Gaps in knowledge . . .

You raise a really interesting question. From my experience teaching (with self-taught guitarists and otherwise), there were always 2 major knowledge gaps that I noticed.

1. Learning how to branch out of typical box patterns with scales. In other words, being able to visualize the fretboard as a gateway to musical expression, rather than just seeing scale shapes to ascend and descend upon.

2. Knowing rhythmic theory. For example, I’ve had some amazing students with great musicality with their guitars, but if I asked them to explain what they were playing in rhythmic terms, they wouldn’t know how to answer.

Anyway, there are many gaps that guitarists experience, but those 2 were the most common with my students.

Good question!

Hello Everyone!

I’d like to chime-in on this intriuging topic regarding typical gaps in one’s knowledge, especially for “self-taught” guitarists.

I’d like to say that Sean and Tom BOTH have hit on two EXTREMELY common gaps in knowledge amongst a lot of guitar-students/guitarists! I think I can add to each of their points.

First, about Sean’s point about “breaking out of” box-patterns and what I call “positional-playing.” I use a method that Mick Goodrick (Berklee College Guitar Guru – here in Boston, MA – USA) developed that he calls the science of the UNITAR! – Playing on one-string ONLY. Forcing some improvisation on one-string at a time accomplishes two goals:

1. It forces fretboard-knowledge, as you cannot rely on the beloved “pattern-approach” and “box-positions.”

2. It slows the guitarist down and forces a more “melodic-sensibility.”

* I actually force my students to verbally “call-out” each note-name they’re playing BEFORE allowing them to proceed to their next note! This REALLY speeds up the fretboard/note-name knowledge!

Then, Sean’s point regarding a lack of rhythmic-reading and understanding, I think I can sum up the reason for Sean’s very astute observation in one word: TABS! TAB was never meant to be a “stand-alone” notation for stringed-instruments. If you look at an “authorized” transcription book for an artist, let’s say it’s an “Authorized Note-for Note Guitar Transcriptions for Steely Dan’s “Kid Charlemagne you WILL NOT just see TAB-ONLY transcription! You’ll see a robust-list of suggested chord-voicing fretboard-diagrams up at the top. Then, once the actual music-notation begins, you’ll see several lines of standard notation for the vocal melody and accompanying guitar parts. Then underneath all of the pertinent Standard Notation music, you’ll see the guitar’s TAB line. Here’s the important observation: WITH NO RHYTHM NOTATION! In order to ascertain correct rhythm notation from even an authorized transcription, YOU MUST READ THE RHYTHM NOTATION FROM THE STANDARD NOTATION STAFF OF THE GUITAR-PART IN QUESTION! Rhythm notation is NOT FOUND in the TAB itself. That all being said, I think that the average “self-taught” player gets use to seeing/reading RHYTHMICALLY UNACCOMPANIED TAB NOTATION and gets use to NOT READING RHYTHM properly! I see it ALL THE TIME! The one counter-argument you’ll here from (lazy!) TAB-ONLY readers, is that when you’re working on a song you know, then you should “know how” the rhythm “goes.” Well, to some extent, that’s probably true for many guitarists. However, there are gaping holes in that counter-argument! For one, what if there’s a guitar part notated that is NOT way-up-front in the mix (NOT loud!) and you never quite even noticed this part? Now how does that “rhythm go?” Secondly, why would you ONLY want to work on music you know?!? I mean, I write out stuff for students all the time that they’ve never heard, and this challenges their ability to read my rhythm-notation, as well as, opening up a student to some styles/genres that they otherwise might have never embraced.

As far as Tom’s point regarding targeting chord-tones, I wholeheartedly agree with him. Now I would add that this is probably more of an intermediate/advanced student issue, but he’s “spot-on” about it’s importance. Anyways, I frequently use the following exercise to combat the “lack of chord-tone” usage. I write out a 12-bar Dominant Blues form (chord-chart only) Then, I have my student improvise over a blues jam-track accompaniment with the following guidelines: Play I-chord rooted Pent. Minor Blues, BUT every time there’s a chord-change (Bar-5, Bar-7, Bar9, Bar-10, and Turnaround in Bars11-12) TARGET the ROOT of that chord change (either I, IV, or V.) Then once they get that happening, I suggest slightly more elaborate variations like targeting the Maj-3rd of each Dominant chord, or bending into the targeted chord-tones (Root or 3rd.) I find that this simple 12-bar application is just enough of a challenge (for NON-ADVANCED students of course!) to realize the importance (and the coolness! of the chord-tone-targeting approach used in improvisation. It definitley requires some work, discipline, and a firm understanding/knowledge of the fretboard though! Very rewarding stuff for those willing to put the work in!

Great points made by both Sean and Tom here!

Best of luck!

~Bill Meehan~

I think that’s a superb point Rick. I think it’s the same idea as learning the drums to improve your rhythmic awareness. It’s amazing what even a little study on another instrument can do for your overall musical awareness and ability. I’ve been known to dabble in trumpet on occasion!

@Rick Graham 5219 wrote:

A very good question posed and some great points by Sean, Tom and Bill.

I feel one of the most important ways to ‘understand and unlock the fretboard’ is to study the piano. I’m not talking to the highest level here just basic knowledge of how the piano works in relation to the guitar. Also, don’t limit it to just the piano, try other instruments but starting with the piano will give you a new perspective which just may unlock a few doors for you.

Hey Rick,

Thanks for the props! BTW, the Mick Goodrick “Unitar” drill that I spoke of actually reminds me a lot of the piano in as much as it psychologically allows the guitar to be thought of in a more “linear” ways (left=down-in-pitch & right=up-in-pitch!) Of course, once you put the one-string limitation on the guitar, (and make it linear) you also take away it’s “polyphonic potential,” so I guess the unitar sort of becomes more like an old Moog or Arp “monophonic” synthesizer! Also, the piano is SO MUCH more logical and easy to understand for the simple fact that IT’s COLOR-CODED! (LOL!) Seriously though, having all accidentals (sharps & flats) as black-keys and all natural notes (ABCDEFG) as white-keys is a HUGE ADVANTAGE. The piano also has a greater range than a typical guitar. All of that being said, I’ll take the guitar with all of it’s inherent “quirks” and all of it’s potential for “expressive elements” (bends, vibrato, slides, etc.) and LOVE IT!

Excellent points that you (Rick) and Tom Q. have made here about keeping an “open-mind” and embracing change and new outlooks!

~Bill Meehan~