(b) This is a process I personally have to go through, however. The uses to which we put our sources are highly subjective. My own urgent need is to become more aware of the notes I play. In serving this need I will invariably translate any pattern of dots that I see in a guitar book into the names of notes.
(c) The book by Clements promises to be quite useful. I’ve owned it for several years, but have not given it a good look until now. Clements’s presentation of the “warped W” pattern for locating notes couldn’t come at a better time. I’m absorbing it with delight. It may render obsolete some of the fretboard views that I’ve posted!
(d) Back to the “box patterns” depicted above: Clements observes that, common and useful as these scales are, it can take a long time to memorize them because “there are no memorable visible repeating patterns.” She provides a remedy in the pages that follow, and I’m engrossed in that material now.
(e) I noticed that each of the five box patterns has a different root. I’ve added to each box pattern the major scale for its root, and the minor pentatonic scale that can be derived from that major scale using the formula 1-b3-4-5-b7. (This formula is provided by Clements in a “theory nugget.”) I use the asterisk (“*”) to mark the root note, also called the tonic note, in each box pattern.
(Copyright 2018 James Mansfield Nichols. All rights reserved.)