8,720
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Changes
m
→E Minor Layout on Fretboard
The only change here from G Major to E Minor is to reposition the roots. All the notes are the same. Notice with the minor roots, our method of determining which pattern is a bit different. Before we looked at the location of the tonic note in reference to the lowest notes for the position. We can do the same thing here, but we have to add 2 to get the major root. For example, in open position, the low E is the lowest or first note of the pattern. Add 2 to get the 3 pattern, which corresponds to the major root, G, as the 3rd lowest note in the pattern.
== Whole-Half Patterns ==
In the initial table, the last row contained the whole-half patterns for each string for each position. I listed this because there are a few interesting occurrences here that can help us develop some shortcuts to remember the patterns.
If you remember all the way back to the [[1st String]] lesson, there are only 3 possible patterns for any string with 3 notes, given the scale we're playing contains only whole and half steps:
* <pre>|o|o|-|o|-|</pre> or ''half-whole'' or ''h-w''
* <pre>|o|-|o|o|-|</pre> or ''whole-half'' or ''w-h''
* <pre>|o|-|o|-|o|</pre> or ''whole-whole'' or ''w-w''
We also said that each sequence occurs twice in the major and minor scales, and the w-w pattern occurs an additional time (so 3x total). Let's look at a C major scale using 10 strings tuned all to Perfect 4ths:
A---------------------------------------------------------2-3-5-
Fb--------------------------------------------------1-3-5-------
Cb--------------------------------------------1-3-5-------------
Gb--------------------------------------1-3-5-------------------
Db--------------------------------1-3-4-------------------------
Ab--------------------------1-3-4-------------------------------
Eb--------------------1-2-4-------------------------------------
Bb--------------1-2-4-------------------------------------------
F---------0-2-4-------------------------------------------------
C---0-2-4-------------------------------------------------------
C D E F G A B C D E F G A B C D E F G A B C D E F G A B C D
You can quickly verify that all the notes are correct by counting the half-steps from the open string note. For example, the 3rd string/3rd fret D can be verified by adding 3 half-steps (or a m3) above the open string Cb (Cb - C - Db - D). So why the hell are we talking about 10 strings alternate tunings? Well let's look at all the adjacent strings; there's really only 7 patterns:
{|
|
<pre>
|o|-|o|-|o|
|x|-|o|-|o|
|o|-|o|-|o|
</pre>
|
<pre>
|-|o|x|-|o|
|o|-|o|-|o|
|x|-|o|-|o|
</pre>
|
<pre>
|-|o|o|-|o|
|-|o|x|-|o|
|o|-|o|-|o|
</pre>
|
<pre>
|o|-|o|x|-|
|o|o|-|o|-|
|o|x|-|o|-|
</pre>
|
<pre>
|o|-|o|o|-|
|o|-|o|x|-|
|o|o|-|o|-|
</pre>
|
<pre>
|o|-|o|-|o|
|o|-|o|o|-|
|o|-|o|x|-|
</pre>
|
<pre>
|x|-|o|-|o|
|o|-|o|-|o|
|o|-|o|o|-|
</pre>
|}
== 3 Notes Per String ==
== Ultimate Goals ==