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Signal Guitar Skool
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Rock N Blues Fretboard Friends
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11 contributions to Rock N Blues Fretboard Friends
5d •
The Old Guitar Shop
If you were there during those times, do you have any favorite memories, pictures, from there? Its funny because in one of there’s pictures you can see I was clearly teaching someone recently from the other side of the counter. You can see the whiteboard. That’s a pretty accurate representation of the shop in those days. Doing both at once!
1 like • 3d
I know I have a video of us playing Guthrie’s Waves intro. This is a photo at the old shop. I think I had a gig that night and needed to change strings and all that.
8d •
Stretches
Does anyone have any advice for skipping a few frets with your finger barred? I have fat bass placer hands so it’s tough. Any advice would help.
1 like • 8d
The further you have your thumb on the back of the neck, the more it causes your wrist to stick out, allowing your fingers to stretch out further. Suppose your thumb is hanging over the fretboard. It makes stretching them out difficult. If it's a line or a chord that feels stretchy, try it higher on the neck where it isn't difficult or super uncomfortable. Then move down the neck, where it's doable but still a stretch. It won't happen overnight, but the idea is that you get comfortable with little to no pain. Starting with small stretches and gradually shifting down. Over time, you can play Holdsworthian stuff without the stretches being painful. Depending on how big a stretch, like Allan Holdsworth or Shawn Lane, stretchy stuff is extreme, I'd suggest being careful and not overdo it. If I feel some discomfort, that's okay, but don't overdo it to the point where that discomfort turns into pain. Again, over time that discomfort will go away, and your fingers will be used to stretching. Similar to how, when first learning to play, I'm sure playing barre chords felt uncomfortable, but over time and with good technique, they're not a problem anymore.
0 likes • 5d
@Justin Bernhard I appreciate the kind words! Is there a particular thing you're working on that has a stretchy lead or chord?
0 likes • 8d
@Sterling Lynch nice! You were starting to catch it! The main chords with the melody are a Bm7 E7/B Amaj7 G#m7 Think A Lydian, then after the melody bits, it just bounces between an A and E chords. You can hang out in A Lydian, or toggle between A major and E major, and explore that sound of the two over each other. That's what I was doing with the noodling in the beginning, outlining turn chords before they were being played. The bass line is pretty much a stepwise motion. B For two measures, A and then G#.
0 likes • 8d
@Sean Christiansen diminished in the noodling at the beginning? Yeah, more than likely. The chords are Bm E7 A G#m, so I was probably playing G#° or B° Basically, chunking it into E7 to A and since G#m is a vii chord, I was mainly thinking of those three. The ii chord in jazz bebop can be seen as just a rootless suspended V chord. These are 7ths chords in drop 4. So the top portions are really just triads D, E7, C#m, Bm. However, if we view the root note of those chords as a 3rd rather than a root, if D is our minor 3rd, what would the root be? It's a B note. D F# A = D major B D F# A = Bm7 So what we’re heading into is Bm7, E7/B, Amaj7, and G#m7, with the bass joining in playing the “roots” B, A, and G#. Over the E7, it's playing the 3rd in the bass, so we get that steady descending line. You might be hearing the top portion of E7, which I have it voiced as D E G#, a shell voicing of E7 with the 7th in the bass, not the actual bass that plays a really low B. With diminished chords, the 3rd doesn't matter so much because that's not what makes it a diminished chord. So you're probably hearing that interval of D and Ab (G#) as a diminished 5th, but it's just an inversion of an E7 chord. But the highest voice in that chord is the tritone interval. Later in the transitions to modulate to E, I probably did play a Dim7, moving to a dom7 The idea I had with this is how much music you can build with just a single repeating note. So throughout the idea, you hear an E note repeating in quarter notes, accenting on the one. E is the 5th of A, the root of E, the 4th of B, the 7th of F, the 2nd of D, etc. Basically how we could approach melodies. Only this is working as a single note.
0 likes • 10d
Reminds me of this scene from Spinal Tap lol https://youtu.be/zABnkDJ2yHw?si=e64N1laoQkNGtufM
15d •
The Very Gentle Art of Ripping Someone's Face Off
*Disclaimer - This is a post I made on a forum a very long time ago... rescued it as the places/communities are all closing down now. If anyone is interested we can run the idea of improving our solo's (I have a box account full of stuff from that time with challenge tracks and stuff and we can do a collab box) or you can just read it and see* The solo. Two little words, that when used together, inspire fear and loathing in many a guitarist/musician still on their musical journey. It is usually accompanied with things along the lines of "Well, I would if I could", or "I'm not good enough" or "I wish I could solo like you/him/her/famous artist". In three words or less, "That is bullshit!"... kind of has a nice ring to it. We all have to start somewhere, and you can only get better the more you do it. If your song calls for a solo, then do it you must. Pitfalls - You think you suck - Almost every guitarist starts with getting jam tracks... you know who you are... you have 4 minute or 5 minute jam tracks and think this will magically solve all your problems - You think you need modes cos they will also magically solve all your problems - You think you need to know a shitload of scales - You think every chord needs a new scale - You think you need to have monstrous speed and technique If any of these fall into your span of thinking (and as time goes on with updates to this thread, there will be more points), then you are waging war with your creativity. Let's tackle these things one by one: You think you suck This is the worst way to go about anything. This, alone, stifles creativity to the point of killing it off for good. You have come this far in your journey, so why create a mental barricade? What you have achieved to this point in your musical journey is a milestone in itself. You have your current knowledge and current creativity level, so use it. Use it to its breaking point. What happens at breaking point? Well, a new development occurs... a new level is achieved, another tier to conquer... brand new possibilities in all its forms. How can that ever be a bad thing?
0 likes • 12d
@Sean Christiansen for sure! Need a track in Am?
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@robbie-gonzalez-9334
Been playing guitar for 15+ years. 10+ years of hanging out in the music theory rabbit hole.
Active 1d ago
Joined Apr 9, 2026