Most beginner guitar players quickly become confident at improvising with the minor pentatonic scale in a minor key, but feel hopeless improvising over a major key! If this sounds like you, then you’re in luck because I have one simple trick that will allow you to play all of your favourite minor pentatonic licks over a major key! 🤫
Here’s the trick: instead of starting the minor pentatonic scale from the root note of C major chord, start it from the major 3rd – the E note! 👀
How To Play Minor Pentatonic Over Major Chords
Let’s assume the chord C major. Go ahead an drone a C major chord for you to play over. Now from the third degree of the C major key, E, play an E minor pentatonic scale. You’ll notice that this sounds quite tasteful!
In relation to the underlying chord, these notes outline the 3rd, 5th, 6th, 7th, and 9th. These are all “colour” notes, and can be used to extend the sound of the underlying chord.
Improvising Over Multiple Chords
Let’s elaborate on this concept by playing a Cmaj7 followed by a Dbmaj7. Irrespective of key, you can treat the Dbmaj7 in exactly the same was at the Cmaj7:
Play Em Pentatonic over Cmaj7 (E is the maj3 of C)
Play Fm Pentatonic over Dbmaj7 (F is the maj3 of Db)
Now that you’re grasping the basics, let’s take it a step further with a more challenging progression: Cmaj7 – Ebmaj7 – Dm7 – Dbmaj7 (I – bIII – ii – bII)
In this example chord progression, you can use the following minor pentatonic scale shapes for each chord:
Cmaj7 – E minor pentatonic
Ebmaj7 – G minor pentatonic
Dm7 – D minor pentatonic
Dbmaj7 – F minor pentatonic
Notice that for each major chord, we began the minor pentatonic scale from the maj3 degree of that chord. For the minor chord, we can play the minor pentatonic scale from the root note of that chord.
This approach encourages you to think about the chord tones rather than relying solely on the parent scale.
Limit Your Movement
If you’re able to visualise the minor pentatonic scale across the whole neck, try to limit your movement as you improvise over the chords. Try to avoid jumping across the neck to play the same shape for every chord. It’s best to identify the corresponding minor pentatonic scales in one position of the neck, as bigger leaps across the fretboard can often sound jarring.
Join my Essential Theory For Guitarists Masterclass if you want to take a deeper dive into foundational music theory topics like intervals, how to construct scales and arpeggios, learn chord theory, and more!
Guitar lessons often focus on teaching triads, but it’s equally as important to know how to practice triads on guitar. Memorising triad shapes is just the beginning, but in this lesson we’ll build on a simple practice idea that you can incorporate in your daily routine.
This lesson assumes you’re already at least moderately familiar with how to visualise triads on guitar. If this is not something you’re yet confident with, I recommend enrolling in my CAGED Fretboard Visualisation Masterclass for a complete insight into how to visualise the guitar.
Let’s begin working through the steps!
#1: Determine The Chords & Key
Let’s start by selecting two major triads within a specific key. For example, we’ll choose the key of B and the B major triad as our starting point. To create a musical progression, we can select the B major and E major triads – the I and IV chords.
#2: Playing with a Steady Tempo
Set a steady tempo that works for you and play a B major triad on every quarter beat. Maintain this pace for four bars.
TOP TIP: If you find that you’re better at visualising triads vertically on guitar, and not so much horizontally, try to loop one or two triads for a few beats whilst you allow yourself to think and work out a different position of the neck. Once you can visualise triads in your target position of the neck, then take the leap! Horizontal movement can be slow to begin with, but in time when your ability to visualise the guitar strengthens, you’ll become much faster.
Now after 4 bars of E major, move on to to the next chord (B major) for the next 4 bars and play B major triads on every quarter beat.
Rinse & repeat!
#3: Adding Chords & Increasing Difficulty
To add complexity, we can add chords to the progression. To allow yourself to focus on major triads, adding a V chord to the progression would be the smartest decision.
For now, don’t add any other triad types to your progression such as minor triads. We’ll come back to that later once you can be sure you master the major triads.
You may also decide to speed up the progression if you find it to be too easy or slow. Instead of playing 4 bars of each chord, you could play just two bars. If you’re feeling confident with your rhythm, then perhaps you can introduce some eighth notes instead, or off-beat rhythms.
Just don’t run before you can walk!
#4: Minor Triad Variation
Now that you’ve got a good grasp of how major triads look and feel across the neck, it’s time to regress back to step #1 again but now with minor triads. Begin with a i iv progression, Bm to Em.
The goal is to focus on one type of triad during a practice session to maintain clarity and progress.
#5: Putting It All Together
After you’ve become confident with both major and minor triads across the neck, it’s time to blend them together! If you’ve done sufficient preparation, this shouldn’t be too difficult to improvise your way through.
Major and minor triads are the most important triad types to familiarise yourself with. Down the road, you can begin to expand your chord vocabulary with diminished, suspended, and even augmented triads. I would advise that you stick with major and minor for a long while though, as these are the most practical and useful.
Embrace the learning process and enjoy the journey 💜
If you want to deep dive further and not only learn other ways on how to practice triads effectively, but also how to apply them in your music and improvisation, you absolutely don’t want to miss out on my All About Triads Masterclass here on Fretwise! 😉
If you want your solos to sound less like scales, and more in alignment with the chords, then you need to learn how to target chord tones! The best tool to help visualise chord tones on guitar is The CAGED System. It’s without a doubt one of the most vital things to learn on your guitar journey.
In the video above, I share with you a preview from my CAGED Fretboard Visualisation Masterclass, where we will explore how to apply The CAGED System over chord changes. While many guitarists think about key centers and scales when playing over chord progressions, it’s crucial to recognise that not all notes are equal. Some notes are stronger and more stable than others, and this is a continuously changing factor chord progressions.
There are two examples that I want you to explore and consider in your music practice.
Example 1: Scales
Consider a I-IV-vi-V progression in E major. Regardless of the progression, most guitar players would opt to solo using notes from the E major scale or E major pentatonic scale. While this works fine, you may notice that some notes from the scale sound better over certain chords more than others.
You can test this out yourself by playing what you consider to be a good lick over every chord. You’ll notice that that same lick won’t sound equally as good over all of the chords. So, what’s the problem? Well, the function of the notes you play change on a per-chord basis. Over one chord, the lick will be more complimentary of the underlying chord. Over another chord, perhaps not so much. To fix this, we need to consider chord tones.
Example 2: Target Chord Tones
To play chord tones, it’s important that you’re able to visualise the notes of the underlying chord in addition to your chosen scale, as a separate and independent musical device. If you’re able to do that, then you will have the power to alternate between chord tones and tension tones on command.
The easiest way to visualise the chord tones that belong to each chord is to practice visualising the triad arpeggios that correspond to each chord. The CAGED System is the best tool for this, as demonstrated in my CAGED Fretboard Visualisation Masterclass.
A good way to practice this is to consider the “parent” scale, for example the major pentatonic scale, to be your safety net. On occasion, step out of that safety net to target tones from each of the underlying chord. Ideally it’s best to hit these chord tones notes on the first beat of each bar or chord. This demonstrates to the listener that you’re closely following the chord progression.
How To Practice Chord Tones
I recommend practicing these skills in one small position of the neck. Avoid jumping around the neck to find chord tones. Instead, try to identify the chord tones of each chord in one position of the neck. Once you’re able to do this confidently, you can move on to another position of the neck. By using The CAGED System, you’ll be able to identify 5 critical positions of the guitar neck.
Gain A Deeper Insight Into The CAGED System
If you would like to learn more about chord tones and The CAGED System, consider joining my most popular course on Fretwise: the CAGED Fretboard Visualisation Masterclass! It’s designed to help you master The CAGED System and gain a deeper understanding of music theory, fretboard visualisation, and more. For me, the knowledge shared in this class has revolutionised my perspective and understanding of the guitar!
Until next time – keep practicing, and stay curious 🏆
In this post I’ll be discussing and demonstrating 10 levels of The CAGED System. CAGED has revolutionised my approach to the guitar beyond what I could have possibly imagined.
When I first discovered CAGED, I thought that it was just a beginners tool. It wasn’t until one of my guitar heroes emphasised how important it is that I took it seriously, and I hope that I’m able to relay that emphasis to you today!
The order in which I present the 10 levels does not reflect how I recommend you to practice The CAGED System, but instead it is designed to demonstrate the increasing complexity that can be achieved by learning The CAGED System.
This level focuses on building and navigating between the 5 core CAGED shapes, which are based on familiar open chord shapes.
The CAGED shapes are designed to be transposable shapes, which can be put together by replacing the nut (open strings) of each open chord with the index finger.
Below is an example of each CAGED shape transposed to a D major chord. The yellow notes represent the notes you should play. Grey notes are neighbouring notes that belong to the triad.
C Shape:
A Shape:
G Shape:
E Shape:
D Shape:
Level 2 – Minor CAGED
In this level, we minorise the major CAGED shapes by flattening all 3rds. It’s noticeably more difficult to play these shapes because the finger positions can be awkward, so whilst it’s important to be aware of the notes you should play, it’s best to omit the notes that are difficult to lay your fingers on.
Level 3 – Basic Chord Progressions
Now you know the CAGED shapes, you can start using the CAGED shapes in a musical setting!
Here’s a challenge for you to try. Take a familiar chord progression that you would likely play using barre chord shapes. Now try to transpose those chords to one single position of the neck.
In the video, I demonstrate a I-IV-vi-V progression in E major using various CAGED voicings. Each of the chords are played within a 5-6 fret span of the neck. This will not only help build your chord vocabulary, but will later become very helpful when improvising through arpeggios and scales 😉
This level emphasises practical application.
Level 4 – Triad Arpeggios:
Here, we move from chords to single-note melodies built from the triad tones. Remember those grey notes from the diagrams in Level 1? Both Grey and Yellow notes from the diagrams show you the notes of each CAGED position that belong to the corresponding triad arpeggio (D major).
Once you’re confident playing these notes from each position, both ascending and descending, you’ll begin adding more melodic depth to your playing.
Level 5 – Triad Chords
Now that you can identify the triad arpeggios that belong to each position, you can begin grouping the notes from neighbouring strings together to form 3-note (Triad) chords. This is what’s known as closed voiced triads.
This is where your chord vocabulary will begin to grow exponentially, which is very exciting!
Level 6 – Spread Voiced Triads
We explore more advanced triad voicings that are spread across non-consecutive strings. This can be achieved by taking the middle note from closed voiced triads, and playing it an octave higher or lower.
Music that comes to mind when I think about spread voiced triads is the opening of Cliffs Of Dover Live from Austin Texas (0:00 – 0:50 in this video):
This technique is great for chord-melody playing and adds a touch of sophistication to your arrangements.
Level 7 – Extended Arpeggios
Building on the foundation of triads, we can begin to add extensions like the 7th, 9th, 11th, and 13th degrees of chords. This level introduces new chord flavours, and enriches your harmonic vocabulary tenfold!
To achieve this level of playing, it’s important to work from the notes you’re most familiar with – the triad. For example, to find the 11th degree (4th), you should first identify where the 3rd is before moving a whole step up to the 11th/4th degree.
Once you can begin identifying where the extended tones are, you can start to play each of the notes sequentially to form more exciting and colourful arpeggios.
Level 8 – Building Scales
Scales are a small extension beyond the arpeggios. A simple place to start is the major scale, followed by the natural minor scale, but there’s much more to learn beyond this!
Once you become proficient at identifying intervals quickly on the neck, it will become very easy for you to build scales on-the-spot. This is an essential skill for improvisation, especially over more complex harmonic changes.
Level 9 – Extended Chords
Playing notes in sequential order is not nearly as difficult as playing groups of notes together! We’re limited to 4 fingers, and 6 strings, so it’s necessary to make quick decisions about the order of notes, and which notes to omit.
This level requires an understanding of chord construction. In the video provided, I demonstrate chord voicings and accompany them with an improvised melody, showcasing the harmonically rich sounds of extended chords.
Level 10 – Melodic Freedom:
In this final level, you have complete freedom to visualise the guitar neck and play both melody and harmony without a struggle!
CAGED will alleviate the trial and error of finding notes on the neck, and will instead allow you to communicate more effectively from your brain to your fingers 💪
Summary
I hope this demonstration gives you insight into the creative possibilities of the CAGED system. If you’re interested in a structured practice plan on how to master these skills and beyond, consider joining me here on Fretwise for a comprehensive learning experience! Keep practicing and have fun exploring the vast possibilities of the CAGED system!
Are you learning how to visualise triads on guitar, but struggling to see how they fit together across the fretboard? Let me show you the easiest way to visualise triads across the guitar neck!
Just like most of us, I first learned triads from a YouTube video. The teacher even provided accompanying PDF diagrams! For weeks thereafter I practiced them up and down the neck, hoping that eventually I would retain the muscle memory to recall all of the triads with ease. However this goal proved to be unobtainable, as it was too difficult to memorise much more than 10% of the shapes 😓
Years later however, I discovered a much easier method that I use to visualising triads (and, well – everything!) across the guitar neck: The CAGED System.
The CAGED System
If you are unfamiliar with The CAGED System, it consists of five positions or chord shapes that are movable positions across the guitar neck. These positions are based on simple open chords:
C, A, G, E, and D.
Let’s begin exploring what a D chord looks like by identifying the five CAGED positions on the neck. Take note of how each position fits together like a jigsaw puzzle, and pay close attention to the root notes within each shape:
How To Visualise Triads
Now here’s the trick. Instead of memorising every individual triad position as its own, it’s far easier to think of them as subsets of their parent CAGED position!
For example, if you focus on just the bottom 3 strings, whilst keeping the parent shapes from above in mind, these are the note groupings you would practice:
Then once you can visualise these clearly, respective of their parent CAGED position, you can move on to do the same for every other string set!
Summary
Everything I’ve covered in this writeup is relative to the key of D major. In the attached video I also go through examples in C major.
If you want a more comprehensive understanding of The CAGED System including how to practice triads in every key, including minor keys, then take a look at my CAGED Fretboard Visualisation Masterclass! The methods I teach in this course have revolutionised my outlook of the guitar 🤯
By utilising The CAGED System properly, you’ll be able to effortlessly and quickly recall triads during your practice within no time!
Have you ever wondered what the distinction between sharp and flat notes is, and when it’s more appropriate to use – for instance, a Db instead of a C#? They’re the same note right, so why does it matter?
With my demonstrations in the video above, I will help you grasp the contexts in which you should use either a sharp or flat note.
Example 1: Common Practice
If we were to put together an F major scale, would it be:
F, G, A, A#, C, D, E; or
F, G, A, Bb, C, D, E
When the full scale is written out, it might already seem clear to you which one is the correct answer. The second option uses all letters of the musical alphabet, whereas the first skips a letter which goes against common practice.
Example 2: Theoretical Notes
This rule also applies when a note only theoretically exists. Consider for example the D# harmonic minor scale, which is built from the intervals: 1, 2, b3, 4, 5, b6, 7.
Take note that this is a natural minor scale, but instead with a sharpened 7th degree.
This would be an incorrect interpretation:
D#, F, F#, G#, A#, B, D.
Instead, we would do this:
D#, E#, F#, G#, A#, B, C##.
Notice that E# is a theoretical note, and while C## is technically the same as D, we can’t skip a letter in heptatonic scales.
Summary
The confusion on whether a note is sharp or flat usually comes from a scenario with no context. If you select a random note on the fretboard, it could for example be either D# or Eb. Without context, it’s unclear. So be sure to understand the context of the music if you’re in doubt!
In this post I will teach you everything you need to know about how to build chords on guitar for a solid foundation of chord theory. 💪
We’ve all been there, looking at a complicated chord written down (Am7b9#13no5), feeling lost, and resorting to playing the simplest form. However, once you grasp how to read these chord notations, you’ll be able to confidently tackle even the most intricate chords. That’s precisely what this video is all about —breaking down the primary chord types and decoding chord notations.
Before you dive in, it’s necessary that you are familiar with intervals on the fretboard, like recognising intervals such as 1, 3, 5, and 7. If you need to strengthen your interval knowledge, I go through this extensively in my CAGED Fretboard Visualisation Masterclass.
By the end of this lesson you will know how to build chords on guitar.
Chord Types
We can break down all chords into three types. Take note to how each version builds upon the previous chord type:
1. Triads
Triads are basic chords consisting of three notes, all stacked in thirds. There are four essential types:
Major Triad: 1, 3, 5
Minor Triad: 1, b3, 5
Augmented Triad: 1, 3, #5
Diminished Triad: 1, b3, b5
You may be familiar with Suspended Triads, but these aren’t amongst the essential four because they actually deviate from traditional harmony because they do not comprise of stacked thirds:
Suspended 2 (sus2) Triad: 1, 2, 5
Suspended 4 (sus4) Triad: 1, 4, 5
All of these triads form the foundation for more complex chords.
2. Seventh Chords
Seventh chords add a fourth note to triads, the seventh degree. There are five primary seventh chord types to know:
Seventh chords build upon triads, and make your chords vocabulary more colourful and jazzy.
3. Extended Chords
Extended chords incorporate additional notes – 9, 11, and 13 – above the octave (1). They are essentially seventh chords with extensions. For example:
Major 9: 1, 3, 5, 7, 9
Minor 9: 1, b3, 5, b7, 9
Dominant 9: 1, 3, 5, b7, 9
These chords stack an additional third onto seventh chords.
When encountering more complex extended chords, you may need to omit certain notes to make them playable on guitar. For instance, a Major 13 (1, 3, 5, 7, 9, 11, 13) has 7 notes, but guitars typically only have 6 strings. Thus to play this chord it would require omitting the 11.
Chord Modifiers
In addition to the chord types mentioned above, there are three chord modifiers that you should understand:
1. Add Chords
These simply add an extra note to a basic triad. For instance, Cadd9 includes the 9th degree (2) in addition to the triad.
The reason it’s notated as Cadd9 instead of Cmaj9 is because there’s no 7 in the chord. If there were a 7, “add” chords become extended seventh chords.
2. Modified Notes
Some chords include modified notes, like Cmaj7#11, where #11 is the modified note. This alters the chord’s tonality.
Cmaj7#11 could be constructed in a few ways on guitar:
1, 3, 5, 7, 9, #11 (the most complete – does not imply best)
1, 3, 5, 7, #11
1, 3, 7, #11 (the most concise and clear)
3. Slash Chords
When you see a chord like C/E, it means a C chord with an E in the bass. In this instance, E is the 3rd degree of C major. That would make C/E the first inversion of a C major triad.
Slash chords don’t always need to contain notes of the parent chord. For example, C/D is a C major triad with a D in the bass.
Concluding Notes
Understanding these three methods of chord theory will allow you to decipher and play a wide range of chords effectively.
As you experiment and build different chord variations across the neck, you’ll enhance your chord-playing skills and broaden your musical horizons. Chords are the building blocks of music, and mastering them opens up endless possibilities for your playing.
Most guitar players practice their scales in a mundane routine of running up and down the shapes, but it’s time to shake things up and make your practice more exciting and effective with a fresh approach!
In the video above, I’ll introduce you to the best scale exercises for the ultimate scale practice, to not only give you some practical ideas on how to boost your overall awareness of note relationships, but also to help you truly master scales and learn intervals. Let’s see how well you really know your scales 😏
Throughout the video, I’ll be demonstrating all exercises using the major scale within a single neck position. However, for those of you who’ve been following my CAGED Fretboard Visualisation Masterclass, you’ll soon discover how to apply these exercises to different positions on the neck while understanding the role of each note you play.
These exercises aren’t for the faint hearted, so brace yourself for this one 😉
Exercise 1: Thirds
Our journey begins with a straightforward yet essential exercise to broaden your scale knowledge. Start by playing your chosen scale, but don’t just focus on memorising the shapes! Focus your attention to the relationship between the intervals you’re playing, and how each note fits into the scale.
In exercise 1, you will sequence through the scale in thirds. Here are the four variations I demonstrate in the video:
Ascend the scale in ascending thirds;
Alternate the direction of thirds as you ascend. For example, ascend a third from 1 – 3, then descend a third from 4 – 2, then 3 – 5, 6 – 4, and so on;
Descend the scale with ascending thirds;
Alternate the direction of thirds as you descend. This is the same as the second variation, except you’ll descend the scale instead.
Be sure to master these variations, as I will be reusing them throughout the next exercises!
I often tell my students to “say it as you play it”. Even better than that, try to hum or sing the intervals as you play them – that way you’ll also be training your ear! This exercise lays a solid foundation for the more exciting challenges ahead.
Exercise 2: Sixths
For this exercise we will increase the difficulty by expanding the relationship between notes. You will run through the same practice examples noted in exercise 1, but instead of thirds we will use sixths.
To clarify the alternating direction whilst ascending, you will play:
1 up to 6
7 down to 2
3 up to 1
2 down to 4
and so on. Remember to say it as you play it!
Exercise 3: Triad Arpeggios
Once again you will play each of the 4 demonstrations highlighted in example one, but with triads instead! This will begin to get much harder now, so don’t expect immediate results.
Exercise 4: Seventh Arpeggios
You know the drill by now! This is going to become very difficult by now, but is a real test of your interval knowledge and awareness.
Take your time! It’s ok to suck at this if it’s your first time! Persevere, and I promise that after a few weeks of practicing, you will have a much better perception of intervals on the neck!
Summary
In essence, these are the best scale exercises for a fresh and exciting approach to the ultimate scale practice, offering you a chance to enhance your awareness of intervals and notes of the guitar neck significantly. This will help you to break out of finger patterns and scale boxes, and instead make decisions much more intuitively without always depending on shapes.
Once you’ve gained proficiency in one key or area of the neck, feel free to venture into others or even explore the realm of minor keys! The possibilities are endless, and these exercises will undoubtedly prove to be a valuable stepping stone on your journey to master scales.
If you’re just starting out with these exercises, don’t be discouraged if it takes a few weeks to get the hang of them, especially as you explore different neck positions. If you’re looking for additional guidance, consider checking out my CAGED Fretboard Visualisation Masterclass. This class is all about interval visualisation across the neck and will give you the tools to work all the way from beginner to expert!
It’s no secret that in order to master the pentatonic scale, you need to learn how to play it confidently across the entire guitar neck. The pentatonic scale is a versatile and essential tool for creating beautiful melodies and solos, and it’s a must-know for any guitarist.
This is a two-part lesson that will not only show you the patterns across the neck, but also how to actually practice them! Playing the shapes up and down can be boring, so stick around for the second half of this lesson where I share with you actionable practice ideas that you can implement into your daily practice.
Part 1: Exploring the Five Forms
To learn the pentatonic scale effectively across the neck, we’ll break it down into five forms or patterns that interlink with each other like a jigsaw puzzle. These patterns will serve as the building blocks for developing your pentatonic expertise. These examples will all be from the perspective of the key: A minor.
Form 1 – Root Position:
Form 1 represents our starting point, also known as the root position. This shape will be your “home” position, and is something you will always be able to count on if you get lost on the guitar neck.
Form 2 – The Minor-Major Shift:
Form 2 reflects the parallel major key, C major. In the key of C major, this would actually be “form 1”. Context is very important in music!
Notice how this shape connects the previous one like a jigsaw piece. You’ll find that to be consistent for each form.
Form 3 – Expanding Your Range:
Form 3 begins on the minor 3rd of the A minor pentatonic scale.
Form 4 – Shifting the Starting Point:
Starting on the perfect 4th of A minor, Form 4 looks quite similar to Form 1 which hopefully makes it quite simple to remember! We’ll move this scale shape back an octave (12 frets) on the fretboard to give us more space.
Form 5 – Completing the Set:
Finally, Form 5 is the direct neighbour of Form 1.
Part 2: Breaking Free from Boxes
Once you’re starting to get confident at remembering the five pentatonic positions, you might find yourself feeling confined to rigid box shapes and patterns. In this section of the lesson I’ll share with you some practice ideas that can help you break free from these limitations and seamlessly blend these shapes across the guitar neck like the pros!
Horizontal Playing:
While vertical playing (up and down the neck) is essential, mastering horizontal playing is equally crucial. Start by isolating two strings at a time and explore each form exclusively in a horizontal fashion.
For example, start to play through the five forms on only the low B and E strings.
You can sequence the notes however you would like, and if you’re really daring then perhaps you can attempt to improvise on just these two strings!
After you feel confident at playing on this first string set, go through the same process on the next string set – the G and B strings.
Then of course onwards through each string set.
Skipping Forms:
Challenge yourself by skipping forms and taking larger jumps across the neck. You’ll soon find yourself quite confident at playing through the shapes when they’re all neighbouring, so try to force yourself to be less dependant on neighbouring shapes.
This exercise will encourage you to be less dependant on connecting shapes, but instead more focused on interval relationships and note positions.
Experimentation is Key:
Ultimately, the key to mastering the pentatonic scale across the entire neck lies in experimentation. Try different sequences, patterns, and combinations to find your unique voice on the guitar.
Conclusion
The pentatonic scale is a cornerstone of guitar playing, and mastering it across the entire neck will open up new avenues of creativity and expression in your music. Remember that there are no shortcuts to proficiency; it takes time, practice, and patience. So, start with these five forms, work on your horizontal playing, and experiment with different approaches.
The good news about learning guitar is that when you learn something once, it can be easily transposed to any key by simply moving all shapes respectively to the key. I believe it’s best to practice this kind of thing in short but frequent bursts.
If you want to delve deeper into your understanding of the pentatonic scale, and many more essential musical concepts, be sure to check out my Essential Theory For Guitarists masterclass!
