Unlocking

The Guitar
10 Step Guide to Master
The Notes on The Neck
by Chuck Anderson
Anderson Music Publications

Copyright © 2002-14 Chuck AndersonInternational.

All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic, mechanical,
photocopying, recording, or otherwise, without the prior written permission of the publisher.
For information, contact Anderson Music Publications 610 834 0929

International Standard Book Number (ISBN)0-9719730-0-8

 Table of Contents

»» Introduction
»» 1. Sequential Fret String Order
»» 2. Random Fret Order
»» 3. Key Fret Concept
»» 4. Three Element Drill
»» 5. Geometric Shapes
»» 6. Held Chords
»» 7. Isolation Drill
»» 8. Visualization
»» 9. Name Notes in Rhythm
»» 10. Random, Rapid Note Jumping
»» Philosophy
 ❙❙Introduction
No matter how many times you’ve tried, you still can’t seem to master their crazy

layout. Notes repeat... but sound different. Open notes, fingered notes, notes at

octaves ...

The guitar has a non equidistant tuning system (perfect 4ths and one major 3rd)

that’s at least partially responsible for the confusion on note locations. Other

string instruments have equidistant tuning, valve or key combinations or the

more obvious black and white set up of the piano.

However, mastering the notes on the neck is critical for the development of the

guitarist. For one thing, it’s ridiculous to be ignorant of the notes on your own

instrument. Beyond that, knowledge of the neck allows for an easier integration of

music theory, reading and just plain knowing your way around your instrument.

What you play on the guitar should be considered music ie notes, not just

fingerings or mechanical patterns. There is room for chord diagrams, fingering

patterns and tablature but not at the expense of knowing the notes on the guitar.

There is no one magic, effortless way that will unlock the neck for you. But there

is a series of exercises and drills that when coupled with an overall philosophy of

note awareness will result in mastering the notes on the guitar.

 ❙❙1. Sequential Fret String Order
One fret at a time
Most guitar players try to learn the notes on the neck one string at a time, going up fret
by fret. Though you can get at the notes this way, it creates a similar problem as being
asked to name, without thought, the 12th or 17th letter of the alphabet. You have to
go through the whole “A B C D E thing” to arrive at the letter. In the same way, being
asked to name a note at the 6th or 9th fret would also necessitate going through the
frets one by one until you reach the note you need. Obviously, this approach is slow and
cumbersome and does not lead to the reflexive knowledge of notes on the neck that you
need.

A better approach is to memorize the notes, not string by string, but fret by fret. This
method is more compatible with the tuning of the guitar (ie string to string in perfect 4ths
with one major 3rd). It’s harder to remember the notes because they are not conveniently
alphabetical. However, this is a more effective way to master the notes on the guitar.

In learning the notes, use natural notes and sharps or natural notes and flats for each
fret. Don’t mix sharps and flats initially.

Memorize the following charts. First, memorize string ⑥ to string ①, one fret at a time;
then, string ① to string ⑥. There is no one, right way to learn this material. Some people
use memory devices like creating a word or sentence out of successive note letters and
then, remembing the word or sentence to trigger the notes. For example, fret 7, from
string ⑥ to string ③ spells the word BEAD. The notes at fret 5 might be remembered
through a nonsense sentence such as: A Daring Goat Can Eat Apples. Fret 5 notes: A D
G C E A ⑥ to ①

You can also just memorize them without resorting to word tricks. Do one fret at a time
but make sure that you cumulate your knowledge of the notes as you proceed from fret
to fret.
Natural and Sharp Note Chart
From String 6 to String 1
Natural and Flat Note Chart
From String 6 to String 1
Mixed Sharps and Flats
Naturally, sharp and flat names can be mixed freely. eg F# and Gb, D# and Eb, etc.
Notes that are the same pitch but have different names such as F# and Gb are called
enharmonic equivalents.

❙❙2. Random Fret Order

After learning the notes in sequential fret order, test yourself by trying the frets in random
order. Keep the same approach, naming the notes string to string, using naturals and
sharps or naturals and flats. The only new element here is breaking up the predictable
fret order. Name the notes at fret 6, then fret 11, then fret 3 etc. You should also mix the
direction and order of the strings. If the first drill asks for notes at fret 6 from strings
⑥ to ①, then have the next drill ask for the notes at fret 11 from string ① to string ⑥
etc. If you have to drill yourself, you can look at the note charts on pages 5 and 6 to see
if you got them right. You can write the notes down and check their accuracy or just
recite them and check back through the charts. Working with someone on these drills is
helpful but not necessary. Reciting the notes fret by fret on to a tape and listening back
to them is an ideal use of “drive time” in learning the notes on the neck.

❙❙3. Key Fret Concept

The open notes, fret 5 and fret 10 share one thing in common. They have natural notes
only, no sharp notes and no flat notes.
String ⑥ ⑤ ④ ③ ② ①
Open E A D G B E
Fret 5 A D G C E A
Fret 10 D G C F A D

These are easy frets to learn either directly or through a memory device. Once learned,
these key frets set up adjacent frets by simply adding sharps or flats depending on the
direction. Using this approach, the notes at fret 1 could be called E# A# D# G# B# E#.
Of course, these notes can be also be called their enharmonic or alternate names F Bb
Eb Ab C and F. But for our purposes, sharping all 6 open notes is simple, direct and easy
to remember.
Fret 5 A D G C E A

Fret 5 produces fret 4 by flatting all 6 notes and fret 6 by sharping all 6 notes. ie
Fret 4 Ab Db Gb Cb Eb Ab
Fret 6 A# D# G# C# E# A#
Fret 10 D G C F A D

Fret 10 produces fret 9 by flatting all 6 notes and fret 11 by sharping all 6 notes.
Fret 9 Db Gb Cb Fb Ab Db
Fret 11 D# G# C# F# A# D#

Using this derivative method, you’ve covered frets 0, 1, 4, 5, 6, 9, 10, 11.

Secondary Key Frets

Next, learn fret 3 and fret 7 which have only one sharp or flat note.
Fret 3 G C F A# D G
Fret 7 B E A D Gb B

Fret 3 produces fret 2 by flatting all 6 notes.

Fret 2 Gb Cb Fb A Db Gb

Fret 7 produces fret 8 by sharping all 6 notes.

Fret 8 B# E# A# D# G B#

You have now covered all 12 frets of the guitar.

 ❙❙4. Three Element Drill
3 elements pinpoint a note on the neck. The 3 elements are the note’s name, its string
and its fret location. The 3 element drill begins by naming or having someone name,
any 2 of the 3 elements of a specific note. Examples include: there is a note at the 5th
fret, 6th string. What is it? There is a G note at fret 5. What string? There is an Eb note
on the 4th string. What fret? The drill can be ran­dom and spontaneous or systematic
and preplanned. As long as 2 elements are given, the effort to identify the miss­ing 3rd
element is the drill. This is the first drill where the goal is the isolation and identification
of an individual note rather than a series of notes at a spe­cific fret.

❙❙5. Geometric Shapes

Geometric shapes is a visualization drill in which you identify notes based on a
preconceived shape.

Examples would include drawing an imaginary diagonal line from string ⑥, fret 1 to
string ①, fret 6. Now, name each note along the diagonal line. F B F B E Bb
Do the same thing from string ①, fret 10 to string ⑥, fret 5. D Ab Eb A Eb A

Next, draw an imaginary box from string ⑥, fret 1 to string ⑥, fret 5 to string ①, fret 5
to string ①, fret 1 to string ⑥, fret 1. Name all the notes along the lines.

F F# G G# A D G C E A
Ab G Gb F C Ab Eb Bb F

It doesn’t matter whether you use sharp or flat names.

As you continue to develop drills, it won’t matter what crazy shape you draw in your
mind. This drill is intended to sharpen your ability to recognize visual patterns on the
neck. However, as was explained before, you always want to think notes. Don’t be satisfied
with patterns unless you can clearly see and identify the notes along the pattern.

If you want these drills or any other drill to double as a music reading exercise, just add
the component of visualizing the location of each note on the musical staff. The guitar
typically uses the G or treble clef.

❙❙6. Held Chords

Held chords is another visualization drill in which you finger any chord. This can be
done in the mind or physically on the guitar. It won’t matter whether you know the
chord’s name or not. All that matters is that you either hold down a chord or imagine
holding down a chord. Once the chord is “held”, identify its notes. If you are physically
holding the chord, you can look directly at the neck as you name the notes or you can
“look” at the notes of the chord in your mind. If you’re not physically holding the chord
down, you can still approach this drill in four ways.
1. Name all the notes from low to high pitches or from high to low pitches.

2. Name selected notes such as the notes on strings ①,③ and ⑤.

3. Name the notes on a fret basis such as all notes in

the 4th fret or all notes in the 3rd and 5th frets.

4. Name totally random, isolated notes within the chord

such as name the note on string ④, string ② etc etc.

Considering that this drill works with or without your instrument and with or without
your knowledge of any specific chords, it’s a virtually inexhaustible drill.
 ❙❙7. Isolation Drill
This is a simple visualization drill. Unlike the previous exercises which had you either
drawing geometric shapes or “holding” chords, this exercise is pure and simple. Either
looking at the neck or visualizing it in your mind, just identify random notes based
upon a specific string - fret location. eg string ④, fret 2 is E; string ③, fret 8 is Eb; string
⑤, fret 11 is Ab; string ①, fret 3 is G etc etc. Again, the enharmonic identity is optional.
(whether you call the note F# or Gb etc)

❙❙8. Visualization
This visualization drill is a little “Zen - like”. Just visualize yourself playing. Playing
what? Playing anything — from riffs to chords to solos to reading. Just “see” and identify
the notes in everything you play. It doesn’t have to go at the speed of your actual playing.
You can slow it down as needed. After all, this playing is in your mind. This type of
visualization is often used by competing athletes or concert musicians in preparing for
a performance. They “see” themselves crossing a finish line in first place or flawlessly
executing a difficult passage in a concert performance. Though a bit abstract, this is a
good drill to not only strengthen your knowledge of notes on the neck but to also give
greater control and confidence in a performing situation.

❙❙9. Name Notes in Rhythm

This drill can be a tongue twister but it’s of great value. As you play, just call out the notes.
Sometimes it’s helpful to sing the names of the notes out loud. The speed will develop
over time. It doesn’t matter what you play. It could be a melody, a riff, an improvisation.
Singing what you improvise as you improvise, using nonsense syllables like “be, bop, bu
ba, doo” etc is called “scat” singing or “scatting”. Jazz vocalists have used this technique
for years. Artists such as George Benson and Ella Fitzgerald developed scatting into an
art form. Many musicians feel that scatting helps to strengthen the reflex between the
ear and the hands. The only difference between exercise 9 and scatting is that this drill
literally names the notes in rhythm as you play.

❙❙10. Random, Rapid Note Jumping

This last exercise calls for you to identify individual notes in extreme random order.
Examples would be string ③, fret 4 to string ⑥, fret 11 to string ②, fret 3 etc. The wider
the distance between notes, the more effective the exercise. As always you can look at
or visualize the instrument. You can play it or visualize it. There is nothing wrong with
using the instrument. After all, your ultimate goal is to be aware of the notes while
playing. The advantage of this visualization technique is that it gives you the opportunity
to practice in non playing situations. It’s also a fact that there is a long term advantage
in approaching any topic from multiple directions. It will strengthen and deepen the
learning experience. The goal of all this work is to permanently learn and continually
use this knowledge to assist you in strengthening your musical and physical connection
with the guitar.

❙❙Philosophy
In the beginning, I mentioned that these drills must be coupled with a specific philosophy
to maximize their effectiveness.

What is this “philosophy”?

It’s insisting on a constant awareness of the notes you play.

Whether you’re playing or practicing; working on scales; arpeggios or sequences;

whether you’re reading music or improvising; no matter what style of music you’re
playing, ALWAYS, ALWAYS, ALWAYS know the notes you are playing! This approach
of constant awareness and reinforcement will eventually make the notes on the guitar
reflexive and truly second nature.