to see that clearly in a whole neck diagram below.

The shapes are also named this way: the seven Diatonic shapes are named "Shape 1" through "Shape 7". That's based on the scale degree played by the lowest marker on the low E string (or, high E). The shape shown above was Diatonic Shape 7, since the first finger on the low E string plays the seventh scale degree.

The shape number is a fixed way to name, remember, and identify each shape, in any mode or chord. At the same time, you can always easily understand that each shape is anchored by the musical numbering — and so the numbers do also come from the scale.

😊

The whole scale, in all of it's modes and chords, and the whole neck; are all fully covered by the seven shapes; and, they always link together in the same order. (Which is just a fact of the particular scale.)

That's what makes them a concise, manageable set of anchors; for any position along the whole neck; and, "uncontrived".

Also From the Method:

The Music Is in the Shapes

The diagrams are not just fingering charts; nor are they simply pictures of the neck. A chart is a real tool that does connect the music to the fretboard; and to your fingerings. They do contain pitch and time.

Justifying the "Whole Neck"    Always There on the Frets

As we've mentioned, the book also includes diagrams of the whole neck; and one is pictured below. We'd like to add a point here about one viewpoint. It's that you could be led to feel that we're going to prescribe that getting confident on the whole neck is done by learning each section of the scale; and then connecting all of these shapes together to get there.

Instead, our method will go far beyond that, and you will be provided with a lot more substance that is much more versatile than just seven positions: you will have orientation at, within, and through any shapes. But we'll go on here to say this even further: instead of considering that a firm grasp of the neck can be done even by taking the neck as a whole — and we don't discount that as well — we'll say that: in any case, anyone and everyone does land their fretting hand into some position at least temporarily! Simply grip the neck; and you are fretting in some position right there! So the individual shapes would also be at least one way to do nothing more than form a starting point.

Understanding our complete method will put a firmer perspective on the diagrams. It will illuminate a lot more than just "Shapes"; and at the same time, will make them much easier to learn and retain in the end. As we've said also, our goal for you is freedom from any particular "boxed in" shapes. So we'll add two points that also reassure us about the position shapes:

So again, you may deliberately observe the shapes, in whatever scale or mode you might be playing; however, it's always true that they're there on the neck, just by consequence of the notes.

So as at least one tool in your own toolbox, these seven anchor shapes can help back up your familiarity, anywhere on the neck.

Remember too that your own figures that you're playing, are laid out somewhere in or around the scale's Shapes; and the diagrams could be as relevant as you choose!

And Relevant

Let us also add something more concrete about shapes' "relevance". Imagine you're playing a figure that so happens to move through two or more shapes. On the neck, there is more than one way to move musically: we can stay on strings, change strings, shift positions; and play other ways as well.

Well, just there in that choice: the diagrams do show you the scale tones on the frets. Therefore, you could use them to help you visualize (or learn) the figure in different places. You might just do that, for instance, in order to select strings to play your desired tone. You can also see the fingerings; and where your figure leads in from, and out to, (and etc.)

So these are the types of things we've also said that you might piece together in your own way. There are even going to be a lot of valid uses for the diagrams alone, which just have the notes.

Yet a point with more substance is in that you're not expected to always be playing through some particular shapes. Whether or not you are aware of shapes under what you're playing, you are always just playing the music; and that's even what provides you with the orientations. So if you merely see the notes and go for them, then that's just all you do, and the shapes don't need to play into everything you do. So the shapes can play into your own orientation in any way you may or may not choose; and still, they will be there on the neck, and when you get them into perspective, they won't seem to be boxy or limited: it's always just those notes on the neck. You're also going to have many other perspectives beyond just the seven shapes, and you will be using the music first; which is what is going to give any shape relevance.

😊

Intervals    Not Dry Academics

Hopefully you'll agree that the diagrams are not intended to only present the whole scale. The shapes do always outline the complete scale; and they will always cover everything in that position. So importantly, the intervals are there too! You should also use the shapes to reinforce interval patterns; which is essentially the basis for anything we play.

Soloing, riffs, and figures are all there in the shape too; at least anchored by one or more notes. So are arpeggios and chords. Also remember that you can see any interval there on the neck: you can locate the root note of a new chord at any distance across the fretboard; and the intervals are not just from one scale tone to the next.

You can also freely modify scale tones, and see what's around you.

So we're presuming you'll use them to the broadest advantage.

This is why we've said the diagrams are not "dry academics": if you write an appoggiatura, you might call that academic; but you need to lay it out on the fretboard in your own way (and not be stuck). The diagrams are really only there to show you all of the note options, when you want.

Partial Shapes    Regular Building Blocks

We've said that you can look for any intervals, and the shapes will illuminate the context around you. So then at the same time, you can find any smaller anchor shape that is just a part of one of the complete shapes.

You can use them to help you outline just the top two or three strings for instance. You can also visualize fingerings that cross between the Shapes.

The highlighted chord line in the diagrams is also probably played quite a lot. So that is another anchor shape with gravity. So is any chord; and, as we've mentioned, any interval, at any distance, which can show you any following scale tone to move towards.

Any other shape with value to you, is also an anchor. You only have to remember that the notes on the fretboard that are forming the shape are what you're taking out.

Surprising Freedom!

If you take a moment to look back at connecting the top or bottom frets between two Shapes: you will discover that most of the time, when you re-finger past the bottom or top of the position; then you have naturally re-fingered into the joining Shape — which would be at the next scale tone!

It's because there is a complete anchor Shape at each scale tone; and, since they also include a stretch, nearly every fret can be fingered in a Shape. (So with our musical method, you're also always free to move to any scale tone, and just have an anchor there if you want it; without needing to look again at your position, or call up two Shapes.)

We could only add that familiarity with the shapes, would make the best visual anchors! But: once you're aware of the shapes, then simply playing on the neck will illuminate the fingerings there. Our method is going to help you understand the smaller orientations that are in there; and not "carry" large boxy shapes all around.

You can also use a full neck diagram to visualize how you might shift between and through positions (or, find your own anchors) and become familiar through playing. If you keep things in perspective, you will see that it's more of a consternation to worry about "moving around", or, "finding anchors" around a diagram: more will be illuminated with our method.

And Don't Forget the Chords

Let us note here also, that if we consider a whole chord shape, or a chord diagram; then that chord's shape, without altered tones, does appear here too! So, it appears that the shapes could be found by starting from the chords too! … And chords can be found in the shapes!

😊

Marker Formatting    Designed as Tools

Our books do include chord diagrams for all chords; but also, you can use a numbered diagram in another mode to outline just that chord. For instance: if you're playing in a Major key, and under the Five chord; then, the Mode 5 diagram outlines the scale with the Five highlighted as the first degree.

👉 So the numbering on any Mode diagram, also outlines the same numbered chord.

Note also that the diagrams visually group the root Ⅶ-chord for each mode. But while the Ⅶ-chord is always outlined, the seven extension may or may not be one that you prefer for that given chord in all cases. The diagram is not designed to focus on aesthetics — the choices are yours.

Again, the contrast and styles on the markers are there to also help you isolate notes, intervals, smaller shapes, string groups; and, the musical lines. So even while staying in position, they should help you to see past them, for more to appear.

The marker styles are formed around the natural musical line: so they have a gravity in the visual connections; and still help facilitate a clear and natural contrast.

😊

A Lot More Than "Just Seven Shapes"!

🧨     🎇      🎆      🎇     🧨

We're also going to fulfill our promise of atomizing the Shapes, musically; and providing the above! Please continue with us; and, we do have more good things to understand about shapes!

Also: below, you can learn more about one approach that wraps up six of the Shapes, and the whole neck, by using only two larger shapes! — When you're done here, be sure to read about our Tetrachord diagrams!

The Whole Neck    Free-Form

Even though each single position Shape is just at one position; once you become familiar with the musical rudiments in the shapes, then from just one finger, you can begin to see the rest of the scale from wherever your fretting hand happens to be; and, along any musical line you choose too!

And if you are in Shape 7, then just above you is Shape 1; and that's true no matter what chord or mode you're playing in. At the same time, there is also always an anchor at each scale degree. So on the whole neck, the seven shapes outline the complete scale; and when you grip the neck, you will be able to discover the section of your scale that is there. The musical rudiments in our method will then give you orientation along any musical line.

You should see here, that the seven shapes do always simply "link together" to map out the complete scale on the neck; just as pictured in the whole neck diagram. The scale construction is fixed, and these are the notes!

Reinforcing the Whole Neck

So it turns out that the shapes are just always there, underlying the scale tones. The shapes don't dictate what you play, nor how you choose your figures. They're just a natural fact of the scale's intervals. The shapes are going to be there on the neck.

The complete neck diagrams that you see here are just the same as the overlapping connection of all of the individual Shapes. You should be able to locate any particular Shape, by anchoring your position at any scale degree. If you do learn all seven shapes well, then you really also have the whole neck from there.

Anchoring

You're encouraged to visualize linking, crossing, and dissecting Shapes, to suit your own individuality; even if just conceptually — as it should always help illuminate where you are now, and your next note; and, it can reveal new things for you.

Take a look at one of the necks here; and now: grip the neck. What comes to mind first: a complete Shape; or, the few notes you've just touched. If you're just really "seeing" the notes you've touched, then: when you've gotten all of our insights, you'll be able to envision connecting a musical line that progresses forward, through a smaller musical orientation that you choose.

Moving

Let's use the diagram below to see how just the shapes follow along with us, as we play up the neck. Imagine playing a long figure ascending up the neck, and also moving from low strings to high strings: playing a part of the figure using two strings, and then moving up the neck and over two strings at the same time.

Please note that this diagram is a bit cluttered; and is not part of the book. The brackets and dots have been added here. The brackets outline each of the Shapes. Each solid dot indicates a fret where the first finger is anchored in-position. The hollow dots indicate frets that get covered by the first finger through a stretch. Therefore, every fret that has some dot next to it, gets covered by the first finger in some Shape.

We can notice that there is only one fret that doesn't get covered by the first finger in a Shape, either in position, or by a stretch; and the green diamond indicates that fret. Now imagine playing our long "two strings at a time" figure. If you randomly move your fretting hand into any fretting position, then you'll nearly always wind up with the first finger anchored at a Shape. It's only that one fret where that fully won't hold true. (In that position, there is a Shape one fret above and one fret below. For all other positions, there is a Shape right there, either in position or through a stretch!)

So if you move even by one fret, then the shapes can be seen. Even as you may move through our "long figure", each time you move over and up, the same situation applies: there is a shape under you all along the way.

So above again we may have implied that, moving with confidence in your own figures, might require some larger familiarity: with every Shape; and, some Shape-to-Shape memory. Our musical figure doesn't even spend much time in any one Shape. We can say that: enough familiarity with the Shapes, to provide you value there; is not out of reach for anyone who's already playing figures through the shapes on the neck! And importantly again, we will explain the smaller orientations that simply could build up that way; without needing to conjure up a whole Shape at every fret.

Jumping; Or Staying Fixed

Notice also that seven shapes do not cover 11 fretting positions — there are seven. Some are offset by a whole tone, and it's just always based on the intervals of the scale. The shapes also overlap. You may move shape to shape, or move by two or more; and also, group Shapes (if you want). You can also jump by four frets for example, to move into a fully new section of the neck. Obviously, you are free, and must play just the way you want. You may also choose to play in position; or, dissect the shapes.

This point can simply be another way to approach the shapes. You can approach the shapes "in any order", and based on anything you might practice or play. You again will not be expected to have complete shape memory, before discovering one of the many other values.

And you can approach Shapes from different chords, and from different keys too!

😊

The Immutability Is a Prime Gain of Learning the Shapes!

It is true that you can play in a position, with a fingering that will not honor that shape.

For example: imagine your fretting hand anchored at the third fret in the prior illustration; so, with your first, second, and third fingers in that position. Starting from the fifth string: imagine playing the scale degrees Ⅳ, Ⅴ, Ⅶ, Ⅰ; with fingers one, three, two, three. You will not be strictly playing in any shape's position. (That figure could be either in Shape 7 below — fingers two, four, three, four — or otherwise in Shape 1, which would be in position one fret up, covering scale degree Ⅳ by a stretch — fingers one, two, one, two.)

But having said that, you can still know that the shapes are there; and still do cover the scale at that position. Even if you play out of a shape's position: your "changed fingering" hasn't changed the shape!

It is true that the positions on the neck where you can play out of the shape's intended fingering is fewer than the fingerings in-position. That is partly due to our choice of the first finger as the "preferred" stretch. Still, in more cases than not, you really can't shift out here, without eventually then shifting back in. Sometimes you'd be fingering a half step with the same finger; and sometimes there's common in-position tones, which simply allow you to re-finger a stretch with the first or fourth finger. (So there can also seem to be some "natural gravity" towards the uncontrived shapes this way.)

Reinforcing the Note Names on the Neck    Concrete

What we've been discussing so far would in fact be termed an abstraction. We've been silently ignoring the actual notes that you'd be playing; and therefore also, the notes at each fret and string on the neck. The diagrams apply to any key, and are shifted to anchor at your root note on the neck.

In fact, before we go on, we'll point out here that this is part of the value in the shapes. You can find the musical figures, and the functional harmony in some given shapes on the neck; and then those same figures will translate all around the neck, in those shapes. You'll even be moving around the neck between cords, modes, positions, etc. with those same functions and figures; and those shapes may come along with you.

So, for the actual note names: if you reinforce these shapes in only one key, then you'll be seeing those notes all along the neck. Any amount of application should help to reinforce the notes on the neck — and it is important to have an understanding of the notes at the strings and frets. To gain a little exercise in learning the notes, the diagrams can simply help connect you more easily to the neck — they should reduce any work with connecting your figures to the fretboard, and allow you to shift focus more on the notes. You can simply shift your focus to the note names; to reinforce that. And in either case, as we've said, you should always look "through" the shapes to the notes that you are playing there.

Different Keys; Same Shapes, Same Root Note Markers    Always Pertinent

Playing in different keys will result in the same set of shapes, and in the same order; and with the same root note marker in each Shape. The marker with the root note of any key, will always be at the same location in every shape. All of the shapes are then simply shifted to a different fret for your given key. So in other words, all of the connected shapes are shifted up and down the neck, to align with any key's root note.

The seven Shapes outline the complete scale along the whole neck, in any key; linking in the same order, and, with the same root note marker in them. You "shift" the whole neck diagram, so that the number "1" marker is at your key's root note. Or: if you're looking at the neck: then in your position, you find the Shape that has the root note marker that is at the root note of your key.

Different Chords or Modes; Same Shapes, Different Root Note Markers    Broad and Dense Command

Playing in different chords, or modes of the same scale also results in the same set of shapes, and in the same order. But since your chord or mode is different, the root note marker changes in each Shape — and so it's only the numbers that change. The root note will be a different marker in each shape, based on the chord or mode you're playing; but the Shape is the same: only the numbers change. There are still only the same shapes for your scale, and they link together in the same order.

It's also the same shapes at the same frets, for every mode and chord of a particular root key — still the seven Shapes outline the complete scale; just change the numbers for different modes and chords.

As we've noted also, for the chords, the chord number follows the mode number; and they're all in the same set of linked shapes, with only the numbers changed.

So looking again at Shape 7 shown above: if you are in fact playing in mode 6 (the Minor scale; A.K.A. the Aeolian mode — or, chord Ⅵ); then the root note changes to the first finger on the D string, while staying in the same position. The diagram to the right is again Shape 7, but now numbered in mode 6. The shape remains the same at the same fret: the arrangement of intervals is always from this section of the Diatonic scale, and that is fixed. If changing modes or chords, then only the numbers on the markers change — every shape is always on the same fret, and has the same marker placement on the whole neck, for any particular root key.

Shape 7, Mode 6

Restated: The Whole Neck Stays Fixed

To be more clear: in any key, you take the whole neck diagram in mode 1, and shift it so that the "number 1" marker aligns to your key's root note (in mode 1). Then the whole neck diagram doesn't move, for every chord and mode. All of the markers stay fixed along the whole neck. For different chords (or modes), you just change the numbers from there.

Shape Names

Therefore, the names given to the Shapes will hold for any mode or chord: it's just a name for that section of the scale. You only need to know each of the seven shapes, and the fact that they link together in the fixed order.

😊

Once Again Do or Don't Get Boxed In!

We've just said that Shape 7, above, is in fact the complete Diatonic scale, in each of seven modes! There are seven scales in the one diagram (just change the numbers)! We've also said that all of the chords in your key are in the same shape at the same position the same way too! So notice two points about the Shapes:

And so: don't get feeling boxed in by the dry shape itself: you can also play a phenomenal range of independent sounds in one position! It's just the notes there on the markers; and they haven't been chosen for you. There can be a world of time spent in one shape's world! That's also why the shapes may seem to box you in, if you're just looking at the scale: instead, all of the music is in there!

There's also power in discovering that the whole neck is covered on all six strings by just becoming familiar with seven shapes. (And, you can feel good that the shapes are not contrived: they do simply outline the intervals and scale on the fretboard.)

Our complete method will give you the simple musical components, so you can find your way "in, out, and around any world"!

Summary: 12 Frets, Seven Shapes    Concise; With a Method

And so we come down to a total of seven unique shapes that cover the "whole neck" for the Diatonic scale. And it's the same seven shapes for any key; and any chord and mode, just shifted up or down the neck in your key. Shape 1 is always the same shape; and, it will always outline that same section of the Diatonic scale; and it will always be the same shape for any mode or chord within that Diatonic key. Only the numbers would change based on your mode or chord.

And even though you may change fret positions, or, change keys, or modes; wherever your hand is, it is there at, or one fret away from some Shape.

👉 😊

Importantly, as we've said, our method will give you the sense of coming back here and moving through all of the diagrams, from the "markers-out"!

Details of What's in the Book(s)

All scales are available separately; and many common scales are available. Though the introduction led through the Diatonic scale only, the method is not tied to only one scale.

For any scale, each package always includes our full method. The method gives you all of the musical components: it will include our complete rudiments-up breakdown; and everything that will shorten your learning path. It will also include many additional insights and perspectives to help you find even more tools. You will be able to apply our method to your own music; and anything you play.

Then for each package, there is a large book of diagrams for the given scale and instrument (in right-handed* or left-handed format). This book is formatted on large, Tabloid size pages (11" × 17"). It contains full pages of diagrams, in all chords, and all modes for that scale.

* Remember: we consider a "Right-Handed" player as picking with the right; and fretting with the left hand.

We Hope You'll Enjoy the Book!

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