The old secret that can change the way you see the fretboard

[@stefansava]

this is very cool, thank you for making this video

[@delicrux]

....!!!%#?? that example of the 3 tetrachords that sounded the same as you moved up the fretboard just broke my brain, thank you for explaining this, i was doing a broken version of this intuitively when improvising but these examples fill the gaps i could not figure out and make it much more cohesive. thank you i just subbed the channel

[@FretboardFluency]

Really glad to hear it. Thank you!

[@chillbro2275]

This seems really ingenious. I need to spend more time with it, along with my guitar in hand, and follow along. But I think this is worth the time to understand it. Thank you for sharing.

[@FretboardFluency]

Thank you!

[@benzuckerman]

Super interesting and extremely useful. I had never thought about things this way, but I will from now on! Quick comment: I know that it must seem obvious to you that "TETRA" means "FOUR" (four : having four : having four parts. tetravalent. 2. : containing four atoms or groups) - but I would bet that most Americans are unfamiliar with this term. Yeah, I know, not surprising at all, but it's something that you should probably be aware of.

[@FretboardFluency]

Thank you! I have seen several cultural environments from inside (and one of them is not a pleasant one - USSR, to be exact), so I'm aware of many things... People of United States responded extremely well to this post! 🙂 They are curious an educated enough.

[@arpeggioblues5924]

Tune the guitar in 4ths tuning.. then you only have to learn 1/3 of everything on the fret board, no more string shifts.. I started 4s tuning 8 months ago, my playing ability has increased at least 300 %.. the shift to 4s tuning from standard cowboy campfire tuning (standard) is easier than you think.. I have guitars of both tunings.. there's things that are easier that way, but most everything else is quite amazing.. It's easier to get into the "zone" in 4s tuning.

[@FretboardFluency]

Every tuning has its own advantages, including the standard.

[@OliverLeu_Gitarrenunterricht]

Yes, it's an idea for soloing, but try to play standard barre chords.

[@kh485]

But you lose the full sound of easily fingered bar chords. I do appreciate the advantages however. I have one guitar tuned this way to practice scales and chord shapes.

[@stevenrayjohnson]

May the fourths be with u

[@bobjason7540]

The standard tuning is technically 4ths. You are tuning to 5ths

[@StratsRUs]

Great ! I think people should also spend time playing whole steps and half steps up and down a string AND across the strings.Even before knowing the notes

[@FretboardFluency]

Thanks! You are absolutely right - this is a part of my UFN Framework, including the augmented Seconds.

[@Music-e6k2q]

@@FretboardFluency Thank you so much for bringing this video, I wish you many good things.

[@juanmendozaroldan5366]

This is pure gold, thank you very much!

[@FretboardFluency]

My pleasure. Thank you!

[@jsfullstack]

Thank you for creating this great channel ❤

[@FretboardFluency]

My pleasure. Thank you!

[@terroreichofficial]

Absolutely brilliant explanation !

[@FretboardFluency]

Thank you! I'm trying hard to make it... smooth. :)

[@cbaten2]

Intriguing, I ll have a look. Thanks.

[@FretboardFluency]

I hope you will find it useful!

[@SIVA6619]

Cool ! Reminds me of Bergonzi melodic patterns. Theres a lot to do with tetrachords in regards to internalising modes. When practicing scales 4 notes per string you have to practice the modes starting low F for example (because the range would not allow otherwise), it makes you automatically memorise the next tetrachord (major-major-min-min-phry-phry-lyd etc.).

[@FretboardFluency]

Thanks! The deeper you dig, the more you find. In the beginning, we take only what we are able to handle; later, we choose what works best for our type of mind. I personally prefer to know the scale mode degrees (numbers), classification (based on numbers), and vertically unstable tones (avoids)-then I can see the tetrachord limits (5-1-4) instantly and fill in the rest without thinking. Triad and seventh arpeggios provide smooth paths for range extension and enable the ability to switch to wider intervals seamlessly. Etc.

[@luserdroog]

This is brilliant. I kinda knew all the pieces but this is a marvelous way to assemble them.

[@FretboardFluency]

Thank you! The "butterfly" was a missing piece, then it finally clicked. 🙂

[@davidmclintock7164]

Definitely seems something worth looking at.

[@FretboardFluency]

Thank you!

[@henrypaul8823]

I love this! You just earned another subscriber!

[@FretboardFluency]

Glad to hear that, thanks! Hope you’ll like what’s coming-I’ve got a lot up my sleeve!

[@notprof]

Dude, this is awesome, subscribed.

[@FretboardFluency]

Thank you!

[@bryantrowan6799]

This makes more sense then pentatonic

[@FretboardFluency]

Pentatonic is perfectly fine (in a certain context), but it's much harder to put it under real control. For many, it's a big black box with no way out, except for re-learning it as a supercharged triad (minor pentatonic as a m7add4, major pentatonic as a 69 chord/arpeggio). However, it still can't serve as a backbone for ALL scales and modes.

[@rafa_guitar]

Thank you very much, nice ideas! but I prefer to know intervals, have a nice day!

[@FretboardFluency]

Thank you! A serious remark, fully agree! The tetrachords are just the beginning of a long journey-they serve as a good workaround and workout at first, but later they are replaced by or merged into a holistic understanding of numeric structures and intervals. I presented the tetrachords as low-hanging fruit for those who feel overwhelmed by the extensive scale and mode glossaries because I remember how that feels. Tetrachords encouraged me to think differently and also resulted in some nice side effects, such as the ability to optimize fingerings to meet the needs of my picking hand and phrasing.

[@ChanokchaiChauychoo]

See the good stuff here. Nice works

[@FretboardFluency]

Thank you for the heartwarming feedback!

[@jamespowers8826]

I keeping watching all of these secrets to success with the guitar hoping that after 60 years of playing, one of them will inject me with some talent for the instrument!

[@FretboardFluency]

I'm sure you have talent! There's no magic trick that can replace all the missing pieces, but there are some low-hanging fruits and optimized knowledge (minimized, interconnected, and non-redundant). This is exactly what I'm trying to deliver to you from a fretboard navigation and music theory perspective. Thank you for the sincere comment!

[@SounduSleep]

Ear and rhythm training

[@Ditrikhs]

Best video!! Thank's a lot!!!👍

[@FretboardFluency]

Thank you!

[@mohamedhabib8982]

Best of luck for the golden content ..coming from Guitar Theory Fb😊

[@FretboardFluency]

Thank you very much! I appreciate your support.

[@polishKGB]

I'm an intermediate still learning to navigate the fretboard and this feels like cheating! Thanks for the very useful video

[@FretboardFluency]

Thank you! My pleasure to share. I enjoy making lives easier by optimizing the traditional stuff - removing redundancies and highlighting relationships. :)

[@ThankyouJword]

So what would the tuning be?

[@FretboardFluency]

All my videos are in standard tuning, but the same ideas can be 'translated' to any tuning.

[@Guitar-x3z]

All the years I've played we always had a lead guitarist. I was mostly on vocals. Nowadays most all my guys are dead. I've found that the tonic or root note holds the key to the door and I have been playing along to "Backing tracks" on my I-pad. All of those pictures in books showing frets and dots just confuse me. All of that Theory language is also confusing. I do know my 1-4-5 key & chord positions and such so the scales are coming along good and I'm playing much better. Thanks for your web site. I hope this "Theory" stuff don't muss up my blues playin!

[@FretboardFluency]

Don't let theory confuse you and 'forget' it in the moments of musical bliss. It's meant for problem-solving and curiosity/discovery.

[@ahom_ahom_ahom]

Number 500! Subbed!

[@FretboardFluency]

🎉😎

[@krerkkul]

WOW COOL

[@FretboardFluency]

Thank you!

[@FretboardFluency]

At 2:58 - I swear, I didn't invite him... 😉

[@MrLuigiFercotti]

Lol. Had the antenna up.

[@Music-e6k2q]

This video should be on UNESCO's Cultural Heritage List.

[@FretboardFluency]

Thanks a lot! :D

[@fedup3449]

Just know the major scale, RTTSTTTS. That's it. Everything comes from that.

[@FretboardFluency]

In a sense, yes. Could you expand about 'RTTSTTTS' abbreviation, please? It's interesting.

[@fedup3449]

@@FretboardFluency Root, Tone, Tone, Semitone, Tone, Tone, Tone, Semitone. The intervals of the only scale. Why? all modal scales are hidden in the major scale

[@FretboardFluency]

Thanks! This is a valid explanation in the context of the major scale, but it doesn't provide a sufficient level of control, in my opinion. Imagine playing the sequence (a slightly transforming melodic phrase) along the fretboard-Ionian in one position, Dorian in the next, and so on. I would go insane trying to think in terms of the same parent scale. Degrees/numbers can do much better when the 1-2-3-4-5-6-7 (a major scale) serves as the blueprint for structural comparison. I mean, 1-2-3-4-5-6-7 is really closer to 1-2-b3-4-5-b7 than to 2-3-4-5-6-7-1 because it maintains the initial contour.

[@fedup3449]

@@FretboardFluency Yes but my point is that the 1-2-b3-4-5 etc that you mention, are the 2-3-4-5 of the major scale. If I know my parent key I know I can use any note(s) from that scale over any chord from the diatonic scale. Hence my comment, there is only one scale and it's major. Cheers.

[@FretboardFluency]

@@fedup3449 How about the Melodic Minor, for instance? Technically, you are right (in a limited scope), but workarounds sometimes turn into traps; I just wanted to warn those who may be reading this. Thanks for sharing!

[@SloppyLarry]

So they all consist of a full *2 and a single 1/2 👣🦶/

[@FretboardFluency]

Not really, look closer - we have one WWW, and several tetrachords with 1 1/2 wide intervals (3 semitones).

[@elrafa782]

Well… ear is more important than all that shape way of seeing the neck. Not bull shit, but not music for sure

[@FretboardFluency]

Fully agree, it's a training device.