April 3, 2025 • 19 mins
Tired of being trapped in traditional scale positions? This eye-opening lesson reveals practical shortcuts that transform how you navigate the guitar fretboard when you need to think and move quickly.
Starting with the familiar D major pentatonic scale, we explore how subtly repositioning the root note creates opportunities for more vocal-like expressions through sliding techniques. This simple adjustment immediately makes your playing sound more dynamic and less mechanical. The magic truly happens when we begin cutting diagonally across the fretboard, connecting multiple positions while maintaining our connection to essential chord tones.
What makes this approach revolutionary is the integration of three strategic chord shapes – the sixth-string barre, fifth-string barre, and D shape form. By focusing primarily on the top three strings of each shape, you'll develop melodic anchor points throughout your playing area. These shapes function as both targets and launching pads, allowing fluid movement between scalar passages and chord-tone focused phrases.
This system works beautifully in any key and even provides elegant solutions for handling minor chords that appear in progressions. Rather than attempting to master every position of every scale, you'll develop a practical approach to improvisation that works in real-world playing situations. Your musicality will shine through without getting lost in theoretical complexity. Try these shortcuts in your next jam session and experience newfound freedom across the entire fretboard!
Links:
Check out the GuitarZoom Academy:
https://academy.guitarzoom.com/
- Steve’s Channel → https://www.youtube.com/user/stinemus...
- GuitarZoom Channel → https://www.youtube.com/user/guitarz0...
- Songs Channel → https://www.youtube.com/user/GuitarSo... .
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Steve (00:00):
All right, what I thought I would do in this lesson is
talk about some shortcuts that Ithink that you could way, and
it is important for us to studythe fretboard right.
(00:27):
We're learning how to playsomething and visualize it and
all that kind of stuff acrossthe entire fretboard, learning
all the positions, and that'sgreat.
But in the real world,sometimes you have to make
choices very quick and you don'thave time to make all of those
assessments.
Now, if you're really good atit and you've got it figured out
, that's awesome, but what Iwant to talk about today is what
to do when you need to come upwith something very quick, and
(00:51):
so what we're going to do iswe're going to use D major as
our example, and it's going tobe pentatonic, but it can be
diatonic too, depending on whatyou add to it.
So let me show you what I mean.
Let's say, for instance, westart with the most basic thing,
(01:11):
which is going to be what mostpeople would view as the first
position of D major pentatonic.
Okay, so, basically, what I'mgoing to do you can call this
anything you want, but I'm goingto put my pinky on D here, on
the 10th fret of the sixthstring and I'm going to play the
major pentatonic scale righthere and I'm gonna play the
major pentatonic scale righthere.
(01:33):
Now that position's reallyimportant for a number of
reasons, but it's great becauseif you know where your Ds are
inside there again, I'm playingin D, but we'll be able to move
this into any key, any chord.
When we get done with this wecan make simple, simple phrases
(01:54):
connecting to those roots, thoseD's that are sitting around
there, and I don't want to getinto licks and stuff like that,
so that's a whole otherconversation.
What I want to do is just talkto you about shortcuts of
movement and connection.
That's what I want to talkabout.
We can always add the otherstuff in as we keep going.
So I'm seeing this right here.
I'm thinking about the root inthis case, which is the D, and
(02:21):
where those are and how I coulddirect myself to those notes.
But let's expand this a littlebit and try and see this in a
different perspective.
So what I like to do when I tryand teach this is let's start
with exactly what we have righthere, but instead of going to
(02:45):
the D or the root down here onthe sixth string right there,
let's just put that note for thetime being right here, which
means when I descend, it'ssitting right there.
Now, what's really nice aboutthat is I can start implementing
(03:07):
a little bit of this sliding,where when I was playing it in
the other position, there reallywasn't a lot of opportunity for
that.
So all of a sudden I get moreof this human sound to what I'm
playing, this vocal sound, beingable to slide in and out of
that instead of just playing itthat way, I get a completely
(03:29):
different sound.
Okay, so that's the first step,and then what you could do is,
as you start learning this, youknow, move it somewhere else if
you want to.
If you want to go to C again, cwould be right here.
Else, if you want to, if youwant to go to C again, c would
be right here.
But instead of playing the Chere, we're going to put it
(03:50):
right there, you know, and so on.
So just so you understand that.
Okay.
So let's move back to D andkeep talking about this.
So what I want you to startrecognizing is when you play.
Either this is when you play,either this or connecting down
(04:11):
here.
When I go down here, right tothis note, right here, I
actually have my D major fifthstring bar chord sitting there
as well.
So I want to start visualizingthat, especially what's
happening right here, becausethose are the notes that I want
to try and target when I'mimprovising.
Those are the notes of thescale that I'm playing, as well
as the chord.
So I've got my root.
(04:32):
That note, that note, that note, those all become really
important notes that I can tryand target.
So if I can learn to visualizethat chord sitting right there
and then the scale that'sconnected to it, and then, of
course, start exploring movementand licks and whatever else
(04:55):
that you'd like to do with thisphrasing, all that kind of stuff
, but learn to see that.
And then over here, and thenover here.
Okay now.
This is where we're going tostart, kind of adding this
shortcut, if you will, and thenI'm going to put together some
other pieces.
I think that you'll find thisreally interesting.
(05:15):
So let's do this now.
We just created this new notedown here, which is the D down
here, but we just put it in adifferent spot.
So now what I want to do is Iwant to start cutting across the
guitar this way, so I'm gonnago, and then, right here, I'm
gonna do the same thing rightthere.
(05:39):
So I have, so I'm playing thesame octave twice, okay, but
what I'm doing is I'm kind ofslicing through multiple
positions as I do this.
Now, if I look at the notesthat I'm playing, it's the same
(06:03):
notes, it just looks differentand, of course, has a bit of
different approach.
Because now, okay, now thisisn't the note that I'm looking
for.
I want this note because it'spart of the D chord.
That's what I want.
(06:37):
Now we can even put a top onthis right here Up there.
Now, if you've ever played thesecond position, you know you've
got these guys right here andthis up here, this upper
extension that you can do stuffwith.
Well, that's what I'm doing isI'm connecting to that, and when
(07:07):
I play in this direction, itgives me opportunity to make
what I'm doing sound different.
The notes aren't any different,but because my approach is
different, I have moreopportunity to make this sound
different with all of thesliding that's happening.
Okay, so what I want you tostart thinking about is using
both of these positions.
(07:30):
And Okay.
And again you could move it to Cand do exactly the same thing
and you could learn how to dothat.
I wouldn't start moving it allover the fretboard until you get
comfortable with this one placefirst.
But we're not done.
There's a more important reasonthat we're doing what we're
(07:53):
doing here, and that's what Iwant to show you next.
So if I took this D majorpentatonic that I just played
and then I started learning howto play it at an angle, like I
just did, and then I startedlearning how to play it at an
angle, like I just did, now whatI want to do is, on top of this
, I want to give you three chordshapes to think about.
So, for instance, right up hereis our 6-string bar chord.
(08:14):
This would be D, sitting rightthere on the 10th fret.
What I want to focus on rightnow are the first three strings,
these guys right here 10, 10,and 9.
Those right there Okay, I'm notgoing to worry about everything
else, I just want this for now.
Okay, now, because we've builtthis thing moving at an angle,
(08:45):
sitting right up on top here, isthat chord, and it's nice to
know that, because maybe youmove up there and you're not
just playing in a scalar sense,but you're trying to play more
of a melody with the chord orthe triad sense.
But you're trying to play moreof a melody with the chord or
(09:06):
the triad.
Now you can see the other notessitting around it because we've
been working on the, you know.
Maybe you know the secondposition or you've been learning
what we're talking about rightnow.
Whatever they're allintertwining with each other.
(09:33):
But it's my approach.
So everything that I'm doingdoesn't just sound like I'm
playing up and down a pentatonicscale, but I can really start
trying to isolate some of thenotes of that chord to make it
sound a little more melodic,right, and you can hear right
there, as soon as I drop backinto that, it sounds more
pentatonic and that's fine.
But I can think about that.
Now you'll notice I am addingother notes, like I'm adding
(09:56):
this note right here.
For now that is not a pentatonicnote and if all you know is
pentatonics, that might, youknow, throw you off and I'm not
trying to do that.
I'm just saying when I playthere's other notes that exist
outside the pentatonic thateventually I want to become
aware of and I might use thoseas well.
So I've got this template.
(10:16):
You know I could add a bluesnote in there.
You know, whatever it is I liketo do outside of that structure
that we're building so I canmove this way, I can move this
(10:40):
way, and when I move this way,up on the top, there is where
I've got this melodic spotsitting that I could start
trying to engage in.
Maybe I play some you know thenotes individually or maybe I
play them collectively you knowsomething in there and then drop
(11:04):
back.
So the next one I want to showyou is the fifth string bar
chord, the D that's sittingright here, which we were
visualizing when we started thissliding pattern.
We were looking at the notes ofthat D sitting right there,
which is great.
We want those for sure, so wecan see those.
What I want you to see is thefirst three strings here right
(11:25):
here that are sitting there, soI could be playing something and
drop into that as well.
What I love about this shape isthe fact that I'll often use the
sus sound, which would be five,five and seven.
(11:48):
That sound right there.
So I won't use the pinky herelike you'd normally have.
You'd be pressing on that noteright there.
I'm not using that.
I'm using that sound.
You don't have to, but it justsounds really nice because I can
always use this note and I cansee how it's attaching onto this
(12:13):
next position here, which thenattaches onto this, so I can
make different position,movements or keep it more
melodic by just playing more ofthe notes of the triad itself
(12:38):
and then drop into somethingOkay.
So we've got the fifth stringshape sitting right there,
ideally that sus4 sound or sus2sound.
That I think is really cool.
We've got the six string barchord sitting right here, and
again, the first three stringsare ideally what we're looking
for, not that you can't add more, you can do whatever you want.
And the third one is the Dshape itself, which would be
(13:01):
sitting up here as well.
The octave of it would be uphere, and I wanna show you that
because I want to show you how Iconnect it to the rest of this.
So, as I'm playing in this spotright here, if I look up here,
I see the D sitting right uphere and I can slide right down
on that third string and now I'mconnected to that or that,
(13:27):
whatever I want, just by movingthat, that third string down.
Now I can move any other string.
I'm just showing you an easyway of getting a kind of an exit
strategy.
So I'm seeing 14, 15, 14, andthen I've got that 17 up on top
there too, and notice how now,all of a sudden, it sounds more
(13:52):
melodic and not just pentatonic,so I'm not having to learn the
entire fretboard.
What I'm doing is I'm lookingfor this pentatonic position but
turning it into kind of alittle slide pattern that would
cut through.
That's really all I'm doingwith the scale.
And then I'm trying to see threemain visual triad or chord
(14:16):
pictures on my fretboard usingthe sixth string, the fifth
string, bar chords and the openchord which is D.
Okay, the D shape, I should sayright.
So that's what I'm seeing asI'm playing.
So I move from here.
Now again, you can fill in thespaces of some of these other
(14:37):
notes if you know them, and ifnot, don't worry about those
right now.
You can always add that stuffin Right now.
We're not as worried about thelarger musicality aspect,
because that's a whole otherconversation, although we can
see where the potential is.
What we're worried about rightnow is just learning how to see
(14:58):
some shortcuts.
So if I was to take this entirething now and move it to C,
let's take a look at that.
So I'd have this and this.
(15:18):
But expand that out.
I'm going to expand it out andbe able to visualize that right
off of this chord.
Okay, and then I've got thetriad sitting on top the bar
chord right there that I couldmake into a sus2.
I could connect right to thatOn the top right up here.
(15:50):
That's where the six string barchord would be sitting.
Okay, and then I've got on topof that coming all the way up
here.
That's where the D shape of theC chord would be okay, and I
(16:12):
can visualize that if I want to.
Right off of this note.
However, it works for me, see.
So you could do that foranything.
Now we're not talking aboutminor chords right now.
We're just talking about majorchords and being able, you know,
like your 1-4-5, for instance,just being able to chase those
around as needed, and you don'thave to do all of this all of
(16:33):
the time.
It just gives you a nice quickway of being able to grab an
idea.
So if you were playing from Dand you did something, and then
it went to C and then went to G,you could find really easy ways
(16:54):
of just being able to coverover each one of those chords,
and again, it doesn't even needto be as much as I just did.
It could be something verysimple.
The shortcut to the minor fornow is, if you get a minor chord
, just play minor pentatonic.
So let's say we were playing Dmajor and we did something, and
let's say it went to C.
(17:15):
So again, I ended up here.
So now I'm going to stay there,connect to the C, and then it
goes to A minor.
Let's say A minor fits in there.
Well, I'm sitting right here soI could just do an A minor
pentatonic thing of some sortand then let's say it goes to G
(17:36):
after that, okay.
Again, however, I want to see G.
There's a million ways I couldsee G, but I could simply run
into something like that.
So you have to explore it alittle bit, but it's a great way
of being able to basicallycover yourself whenever you're
playing a major chord, and whenthe minor chord comes up, just
throw something kind of bluesy,kind of melodic in there.
(17:58):
Maybe do a little more bendingon that one, for instance.
Here comes G D C.
Here comes G DC A minor.
G, you know, whatever it is thatyou like.
All right, what I thought I would do in this lesson is
talk about some shortcuts that Ithink that you could way, and
it is important for us to studythe fretboard right.
(00:27):
We're learning how to playsomething and visualize it and
all that kind of stuff acrossthe entire fretboard, learning
all the positions, and that'sgreat.
But in the real world,sometimes you have to make
choices very quick and you don'thave time to make all of those
assessments.
Now, if you're really good atit and you've got it figured out
, that's awesome, but what Iwant to talk about today is what
to do when you need to come upwith something very quick, and
(00:51):
so what we're going to do iswe're going to use D major as
our example, and it's going tobe pentatonic, but it can be
diatonic too, depending on whatyou add to it.
So let me show you what I mean.
Let's say, for instance, westart with the most basic thing,
(01:11):
which is going to be what mostpeople would view as the first
position of D major pentatonic.
Okay, so, basically, what I'mgoing to do you can call this
anything you want, but I'm goingto put my pinky on D here, on
the 10th fret of the sixthstring and I'm going to play the
major pentatonic scale righthere and I'm gonna play the
major pentatonic scale righthere.
(01:33):
Now that position's reallyimportant for a number of
reasons, but it's great becauseif you know where your Ds are
inside there again, I'm playingin D, but we'll be able to move
this into any key, any chord.
When we get done with this wecan make simple, simple phrases
(01:54):
connecting to those roots, thoseD's that are sitting around
there, and I don't want to getinto licks and stuff like that,
so that's a whole otherconversation.
What I want to do is just talkto you about shortcuts of
movement and connection.
That's what I want to talkabout.
We can always add the otherstuff in as we keep going.
So I'm seeing this right here.
I'm thinking about the root inthis case, which is the D, and
(02:21):
where those are and how I coulddirect myself to those notes.
But let's expand this a littlebit and try and see this in a
different perspective.
So what I like to do when I tryand teach this is let's start
with exactly what we have righthere, but instead of going to
(02:45):
the D or the root down here onthe sixth string right there,
let's just put that note for thetime being right here, which
means when I descend, it'ssitting right there.
Now, what's really nice aboutthat is I can start implementing
(03:07):
a little bit of this sliding,where when I was playing it in
the other position, there reallywasn't a lot of opportunity for
that.
So all of a sudden I get moreof this human sound to what I'm
playing, this vocal sound, beingable to slide in and out of
that instead of just playing itthat way, I get a completely
(03:29):
different sound.
Okay, so that's the first step,and then what you could do is,
as you start learning this, youknow, move it somewhere else if
you want to.
If you want to go to C again, cwould be right here.
Else, if you want to, if youwant to go to C again, c would
be right here.
But instead of playing the Chere, we're going to put it
(03:50):
right there, you know, and so on.
So just so you understand that.
Okay.
So let's move back to D andkeep talking about this.
So what I want you to startrecognizing is when you play.
Either this is when you play,either this or connecting down
(04:11):
here.
When I go down here, right tothis note, right here, I
actually have my D major fifthstring bar chord sitting there
as well.
So I want to start visualizingthat, especially what's
happening right here, becausethose are the notes that I want
to try and target when I'mimprovising.
Those are the notes of thescale that I'm playing, as well
as the chord.
So I've got my root.
(04:32):
That note, that note, that note, those all become really
important notes that I can tryand target.
So if I can learn to visualizethat chord sitting right there
and then the scale that'sconnected to it, and then, of
course, start exploring movementand licks and whatever else
(04:55):
that you'd like to do with thisphrasing, all that kind of stuff
, but learn to see that.
And then over here, and thenover here.
Okay now.
This is where we're going tostart, kind of adding this
shortcut, if you will, and thenI'm going to put together some
other pieces.
I think that you'll find thisreally interesting.
(05:15):
So let's do this now.
We just created this new notedown here, which is the D down
here, but we just put it in adifferent spot.
So now what I want to do is Iwant to start cutting across the
guitar this way, so I'm gonnago, and then, right here, I'm
gonna do the same thing rightthere.
(05:39):
So I have, so I'm playing thesame octave twice, okay, but
what I'm doing is I'm kind ofslicing through multiple
positions as I do this.
Now, if I look at the notesthat I'm playing, it's the same
(06:03):
notes, it just looks differentand, of course, has a bit of
different approach.
Because now, okay, now thisisn't the note that I'm looking
for.
I want this note because it'spart of the D chord.
That's what I want.
(06:37):
Now we can even put a top onthis right here Up there.
Now, if you've ever played thesecond position, you know you've
got these guys right here andthis up here, this upper
extension that you can do stuffwith.
Well, that's what I'm doing isI'm connecting to that, and when
(07:07):
I play in this direction, itgives me opportunity to make
what I'm doing sound different.
The notes aren't any different,but because my approach is
different, I have moreopportunity to make this sound
different with all of thesliding that's happening.
Okay, so what I want you tostart thinking about is using
both of these positions.
(07:30):
And Okay.
And again you could move it to Cand do exactly the same thing
and you could learn how to dothat.
I wouldn't start moving it allover the fretboard until you get
comfortable with this one placefirst.
But we're not done.
There's a more important reasonthat we're doing what we're
(07:53):
doing here, and that's what Iwant to show you next.
So if I took this D majorpentatonic that I just played
and then I started learning howto play it at an angle, like I
just did, and then I startedlearning how to play it at an
angle, like I just did, now whatI want to do is, on top of this
, I want to give you three chordshapes to think about.
So, for instance, right up hereis our 6-string bar chord.
(08:14):
This would be D, sitting rightthere on the 10th fret.
What I want to focus on rightnow are the first three strings,
these guys right here 10, 10,and 9.
Those right there Okay, I'm notgoing to worry about everything
else, I just want this for now.
Okay, now, because we've builtthis thing moving at an angle,
(08:45):
sitting right up on top here, isthat chord, and it's nice to
know that, because maybe youmove up there and you're not
just playing in a scalar sense,but you're trying to play more
of a melody with the chord orthe triad sense.
But you're trying to play moreof a melody with the chord or
(09:06):
the triad.
Now you can see the other notessitting around it because we've
been working on the, you know.
Maybe you know the secondposition or you've been learning
what we're talking about rightnow.
Whatever they're allintertwining with each other.
(09:33):
But it's my approach.
So everything that I'm doingdoesn't just sound like I'm
playing up and down a pentatonicscale, but I can really start
trying to isolate some of thenotes of that chord to make it
sound a little more melodic,right, and you can hear right
there, as soon as I drop backinto that, it sounds more
pentatonic and that's fine.
But I can think about that.
Now you'll notice I am addingother notes, like I'm adding
(09:56):
this note right here.
For now that is not a pentatonicnote and if all you know is
pentatonics, that might, youknow, throw you off and I'm not
trying to do that.
I'm just saying when I playthere's other notes that exist
outside the pentatonic thateventually I want to become
aware of and I might use thoseas well.
So I've got this template.
(10:16):
You know I could add a bluesnote in there.
You know, whatever it is I liketo do outside of that structure
that we're building so I canmove this way, I can move this
(10:40):
way, and when I move this way,up on the top, there is where
I've got this melodic spotsitting that I could start
trying to engage in.
Maybe I play some you know thenotes individually or maybe I
play them collectively you knowsomething in there and then drop
(11:04):
back.
So the next one I want to showyou is the fifth string bar
chord, the D that's sittingright here, which we were
visualizing when we started thissliding pattern.
We were looking at the notes ofthat D sitting right there,
which is great.
We want those for sure, so wecan see those.
What I want you to see is thefirst three strings here right
(11:25):
here that are sitting there, soI could be playing something and
drop into that as well.
What I love about this shape isthe fact that I'll often use the
sus sound, which would be five,five and seven.
(11:48):
That sound right there.
So I won't use the pinky herelike you'd normally have.
You'd be pressing on that noteright there.
I'm not using that.
I'm using that sound.
You don't have to, but it justsounds really nice because I can
always use this note and I cansee how it's attaching onto this
(12:13):
next position here, which thenattaches onto this, so I can
make different position,movements or keep it more
melodic by just playing more ofthe notes of the triad itself
(12:38):
and then drop into somethingOkay.
So we've got the fifth stringshape sitting right there,
ideally that sus4 sound or sus2sound.
That I think is really cool.
We've got the six string barchord sitting right here, and
again, the first three stringsare ideally what we're looking
for, not that you can't add more, you can do whatever you want.
And the third one is the Dshape itself, which would be
(13:01):
sitting up here as well.
The octave of it would be uphere, and I wanna show you that
because I want to show you how Iconnect it to the rest of this.
So, as I'm playing in this spotright here, if I look up here,
I see the D sitting right uphere and I can slide right down
on that third string and now I'mconnected to that or that,
(13:27):
whatever I want, just by movingthat, that third string down.
Now I can move any other string.
I'm just showing you an easyway of getting a kind of an exit
strategy.
So I'm seeing 14, 15, 14, andthen I've got that 17 up on top
there too, and notice how now,all of a sudden, it sounds more
(13:52):
melodic and not just pentatonic,so I'm not having to learn the
entire fretboard.
What I'm doing is I'm lookingfor this pentatonic position but
turning it into kind of alittle slide pattern that would
cut through.
That's really all I'm doingwith the scale.
And then I'm trying to see threemain visual triad or chord
(14:16):
pictures on my fretboard usingthe sixth string, the fifth
string, bar chords and the openchord which is D.
Okay, the D shape, I should sayright.
So that's what I'm seeing asI'm playing.
So I move from here.
Now again, you can fill in thespaces of some of these other
(14:37):
notes if you know them, and ifnot, don't worry about those
right now.
You can always add that stuffin Right now.
We're not as worried about thelarger musicality aspect,
because that's a whole otherconversation, although we can
see where the potential is.
What we're worried about rightnow is just learning how to see
(14:58):
some shortcuts.
So if I was to take this entirething now and move it to C,
let's take a look at that.
So I'd have this and this.
(15:18):
But expand that out.
I'm going to expand it out andbe able to visualize that right
off of this chord.
Okay, and then I've got thetriad sitting on top the bar
chord right there that I couldmake into a sus2.
I could connect right to thatOn the top right up here.
(15:50):
That's where the six string barchord would be sitting.
Okay, and then I've got on topof that coming all the way up
here.
That's where the D shape of theC chord would be okay, and I
(16:12):
can visualize that if I want to.
Right off of this note.
However, it works for me, see.
So you could do that foranything.
Now we're not talking aboutminor chords right now.
We're just talking about majorchords and being able, you know,
like your 1-4-5, for instance,just being able to chase those
around as needed, and you don'thave to do all of this all of
(16:33):
the time.
It just gives you a nice quickway of being able to grab an
idea.
So if you were playing from Dand you did something, and then
it went to C and then went to G,you could find really easy ways
(16:54):
of just being able to coverover each one of those chords,
and again, it doesn't even needto be as much as I just did.
It could be something verysimple.
The shortcut to the minor fornow is, if you get a minor chord
, just play minor pentatonic.
So let's say we were playing Dmajor and we did something, and
let's say it went to C.
(17:15):
So again, I ended up here.
So now I'm going to stay there,connect to the C, and then it
goes to A minor.
Let's say A minor fits in there.
Well, I'm sitting right here soI could just do an A minor
pentatonic thing of some sortand then let's say it goes to G
(17:36):
after that, okay.
Again, however, I want to see G.
There's a million ways I couldsee G, but I could simply run
into something like that.
So you have to explore it alittle bit, but it's a great way
of being able to basicallycover yourself whenever you're
playing a major chord, and whenthe minor chord comes up, just
throw something kind of bluesy,kind of melodic in there.
(17:58):
Maybe do a little more bendingon that one, for instance.
Here comes G D C.
Here comes G DC A minor.
G, you know, whatever it is thatyou like.
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