Note Sets,

Part 1: Starting to Improvise back to contents

Structures and
Design
• Number and Letter Cycles
• Octaves, Scales and Chords
• Note Sets
• Musical Structure and Design
• Song Sections
• Triad Arcs
• Note Names
• Octave Shapes
• Intervals
• Numbered Tones (Formulas)
• The Intervals Necessary to Construct a Major Chord

©1998-2024 Jim Gleason. All Rights Reserved.

page 2 Note Sets, Structures and Design Part 1: Starting to Improvise back to contents

NUMBER AND LETTER CYCLES

Half and Whole Steps
the alphabetical sequence of notes
A half step is one fret, such as fret three to fret four. A whole step is two frets, such as fret three to
fret five. European and American music is based on the major scale. The major scale is the common
reference for scales, chords and melodies. Letters occur are alphabetical order with two frets between
each letter, including G-A where the alphabet starts over. Two exceptions: E to F and B to C are one
fret. See Intervals and Formulas.
copyright below
Solely on the second string, ascend (move toward the guitar body) the alphabetical sequence C-D-E-F-
G-A-B-C, starting on the second ing first fret “C”. That is the C major scale.
° 4œ œ œ œ œ œ below
œcopyright 3 œ
œ œ œ œ
œ œ ˙
1 2 4

&4

œ one
C D E F G A B C B A G F E D C

° 4œ œ œ œ œ œ œ fret 3 œ frets œ frets frets

œ œ
two two one two two two one two two two one two two

œ œ ˙
1 frets frets fret frets 2 frets frets fret fret 4 frets frets

&4 1 3 5 6 8 10 12 13 12 10 8 6 5 3 1

¢⁄ C two D two E one F two G two A two B one C one B two A two G two F one E two D two C
œ œ œ fret7 œ fretsœ fretsœ frets fret8 frets frets
° on œ
frets frets fret frets frets frets fret

œ 1 œ3 œ5 œ6 œ6 œ5 œ3 ˙1
5 6

& the second string, play the alphabetical sequence D-E-F-G-A-B-C-D, starting on the second
Solely 8 10 12 13 12 10 8

¢⁄ third fret, “D”. That is the D Dorian mode, a mode of the C major scale. See Modes.
string
œ œ 7 œ
D E F G A B C D C B A G F E D

° œ frets œ fret œ frets œ frets œ frets œ fret frets frets fret œ frets œ frets œ frets œ fret œ frets ˙
two one two two two one two two one two two two one two
5 6 8

& 3 5 6 8 10 12 13 15 13 12 10 8 6 5 3

¢⁄ D E F G two one
A
two
B
two
C D
two
C
one
B A
two
G F
two
E D
one two two two one two

œ
frets fret frets frets frets fret frets frets fret frets frets frets fret frets

° œ3 œ œ œ œ œ œ œ œ
œ œ œ œ ˙
9 5 6 8 1010 12 13 15 1113 12 10 8 126 5 3

⁄
¢&

œ œ œ œ
1 2 3 4 5 6 7 1 7 6 5 4 3 2 1

° œ œ œ œ
two two one two two two one one two two two one two two

œ1 scale œ œ œ œ5 œ3 ˙1
9 frets frets fret frets 10 frets frets fret fret 11 frets frets frets fret 12 frets frets
the& major 3 sequence
5 6 of8 notes 10 12 13 12 10 8 6

¢⁄ the
With 1
major 2
scale,
3
numbers
4
occur
5
in numerical
6 7 1
order7with 6two frets 5
between
4
each number,
3 2 1
with two
fretœ
exceptions: 3 to 4 and 7 tofrets
114are frets
one fret. The nextfret numbered tone above 7fret
is “1”,frets
where “1” repeats an
# œ # œ
two two one two two two one one two two two one two two

° higher.
13 frets frets
#œ5 œexample
fret
œ8 of the œ frets 15
œ
frets
œ 8 œ(toward
frets frets
#œ 5theœ guitar
16 frets
octave œ1 œ3 A typical major scale would be10to ascend 3 ˙ 1
body) from
any&
6 10 12 13 12 6

¢ ⁄note (starting on one of the first four frets fits well on the guitar) 1-2-3-4-5-6-7-1, then descend
7-6-5-4-3-2-1, 2 See 3 Formulas: 5 Numbering the1 Major 7 Scale 6 Tones, 4Recognizing 2 Half1 Steps in the
# œ œ # œ
1 4 6 7 5 3

° œ œ #œ Playfrettheœ frets œ œ œ œ œ #œ œ ˙
two two one two 14 two two one one 15 two two two one 16 two two
Major Scale
13
frets and frets Major Scale
frets on
frets Onefret String.
fret frets frets frets fret frets frets

& 3 5 6 8 ©1998-2024 Jim Gleason. All Rights Reserved.

10 12 13 15 13 12 10 8 6 5 3

¢⁄ 1 two 2 two 3 one 4 two 5 two 6 two 7 one 1 one 7 two 6 two 5 two 4 one 3 two 2 two 1
 ° œ œ œ œ œ œ œ œ œ ˙
&
two two one two two two one one two two two one two two
frets frets fret frets frets frets fret fret frets frets frets fret frets frets

D1 E 3 PartF1:
5
G 6 toAImprovise
8
B 10 C 12 D 13 C 12 B 10 Note
A 8 Sets,
G 6 Structures
F 5 andE 3 Design
D1
¢⁄
back to contents
two one twoStarting
two two one two two one two two two one two page 3
frets fret frets frets frets fret frets frets fret frets frets frets fret frets

Solely on3 the5second

6 string, thinking 12in “C”,
œ œ œ
13 where
15 “C”13is “1”12play the
7 œ œ
10 numerical
6 sequence 1-2-3-4-5-6-
¢°⁄&starting œ stringœ first fret “C” (1), then descend 7-6-5-4-3-2-1.
œ œ
8 10 8 5 3

œ on œ theœsecond œBe sure

œ to use
˙ a one fret
5 6 8
7-1,
interval between 3-4 and 7-1. That is the C major scale in numbers.
two 10 œ two œ one œ two œtwo 11 œone œtwo œtwo
° œ frets œ œ œ œ
D E F G A B C D C B A G F E D
œ fret frets frets frets fret frets frets fret frets frets frets fret œfrets ˙
9
two one two two 12 one two

&
3 5 6 8 10 12 13 15 13 12 10 8 6 5 3

¢⁄
1 2 3 4 5 6 7 1 7 6 5 4 3 2 1
two two one two two two one one two two two one two two
frets frets fret frets frets frets fret fret frets frets frets fret frets frets

œ œ œ
¢°⁄ œ œ œ œ œ œ
1 3 5 6 8 10 12 13 12 10 8 6 5 3 1
9
œ 10
œ œ œ œ ˙
11 12

&
°
13

# œ œ
14
œ œ # œ7 œ 1 15# œ 7 œ 6 œ 5 œ 4 16#œ 3
theœsecond
œ two
& onfrets
œ 2 two˙1-2-3-4-5-6-
1 2 3 4 5 6 1
Solely two
frets
string,
one
fret
twothinking
frets
two intwo
frets
“D”,
frets
where
one
fret
“D”
one is “1”
fret
two play
frets
twothe two
frets
numerical
frets
one sequence
fret
two
frets frets
7-1, starting on the5second string third fret12“D” (1), then12descend 7-6-5-4-3-2-1. Don’t play the same C
11 23 46 58 610 1 13 6 10 5 8 4 6 3 5 2 3 1 1
¢ ⁄ fretsa couple
3 7 7
major scale,
two two of these
one two notestwoaretwodifferent.
one Be
one suretwo
to usetwoa one
twofretone
interval
twobetween
two 3-4 and 7-1.
frets fret frets frets frets fret fret frets frets frets fret frets frets
That is the D major scale in numbers.
œ #œ œ #œ œ
¢°⁄& œ
œ œ œ œ
3 5 6 8 14 10 12 13 15 15 13 12 10 8 16 6 5 3

œ #œ #œ
13

œ ˙
1 2 3 4 5 6 7 1 7 6 5 4 3 2 1
two two one two two two one one two two two one two two
frets frets fret frets frets frets fret fret frets frets frets fret frets frets

3 5 6 8 10 12 13 15 13 12 10 8 6 5 3

¢⁄

Pitch Cycles In Music

The number and letter cycles shown in this section are essential to think and converse all pitch structures
in music: chords, chord progression, scales and melody. Memorize the three cycles: stepwise, thirds
and fourths. They are the order in which©2018
chord roots (notes that name chords) progress.
Jim Gleason. All Rights Reserved.

Thirds are the primary structure of building chords. “1-3-5-7” builds a four-note chord on “1”. “2-4-6-1”
builds a four-note chord on “2”. Study all possible pairs of scale-tone triads, looking for unique pairs and
duplicate pairs.
©2018 Jim Gleason. All Rights Reserved.

©1998-2024 Jim Gleason. All Rights Reserved.

page 4 Note Sets, Structures and Design Part 1: Starting to Improvise back to contents

Number Cycles
half step 1 whole step minor third
1 major third augmented fourth
7 perfect fourth

7 2 6 3 4 3
whole step
major
whole step major third
major
minor third perfect fourth
major perfect fourth

6 stepwise
3 4 in thirds
5 1 in fourths
6
whole step half step minor third major third perfect fourth perfect fourth

5 whole step 4 2 minor third 7 5 perfect fourth 2

Stepwise, Thirds and Fourths Letter Cycles

C major scale cycles
1 1 7
C 2 frets 2 C 4 frets 3 B 5 frets 3
7 1 fret
6 3 frets
4 6 frets
B D A E F E
2 frets 2 frets 4 frets 3 frets 5 frets 5 frets

6 A stepwise E 3 4F thirds G5 1 C fourths A 6

2 frets 1 fret 3 frets 4 frets 5 frets 5 frets

G F D B G D
5 4 2 7 5 2
2 frets 3 frets 5 frets

F major scale cycles

1 1 7
F 2 F E
7 1 fret 2 frets
6 3 frets 4 frets
3 4 6 frets 5 frets
3
E G D A Bb A
2 frets 2 frets 4 frets 3 frets 5 frets 5 frets

6 D stepwise A 3 4 Bb thirds C5 1 F fourths D 6

2 frets 1 fret 3 frets 4 frets 5 frets 5 frets

C Bb G E C G
5 4 2 7 5 2
2 frets 3 frets 5 frets

G major scale cycles

1 1 7
G 2 frets 2 G 4 frets 3 F#5 frets 3
7 1 fret
6 3 frets
4 6 frets
F# A E B C B
2 frets 2 frets 4 frets 3 frets 5 frets 5 frets

6 E stepwise B 3 4C thirds D5 1 G fourths E 6

2 frets 1 fret 3 frets 4 frets 5 frets 5 frets

D C A F# D A
5 4 2 7 5 2
2 frets 3 frets 5 frets

©1998-2024 Jim Gleason. All Rights Reserved.

back to contents Part 1: Starting to Improvise Note Sets, Structures and Design page 5

Thirds Letter Cycles in All Keys

For each cycle, the key letter name is below the number “1”.
1 1 1 1 1
6 3 frets C 4 frets 3 6 3 frets C# 4 frets
3 6 3 frets Db 4 frets
3 6 3 frets D 4 frets 3 6 3 frets Eb 4 frets
3
A E A# E# Bb F B F# C G
4 frets 3 frets 4 frets 3 frets 4 frets 3 frets 4 frets 3 frets 4 frets 3 frets

4F thirds G5 4 F# thirds G# 5 4 Gb thirds Ab 5 4G thirds A 5 4 Ab thirds Bb 5

3 frets 4 frets 3 frets 4 frets 3 frets 4 frets 3 frets 4 frets 3 frets 4 frets

D B D# 3 frets
B# Eb 3 frets
C E 3 frets
C# F 3 frets
D
2
3 frets
7 2 7 2 7 2 7 2 7
1 1 1 1 1
6 3 frets E 4 frets 3 6 3 frets F 4 frets
3 6 3 frets F# 4 frets
3 6 3 frets Gb 4 frets
3 6 3 frets G 4 frets 3
C# G# D A D# A# Eb Bb E B
4 frets 3 frets 4 frets 3 frets 4 frets 3 frets 4 frets 3 frets 4 frets 3 frets

4A thirds B 5 4 Bb thirds C5 4B thirds C# 5 4 Cb thirds Db 5 4C thirds D5

3 frets 4 frets 3 frets 4 frets 3 frets 4 frets 3 frets 4 frets 3 frets 4 frets

F# 3 frets
D# G E G# 3 frets
E# Ab 3 frets
F A F#
2 7 2
3 frets
7 2 7 2 7 2
3 frets
7

1 1 1 1 1
6 Ab 4 frets
3 A 4 frets 3 6 Bb 4 frets
3 6 B
3 6 Cb 4 frets
3
3 frets
6 3 frets 3 frets 3 frets 4 frets 3 frets

F C F# C# G D G# D# Ab Eb
4 frets 3 frets 4 frets 3 frets 4 frets 3 frets 4 frets 3 frets 4 frets 3 frets

4 Db thirds Eb 5 4D thirds E5 4 Eb thirds F5 4E thirds F# 5 4 Fb thirds Gb5

3 frets 4 frets 3 frets 4 frets 3 frets 4 frets 3 frets 4 frets 3 frets 4 frets

Bb G B G# C A C# A# Db Bb
2
3 frets
7 2
3 frets
7 2 3 frets
7 2 3 frets
7 2
3 frets
7

©1998-2024 Jim Gleason. All Rights Reserved.

page 6 Note Sets, Structures and Design Part 1: Starting to Improvise back to contents

OCTAVES, SCALES AND CHORDS

What is an Octave?
C and G major scale for one octave
When notes are arranged in ascending or descending alphabetical order, every eighth note repeats. This
range between the first and eighth notes in this alphabetical order is called an octave.
C and G major scale for one octave
C major scale, range one octave
one octave,

° #
a range of eight notes inclusively

& œ œ œ œ ˙
œ œ œ
° numbered tones œ1 ˙
one octave,

#
a range of eight notes inclusively

&lettered tones C œ œ œ œ ˙
œ œ œ
2 3 4 5 6 7 1 1 1

œ D E F G A B C
˙
C C

numbered tones 1 2 3 4 5 6 7 1 1 1

¢⁄
lettered tones C D E F G A 0
B 1
C C 1
C
0 2
0 2 3
3 3

¢⁄
0 1 1
0 2
0 2 3
3 3 one octave,
a range of eight notes inclusively
G major scale, range one octave
° # n
& œ ˙
one octave,

œ œ œ œ
œ
a range of eight notes inclusively

°numbered
# tones œ1 œ2 ˙1 n
& tones G 3 4

œ œ
5
œ
6
œ
7
œ
1
˙1
œ œ2 œ ˙1
lettered A B C D E F# G G G

numbered tones 1 3 4 5 6 7 1 1

¢⁄
lettered tones G A B C D E F# 0
G G 0
G
0 2 4
0 2 3
3 3

¢⁄
0 0
0 2 4
0 2 3
3 3

What is a Scale?
A scale is a collection of between five and twelve notes (inclusive) that spans an octave. Scales commonly
involve step-to step intervals of one, two or three semi-tones (half steps or one-fret intervals).
Pentatonic scales have five notes per octave and are common to popular music, especially in blues, rock
and country guitar solos. Heptatonic scales have seven notes per octave and are common to classical
music and jazz. Common heptatonic scales are the major scale and its seven modes, harmonic minor
scale and the mode on its fifth (Phrygian major), melodic minor and the modes on its fourth step

©1998-2024 Jim Gleason. All Rights Reserved.

back to contents Part 1: Starting to Improvise Note Sets, Structures and Design page 7

(Lydian dominant) and seventh step (super Locrian or Locrian flat four).
When playing the notes of a scale in ascending or descending order, they repeat at the octave.

t t |
t t t
C major scale, seven notes per octave
4 t
t t t t
C major scale VIII

Ä4 t t t t t t ttt ttt ||| æ

444 ttt ttt tt tt
1 1 1 1

t t t
C major scale VIII

Ä
ÄÄ 44 tCt tDt tEtt ttFt tGtt tAt tBt tCt
2 2 scale2VIII
CCmajor

æææ
2
major scale VIII
1 1 1 1 letter names:

t t
3 3
1 1 1 1
24 421 41 1 42 12
D E F G A B C

4
22 22 22 22 letter names:

â 4 CCC DDD EEE FFF

3 3 letter
letternames:

ææ
3 3 names:
7 8
4 4 43 3 4 G A B C D7 E F6 G8 A
10 B C

4
44 44 44 44 GG AA BB9 CC DD EE9 FF GG AA BB CC

âââ 4444
7 10

ææææææ
7 8 10 7 8
8 10 6 8 10
7 9 77 88
7 9 10 66 88 10
10
7 8 10 77 99
8 10 77 99 10
10
77 88 10

|
10

"t
88 10
10

44 "t t t
"t t
Cm7/11 VIII
Ä "t t t
ttt """ttt ||| æ
C minor
1 1 1 1 7/11 pentatonic scale, five notes per octave
4 t t "t ttt
1 1

"t "t
Cm7/11 VIII
Ä 44 t
tF tGt "t"t tt "t
VIII
ÄÄ 44 Ct "t"t æææ
Cm7/11
Cm7/11 VIII

tt "t t t
1 31 413 13 1 1
11 11 11 11 11 11 letter names:

â 44 CCC EbEb
4 4 4 Eb Bb C Eb F G Bb C
3 43 3

ææ
letter names: 8
3 43 3 8 11
4 3 43 3 4 4 letter
letternames:

4
names: F G Bb C Eb 8 F
10 G Bb C

âââ 4444
44 44 44 Eb FF GG BbBb CC Eb
Eb 8 10 FF GG Bb
Bb CC

ææææææ
8 10 8
8 11 8 11
8 10 88
8 10 88 11
11
8 10 88 10
10
8 11 88 10
10
88 10
10
88 11

A
11

4 t t t !t !t "t
"t
C whole tone VII
Ä 4 six notes per octave
!t
t t t !t
!t!t
!t "t"t AAA æ
C whole tone scale,
444 ttt ttt !t !t "t
!t
1 1 1

"t ttt
C whole 1 VII
1tone

Ä !t!t
!t!t "t
1
VII
t t "t æææ
CCwhole tone
1 tone 1VII
ÄÄ 44
1whole

tCtt tDt tEt !tF# !t

2
11 121 1 letter names:
13 13 31 1

â 44
11 11 11 G# Bb C D E F# G# Bb C
24 42

ææ
22 22 letter names: 8
9 11

4
3 3 3 letter
letternames:
names: C D E F# G# Bb C D E9 F#
11 G# Bb C

âââ 4444
3 3 3 CC DD EE F# G#
11 Bb C10 D12 EE F# G# Bb CC
8
4 3 4 3 3 F# G# Bb C D F# G# Bb

ææææææ
9 8
44 44 8 10 12 9 11
9 11 88
8 10 12 99 11
11
9 11 99 11
11
8 10 12 88 10
10 12
12
99 11
11
88 10
10 12
12

C chromatic scale, twelve notes per octave

4 t
t !t t
C chromatic VII
Ä4 t !t t t !t t !t æ
t !t
444
1 1

!t t ttt
C 1chromatic VII
Ä tGtt !t!t tAtt !t!tA# tBt
ttFt !t!t
VII

tEtt æææ
1 1
CCchromatic VII
ÄÄ 44 Ct !C#t tDtt !t!t
chromatic

!tF# !t
1 1

tt !!tt !tD#
2 2 2
11 11 letter names:
31 31 31

4
11 11 11 G# C

â 4 CCC C#C#
24 24 2

ææ
22 22 22 letter names:

4
3 3 3 letter
letternames:
names: D D# E F F# G G# A A# B C

âââ 4444
33 33 33 C# DD D#
D# EE7 FF8 F#
F# GG G#
G# AA
6 A#8
A# BB9 C10
C

ææææææ
4 4 9 10 11
8 9 10 11
44 44
6 8 9 10
7 8 9 10 11 66 88 99 10
8 9 10 11 77 88 99 10 11 10
88 99 10 11 10 11
10 11

©1998-2024 Jim Gleason. All Rights Reserved.

©2000 Jim Gleason. All Rights Reserved.
page 8 Note Sets, Structures and Design Part 1: Starting to Improvise back to contents

What is a Chord?
A chord is two or more notes played at the same time. Any chord tone may be doubled. A chord with
three different, notes may have four notes, where one note occurs twice. Two note chords are typically
referred to as intervals.

two note chords

Ä 44 perfect
perfect fifth minor sixth minor sixth major sixth

| | | | æ
|| ||
Ä 44 || ||
fifth minor sixth minor sixth major sixth

| | | | æ
â 44
ææ
â 44 ææ
5 7
7 8
5 5 7 8
5 7
7 8
5 5 7 8

three note chords

C III F V Am V G III A5 II
C IIIG F C VA Am C EVA G DIIIG A5 A
II
G C C E A
F A B
D G A
F B
C E

||||| ««««« |||| «««« ||| ««« ||| ««««« ||| «««
C E

3
E A

3 || «« ||| ««« ||| « ||| «««

E A

Ä 44 | «
Ä ææ

ââ 3344 ææææ
3
3 5
5 5
5 3
3 5
5
5
5 6
6 5
5 3
3 5
5
5
5 5
5 5
5 4
4 2
2

A5 I
I
A5
A I
C I F Am I A
C G E I F I Am
A IE G D G I
G CE C F A C E
G DG I E A
C E A
E A C F E A C B

|| ««
C E C F A E A B D G

|| ««« || «« ||| ««« || ««

E A

Ä 334 ||| ««««

C C F

|| ««««
D G

|| ««« || «««« ||| «««««

E A

|| «««« æ
Ä 4 ||| «««« |
|| ««
|| «« |« || « ||| ««« æ
|« |« |«
â 34 ææ
1 3 5

â 34
5 1 5 3 5
5 2 5 4 2
5 3 7 5 2

ææ
7 3 7 5 0
8 1 5 3
7 5
5 1 5 3 5
5 2 5 4 2
5 3
©1998-2024 Jim 7
Gleason. All Rights 5
Reserved. 2
7 3 7 5 0
8 5 7
 æ

â 34 ææ
back to contents Part
3 1: Starting to Improvise
5
5
6
5
5
3Note
3
Sets, Structures
5 and Design
5
page 9
5 5 5 4 2
three note chords with note doubling
A5 I
A
C I F I Am I
G E A E G DG I
C C F C E A

E A E A B

|| ««
C C F D G

|| ««« || «« ||| ««« || «««

E A

Ä 34 ||| «« || ««« || «« || «
|| «« || «« æ
| |«

â 34 ææ
1 3 5
5 1 5 3 5
5 2 5 4 2
5 3 7 5 2
7 3 7 5 0
8 5 7

NOTE SETS
Collections of two to twelve unique notes are note sets. They are distinguished from unrelated single
notes by being specific collections of notes that make intervals, chords and scales.
A pair of unique notes played at once (sustained together) or sequentially is called an interval. Three or
more unique notes played at once are called a chord. Five or more unique notes spanning less than an
octave played in ascending or descending order are called a scale. Most note sets encompass an interval
of an octave or less, but larger intervals and larger chords span more than an octave.

Chords and Arpeggios

Chords are usually constructed with intervals of a minor third (three half steps or frets) or larger.
When chords are played one note at a time, they are called arpeggios. Like a chord, an arpeggio can span
more than an octave.
Arpeggios can be played in order of pitch, ascending up or down. Chords can be held (their notes
sustained together, usually with multiple fingers sustaining pressure) while picking their notes in a
patterned arpeggio pattern (commonly called fingerpicking or Travis Fingerpicking). See “Comping
Design”/Linear Arpeggios and Travis Fingerpicking and Piedmont Blues.

©1998-2024 Jim Gleason. All Rights Reserved.

page 10 Note Sets, Structures and Design Part 1: Starting to Improvise back to contents

chord and scale names

You should learn the names of all types of chords and scales common to the music you want to play.
Chord types and names can be learned in “Chord-Naming Conventions” and “All Scale-tone Chords”.
Scale types and names can be learned in “Modes” and in “Key Scales, Chord Scales and Parent Scales”.

chord construction
The primary method of constructing chords is with every other note. This is called tertian harmony,
meaning made of thirds (each note to the next is three notes, inclusively).
Chords with three notes are called triads. The every-other number or ever-other letter pattern is called
thirds (13-5-7-2-4-6-1- or F-A-C-E-G-B-D-F). Tertian chords are built in thirds. Due to the varied
spacing between the notes of the major scale, tertian triads are of varying qualities, some major, some
minor and one of them diminished.
So, a three-note chord built on the first step of a major scale (or other seven tone scale) uses scale tones
1, 3 and 5. A three-note chord built on the second step of a major scale uses scale tones 2, 4 and 6; and
so on. Since a C major scale has all natural notes (no sharps or flats, just C-D-E-F-G-A-B), a tertian
chord build on “C” (with ever-other note) would have the notes C, E and G. A triad on “F” would have
F, A and C (remember, the alphabet starts over after “G”.
Read more about this in “Introduction To Chord Progression”, especially Basic Definitions.

MUSICAL STRUCTURES AND DESIGN

Note sets ascending or descending in linear order make scales or arpeggios. Their order is more
whimsical and abstract when we create interesting music.
A musical structure is a note set conceived in a timeline. When you see a scale or an arpeggio written
in ascending or descending order, it creates a structure. That structure can then be designed abstractly.
The design of the structure can be expressed visibly by viewing the pattern of note heads in written
music, which makes a melodic curve. See “Theme and Variation”/Harmonic Theme And Variation and
Melodic Curve Exercises.
The consecutive order of note sets of primarily half and whole steps makeup scales. Consecutive order
of note sets primarily thirds makeup arpeggios. The distance between two notes is called an interval.
Major third intervals are equivalent the distance from the first to third step of a major scale (four frets,
like frets five to nine). Minor third intervals are a half step smaller (like frets five to eight).
“Melodic cells” are the smallest units of melody of three to seven notes, rarely more. When you combine
cells or repeat a cell on different notes, you are creating musical design.

©1998-2024 Jim Gleason. All Rights Reserved.

back to contents Part 1: Starting to Improvise Note Sets, Structures and Design page 11

SONG SECTIONS
verse
The verse tells the story. It is almost always softer and calmer than the chorus and is commonly in the
same key as the chorus, and is usually in what is considered the overall key of the song. Two or more
verses commonly occur before the first chorus. Verses don’t have to come before the chorus.
Verse comes from the Latin word versus, which means a line of writing and is based on the Proto-Indo-
European root wer, meaning to turn or bend. Think of “a turn of phrase”, “bending the listener’s ear” or
“bending the truth” to tell a story.

chorus
The title of the song is usually sung in the chorus and commmonly summarizes the story. It is usually
louder and fuller than the verse, with more harmony vocals. Etymologically, chorus is an extension
of “court” referring to an enclosed area where people assemble to play and sing music or theatrical
performance. The chorus comes after the verses a little more commonly, but sometimes songs start
with the chorus.

The refrain is the line of words that is repeated during the chorus.

pre-chorus, pre-verse, post-chorus, post verse

Around 1990, I started seeing “pre-chorus” in printed sheet music. It seemed a strange term to me at
first, but I’ve accepted it over time. As you would think, it comes before the chorus, and usually builds
excitement into the chorus. Post chorus likewise applies an addendum to the end of the chorus without
changing to another section.
The term could be likewise applied to content that precedes the verse: a pre-verse.
Post verse could apply the same principle as post chorus in applying an addendum to the end of a verse
without changing to another section.

bridge or middle eight

The section that connects the verse and chorus is called the bridge. It might not occur until the second
time the verses and chorus are played. It more commonly follows the chorus. The bridge is more often
in a different key from the verse and chorus, typically a key a perfect fourth (five frets) higher than the
verse.
The middle eight is a type of bridge that occurs between two choruses using different melody and usually
different chord progression. The middle eight can choose from a wide variety of chord progression
types.
©1998-2024 Jim Gleason. All Rights Reserved.
page 12 Note Sets, Structures and Design Part 1: Starting to Improvise back to contents

intro
The intro (abbreviation for introduction), is played at the beginning of a piece. Songs don’t always have
intros. Intros are often borrowed from the end of one of the main sections of the song, the verse or
chorus (A or B sections in an instrumental piece). They are typically based on the end of the verse or
chorus (A or B section) and followed by the same section they go into in the song.
For example, at the end of the chorus, the music flows into the verse. The intro starts with the end of the
chorus, then goes into the first verse. A twelve bar blues commonly begins with the last four bars of the
twelve bar chord progression, followed by the twelve bar progression from its beginning.
Intros are typically hooks (see Theme and Variation/Hooks), thematic material or a guitar solo. When
an intro has the nature of a guitar solo, it is usually more brief and simpler, but not always. Here are a
few examples of pop songs that begin with a guitar solo: All Along the Watchtower, Can’t You Hear Me
Knocking, Cliffs of Dover, Fun Fun Fun, Gravity, I Know a Little, Johnny B. Goode, Little Wing, Oh
Well part 1, Purple Haze, Red House, Reeling In the Years, Someday After a While (From the Cradle),
Strangle Brew, Texas Flood, Thunderstruck, Voodoo Child and the live version of Midnight in Harlem
by the Tedeski-Trucks Band on the album Everybody’s Talkin’.

ending
Like an intro, an ending should be based on content borrowed from the verse or chorus. It is often
the last four bars of a verse or chorus played three times, followed by an ending chord. The ending is
expected to complete with the chord named after the key, but can use a deceptive cadence, ending on an
unexpected chord.

fade-in
A song sometimes begins with a fade-in. An intro or vamp is usually used for the fade-in and usually
occurs in recorded music, not live music. The volume swells up from silence, usually to the level standsard
for the song. Fade-in is not used often, probably because, like fade-outs, it is dyamically and expressively
weak.

vamp
A rhythm section with a repeating chord progression (or on a single chord), without any significant
thematic material. Vamps are used as “filler” between other sections. They are typically used to setup
the section that follows them by establishing the “groove”, rhythmic nature, mood, chord sound, etc (any
or all of these).

solo
We’re used to hearing a guitar solo (or other instrument, if they insist) two-thirds of the way through a
song. In this section, the guitar player improvises, or ad-libs. The melodic content may be based on the
©1998-2024 Jim Gleason. All Rights Reserved.
back to contents Part 1: Starting to Improvise Note Sets, Structures and Design page 13

vocal part in the verse or chorus, or may be theme and variation. It is important to have some structure
to the solo and not just play a bunch of dis-related licks.
The accompaniment is usually simpler during a solo, so the listeners focus can be on the solo content.
If the accompaniment has melodic themes, it makes it more challenging for the soloist to make their
melody understandable at the same time as the themes in the accompaniment.

interlude or instrumental break

An interlude is a brief instrumental section between main sections like verse and chorus. It is similar
to a vamp but usually has thematic material (melody) that is less important than that of the main sections.
An instrumental break is usually improvised or composed teo sound more improvisational.

“A” section and “B” section, etc.

In instrumental music, there are usually two, sometimes three or more main sections. The sections are
traditionally labeled with letters: section A, section B, section C, etc.

AABA form
The most common song structure is thirty two bars, with two eight-bar A sections, an eight-bar B
section and an eight-bar A section. Sections may be of different lengths, but eight, twelve and sixteen
bar sections are most common.

a cappella (in the manner of the chapel)

When vocals are sung without instruments, they are called a’ cappella, meaning “in the manner of the
chapel”. In early western religion, it was thought unholy to have musical instruments in the place
of worship. Overtime, instruments have been accepted in churches, along with every imaginable style
of music.

drop sections or drop beats

Like the middle eight, drop sections can follow a chorus to increase intensity with a abruptly lowered
volume with an optional change in rhythm. This has become popular in EDM (Electronic Pop Music)
and other pop styles since 2010.

©1998-2024 Jim Gleason. All Rights Reserved.

page 14 Note Sets, Structures and Design Part 1: Starting to Improvise back to contents

elision (also called collision or phrase overlap)

An elision is a song section where different sections overlap one another, usually brierfly. It is mostly
used in up-tempo music to create tension and drama and to keep the song from losing its energy during
resting points (held sustain) at cadences, typically on a tonic or dominant chord.
With an elided cadence, you can bring the section to a cadence on the tonic and immediately begin
a new section of music which overlaps with the cadence. The elided cadence may borrow thematic
material from other sections of the song.
In Cyndi Lauper’s Time After Time, the last word of the first verse is omitted, singing “time after ...”
(omitting “time”). In place of the missing “time”, she sings “sometimes” the first word of the second verse.

©1998-2024 Jim Gleason. All Rights Reserved.

back to contents Part 1: Starting to Improvise Note Sets, Structures and Design page 15

TRIAD ARCS
Triads are chords made up of three different notes. The notes may be repeated in octaves. Major triads
combine the first, third and fifth steps of a major scale. Minor triads combine the first, flatted third (one
fret toward the head of the guitar from the third) and fifth of a major scale.
I refer to the three groups of notes that represent all major chord tones or all minor chord tones on the
fretboard as arcs, since they are the notes conceptually embraced by an arc, as shown below. Notice that
since all of the notes cannot be fretted with the fretting hand, some of the notes on the smaller diagrams
below are to be fretted with the picking hand. On those smaer diagrams, the “i” represents fretting with
the picking hand index finger and the “m” represents fretting with the picking hand middle finger.
All the diagrams below are movable and may be placed on the fretboard for any key. The notes in large
circles are the roots of the chord, the notes after which the chord is named, such as “D” for a D minor
chord. Even where a large circle is empty, it shows the location of a chord root.

major chord tone arcs minor chord tone arcs

E form E form

1 5 1 1 b3 5 1
3
5 1 5 1
C/D form b3 b3
C form
3 5 3 5
1 b3 1
3 A/G form A/G form
5 1
b6 5
b6 5 1
b6 5
b6
1
b3
5 1 3
b6 5 1
b6
1
b3
23
1 5 1 1 1 5 1
b3
3
5 1 5 1
b3 b3
3 5 3 5
1 b3 1

©1998-2024 Jim Gleason. All Rights Reserved.

 ° ™4 ™™
& ™4 œ œ œ œ œ œ œ œ
œ œ
œ œSets, Structures and Design œ œ œ œ œ œ œ œ w to contents
page 16 Note Part 1: Starting to Improvise back

™ ™
E F G A B C D E F G A G F E D C B A G F E

™ NOTE NAMES ™
¢⁄ 0 1 3 5 7 8 10 12 13 15 17 15 13 12 10 8 7 5 3 1 0

° ™4
Also see the chapter “Memorizing Fretboard Letter Names”.

& ™4 ™™
fifth string natural notes
œ œ œ œ œ œ œ œ œ
œ œ œ Notes
œ Natural
œ œ œ œ in Open Position œ œ œ w

open “A”™ commonly used in tuning. Open position refers to playing in the first position, where
™
A B C D E F G A B C D E B A G F E D C B A
An open string is a note played without fretting, such as the sixth string open “E” and the fifth string

⁄ ™ ™
¢ hovers over the first fret and where open strings are involved.
the first
finger 0 2 3 5 7 8 10 12 14 15 17 15 14 12 10 8 7 5 3 2 0

° œ œ which
œ ™™ the next in
The openfourth stringare
strings natural notes
named “E, A, D, G, B, E”, can be memorized with the sentence “Eat A
œ œ œ œ œ
œ (the first letter of each word). œTheœdistance
œ œfrom
& Good
Darn
œ œ œ
Breakfast Early” œ œ
each
œ note to
œ order is two frets (leaving an “empty” fret between them), except “B” to “C” andw“E” to “F”,
alphabetical

“B” to “C” and “E” to “F” each have no black key between them. So, on the guitar there is™ likewise no
which are
D one
E fret.
F G If you
A know
B C the
D namesE of
F the
G notes
F on
E the
D piano,
C B you
A know
G Fthat
E the pairs
D of notes

⁄ between ™0
¢
note 0 2 them.
3 5 7 9 10 12 14 15 17 15 14 12 10 9 7 5 3 2

Name these natural notes shown below in open position as you play them. There are three notes on
each string except the third string where there are only two.
open position natural notes
° œ œ œ œ
œ œ œ œ
&
œ œ œ œ œ œ œ œ
œ œ œ œ
E F G A B C D E F G A B C D E F G F E D
0 1 3 1 0

¢⁄
0 1 3 3
0 2
0 2 3
0 2 3
0 1 3

° œ
& œ œ œ œ œ œ œ œ œ œ œ w
C B A G F E D C B A G F E

¢⁄
1 0
2 0
3 2 0
3 2 0
3 1 0

©2008 Jim Gleason. All Rights Reserved.

©1998-2024 Jim Gleason. All Rights Reserved.

back to contents Part 1: Starting to Improvise Note Sets, Structures and Design page 17

Natural Notes on the Sixth, Fifth and Fourth Strings

Notes with their letter name followed by a sharp (#) are raised in pitch one fret and moved one fret
toward the body of the guitar (or to an equivalent pitch on the next smaller string). Notes with their
letter name followed by a flat (b) are raised in pitch one fret and moved one fret toward the head of the
guitar (or to an equivalent pitch on the next larger string). A “natural” ( “plain”) note has no sharp nor
flat.

Name these natural notes on the sixth, fifth and fourth strings as you play them:

° ™4 ™™
& ™4
sixth string natural notes

œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ w
™ ™
E F G A B C D E F G A G F E D C B A G F E

™ ™
¢⁄ 0 1 3 5 7 8 10 12 13 15 17 15 13 12 10 8 7 5 3 1 0

° ™4 ™
& ™4 œ œ œ œ ™
fifth string natural notes

œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ w
™ ™
A B C D E F G A B C D E B A G F E D C B A

™ ™
¢⁄ 0 2 3 5 7 8 10 12 14 15 17 15 14 12 10 8 7 5 3 2 0

° œ œ œ œ ™™
fourth string natural notes
œ œ œ œ
& œ œ œ œ œ œ œ œ œ œ œ œ w

™
D E F G A B C D E F G F E D C B A G F E D

™
¢⁄
0 2 3 5 7 9 10 12 14 15 17 15 14 12 10 9 7 5 3 2 0

open position natural notes

° B to C and E to F which are one fret apart. œ œ œ œ œ
œ œ œ œ
Notice above that notes in alphabetical order are two frets apart, including G to A (where the alphabet starts over),
& œ œ œ
except
œ œ œ œ
œ œ œ œ
E F G A B C D E F G A B C D E F G F E D
0 1 3 1 0

¢⁄
0 1 3 3
0 2
0 2 3
0 2 3
0 1 3

° œ œ
& œ œ œ
©1998-2024 Jim Gleason. All Rights Reserved.
œ œ œ œ œ œ œ w
page 18 Note Sets, Structures and Design Part 1: Starting to Improvise back to contents

OCTAVE SHAPES
Octave Shapes from Open Position Major Chord Roots
The root of a chord is the letter after which it is named. A “C” chord has a “C” root. An “Am” chord has
an “A” root. A “Bbm” (B flat minor) chord has a “Bb” root. On the diagrams in the first row below, the
roots are in the large circles. In each of the five chord diagrams in the first row below, the circled notes
are the notes after which the chord is named. The circled octave shapes E, D, C, A and G in the second
row below are the basis of fretboard orientation for keys, chords and melodies. .

E I D I C I A I G I

E shape I D shape I C shape I A shape I G shape I

“B” and “F” octave shapes are unnecessary

The octave shapes for “B” and “F” are not used as standard references because those letters make octave
shapes already represented by other letters. The octave of the note “B” in open position makes the same
shape as the note “C”. The octave of the note “F” in open position makes the same shape as the note “E”.

There is no practical fingering for a “B” chord in open position, so “C” was used instead. “E” is better
to use than “F”, since it is an easier chord to fret for those just starting guitar and has a more parallel
relationship to the other chords “A” and “D” that also have an open string root (bass note on the largest
string that names the chord).

B I C I E I F I
open B open open E E open
C F F

B E

III III C III III F

V V
©1998-2024C Jim Gleason. V
All Rights Reserved.
E V
F
back to contents Part 1: Starting to Improvise Note Sets, Structures and Design page 19

octaves of all natural notes horizontally on the fretboard

E I E notes I F notes I G notes III A notes V B notes VII C notes VIII D notes X E notes XII

G I G notes I A notes II B notes IV C notes V D notes VII E notes IX F notes X G notes XII

A I A notes I B notes II C notes III D notes V E notes VII F notes VIII G notes X A notes XII

C I C notes I D notes III E notes V F notes VI G notes VIII A notes X B notes XII C notes XIII

D I D notes I E notes II F notes III G notes V A notes VII B notes IX C notes X D notes XII

©1998-2024 Jim Gleason. All Rights Reserved.

page 20 Note Sets, Structures and Design Part 1: Starting to Improvise back to contents

Ed Cage Movable Octave Shapes

Moving all of the notes of any chord up an equal number of frets transposes the chord to a new key, but
with the same quality, as demonstrated with each chord in the first row below and the transposed chord
beneath it in the second row. When you transpose, the octave shape (E, D, C, A or G) does not change.
Notice that for each chord in the first row, it shares the same octave shape with its transposed version
in the second row.
In a single key, such as “F”, shown below, the octave shapes occur in the order E-D-C-A-G, then repeat.
To signify that the order repeats, I refer to the order as “Ed Cage”. It could also be called “caged” in
starting the cycle on “C” or “Aged C” to start on “A”. I prefer “E” as the point of reference, since its tone
center and root is the lowest note relative to your hand.
E I D I C I A I G I

E form D form C form A form G form

F I F III F V F VIII F X

F I
1 5 1
3 E form

5 1 F III

D form
3 5 3
1
3 F V

5 1
b6 5
b6 F VIII
C form

5 1 3
b6
F X
A form
23
1 5 1 G form
F I
3
E form
5 1

3 5 3
1

©1998-2024 Jim Gleason. All Rights Reserved.

back to contents Part 1: Starting to Improvise Note Sets, Structures and Design page 21

Single Octaves
Notes repeat every eight notes apart in a major scale, so they are called octaves (“okto” is Greek for eight).
Each of the smaller diagrams below shows an eight note range of a major scale fingering, spanning an
octave. Play the notes in numerical order, from “1” to “1” on each of the small major scale diagrams
below. The circled notes are one octave apart.

A major scale II A major scale II

2 5 1 1 3 6
4
3 6 2 7
1 4 5 1
7

A major scale IV A major scale IV

3 6 2 7
1 4 5 1
7 3
2 5 1 1 4 6

A major scale VII

1 4 6 A major scale IX
2 5 7
2 5 7 1
1 3 6
3 1 4

A major scale XI
3 6
1 4 7

2 5 1

If you can play a major scale in any particular octave area and modify it to make any other scale or chord,
arpeggio or melodic phrase. All scales, chords, arpeggios and melodic phrases can be represented with
the numbers and altered numbers of the major scale.
Playing all of the diagrams above on the fretboard relative to the large diagram, with the top fret on the
large diagram assigned to a specific fret (and note), would make major scale fingerings in one key all over
the fretboard. The key would be named after the note on which the “1’s” occurred (which would all be the
same note).

©1998-2024 Jim Gleason. All Rights Reserved.

 E E D A G
C
page 22 Note Sets, StructuresE and Design Part
A 1: Starting to Improvise back to contents
D C G G

The Seven Octave Fingerings

THE SEVEN OCTAVE FINGERINGS
The diagrams below can be played in any position (at any fret). Numbers within the diagrams indicate
The diagrams below can be played in any position (at any fret).
fretting fingers. Numbers within the diagrams indicate fretting fingers.

Primary Octave Fingerings 1 These are "two string, two fret" octaves with
These are "two string, two fret" octaves. compensation for tuning on the smallest two strings.

1 1 4

3 3 1 Notes on the smallest two strings must

relatively be moved up one fret (higher in pitch),
when combined with the larger four strings..
4

Secondary Octave Fingering 1 These are "three string, three fret" octaves with
The only un-compensated "three string,- compensation for tuning on the smallest two strings.
3
three fret" octave (compensated versions
are shown at the right).
1 Notes on the smallest two strings must relatively
1
be moved up one fret (higher in pitch), when
3 combined with the larger four strings.
4

Five Octave Shapes

© 1997 JimFrom
[Link]
All Rights Octave
Reserved. Fingerings

We can comfortably reach a span of four or five frets, so the full-fretboard pattern of octaves needs to
be conceived in sections. Sections of three or four frets can be related to octaves. By combining two
pairs of the seven octaves and using the other three octaves unchanged, five octave shapes are produced.

©1998-2024 Jim Gleason. All Rights Reserved.

 THE FIVE OCTAVE SHAPES
By combining two pairs of the seven octaves and using the other three octaves unchanged, five octave
back to contents Part 1: Starting to Improvise Note Sets, Structures and Design page 23
shapes are produced.

3 4

1 1 1 1 1 1 1

3 3 3 3
4 4 4

1 1

Here are the five octave shapes. Notice how each one occurs as the roots of an open string chord:

Notice 1how each of 1the five octave

1 shapes occurs in
1 one of 1the five chord root shapes
1 shown below.

1 1 1 1 1 1
3 3 3
3 4 3 3 3 4
4 3 4

E E I I D
D I I CC II AA I IG G I I
E E E E D D G
G EE AA E E D G BD G B
G# G# C
C
B E B E A A F#F# EE E A
E C#
A C# B B
D C G G
D C G G
`
The five octave shapes are named after either the strings on which they occur (641 shape) or the chord
root shape they represent (E form).
641 shape 42 shape 52 shape 53 shape 631 shape
641 shape 42 shape 52 shape 53 shape 631 shape
E formE form D formD form CCform
form AA form
form G form
G form
What’s
1 1
Significant
1 1 1 1
about the11Repetition
1 1
of Each
1 1
Note?
To master the fretboard,3you need to learn to finger
3
scales, chords,
3
arpeggios and melodies in two ways:
3 3 3
4
• playing in one key all over the fretboard 3 4
4 3 4

• playing all keys in one area of the fretboard

© 1997 Jim Gleason. All Rights Reserved.

©1998-2024 Jim Gleason. All Rights Reserved.

page 24 Note Sets, Structures and Design Part 1: Starting to Improvise back to contents

Playing in One Key All Over the Fretboard

When playing a scale, arpeggio or melodic phrase at any particular location on the fretboard, you need to
orient you current octave shape to the sequence of them, having memorized other fingerings categorized
by their octave shape.
Full-fretboard F major and full-fretboard F minor chord tones below demonstrate chord tones on the
entire fretboard on a single chord root (“F”).

©1998-2024 Jim Gleason. All Rights Reserved.

back to contents Part 1: Starting to Improvise Note Sets, Structures and Design page 25

Full-Fretboard F Major Chord Tones

F I
1 5 1
3 E form

5 1 F III F III

D form
3 5 3
1
3 F V

5 1
b6 5
b6 F VIII
C form

5 1 3
b6
F X
A form
23
1 5 1 G form
F I
3
E form
5 1

3 5 3
1

Full-Fretboard F Minor Chord Tones

Fm I
1 b3 5 1
E form

5 1 Fm III Fm III
b3 b3
D form
5
b3 1
Fm V

5 1
b6 5
b6 Fm VIII
C form
1
b3
5 1
b6
Fm X
1
b3
A form

1 G form
1 5 1
b3
Fm I
E form
5 1
b3 b3
5
b3 1

©1998-2024 Jim Gleason. All Rights Reserved.

page 26 Note Sets, Structures and Design Part 1: Starting to Improvise back to contents

Playing in All Keys in One Area of the Fretboard

You can also use octave shapes to conceive playing chords, scales or melodies in all keys in one area of
the fretboard. All of the fingerings below are in the fourth or fifth postition, meaning the index finger
is hovering over the fourth or fifth fret.
Fingerings one through seven are numbered in relation to the lowest-pitched tone fretted with the
index finger on the sixth string. In fingerings 7, 6, 3 and 2, the position is numbered in relation to the
lowest-pitched tone on the sixth string., In fingerings 5, 4 and 1, the position is one fret higher than the
lowest-pitched tone on the sixth string. Read the chapter “Playing in Position”/Strict Vertical Position.
A major IV Bb major V B major III C major IV C# major IV Db major IV D major V
fingering 7 fingering 7 fingering 6 fingering 6 fiongering 5 fingering 5 fingering 5
scale tones scale tones scale tones scale tones scale tones scale tones scale tones
7362 7 7362 7 (7) (7) 514 (2) 5 514 (2) 5 514 (2) 5
14 51 14 51 6 25 1 36 6 25 1 36 7 7 7
73 73 4 4 625136 625136 625136
25146 2 25146 2 736 2 7 736 2 7 4 4 4
14 51 14 51 7362 7 7362 7 7362 7
7 7
fingers fingers fingers fingers fingers fingers fingers
11 11 1 11 11 1 (1) (1) 1 1 1 (1) 1 1 1 1 (1) 1 1 1 1 (1) 1
22 22 22 22 11 1 111 11 1 111 1 1 1
33 33 2 2 222222 222222 222222
444444 444444 3333 3 3333 3 3 3 3
44 44 44 44 44 44 4 44 44 4 44 44 4
4 4 4 4 4

Eb major IV E major IV F major V F# major III Gb major III G major IV Ab major IV

fingering 4 fingering 3 fingering 3 fingering 2 fiongering 2 fingering 2 fingering 1
scale tones scale tones scale tones scale tones scale tones scale tones scale tones
4 (1) 4 3 62 5 73 3 62 5 73 (7) (3) (7) (3) (7) (3) 14 (5) 1
736 4 14 4 14 251462 251462 251462 73
514 25 736 736 251462
7 514 25 514 25 362573 362573 362573
625136 4 14 4 14 4 14 362573
7 3 (6) 7 3 (6) 7 3 (6)

fingers fingers fingers fingers fingers fingers fingers

1 (1) 1 1 11 1 11 1 11 1 11 (1)(1) (1)(1) (1)(1) 11 11
111 2 22 2 22 111111 111111 111111 11
222 22 333 333 222222
3 444 44 444 44 333333 333333 333333
444444 4 44 4 44 4 44 444344
44 44 44

©1998-2024 Jim Gleason. All Rights Reserved.

back to contents Part 1: Starting to Improvise Note Sets, Structures and Design page 27

The Full-Fretboard “Diamond and “Z” Pattern

The “diamond and Z” pattern shown at the left occurs in the octaves of every note. Compare
the diagrams below. Be able to visualize the “diamond and Z” pattern on any note.

A B
fret 1 fret 1
B fret 1

A B
B
E form B
A notes V
E form
fret 5 A A fret 5 fret 5

B B
Bb notes VI
E form
B notes VII
D form
A B B
B
A notes VII
D form
Bb notes VIII
D form
B B notes IX

A
B
C form
A notes X
C form
Bb notes XI
A B
B
fret 12 fret 12 fret 12
C form
B notes XII
A form
A notes XII
A B
B
A form
Bb notes XIII
A form
B notes XIV
G form B
fret 17 A A A notes XIV fret 17 fret 17

B B
G form
Bb notes XV
G form
A B B B notes XVI

E form B
A notes XVII
E form B
Bb notes XVIII
A E form
B notes XIX

©1998-2024 Jim Gleason. All Rights Reserved.

page 28 Note Sets, Structures and Design Part 1: Starting to Improvise back to contents

D
fret 1 C fret 1 fret 1

D
C D
D
G form
fret 5 C fret 5 Db notes VI fret 5 D
D
G form
D notes VII

E form
C notes VIII D
C C E form

D D
Db notes IX
E form
D notes X
D form
C D D
D
C notes X
D form
Db notes XI
D form
fret 12
A
fret 12 fret 12 D D notes XII

C
D
C form
C notes XIII
C form
Db notes XIV
C D
D
C form
D notes XV
A form
C notes XV
fret 17 C fret 17 fret 17 D
D
A form
Db notes XVI
A form
D notes XVII
G form D
C notes XVII
C C
D D
G form
Db notes XVIII
G form
A D notes XIX
C D D
E form
C notes XX

E form
E notes I
E form
E E F notes I

E
fret 1 fret 1 fret 1
F F
E D form
E notes II
D form
F F notes III

E A form
Eb notes VI
fret 5 fret 5 E fret 5

E
C form
E notes V
F C form
E notes VI
G form E
E
Eb notes VIII
A form F
E notes VII
A form
E E notes VIII

F
E E
E form
Eb notes XI
G form
E notes IX G form
fret 12 fret 12 E E fret 12

E
F notes X

D form F F
Eb notes XIII
E
E form
E notes XII F
E
E form
F notes XIII

C form
fret 17 Eb notes XVI fret 17 E fret 17

E F
E
E
A form
Eb notes XVIII
F
E
F

©1998-2024 Jim Gleason. All Rights Reserved.

back to contents Part 1: Starting to Improvise Note Sets, Structures and Design page 29

G
A
E form
F# notes II

F F
fret 1 fret 1 fret 1
E form
G notes III
E form
G G Ab notes IV

F A A
D form
F# notes IV
D form
G G notes V

A
fret 5 fret 5 fret 5
D form

F
Ab notes VI

C form
F# notes VII
G C form
F A
G notes VIII
C form
Ab notes IX
A form
G
F A
F# notes IX
A form
G notes X
A form
G
A
fret 12 fret 12 fret 12 Ab notes XI
G form

F F
F# notes XI
G form
G notes XII
G form
G G
F A A
Ab notes XIII

E form
F# notes XIV
G
A
fret 17 fret 17 E form fret 17
G notes XV

F
E form
Ab notes XVI

G
F A
G

©1998-2024 Jim Gleason. All Rights Reserved.

page 30 Note Sets, Structures and Design Part 1: Starting to Improvise back to contents

INTERVALS
What is an Interval?
An interval is a measurement of the difference in pitch between two notes. Intervals are compared
to distances between notes in the major scale. Before discussing the major scale, you’ll need to know
about the units used to measure the distances between its notes. The whole step is a standard unit of
measurement that indicates a distance of two frets. The half step indicates a distance of one fret.

Fingering Intervals
introduction: intervals of an A major scale in the bass
The major scale fingering at the left shows an A major scale in the bass. Scale tone five is shown with
an option on both the fifth and fourth strings. The pairs of notes on the diagrams that follow show the
basic intervals from a second (1 and 2) through an octave (“1” and “1” eight notes higher).
the A major interval of a interval of a interval of a interval of a interval of a interval of a interval of a interval of an
scale second third fourth fifth (ver.1) fifth (ver.2) sixth seventh octave

25 2 5

36 3 6
14 1 1 14 1 1 1 1 1
7 7
51 5 1

whole steps on a single string

These can be fretted in any position (anywhere up and down each string). Notice that this fingering is the same for each
pair of strings. Of course, the notes could be fretted with any combination of fingers.

1 1 1 1 1 1

3 3 3 3 3 3

whole steps with one note on an open string

This fingering is the same for each pair of strings. The fretted notes could be fretted with any finger.

2
3 3 3 3

©1998-2024 Jim Gleason. All Rights Reserved.

back to contents Part 1: Starting to Improvise Note Sets, Structures and Design page 31

whole steps fretted on each of two adjacent strings

This fingering is the same for each pair of strings except the third and second string, where it is fretted with one “empty”
fret between the fingers, instead of two. The notes could be fretted with any practical combination of fingers.

1 1 1 1 1

3
4 4 4 4

half steps on a single string

These can be fretted in any position (anywhere up and down each string). Notice that this fingering is
the same for each pair of strings. Of course, the notes could be fretted with any combination of fingers.
1 1 1 1 1 1
2 2 2 2 2 2

half steps with one note on an open string

This fingering is the same for each pair of strings. The fretted notes could be fretted with any finger.

3
4 4 4 4

half steps fretted on each of two adjacent strings

This fingering is the same for each pair of strings except the third and second string, where it is fretted
with two “empty” frets between the fingers, instead of three. The notes could be fretted with any practical
combination of fingers.
1 1 1 1 1

4
4 4 4 4

©1998-2024 Jim Gleason. All Rights Reserved.

page 32 Note Sets, Structures and Design Part 1: Starting to Improvise back to contents

three ways to finger half and whole steps

There are three ways to finger half steps and three ways to finger whole steps (not involving open strings):

1 a half step on one string 1 whole step

2 may be on any string, may be on any string,
at any position, 3
at any position,
with any fingers with any fingers

1 a half step on two strings 1 whole step on two strings

may be on adjacent pair of strings may be on adjacent pair of strings
except NOT the second and third strings, except NOT the second and third strings,
at any position, with any fingers at any position, with any fingers
4
(as long as you can reach!) (as long as you can reach!)
4

1 a half step on two strings 1 whole step on two strings

the unique fingering the unique fingering
on the second and third strings, 3 on the second and third strings,
at any position, with any fingers at any position,
4
with any fingers

Formulas: Numbering the Major Scale Tones

In the solfeggio system, the intervals of the major scale are labeled with the syllables “do, re, me, fa, sol, la,
ti”. Here is a C major scale, played in the first position (with the first finger at the first fret) and labeled
both with the solfeggio syllables and the numbers 1 through 7:

4 m m m
m m
m mmm mmm t t
mmm mm
m mmm mm mm m
m m
Ä 4 mm tm tm t t t mm mmt
m m m t
m
mm mm t t t tm tm mm =æ
=======================
t t
letter
names: 1 2 3 4 5 6 7 1 1 7 6 5 4 3 2 1
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
4 nn
solfeggio: do re me fa sol la ti do do ti la sol fa me re do
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
â 4 3 0 2 3
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
0 1 1 0 nn
nnææ
nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn
0 2 2 0
3 2 0
3

See Numbered Tones (Formulas), the next section.

©1998-2024 Jim Gleason. All Rights Reserved.

back to contents Part 1: Starting to Improvise Note Sets, Structures and Design page 33

Recognizing Half Steps in the Major Scale

In making up major scale fingerings, each note is assigned a number, one through seven. The half steps
(one fret intervals) occur between numbered major scale tones 3 and 4 and between 7 and 1 (ascending
in pitch). These scale steps are circled in the example below. The remaining steps of the major scale
are whole steps apart, which include the intervals between the following pairs of numbered scale tones:
“1 to 2”, “2 to 3”, “4 to 5”, “5 to 6” and “6 to 7”.
The intervals between the numbered tones of the major scale are illustrated using the “string
diagrams” shown below.

major C major major G major

scale intervals scale scale intervals scale

1 do C 1 do G

2 re D 2 re A

3 me E 3 me B
4 fa F 4 fa C

5 sol G 5 sol D

6 la A 6 la E

7 ti B 7 ti F#
1 do C 1 do G

©1998-2024 Jim Gleason. All Rights Reserved.

page 34 Note Sets, Structures and Design Part 1: Starting to Improvise back to contents

Play the Major Scale on One String

theo 1.041
Note
This is an E major Names
scale, named UptheAnd
after “E”, note onDown Each
which it begins andString
ends. A traditional set
theo 1.041

of names for the notes of a major scale is “do, re, me, fa, sol, la, ti, do.” The eighth note has the same name
as theThis
firstis one
an E major
and isscale, named after
referred to as"E", the note
being anonoctave
which higher
it begins than
and ends.
theOne
firsttraditional set of names
note. Speak fornames
their the of the
notes
theo 1.041
notes
below
octave Speak asthese Note
younames you Names
playasthem. play the notes. Up And Down Each String
of a major scale is "do, re, me, fa, sol, la, ti, do." The eighth note has the same name as the first one and is calledtheo
an 1.041

4
Ä4 t t !t ! t
t t ! t !t t t !t !t
t !t !t
This is an E major scale, named after "E", the note on which it begins and ends. One traditional set of names for the
notes of a major scale is "do, re, me, fa, sol, la, ti, do." The eighth note has the same name as the first one and is called an
octave Speak these names as you play the notes. t
4 do
â Ä4 4
re me fa sol la ti do do la ti sol fa me re do

4 t t ! t !t t t !t ! t t t !t !t t
0 t
! t 4! t
2 5 7 9 11 12 12 11 9 7 5 4 2 0

44nameofassetthe
do re me fa sol la ti do do la ti sol fa me re do

â Another
Thesame
tones of names for the notes of a major scale is numbering them "1, 2, 3, 4, 5, 6, 7, 1." Again, the eighth note has the
major scale can also be labeled with the numbers “1-2-3-4-5-6-7-1”. Speak the numbers
the first one and is called an octave. When a note in the music notation has the symbol "#" before it, its name
has the
as you play wordthe
0 "sharp" 2 after4 it, such
notes. 5 as "F sharp"
7 9 for the11second12note below.
12 Speak
11 the9numbers
7 as you5 play the
4 notes.
2 0
Notice that major scale tones "3" to "4" and "7" to "1" are 1 fret apart and all the other pairs are 2 frets apart.

4samethat
Ä 4
Another
thesetdistance
of names forbetween
the notes ofthe
a major scaleare
is numbering them "1, except
2, 3, 4, 5,half
6, 7, 1." Again, the eighth“3”
noteand
has the
t t æ
Notice tones whole steps, steps between “4” and
t !the !tsecond
tfor the !t the!numbers
t tas you playt the notes.
name as the first one and is called an octave. When a note in the music notation has the symbol "#" before it, its name
has the
between
t !t !t
“7”word
and "sharp"
“1” (where t “1”asbegins
after it, such "F sharp" next note below. Speak
octave).
Notice that major scale tones "3" to "4" and "7" to "1" are 1 fret apart and all the other pairs are 2 frets apart. !t !t t
4
Ä4 4 t t !t ! t æ
1 2 3 4 5 6 7 1 1 7 6 5 4 3 2 1

â4 t 2! t 4! t t t ! t !t t t !t !t t0 ææ
âThis44 is not a major scale. It is the set of all natural notes.
0 5 7 9 11 12 12 11 9 7 5 4 2
1 2 3 4 5 6 7 1 1 7 6 5 4 3 2 1

0 2 4 5 7 9 11 Natural notes
12 12 have
11 no sharps
9 or
7 flats after
5 their
4 name.
2 A 0
ææ
version of a note with a sharp in its name (such as "F sharp") is played one fret higher (toward the bridge). A version of a
note with a flat in its name (such as "B flat") is played one fret lower in pitch (toward the head of the guitar).
4 This is not a major scale. It is the set of all natural notes. Natural notes have no sharps or flats after their name. A
Ä 4version of a note with a sharp in its name (such as "F sharp")tis played one
t t t tthe headt of the guitar). æ
t t t t t t t
fret higher (toward the bridge). A version of a
t t
4 Et F G A
note with a flat in its name (such as "B flat") is played one fret lower in pitch (toward

Ä4 t t t t æ
4 t t t t
B C D E E D C B A G F E

t t t t
â4 t t t t
æ æ
â 44
E F G A B C D E E D C B A G F E
0 1 3 5 7 8 10 12 12 10 8 7 5 3 1 0

The example above is not a major scale, as you may have heard when you played it. To play a major scale with these
0 1 3 5 7 8 10 12 12 10 8 7 5 3 1 0
ææ
notes, they must be played from "C" to "C", as shown below. This is the "C" major scale. All other major scales require one
or more sharps or flats.

Ä 44 t t t t t t
The example above is not a major scale, as you may have heard when you played it. To play a major scale with these

t t t t
notes, they must be played from "C" to "C", as shown below. This is the "C" major scale. All other major scales require one
t t t t æ
t
or more sharps or flats.
t
Ä 44 C t t t t t t t t tB tA tG tF tE t D t C æ
t
â 44
D E F G A B C C

ææ
â 44
C D E F G A B C C B A G F E D C
8 10 12 13 15 17 19 20 20 19 17 15 13 12 10 8

ææ
©1998-2024 Jim Gleason. All Rights Reserved.
© 1998 Jim Gleason. All Rights Reserved.
8 10 12 13 15 17 19 20 20 19 17 15 13 12 10 8
back to contents Part 1: Starting to Improvise Note Sets, Structures and Design page 35

Perspective for Piano Players

If you’ve played piano, you know “C” is to the right of each pair black keys (see below). You also would
know that the white keys are named in order alphabetically to the right.

C D E F G A B C D E F G A B C D E F G A B

Each white key is represented on the guitar with a note given a plain letter name like “A”, “B” or “C”. Each
black key represents a note between the letter names. So, on the guitar, the black keys are represented
by notes in between most alphabetical pairs of letters, including “G” and “A”, which are consecutive in the
cycle “A - B - C - D - E - F - G - A, etc.”.
Where there is no black key on the piano, there is no note on the guitar, so “B - C” and “E - F” are one
fret apart (see the piano diagram below).

C D E F G A B C D E F G A B C D
one fret one fret
(a half step) (a half step)

See the chapter “Major Scale Fingering”, especially the section: Major Scale Fingering Numbers.

©1998-2024 Jim Gleason. All Rights Reserved.

page 36 Note Sets, Structures and Design Part 1: Starting to Improvise back to contents

NUMBERED TONES (FORMULAS)

Reference Major Scales for Note Numbers
The tones of any melody, scale, arpeggio, chord or bassline can be expressed in numbers. The universal
reference is the major scale. The major scale needs to be conceived in the key of the melody, scale
bassline or on the root of the chord or arpeggio. By using sharped and flatted versions of the major
scale, any chromatic note can be defined with a number. A “C” note in a melody or in a chord in the key
of “C” would be numbered “1”. A “D” note would be “2”. An “Eb” would be flat three.

Chord Formulas
The number expression for a chord can be called its formula. The formula for a dominant seventh chord
such as C7 is 1-3-5-b7. You can learn more about chord formulas in “Chord Naming Conventions” and
“All Scale-Tone Chords” and “Chord Archetypes”.

all tones by number in all keys, including hypothetical keys

Key 1 b2 2 #2/b3 3 4 #4/b5 5 #5/b6 6 b7 7
C C Db D D#/Eb E F F#/Gb G G#/Ab A Bb B
C# C# D D# D##/E E# F# F##/G G# G##/A A# B B#
Db Db Ebb Eb E/Fb F Gb G/Abb Ab A/Bbb Bb Cb C
D D Eb E E#/F F# G G#/Ab A A#/Bb B C C#
D# D# E E# E##/F# F## G# G##/A A# A##/B B# C# C##
Eb Eb Fb F F#/G G Ab A/Bbb Bb B/Cb C Db D
E E F F# F##/G G# A A#/Bb B B#/C C# D D#
Fb Fb Gbb Gb G/Abb Ab Bbb Bb/Cbb Cb C/Dbb Db Ebb Eb
F F Gb G G#/Ab A Bb B/Cb C C#/Db D Eb E
F# F# G G# G##/A A# B B#/C C# C##/D D# E E#
Gb Gb Abb Ab A/Bbb Bb Cb C/Dbb Db D/Ebb Eb Fb F
G G Ab A A#/Bb B C C#/Db D D#/Eb E F F#
G# G# A A# A##/B B# C# C##/D D# D##/E E# F# F##
Ab Ab Bbb Bb B/Cb C Db D/Ebb Eb E/Fb F Gb G
A A Bb B B#/C C# D D#/Eb E E#/F F# G G#
A# A# B B# B##/C# C## D# D##/E E# E##/F# F## G# G##
Bb Bb Cb C B#/C D Eb E/Fb F F#/Gb G Ab A
B B C C# C##/D D# E E#/F F# F##/G G# A A#

numbering chord tones may involve double sharps or double flats

Numbering the tones in a chord or arpeggio may involve uncommon major scales with double sharps
and double flats. For example, the flatted ninth in Ab7b9 is B double flat. The formula for a seven flat
nine chord is 1-3-5-b7-b9. “b9” is the same note as “b2”. In the table above, you can see that the “b2” in
the key of Ab is “Bbb” (B double flat).

©1998-2024 Jim Gleason. All Rights Reserved.

back to contents Part 1: Starting to Improvise Note Sets, Structures and Design page 37

Reference major scales include redundant major scales not used in performance, such as “D#” (D sharp)
major, where “Eb” is used instead, with the same pitches. “D#” may be a chord root in the key of B major,
where you would think in the hypothetical key of D# to number tones in the D# chord. D sharp major
would have five notes with a sharp name and two with a double sharp. See the table above.
chord tones in the upper octave
In chords, numbers above eight can be used to imply chord tones in the upper octave. “9” is “2”, “11”
is “4” and “13” is “6”. To quickly convert the numbers “8” and above, subtract seven. “Chord Naming
Conventions”/Chord-Naming Rules by Chord Tone/Numbered Tones Above Seven.

Tones by Number on Diagrams

The numbered tones on chord diagrams may be finger numbers, where you’ll find the numbers “1, 2, 3
or 4” (or “T” for thumb). Or, the numbered tones on the diagram may include numbers above “4” and
numbered tones with flats or sharps, such as “b3” or “5”. On chord or arpeggio diagrams, such as “C13”
and “C13#11” below, the numbers below the diagram are the formula numbers.
C13 VIII C13 VIII C major scale C major scale C13#11 VII C13#11 VII
by finger by formula by finger VII by formula VII by finger by formula
1 b7 1 11 1 11 3 62 5 73 3 2 #4
3 2 22 4 14 1 b7
6 333 736
444 44 514 25 5 6

©1998-2024 Jim Gleason. All Rights Reserved.

page 38 Note Sets, Structures and Design Part 1: Starting to Improvise back to contents

Reference Major Scale Fingerings

seven in-position fingerings, numbered by scale tones
Major scale fingerings are numbered in this course according to the number of lowest note fingered
with the index finger on the sixth string. The seven in-position fingerings are shown below. Scale tones
are numbered. The scale-tone numbers shown in parenthesis are options, where the same note can be
fingered on the an alternate string.
fingering 1 fingering 2 fingering 3 fingering 4 fingering 5 fingering 6 fingering 7
3 index reaches 2 pinky reaches
(7) (3) no reaches 2 index reaches 4 index reaches 1 pinky reach no reaches
14 (5) 1 251462 3 62 5 73 4 (1) 4 514 (2) 5 (7) 7362 7
73 4 14 736 7 6 25 1 36 14 51
251462 362573 736 514 25 625136 4 73
4 14 514 25 7 4 736 2 7 25146 2
362573 73 (6) 625136 7362 7 14 51
7

in-position major scale fingerings by finger number

“1” is the index finger, “2” is the middle finger, “3” is the ring finger and “4” is the little finger.
fingering 1 fingering 2 fingering 3 fingering 4 fingering 5 fingering 6 fingering 7
3 index reaches 2 pinky reaches no reaches 2 index reaches 4 index reaches 1 pinky reach no reaches
11 11 (1)(1) 1 11 1 11 1 (1) 1 1 1 1 (1) 1 11 1 111 11 11 1
11 111111 2 22 111 1 2 22 22
222222 333 222 22 222222 3333 3 33
333333 444 44 3 3 44 44 444444
444344 4 44 444444 44 44 4 4
44 4

Major scale fingerings can also be conceived in all twelve positions for any particular key. See “Playing
in Position”/In-Position Major Scale Fingerings.

©1998-2024 Jim Gleason. All Rights Reserved.

back to contents Part 1: Starting to Improvise Note Sets, Structures and Design page 39

THE INTERVALS NECESSARY TO CONSTRUCT A MAJOR CHORD

why is this important?
If you know the location of all the tones of a major chord in the area of the fretboard in which you are
playing, any other two is two frets (half steps) up or down.

major is 1, 3 and 5
A major chord contains tones 1, 3 and 5 of a major scale on its chord root. You will need to know how
to finger the intervals from the root (“1”) to the each of the other chord tones. Play each of the major
scale fingerings below. Next, isolate scale tones 1, 3 and 5 and play them in ascending and descending
order. When you play major scale tones 1, 3 and 5, you are playing a major chord arpeggio named after
the note on “1”.
Notice that the “1” after which each major chord arpeggio is named occurs in one of five octave shapes.
The octave shapes are shown by the circled notes below. Review Chapter 4: Octave Shapes.

fingering 1 fingering 2 fingering 3 fingering 4 fingering 5 fingering 6 fingering 7

1 4 5 1 2 5 1 4 6 2 3 6 2 5 7 3 4 1 4 5 1 4 2 5 6 2 5 1 3 6 7 3 6 2 7
7 3 4 1 4 7 3 6 7 4 1 4 5 1
2 5 1 4 6 2 3 6 2 5 7 3 7 3 6 5 1 4 2 5 6 2 5 1 3 6 7 3 6 2 7 7 3
4 1 4 5 1 4 2 5 7 4 1 4 5 1 2 5 1 4 6 2
3 6 2 (5) 7 3 7 3 (6) ( 7) 6 2 5 (1) 3 6 7 3 6 (2) 7 7 (3)

E form D form C form A form A Form G form E form

1 5 1 5 1 3 5 3 5 1 5 5 1 3 3
3 1 3 1 5 1
5 1 2 3 5 3 3 5 1 5 5 1 3 3 3
1 5 1 5 1 5 1 5 1
3 3 3 5 1 3 3

the shape of the shape of the shape of the shape of the shape of the shape of the shape of
the "1"s above the "1"s above the "1"s above the "1"s above the "1"s above the "1"s above the "1"s above
matches the matches the matches the matches the matches the matches the matches the
shape of the shape of the shape of the shape of the shape of the shape of the shape of the
circled "E"s circled "D"s circled "C"s circled "A"s circled "A"s circled "G"s circled "E"s
below below below below below below below

E I D I C I A I A I G I E I

1 1 1
2 3 1 2 2 2 3 4 2 3 4 1 2 3
3 3 2 3

©1998-2024 Jim Gleason. All Rights Reserved.

page 40 Note Sets, Structures and Design Part 1: Starting to Improvise back to contents

Perfect Fifth Fingerings

Perfect fifth intervals are equal to the distance between major scale tones “1” and “5”. If you locate the
lower-pitched note of any perfect fifth fingering below as the number “1” in a major scale fingering, you
should be able to locate “5” as the higher-pitched note in the fingering.

Primary Perfect Fifth Fingerings This primary perfect fifth fingering

(compensated versions are shown at the right). is compensated for tuning on the smallest two strings.
Notes on the smallest two strings must relatively
1 1 1
be moved up one fret (higher in pitch),
when combined with the larger four strings..
3 3 3
1
1

4 3

Secondary Perfect Fifth Fingerings These secondary perfect fifth fingerings

(compensated versions are shown at the right) are compensated for the tuning on the smallest two strings.
Notes on the smallest two strings must relatively
1 1
be moved up one fret (higher in pitch),
when combined with the larger four strings.

4 4
1 1

3 3

Major Third Fingerings

Major third intervals are equal to the distance between major scale tones “1” and “3”. If you locate the
lower-pitched note of any major third fingering below as the number “1” in a major scale fingering, you
should be able to locate “3” as the higher-pitched note in the fingering.
a major third is fingered the same on each string

1 1 1 1 1 1

4 4 4 4 4 4

1 1 1 1 1 1
2 2 2 2
©1998-2024 Jim Gleason. All Rights Reserved.
 1 1 1 1 1 1
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4
Major
4
Third Fretted
4
on Adjacent
4
Strings
4 4

Note the unique fingering on the second and third string.

1 1 1 1 1 1
2 2 2 2

Perfect Fourth Fingerings

In constructing a major chord, you’ll often need to know a perfect fourth fingering to locate the fifth of the
chord below the root. Perfect fourth intervals are equal to the distance between major scale tones “1”
and “4”. If you locate the lower-pitched note of any major third fingering below as the number “1” in a
major scale fingering, you should be able to locate “4” as the higher-pitched note in the fingering. Perfect
four intervals also occur in major scale fingerings between scale tone “5” and the next higher-pitched
scale tone “1”, where they demonstrate the relationship between the fifth (“5”) and the root (“1”) of a
chord.

perfect fourths fretted on adjacent strings

1 1 1 1 1 1 1
1 1 1

perfect fourth fingerings on adjacent open strings

fourths and guitar tuning

1 1 1 1 1 1 1
The guitar is tuned in fourths with one exception. If any note 1on strings six,1 five, 1
four and two is
considered as the first step of a major scale, the fourth step of that scale is on the next smaller string
at the same fret. This applies to open strings as well. For the first string, the “next smaller string” is
not available, unless hypothetically. The exception is the third string. If any note on the third string
is considered to be the first step of a major scale, the third step of that scale is at the same fret on the
second string.
©1998-2024 Jim Gleason. All Rights Reserved.
page 42 Note Sets, Structures and Design Part 1: Starting to Improvise back to contents

©1998-2024 Jim Gleason. All Rights Reserved.