Connect-Four: Chord, Scale, Arpeggio, & Pentatonic Relationships
I. An indisputable way for knowledge and application of the fretboard, technical practice, improvisation, and composition, is to internalize patterns relating to a tonality. We can think of this as an “algorithm” for musicianship. Or, if you remember the game Connect-4 (Milton Bradley), you’ll have an idea that each chip has to line up with the others in a horizontal, vertical, or a diagonal way. Similarly, the same concept relating to guitar technique is extremely practical for many reasons. These include the economy of motion and technical fluency relating to fingering positions. These studies can develop razor-sharp functionality with proper fingerings - and will increase your confidence as a player of rock, blues, jazz, and worship music, as they’re all applicable in these respective styles. We will start with 6th-string root major tonalities.
The following study is in G major and includes the chord, scale, major arpeggio (rockers), (or) major 7th arpeggio (for jazz-ers), and the major Pentatonic. We are going to link all of these elements together. It is vital you follow the recommended articulation, fingering and the picking patterns. Why; (remember) economy and fluency!
II. Finally, the chords at the bottom relate to each other in major tonality. There are four shapes rooted from the third-fret. Some chords are “rootless” and are often called extensions. Chord extensions relate to notes added to a chord above the 7th; 9, 11, 13. These shapes can be used, most of the time, when comping with a Major 7 chord; in this case, G. These allow us to create additional harmonic structures when comping, as opposed to staying on the same chord for several measures. Have a blast and keep up the non-negotiable daily practice! - Coop 🎸
 Little, Jerome B. "Ergonomic string instrument." U.S. Patent No. 6,034,308. 7 Mar. 2000.