The Guitarist's Compass — 24-Fret Tablature Reference

	Sign In Sign-Up

"The guitar is a small orchestra. It is polyphonic. Every string is a different colour, a different voice."

— Andrés Segovia

Contents

How to Read These Tabs
Intervals — All Qualities, All String Sets
All Seven Modes — 24-Fret Two-Octave Patterns
Essential Scales: Harmonic Minor, Melodic Minor, Pentatonics, Blues
Tapping Patterns — Scales & Arpeggios Across 24 Frets
Rhythm in Tab — Syncopation, Swing, Groove Patterns
Advanced Techniques — Pedal Tones, Countermelody, Inversions

♪ Preface

How to Read These Tabs

All patterns use standard 6-string guitar tab notation. Numbers indicate fret positions; string names appear on the left. Every pattern exploits the full 24-fret range.

Tab String Layout

Strings are written from highest pitch (top) to lowest pitch (bottom), matching the way a guitarist looks down at the fretboard while playing.

String Layout Reference

e |------- highest pitch string (1st string) B |------- G |------- D |------- A |------- E |------- lowest pitch string (6th string)

Symbol Legend

Numbers = fret position (0 = open string, 24 = highest fret)
h = hammer-on | p = pull-off | b = bend | r = release bend
T = tap with right-hand finger | / = slide up | \ = slide down
~ = vibrato | x = muted/dead note | (n) = ghost note / barely audible
| = bar line | || = repeat sign | 12p7h12 = tap 12, pull off to 7, hammer back to 12

Fret Zone Reference

The 24-fret neck divides naturally into zones. Understanding these zones helps navigate patterns at any position.

Zone	Frets	Pitch Range (low E string)	Character
Open / Cowboy	0–3	E – G	Full open resonance; standard chord territory
First Position	1–5	F – A	Classical and beginner patterns; rich harmonics
Middle Neck	5–12	A – E (octave)	Primary soloing zone; all scale patterns repeat here
Upper Neck	12–17	E – A (2nd octave)	Octave repeat of frets 0–5; screaming lead tones
Extended Zone	17–24	A – E (3rd octave)	Exclusive to 24-fret guitars; shred, tapping, upper extensions

♪ Section One

Intervals — Tab Patterns on All String Sets

Every interval from unison to octave (and beyond) shown as two-note shapes on every adjacent string pair, plus same-string patterns. All patterns shown at multiple positions exploiting frets 1–24.

How to use these: Every interval shape shown is moveable. Slide the entire pattern up or down the neck to transpose. The fret numbers shift; the shape stays the same. Patterns are shown starting from different root positions so you can see how the shape behaves across the full neck.

Minor 2nd (m2) — 1 Semitone

The most dissonant interval. On the same string: adjacent frets. Across strings: use when B–G or E–B string pairs (where tuning is a M3, not P4).

m2 — Same String (low position → high)

e |--1-2-------5-6-------12-13------17-18------23-24--| B |---------------------------------------------------| G |---------------------------------------------------| D |---------------------------------------------------| A |---------------------------------------------------| E |---------------------------------------------------|

m2 — Adjacent Strings (E+A, A+D, D+G strings — P4 tuning)

e |-------------------------------------------------------| B |-------------------------------------------------------| G |-------------------------------------------------------| D |---0----5----12----17----24-------------------------| A |---4----9----16----21-----(open strings don't cover)--| E |-------------------------------------------------------| [Root on A, interval note on D: fret that is 5 frets lower]

m2 — B+e string pair (M3 tuning — different shape)

e |--0----4----9----14----19----24--| B |--4----8----13---18---23---------| G |--------------------------------| D |--------------------------------| A |--------------------------------| E |--------------------------------|

Major 2nd (M2) — 2 Semitones / Whole Tone

M2 — Same String (positions across full neck)

e |--1-3---5-7---9-11---12-14---17-19---21-23--| B |---------------------------------------------| G |---------------------------------------------| D |---------------------------------------------| A |---------------------------------------------| E |---------------------------------------------|

M2 — Across Strings E+A / A+D / D+G (P4 tuning)

e |----------------------------------------------| B |----------------------------------------------| G |--2----7----12----17----22--------------------| D |--0----5----10----15----20--------------------| A |----------------------------------------------| E |----------------------------------------------| [Root on D string; M2 on G string is 2 frets higher than root fret minus 3]

Minor 3rd (m3) — 3 Semitones

Basis of minor triads and minor 7th chords. The most emotional interval. On P4-tuned string pairs: the interval note is 2 frets below the root fret on the next string.

m3 — Same String (full neck)

e |--1-4---5-8---9-12---12-15---17-20---21-24--| B |---------------------------------------------| G |---------------------------------------------| D |---------------------------------------------| A |---------------------------------------------| E |---------------------------------------------|

m3 — Across Strings (P4 pairs: root lower string, m3 upper string)

e |----------------------------------------------| B |----------------------------------------------| G |--0----3----7----10----14----17----21---------| D |--2----5----9----12----16----19----23---------| A |----------------------------------------------| E |----------------------------------------------| [Root on D; m3 on G is root_fret - 2 (because string gap is P4=5 semitones, m3=3, diff=2)]

m3 — B+e string pair (M3 tuning — shape differs)

e |--3----7----12----16----20----24--| B |--0----4----9-----13----17----21--| G |----------------------------------| D |----------------------------------| A |----------------------------------| E |----------------------------------| [Root on B; m3 on e is root+3]

Major 3rd (M3) — 4 Semitones

Basis of major triads. The brighter, happier partner to m3. On P4 pairs: interval note is 1 fret below root fret on upper string.

M3 — Same String (full neck)

e |--1-5---5-9---8-12---12-16---17-21---20-24--| B |---------------------------------------------| G |---------------------------------------------| D |---------------------------------------------| A |---------------------------------------------| E |---------------------------------------------|

M3 — Across Strings P4 pairs

e |----------------------------------------------| B |----------------------------------------------| G |--1----5----9----13----17----21--------------| D |--2----6----10---14----18----22--------------| A |----------------------------------------------| E |----------------------------------------------| [Root on D string; M3 on G = root_fret - 1]

M3 — B+e string pair (M3 tuning — same fret!)

e |--4----8----12----16----20----24--| B |--0----4----8-----12----16----20--| G |----------------------------------| D |----------------------------------| A |----------------------------------| E |----------------------------------| [B+e are tuned a M3 apart — same fret on both strings = M3!]

Perfect 4th (P4) — 5 Semitones

The fundamental tuning interval of the guitar (except B–G). On P4-tuned adjacent strings: same fret = P4.

P4 — Same String (full neck)

e |--0-5---5-10--7-12---12-17---17-22---19-24--| B |---------------------------------------------| G |---------------------------------------------| D |---------------------------------------------| A |---------------------------------------------| E |---------------------------------------------|

P4 — Across Adjacent P4-Tuned String Pairs (same fret!)

e |----------------------------------------------| B |----------------------------------------------| G |--0----5----9----12----17----20----24---------| D |--0----5----9----12----17----20----24---------| A |----------------------------------------------| E |----------------------------------------------| [Root on D, P4 on G: SAME FRET — this is guitar's basic tuning]

P4 — B+e string pair (M3 tuning — P4 = 1 fret higher on e)

e |--5----9----14----17----21----24--| B |--0----4----9-----12----16----19--| G |----------------------------------| D |----------------------------------| A |----------------------------------| E |----------------------------------|

Tritone (A4/d5) — 6 Semitones — "Diabolus in Musica"

Maximum harmonic tension. Divides the octave exactly in half. Two tritones = one octave. The engine of dominant 7th resolution.

Tritone — Same String (full neck)

e |--0-6---3-9---6-12---9-15---12-18---15-21---18-24--| B |---------------------------------------------------| G |---------------------------------------------------| D |---------------------------------------------------| A |---------------------------------------------------| E |---------------------------------------------------|

Tritone — Across Strings (P4 pairs: upper string = root+1 fret)

e |----------------------------------------------| B |----------------------------------------------| G |--2----6----10----14----18----22-------------| D |--1----5----9-----13----17----21-------------| A |----------------------------------------------| E |----------------------------------------------| [Root D fret n; Tritone on G = n+1 (because P4 gap=5 semitones, TT=6, diff=+1)]

Tritone Pair Exercise — Dominant 7th shell (3rd + b7)

[G7 shell positions ascending the neck — 3rds and b7ths] e |----2----6----11---15---20---24--| B |----1----5----10---14---19---23--| G |--------------------------------| D |--------------------------------| A |--------------------------------| E |--------------------------------| [Each pair = M3 interval (3rd of dominant) + tritone above = b7 of same chord]

Perfect 5th (P5) — 7 Semitones

The power chord interval. Most consonant non-unison. On P4 pairs: upper string = root fret + 2.

P5 — Same String (full neck)

e |--0-7---2-9---5-12---7-14---12-19---17-24--| B |---------------------------------------------| G |---------------------------------------------| D |---------------------------------------------| A |---------------------------------------------| E |---------------------------------------------|

P5 — Across Strings (P4 pairs) — Power Chord Shape!

e |----------------------------------------------| B |----------------------------------------------| G |--4----7----12----14----17----19----21---24--| D |--2----5----10----12----15----17----19---22--| A |----------------------------------------------| E |----------------------------------------------| [Root on D fret n; P5 on G = n+2. This IS the power chord (add same fret on A for 5th string root)]

P5 Power Chords — Low E string root, full neck

e |----------------------------------------| B |----------------------------------------| G |----------------------------------------| D |--2---5---7---9---10--12--14--16--19---| A |--2---5---7---9---10--12--14--16--19---| E |--0---3---5---7---8---10--12--14--17---| [Root: E, G, A, B, C, D, E, F#, A — power chords at each position]

Minor 6th (m6) — 8 Semitones

m6 — Same String & Skip-String (two octaves of shapes)

[Same string] e |--0-8---4-12--8-16---12-20---16-24--| B |--------------------------------------| [Skip one string — E to G string: root E, m6 on G = root+3] e |----------------------------------------------| B |----------------------------------------------| G |--3----8----12----17----20----24-------------| D |------------------------------------------| A |------------------------------------------| E |--0----5----9-----14----17----21-------------|

Major 6th (M6) — 9 Semitones

Country and 1950s guitar lines. The interval between root and 6th degree. Inversion of m3.

M6 — Same String (full neck)

e |--0-9---3-12--6-15---9-18---12-21---15-24--| B |---------------------------------------------| G |---------------------------------------------| D |---------------------------------------------| A |---------------------------------------------| E |---------------------------------------------|

M6 Double Stops — Classic country/rock lick positions

[Root on G string, M6 on high e — skipping B string] e |--2----5----7----9----12----14----17----19----21----24--| B |-------------------------------------------------------| G |--0----3----5----7----10----12----15----17----19----22--| D |-------------------------------------------------------| A |-------------------------------------------------------| E |-------------------------------------------------------|

Minor 7th (m7) — 10 Semitones

m7 — Same String (full neck)

e |--0-10--2-12--4-14---5-15---7-17---9-19---12-22---14-24--| B |----------------------------------------------------------| G |----------------------------------------------------------| D |----------------------------------------------------------| A |----------------------------------------------------------| E |----------------------------------------------------------|

Major 7th (M7) — 11 Semitones

M7 — Same String (full neck)

e |--1-12--2-13--3-14---5-16---7-18---9-20---12-23---13-24--| B |----------------------------------------------------------| G |----------------------------------------------------------| D |----------------------------------------------------------| A |----------------------------------------------------------| E |----------------------------------------------------------|

Octave (P8) — 12 Semitones

The most consonant compound interval. On guitar: skip one string (E–G, A–B, D–e etc.) and add 2 frets, OR skip two strings and subtract 3 frets (for the B–G gap adjustment).

Octave Shapes — All Positions (Wes Montgomery style)

[E to D string octaves: root E, octave D = root+2, skip A] e |----------------------------------------------| B |----------------------------------------------| G |----------------------------------------------| D |--2----5----7----9----12----14----17----19----| A |--x----x----x----x----x-----x-----x-----x----| E |--0----3----5----7----10----12----15----17----| [A to G string octaves] e |----------------------------------------------| B |----------------------------------------------| G |--2----5----7----9----12----14----17----19----| D |--x----x----x----x----x-----x-----x-----x----| A |--0----3----5----7----10----12----15----17----| E |----------------------------------------------| [D to B string: root D, octave B = root+3 (B-G gap!), skip G] e |----------------------------------------------| B |--3----6----8----10---13----15----18----20----| G |--x----x----x----x----x-----x-----x-----x----| D |--0----3----5----7----10----12----15----17----| A |----------------------------------------------| E |----------------------------------------------| [G to e string: root G, octave e = root+4 (two M3 gaps!)] e |--4----7----9----11---14----16----19----21----| B |--x----x----x----x----x-----x-----x-----x----| G |--0----3----5----7----10----12----15----17----| D |----------------------------------------------| A |----------------------------------------------| E |----------------------------------------------|

Compound Intervals — Beyond the Octave (Frets 12–24)

Major 9th (M9 = octave + M2) — Two-string shape

[Root low E, Major 9th on D string — the "add9" chord voicing note] e |----------------------------------------------| B |----------------------------------------------| G |----------------------------------------------| D |--4----7----9----11---14----16----19----21----| A |--x----x----x----x----x-----x-----x-----x----| E |--0----3----5----7----10----12----15----17----| [= octave shape +2 frets on upper string]

Major 10th (M10 = octave + M3)

[Root low E, M10 on D string] e |----------------------------------------------| B |----------------------------------------------| G |----------------------------------------------| D |--5----8----10---12---15----17----20----22----| A |--x----x----x----x----x-----x-----x-----x----| E |--0----3----5----7----10----12----15----17----| [= octave shape +3 frets on upper string]

Perfect 12th (P12 = octave + P5) — Pinch harmonic nodes

e |----------------------------------------------| B |----------------------------------------------| G |----------------------------------------------| D |--9----12---14---16---19----21----24---------| A |--x----x----x----x----x-----x-----x---------| E |--0----3----5----7----10----12----15---------| [= octave shape +7 frets. Natural harmonic at fret 12 sounds P12 above open string]

♪ Section Two

All Seven Modes — Full 24-Fret Two-Octave Tab Patterns

Each mode shown as a two-octave ascending and descending pattern. Root shown on the low E string. Patterns extend into the upper register (frets 17–24) and include a high-position version exploiting frets 12–24.

All patterns shown in A as root (A on low E = fret 5) for easy comparison. The shapes are moveable: slide to any fret to change the key. Each mode also shows a high position starting at fret 12+ for upper-neck soloing.

① Ionian (Major Scale) — A Ionian = A Major

Formula: W W H W W W H | Degrees: 1 2 3 4 5 6 7 | Sound: Bright, complete, resolved.

A Ionian — Two Octaves, Low Position (frets 4–9)

e |---------------------------5-7-9--| B |----------------------5-7---------| G |------------------4-6-------------| D |------------4-6-7-----------------| A |------4-5-7-----------------------| E |--5-7-----------------------------| Ascending: A B C# D E F# G# A B C# D E F# G# A

A Ionian — Two Octaves Descending

e |--9-7-5---------------------------| B |--------7-5-----------------------| G |------------6-4-------------------| D |----------------7-6-4-------------| A |-----------------------7-5-4------| E |----------------------------7-5---|

A Ionian — High Position (frets 12–21) — Upper Neck

e |-------------------------------17-19-21--| B |--------------------------17-19-----------| G |---------------------16-18----------------| D |-----------------16-18-19----------------| A |----------16-17-19------------------------| E |--17-19-----------------------------------| [Same pattern as low position, shifted up 12 frets — identical tones, higher octave]

A Ionian — Three-Notes-Per-String Shred Version (frets 5–21)

e |------------------------------------17-19-21--| B |------------------------------17-19-21---------| G |--------------------------16-18-19-------------| D |--------------------14-16-17------------------| A |----------------14-16-17----------------------| E |--12-14-16------------------------------------| [3NPS pattern: 3 notes per string = even picking, great for speed]

② Dorian — A Dorian (= G Major)

Formula: W H W W W H W | Degrees: 1 2 ♭3 4 5 6 ♭7 | Sound: Dark but sweet. Natural 6th lifts it above Aeolian.

A Dorian — Two Octaves, Low Position

e |---------------------------5-7-8--| B |----------------------5-6---------| G |------------------4-5-------------| D |------------4-5-7-----------------| A |------4-5-7-----------------------| E |--5-7-----------------------------| Ascending: A B C D E F# G A B C D E F# G A

A Dorian — High Position (frets 12–20)

e |-------------------------------17-19-20--| B |--------------------------17-18-----------| G |---------------------16-17----------------| D |-----------------16-17-19----------------| A |----------16-17-19------------------------| E |--17-19-----------------------------------|

A Dorian — 3NPS Version (frets 5–20, great for legato runs)

e |------------------------------------17-19-20--| B |------------------------------17-18-20---------| G |--------------------------16-17-19-------------| D |--------------------14-16-17------------------| A |----------------14-16-17----------------------| E |--12-14-16------------------------------------|

③ Phrygian — A Phrygian (= F Major)

Formula: H W W W H W W | Degrees: 1 ♭2 ♭3 4 5 ♭6 ♭7 | Sound: Dark, Spanish, Flamenco. The ♭2 is its defining colour.

A Phrygian — Two Octaves, Low Position

e |---------------------------5-6-8--| B |----------------------5-6---------| G |------------------4-5-------------| D |------------4-5-6-----------------| A |------4-5-7-----------------------| E |--5-6-----------------------------| Ascending: A Bb C D E F G A Bb C D E F G A

A Phrygian — High Position (frets 12–20)

e |-------------------------------17-18-20--| B |--------------------------17-18-----------| G |---------------------16-17----------------| D |-----------------16-17-18----------------| A |----------16-17-19------------------------| E |--17-18-----------------------------------|

A Phrygian — 3NPS Shred Run (frets 5–20)

e |------------------------------------17-18-20--| B |------------------------------17-18-20---------| G |--------------------------16-17-19-------------| D |--------------------13-14-16------------------| A |----------------13-14-16----------------------| E |--12-13-15------------------------------------|

④ Lydian — A Lydian (= E Major)

Formula: W W W H W W H | Degrees: 1 2 3 ♯4 5 6 7 | Sound: Floating, dreamy, cinematic. The ♯4 is its defining colour.

A Lydian — Two Octaves, Low Position

e |---------------------------6-7-9--| B |----------------------5-7---------| G |------------------4-6-------------| D |------------4-6-8-----------------| A |------4-5-7-----------------------| E |--5-7-----------------------------| Ascending: A B C# D# E F# G# A B C# D# E F# G# A

A Lydian — High Position (frets 12–21)

e |-------------------------------18-19-21--| B |--------------------------17-19-----------| G |---------------------16-18----------------| D |-----------------16-18-20----------------| A |----------16-17-19------------------------| E |--17-19-----------------------------------|

A Lydian — 3NPS Shred Version

e |------------------------------------18-19-21--| B |------------------------------17-19-21---------| G |--------------------------16-18-19-------------| D |--------------------14-16-18------------------| A |----------------14-16-17----------------------| E |--12-14-16------------------------------------|

⑤ Mixolydian — A Mixolydian (= D Major)

Formula: W W H W W H W | Degrees: 1 2 3 4 5 6 ♭7 | Sound: Blues, rock dominant, Celtic. Major with a flat 7.

A Mixolydian — Two Octaves, Low Position

e |---------------------------5-7-8--| B |----------------------5-7---------| G |------------------4-6-------------| D |------------4-6-7-----------------| A |------4-5-7-----------------------| E |--5-7-----------------------------| Ascending: A B C# D E F# G A B C# D E F# G A

A Mixolydian — High Position (frets 12–20)

e |-------------------------------17-19-20--| B |--------------------------17-19-----------| G |---------------------16-18----------------| D |-----------------16-18-19----------------| A |----------16-17-19------------------------| E |--17-19-----------------------------------|

A Mixolydian — 3NPS (compare to Ionian: only G vs G# differs)

e |------------------------------------17-19-20--| B |------------------------------17-19-20---------| G |--------------------------16-18-19-------------| D |--------------------14-16-17------------------| A |----------------14-16-17----------------------| E |--12-14-16------------------------------------|

⑥ Aeolian (Natural Minor) — A Aeolian

Formula: W H W W H W W | Degrees: 1 2 ♭3 4 5 ♭6 ♭7 | Sound: The Western minor scale. Melancholy, dark, complete.

A Aeolian — Two Octaves, Low Position (open to fret 8)

A Aeolian — Open String Version (frets 0–8)

e |-------------------------5-7-8--| B |--------------------5-6---------| G |----------------5-7-------------| D |-----------5-7-9----------------| A |------5-7-9---------------------| E |--0-2---------------------------| [Starts on open low E: E F G A B C D E...] [To get A Aeolian from open E, shift up to fret 5 for root A]

A Aeolian — High Position (frets 12–20)

A Aeolian — Extended 3NPS reaching fret 24

e |------------------------------------19-20-22--| B |------------------------------19-20-22---------| G |--------------------------17-19-21-------------| D |--------------------16-17-19------------------| A |----------------16-17-19----------------------| E |--14-16-17------------------------------------| [Starting root A on fret 14: extends pattern up to fret 22 on high e]

⑦ Locrian — A Locrian (= Bb Major)

Formula: H W W H W W W | Degrees: 1 ♭2 ♭3 4 ♭5 ♭6 ♭7 | Sound: Most unstable — diminished tonic. Essential over iiØ7 chords.

A Locrian — Two Octaves, Low Position

e |---------------------------4-6-8--| B |----------------------4-6---------| G |------------------4-5-------------| D |------------4-5-6-----------------| A |------4-5-7-----------------------| E |--5-6-----------------------------| Ascending: A Bb C D Eb F G A Bb C D Eb F G A

A Locrian — High Position (frets 12–20)

e |-------------------------------16-18-20--| B |--------------------------16-18-----------| G |---------------------16-17----------------| D |-----------------16-17-18----------------| A |----------16-17-19------------------------| E |--17-18-----------------------------------|

A Locrian — 3NPS reaching fret 24

e |------------------------------------18-20-22--| B |------------------------------18-20-22---------| G |--------------------------17-18-21-------------| D |--------------------16-18-20------------------| A |----------------16-17-19----------------------| E |--14-15-17------------------------------------| [Root A at fret 14; pattern peaks at fret 22]

♪ Section Three

Essential Scales — Full 24-Fret Patterns

Harmonic Minor, Melodic Minor, Pentatonic Major/Minor, Blues Scale, Whole Tone, Diminished, Phrygian Dominant — every pattern extended to the highest frets.

A Harmonic Minor — The Classical/Metal Minor

Formula: 1 2 ♭3 4 5 ♭6 7 | The raised 7th creates the V7 in minor and the characteristic augmented 2nd (♭6 to 7).

A Harmonic Minor — Two Octaves Low Position

e |---------------------------5-8-9--| B |----------------------5-6---------| G |------------------4-5-------------| D |------------4-5-7-----------------| A |------4-5-7-----------------------| E |--5-7-----------------------------| A B C D E F G# A — note the G# (fret 9 on high e, not 8)

A Harmonic Minor — High Position (frets 12–21)

e |-------------------------------17-20-21--| B |--------------------------17-18-----------| G |---------------------16-17----------------| D |-----------------16-17-19----------------| A |----------16-17-19------------------------| E |--17-19-----------------------------------| [Note fret 20 on e string = G# at this position]

A Harmonic Minor — 3NPS Shred (frets 5–21)

e |------------------------------------17-20-21--| B |------------------------------17-18-20---------| G |--------------------------16-17-19-------------| D |--------------------14-16-17------------------| A |----------------14-16-17----------------------| E |--12-14-16------------------------------------|

A Melodic Minor (Jazz Minor) — Ascending

Formula: 1 2 ♭3 4 5 6 7 | Minor with raised 6th AND 7th. Parent of the Altered Scale, Lydian Dominant, and other jazz modes.

A Melodic Minor — Two Octaves Low Position

e |---------------------------7-8-9--| B |----------------------5-7---------| G |------------------4-6-------------| D |------------4-5-7-----------------| A |------4-5-7-----------------------| E |--5-7-----------------------------| A B C D E F# G# A — F# and G# distinguish it from natural minor

A Melodic Minor — High Position (frets 12–21)

e |-------------------------------19-20-21--| B |--------------------------17-19-----------| G |---------------------16-18----------------| D |-----------------16-17-19----------------| A |----------16-17-19------------------------| E |--17-19-----------------------------------|

A Altered Scale (Mode VII of Melodic Minor) — For V7alt chords

e |---------------------------4-6-8--| B |----------------------4-6---------| G |------------------3-5-------------| D |------------3-4-6-----------------| A |------3-4-6-----------------------| E |--4-5-----------------------------| [A Altered: Ab Bb Cb Db Eb F G — all alterations on A dominant] [Use over A7alt, A7#9, A7b13 resolving to D]

A Minor Pentatonic — The Universal Scale

Formula: 1 ♭3 4 5 ♭7 | Five notes, zero avoid notes, maximum usefulness. Five positions shown across all 24 frets.

A Minor Pentatonic — Position 1 (frets 5–8)

e |--5-8------| B |--5-8------| G |--5-7------| D |--5-7------| A |--5-7------| E |--5-8------|

A Minor Pentatonic — Position 2 (frets 7–10)

e |--8-10-----| B |--8-10-----| G |--7-9------| D |--7-10-----| A |--7-10-----| E |--8-10-----|

A Minor Pentatonic — Position 3 (frets 10–13)

e |--10-13----| B |--10-13----| G |--9-12-----| D |--10-12----| A |--10-12----| E |--10-13----|

A Minor Pentatonic — Position 4 (frets 12–15)

e |--13-15----| B |--13-15----| G |--12-14----| D |--12-14----| A |--12-15----| E |--12-15----|

A Minor Pentatonic — Position 5 (frets 15–18) → connects to pos.1 octave up

e |--15-17----| → fret 17 on e = A (same as open position root, 2 octaves up) B |--15-18----| G |--14-17----| D |--14-17----| A |--15-17----| E |--15-17----|

A Minor Pentatonic — FULL NECK RUN Positions 1–5 + Extended (frets 5–22)

e |--5-8-10-13-15-17-20-22--| B |--5-8-10-13-15-18-20-22--| G |--5-7-9-12-14-17-19-21---| D |--5-7-10-12-14-17-19-21--| A |--5-7-10-12-15-17-19-22--| E |--5-8-10-12-15-17-20-22--| [Continuous ascending run through all 5 positions + frets 17–22]

A Blues Scale — The Expressive Scale

Formula: 1 ♭3 4 ♭5 5 ♭7 | Minor pentatonic + the tritone "blue note" (♭5). The ♭5 is played expressively — bent, slurred, or passed through quickly.

A Blues Scale — Full Neck (all positions, frets 5–22)

e |--5-6-8-10-11-13-15-17-18-20-22--| B |--5-6-8-10-11-13-15-17-18-20-22--| G |--5-6-7-9-10-12-14-16-17-19-21---| D |--5-6-7-9-10-12-14-16-17-19-21---| A |--5-6-7-9-10-12-14-16-17-19-22---| E |--5-6-8-10-11-13-15-17-18-20-22--| [6 = the blue note (Eb/D#) at each position]

Classic Blues Lick — A Blues, frets 5–8 with bends

e |--8b(10)--8--5-----------------| B |-----------8--5-8--------------| G |------------------7------------| D |-------------------------------| A |-------------------------------| E |-------------------------------| [b = bend full step; classic pentatonic bend lick]

A Major Pentatonic — The Country/Gospel Scale

Formula: 1 2 3 5 6 | All major, no avoid notes. The relative major pentatonic of C# minor.

A Major Pentatonic — Full Neck (frets 4–19)

e |--4-7-9-11-14-16-19--| B |--5-7-9-12-14-17-19--| G |--4-6-9-11-13-16-18--| D |--4-7-9-11-14-16-18--| A |--4-7-9-12-14-16-19--| E |--4-7-9-11-14-16-19--|

Whole Tone Scale — Symmetrical Dreamscape

Formula: 1 2 3 ♯4 ♯5 ♭7 | Six equal whole steps. Only two whole tone scales exist. Use over augmented chords and dominant 7th#5 chords.

A Whole Tone — Full Neck Pattern (frets 0–24)

e |--0-2-4-6-8-10-12-14-16-18-20-22-24--| B |--1-3-5-7-9-11-13-15-17-19-21-23-----| G |--0-2-4-6-8-10-12-14-16-18-20-22-----| D |--0-2-4-6-8-10-12-14-16-18-20-22-----| A |--0-2-4-6-8-10-12-14-16-18-20-22-----| E |--0-2-4-6-8-10-12-14-16-18-20-22-----| [Pattern is identical on every string (except B): shift by 2 frets each string] [The symmetry: same pattern repeats every 2 frets — maximum visual uniformity]

Diminished Scale (Half-Whole) — Symmetrical Tension

Formula: H W H W H W H W — 8 notes, repeating every 3 frets. Three diminished scales cover all 12 keys. Use over dim7 chords and dominant 7th (b9/#9) chords.

A Diminished (H-W) — Full Pattern (frets 5–23)

e |--5-6-8-9-11-12-14-15-17-18-20-21-23--| B |--5-6-8-9-11-12-14-15-17-18-20-21-23--| G |--4-5-7-8-10-11-13-14-16-17-19-20-22--| D |--4-5-7-8-10-11-13-14-16-17-19-20-22--| A |--5-6-8-9-11-12-14-15-17-18-20-21-23--| E |--5-6-8-9-11-12-14-15-17-18-20-21-23--| [Pattern: 1 fret gap, 2 fret gap, repeating. Symmetrical every 3 frets]

Phrygian Dominant — Flamenco/Metal Scale

Formula: 1 ♭2 3 4 5 ♭6 ♭7 | Mode V of Harmonic Minor. The Spanish sound. ♭2 + major 3rd = exotic tension. Use over E7 in A minor context.

E Phrygian Dominant — Low Position (frets 0–8)

e |---------------------------0-1-3--| B |----------------------0-1---------| G |------------------0-1-------------| D |------------0-1-2-----------------| A |------0-1-3-----------------------| E |--0-1-----------------------------| E F G# A B C D E — note G# (major 3rd) against F (b2)

E Phrygian Dominant — High Position (frets 12–24)

e |-------------------------------12-13-15--| B |--------------------------12-13-----------| G |---------------------12-13----------------| D |-----------------12-13-14----------------| A |----------12-13-15------------------------| E |--12-13-----------------------------------|

E Phrygian Dom — Extended to fret 24 (A Phryg Dom shifted)

e |-------------------------------21-22-24--| B |--------------------------20-22-----------| G |---------------------20-21----------------| D |-----------------19-20-21----------------| A |----------19-20-22------------------------| E |--19-20-----------------------------------| [Starting A Phrygian Dominant from fret 19 on low E reaches fret 24]

♪ Section Four

Tapping Patterns — Scales & Arpeggios Across All 24 Frets

Two-hand tapping techniques that exploit the full 24-fret range. The right-hand tap (T) reaches frets 12–24 while the left hand anchors the lower position. This extends every scale and arpeggio by an additional octave.

Tapping notation: T = tap with right-hand index or middle finger. Sequence reads left to right: T = tap the fret, then pull off to the left-hand fingered note, then hammer or pull off again. Example: T17p12h15 = tap fret 17 with right hand, pull off to fret 12 (left), hammer to 15 (left).

Basic Tapping — One-String Exercises (All 24 Frets)

Basic Tap — E String, Full Neck (positions 1, 5, 12, 17, 24)

[Two-finger tap: left hand holds fret 5, right taps fret 12, 17, 19, 21, 24] e |--T12p5h7--T17p5h7--T19p5h7--T21p5h7--T24p5h7--| B |------------------------------------------------| G |------------------------------------------------| D |------------------------------------------------| A |------------------------------------------------| E |------------------------------------------------| Pattern: tap-pull-hammer creating a three-note cell T12 p5 h7 = C A B (in A pentatonic context)

Chromatic Tap Run — e String (frets 12 to 24)

e |--T12-T13-T14-T15-T16-T17-T18-T19-T20-T21-T22-T23-T24--| B |--------------------------------------------------------| G |--------------------------------------------------------| D |--------------------------------------------------------| A |--------------------------------------------------------| E |--------------------------------------------------------| [Right hand only: walk up each fret for technique and strength training]

Tapping — A Minor Pentatonic (Eddie Van Halen Style)

A Minor Pentatonic — Classic EVH Tap Pattern

e |--T17p12h15-T17p12h15-T17p12h15-T17p12h15--| B |---------------------------------------------| G |---------------------------------------------| D |---------------------------------------------| A |---------------------------------------------| E |---------------------------------------------| [Tap 17 (E), pull to 12 (A), hammer 15 (D) — A minor pentatonic cell, repeated] [Variations: change tap to T19, T20, T22 for different scale tones]

A Min Pent — Ascending Tap Run Across All Strings (frets 5–22)

e |-----------------------------T22p17h20--| B |------------------------T20p15h18-------| G |-------------------T19p14h17-----------| D |---------------T19p12h17---------------| A |----------T17p12h15--------------------| E |--T17p5h8------------------------------| [Each string: tap upper extension, pull off, hammer — ascending sequence] [Tap notes: frets 17, 17, 19, 19, 20, 22 — all A minor pentatonic tones]

A Min Pent — Descending Tap Run (frets 22 down to 5)

e |--T22p17h20-p17--------------------------| B |-------------T20p15h18-p15--------------| G |---------------------T19p14h17-p14------| D |-------------------------------T17p12h15-p12--| A |------------------------------------------T15p10h12-p10--| E |---------------------------------------------------T12p5h8-p5--| [Full descending sweep: each string moves the tap down by one position]

Tapping — A Minor Scale (Two-Hand Legato)

A Aeolian Tap — One String, Three-Note Cell Per Position

e |--T12p5h7--T13p5h8--T15p5h8--T17p5h8--T19p5h8--T20p5h8--T22p5h8--| [Cells: A-E-G, Bb-E-G, C-E-G, D-E-G, E-E-G, F-E-G, G-E-G] [Tap moves up chromatically/scale-wise while left anchors frets 5&8]

A Aeolian Tap — Full Pattern Across All 6 Strings (frets 5–22)

e |--T20p5h8-T22p7h8----------------------------------| B |----------T20p5h6-T22p6h8--------------------------| G |--------------------T21p5h7-T19p5h7---------------| D |------------------------------T19p5h7-T17p5h7------| A |--------------------------------------T19p5h7------| E |--T17p5h7-T19p5h8-T20p5h8-------------------------| [Two-string tapping sequence ascending then descending]

Tapping — Ionian (Major Scale) Tap Patterns

A Major Tap — Classic 3-Note Cell, e String

e |--T17p9h12--T19p9h12--T21p9h12--T21p9h14--T23p9h14--T24p9h14--| [Root A at fret 9 on high e; tap cycles through major scale tones] [T17=E, T19=F#, T21=G#/A, T21=A, T23=B, T24=C]

A Major — Two-Hand 6-Note Scale Sequence (frets 9–21)

e |--9h11h12-T21p12p11-9h11h12-T21p12p11--| [Left: hammer 9-11-12. Right: tap 21, pull to 12, pull to 11] [Creates 6-note cell: A B C# | A C# B — ascending/descending interleave]

Tapping — Dorian Mode (Jazz/Rock Context)

A Dorian Tap — Extended Single-String Run

e |--T19p7h10--T20p7h10--T22p7h10--T19p7h8--T17p7h8--| [A Dorian tones accessed by tapping: tap = D, Eb, F, D, C (upper extensions)] [Left hand anchors at 7th fret (A root at 5th, b3 at 8th)]

Tapping — Harmonic Minor (Yngwie Style)

A Harmonic Minor — Classic Neo-Classical Tap Sequence

e |--T24p12h16--T24p12h16--T21p12h16--T21p12h15--T19p12h15--| [Tap fret 24 = A (two octaves above open); pull to 12 = A; hammer 16 = C#] [Neo-classical diminished arpeggio shape with the raised 7th G#]

A Harm Minor — Two-String Ascending Tap Sequence

e |--5-7-8-T20-T21-T24--------------------------------| B |----------------5-6-T18-T20------------------------| G |------------------------4-5-T17-T19----------------| D |--------------------------------4-5-7-T19----------| A |----------------------------------------4-5-7------| E |--5-7-------------------------------------------- | [Ascending scale, switching to tap for upper extensions on each string] [LH holds low position; RH taps frets 17–24 for upper octave tones]

Tapping — Major Arpeggio Sweeps with Tap Extension

A Major Arpeggio — Sweep + Tap (frets 4–17)

e |--T17----------------------------------------------| B |------17-------------------------------------------| G |--------14------------------------------------------| D |----------14-16------------------------------------| A |----------------14-16------------------------------| E |------------------14-------------------------------| [Ascending sweep arpegio A major: E-A-D-G-B-e, with tap on high E] [Sweep pick ascending; tap the highest note]

A Major Arpeggio — Descending Sweep + Tap (frets 4–21)

e |--T21p17-------------------------------------------| B |--------17-17--------------------------------------| G |-------------16-14---------------------------------| D |-------------------16-14--------------------------| A |------------------------16-14---------------------| E |------------------------------17------------------| [Right hand taps fret 21 (C#, major 3rd of A 2 octaves up), pulls to 17] [Then standard descending sweep]

A Minor Arpeggio — Sweep + Tap (frets 5–20)

e |--T20----------------------------------------------| B |------20-17----------------------------------------| G |-----------17-14-----------------------------------| D |------------------17-15---------------------------| A |------------------------17-15---------------------| E |---------------------------17---------------------| [A minor arpeggio: A-E-A-C-E-A. Tap at fret 20 = A (2nd octave on e string)]

A Diminished 7th Arpeggio — Tap Sequence (Symmetrical!)

e |--T24p21p18p15p12p9--(rake down)----| B |-------------------------------------| G |-------------------------------------| D |-------------------------------------| A |-------------------------------------| E |-------------------------------------| [Diminished 7th is symmetrical: same pattern every 3 frets] [Tapping fret 24, pull chain down: 24-21-18-15-12-9 = A C Eb F# A C Eb F# A] [One string covers 2+ octaves of the full diminished 7th arpeggio]

Tapping — Modal Scale Two-Hand Patterns

Lydian Tap — #4 Highlighted (Cinematic sound)

e |--T24p14h17--T23p14h17--T21p14h17--T19p14h16--T17p14h16--| [Tap from fret 24 down: exploring A Lydian upper extensions] [T24=A(oct), T23=G#, T21=F#, T19=E, T17=D — Lydian tones descending]

Phrygian Dominant Tap — Flamenco Sweep (frets 12–24)

e |--12h13-T24p13p12---12h13-T22p13p12---12h13-T21p13p12--| [Left anchors: fret 12=E, fret 13=F (b2). Tap varies from 24 down] [Creates the Phrygian b2 flavour with upper-neck sparkle]

♪ Section Five

Rhythm in Tab — Syncopation, Swing & Groove

Tablature normally shows pitch without duration. These examples use spacing and notation markers to indicate rhythmic values. Duration markers: q=quarter, e=8th, s=16th, t=triplet. Vertical lines = beats.

Rhythm notation in these tabs: spacing between numbers represents relative duration. A wider gap = longer note. Tie lines (~) = held note. The beat grid is shown above each example. Use a metronome.

Straight Quarter Note Groove (Negras) — Rock Rhythm

4/4 Quarter Note Power Chord Riff — Frets 5, 7, 8, 10 (A G A B)

Beat: 1 2 3 4 e |--x-----------x-----------x-----------x---------| B |--x-----------x-----------x-----------x---------| G |--x-----------x-----------x-----------x---------| D |--7-----------5-----------7-----------9---------| A |--7-----------5-----------7-----------9---------| E |--5-----------3-----------5-----------7---------| [Each chord = 1 beat, 4/4. x = mute between chord hits]

Eighth Note Patterns (Corcheas) — Straight Feel

8th Note Strumming Pattern — A Minor (fret 5 position)

Beat: 1 + 2 + 3 + 4 + e |--5--5--5--5--5--5--5--5--| B |--5--5--5--5--5--5--5--5--| G |--5--5--5--5--5--5--5--5--| D |--7--7--7--7--7--7--7--7--| A |--7--7--7--7--7--7--7--7--| E |--5--5--5--5--5--5--5--5--| [8 evenly spaced hits per bar = 8th notes in 4/4]

8th Note Single-Note Run — A Minor Scale Fragment

Beat: 1 + 2 + 3 + 4 + e |--5---7---8---5---7---8---10--8--| B |-------------------------------------| G |-------------------------------------| D |-------------------------------------| A |-------------------------------------| E |-------------------------------------|

Syncopation (Sincopamiento) — Off-Beat Accent Patterns

Syncopated Riff — Accent on "and" of 2 and 4 (Reggae/Funk feel)

Classic Funk Syncopation — Single String (A Minor)

Beat: 1 e + a 2 e + a 3 e + a 4 e + a e |--5---------7--5--------7--5---------7--5--------7--| [Note on beat 1 and the "+" of each beat — typical funk phrasing] [The space before beat 2 = the rest that creates the "groove pocket"]

Tied Syncopation — Held Note Across Barline

Bar 1 | Bar 2 e |--5---------------------~~--|~~-7-----------5--| [Note on beat 1 of bar 1 is HELD (~~ tie) across barline into bar 2] [This IS syncopation: the downbeat of bar 2 has no new attack = displacement]

Swing Feel (Corcheas con Swing)

Swing Eighth Notes — Jazz Comping Pattern (A7 → D7)

Swing: LONG---short-LONG---short-LONG---short-LONG---short Beat: 1 2 3 4 e |--5---------5----5---------5----5---------5----5------5--| B |--5---------5----5---------5----5---------5----5------5--| G |--6---------6----6---------5----6---------6----5------5--| D |--7---------7----7---------7----5---------5----5------5--| A |------7----------7-----------7----------7----------------| E |----------------------------------------------------------| [Pair of 8ths played in triplet feel: 1st note ~2x longer than 2nd] [The "short" notes fall on the "and" — slightly late, creating swing]

Swing Blues Lick — A Pentatonic, Triplet Feel (frets 5–8)

Triplet brackets: [ ] e |--[5-7-8]--[7-5-7]--[8b(10)-8-7]--5--| [Each bracket = 3 equal notes in the space of 2 beats] [Played with swing: emphasise the first note of each triplet]

Triplet & Sextuplet Patterns (Tresillos y Seiscilos)

Quarter Note Triplets — 3 notes in 2 beats (Hemiola)

Bar: [1----2----][1----2----][1----2----] e |------5-----7-----8---5-----7-----8---5-----7-----8---| [3 evenly spaced notes across 2 beats creates cross-rhythm feel] [This is the HEMIOLA: 3 against 2 — feel 3 while the bar says 2]

8th-Note Triplets — 3 per beat (Tresillos)

Beat: 1-trip-let 2-trip-let 3-trip-let 4-trip-let e |--5-7-8-5-7-8-5-7-8-5-7-8--| [12 notes in 4/4 = triplets] [Evenly spaced: 3 notes per beat. Creates rolling, compound feel]

Sextuplets (Seiscillos) — 6 Notes Per Beat (2 groups of 3)

Beat: 1---2---3---4--- (each beat gets 6 notes!) e |--5-7-8-10-12-13-15-17-19-20-21-22-23-24--| [6 notes per beat at e.g. 80 BPM = very fast picking/legato] [Can feel as [5-7-8][10-12-13] or [5-7][8-10][12-13] — two interpretations]

Duodecuplet Run (Docecillos) — 12 Notes in One Beat at Slow Tempo

[At very slow tempo (q=40), one beat gets 12 subdivisions] e |--12-13-14-15-16-17-18-19-20-21-22-23-24--| [Chromatic run from fret 12 to fret 24 = one beat at q=40] [This is a docecillo (12-tuplet) — use in classical/shred cadenzas]

Contratempo (Countertime) — Off-Beat Patterns

Contratempo Pattern — Guitar Plays Only On Off-Beats

Beat: 1 + 2 + 3 + 4 + e |--------5-----------5-----------5-----------5--| B |--------5-----------5-----------5-----------5--| G |--------6-----------5-----------6-----------5--| D |--------7-----------7-----------5-----------5--| A |--------7-----------7-----------5-----------5--| E |--------5-----------3-----------3-----------5--| [Guitar hits ONLY on the "+" (off-beat). Drum/bass hold the beat] [This is the reggae skank and jazz "comp on 2&4" concept]

Dotted Note Rhythms (Notas con Puntillo) in Tab

Dotted Quarter + Eighth Pattern — Lilting Compound Feel

Beat: 1---------+---2---------+---3---------+---4---------+ e |--5-----------7---8-----------7---5-----------7---8----------| [Long note (dotted quarter = 1.5 beats) followed by short 8th = 0.5 beat] [Creates the "1 and 2" jig/compound feel within simple metre]

Dotted Eighth + Sixteenth — March/Fanfare Rhythm

Subdivision: 1 e + a 2 e + a 3 e + a 4 e + a e |--5-----8--5-----7--5-----8--5-----7--| [Dotted 8th on beat 1 (holds through e+), 16th on "a"] [Stiff, precise march feel — also common in Baroque ornamentation]

♪ Section Six

Advanced Techniques in Tab

Pedal tones, countermelody, chord inversions, grace notes (apoyaturas), harmonics, and upper-neck explorations — all shown as playable tablature.

Pedal Tone (Nota Pedal) Patterns

A pedal tone is a sustained note (usually the lowest string's open note or a high-fret note) against which other notes move. The stationary note creates tension and release as the moving notes form different intervals against it.

Tonic Pedal — Open Low E, Melody Moves Above (frets 0–14)

e |----0---2---4---5---7---9---7---5---4---2---0------| B |----0---3---5---5---7---7---7---5---5---3---0------| G |----0---2---4---5---7---6---5---5---4---2---0------| D |----0---0---0---0---0---0---0---0---0---0---0------| A |----0---0---0---0---0---0---0---0---0---0---0------| E |----0---0---0---0---0---0---0---0---0---0---0------| [All 6 strings at fret 0: open chord drone, then melody moves on treble strings] [Low E, A, D remain open (pedal) while G, B, e move]

Dominant Pedal — Low E at Fret 7 (B), Upper Voices Move

e |--5---7---8---10--12--10--8---7---5------------| B |--5---5---5---10--12--10--5---5---5------------| G |--4---4---5---9---11--9---5---4---4------------| D |--4---4---4---4---4---4---4---4---4------------| A |--2---2---2---2---2---2---2---2---2------------| E |--7---7---7---7---7---7---7---7---7------------| [Low E stays at fret 7 (B = dominant of E); D and A follow] [Upper strings: melodic movement against the sustained B dominant pedal]

Upper Pedal (Inverted Pedal) — High e String Drone, Lower Voices Move

e |--12--12--12--12--12--12--12--12--12--| ← pedal (A) B |--12--10--8---7---5---7---8---10--12--| G |--14--12--11--9---7---9---11--12--14--| D |--14--12--11--9---7---9---11--12--14--| A |--12--10--9---7---5---7---9---10--12--| E |--12--10--8---7---5---7---8---10--12--| [Fret 12 on high e stays put (A); melodic line descends on other strings]

High-Register Pedal Tone — Using Frets 17–24 (Upper Neck Drone)

e |--24--24--24--24--24--24--24--24--| ← sustained pedal (E, 2 octaves) B |--22--20--19--17--15--17--19--20--| G |--21--19--18--16--14--16--18--19--| D |--19--17--16--14--12--14--16--17--| A |--22--20--19--17--15--17--19--20--| E |----------------------------------| [Tap/hold fret 24 on e throughout; other voices move below] [Use ring finger or little finger of right hand to sustain fret 24]

Countermelody (Contramelodía) — Two Voices in Tab

A countermelody fills the gaps of the main melody while moving independently in rhythm. On guitar, the upper strings carry one voice while the lower strings carry another.

Two-Voice Counterpoint — Main Melody (e string) + Counter (G string)

e |--5-------8---7---5-------8---7---5------| ← Main melody B |----------------------------------------| G |----7---5---7---5---7---5---7---5---7---| ← Countermelody D |----------------------------------------| A |----------------------------------------| E |----------------------------------------| [Main melody: A–C–B–A. Counter: G fills the gaps, creating contrary motion] [The two voices interlock: when melody holds, counter moves]

Bach-Style Two-Voice Invention Fragment — A Minor (frets 5–12)

e |--8---10--8---7---5---7---8---10--12--10--8-----| ← Voice 1 B |------------------------------------------------| G |----9---7---9---7---9---7---9---7---9---7---9---| ← Voice 2 D |------------------------------------------------| A |------------------------------------------------| E |------------------------------------------------| [Voice 1 moves scale-wise; Voice 2 answers in contrary motion] [This is the essence of two-voice counterpoint (Bach Inventions)]

Countermelody with Bass — Three Voices (frets 5–15)

e |--5-------7-------8-------10------12------10-----| ← Melody B |------------------------------------------------| G |----6---7---5---7---6---7---5---7---6---7-------| ← Counter D |------------------------------------------------| A |--0-----------0-----------0-----------0---------| ← Bass (pedal) E |------------------------------------------------| [Bass holds open A (pedal tone); middle voice counter-melody; top voice melody] [This is a complete 3-voice texture achievable in fingerstyle]

Chord Inversions in Tab (Inversiones)

A Major — Root Position, 1st Inversion, 2nd Inversion

Root Position 1st Inversion 2nd Inversion (A in bass) (C# in bass) (E in bass) e |--0------------|--5------------|--0-----------| B |--2------------|--5------------|--2-----------| G |--2------------|--6------------|--2-----------| D |--2------------|--7------------|--2-----------| A |--0------------|--7------------|--7-----------| E |--x------------|--5------------|--0-----------| [Same 3 notes A-C#-E; bass note changes: A → C# → E] [Root = stable home. 1st inv = lighter, passing. 2nd inv = unstable, needs resolution]

A Minor — All Three Inversions Across the Neck

Root 1st Inv (C bass) 2nd Inv (E bass) e |--0------------|--8------------|--12----------| B |--1------------|--8------------|--13----------| G |--2------------|--9------------|--14----------| D |--2------------|--10-----------|--14----------| A |--0------------|--10-----------|--12----------| E |--x------------|--8------------|--0-----------|

Voice-Leading through Inversions — Smooth Bass Line (A → D → E → A)

[Use inversions to keep bass moving stepwise] e |--0---7---0---0--| B |--2---7---0---2--| G |--2---7---1---2--| D |--2---7---2---2--| A |--0---5---2---0--| A root → D/A → E/B → A root E |--x---x---0---x--| [Bass notes: A → A → B → A — barely moves! Inversions enable smooth voice-leading]

Grace Notes & Apoyaturas in Tab

Appoggiatura (Long Grace Note) — On-Beat, Takes Half the Value

[Small note notation: the grace note (in parentheses) is played ON the beat] e |--(7)8---------(9)10-----------(7)8-----------| [(7) = appoggiatura on beat, resolves to 8; takes ~half the value of 8] [Sounds like: "lean-land, lean-land" — the lean is the dissonance]

Acciaccatura (Short Grace Note) — As Fast As Possible Before the Beat

[Slide/hammer into main note instantly — barely audible as separate pitch] e |--7h8-------9h10--------7h8-------9h10--------| [h = instant hammer-on = acciaccatura effect] [Or with slide: 7/8 9/10 = slide into from below]

Blues Grace Notes — Bends and Slides as Apoyaturas

e |--5/7---7b(8.5)r7---5/7---7\5---5h7p5----------| [5/7 = slide up (grace note feel); 7b(8.5) = bend as appoggiatura to target] [These are the "lean into" notes that give blues its expressive humanity]

Natural Harmonics — Full Fret Map

Natural harmonics ring at frets 5, 7, 12 (and beyond: 4, 9, 16, 19, 24). At fret 24, the natural harmonic sounds the same pitch as the note at fret 24 (the 7th harmonic partial).

Natural Harmonic Positions — All Strings

Fret: 5 7 9 12 16 19 24 e |--<5>-<7>-<9>-<12>-<16>-<19>-<24>--| B |--<5>-<7>-<9>-<12>-<16>-<19>-<24>--| G |--<5>-<7>-<9>-<12>-<16>-<19>-<24>--| D |--<5>-<7>-<9>-<12>-<16>-<19>-<24>--| A |--<5>-<7>-<9>-<12>-<16>-<19>-<24>--| E |--<5>-<7>-<9>-<12>-<16>-<19>-<24>--| [<n> = natural harmonic at fret n] Fret 12 = octave (same note, one octave up) Fret 7 = perfect 5th + octave above open Fret 5 = 2 octaves above open Fret 24 = same as fret 12 + another octave (4th partial of harmonic series) Fret 9 = major 3rd + 2 octaves above open

Harmonic Melody — "Bells" Sound (frets 5, 7, 12)

e |--<12>-<7>-<12>-<5>-<7>-<12>-<5>-<7>--| B |---------------------------------------| G |--<12>-<7>-<12>-<5>-<7>-<12>---------| D |---------------------------------------| A |---------------------------------------| E |---------------------------------------| [Touch string lightly at fret, pluck, release immediately] [Creates pure bell-like tones — used in classical, ambient, and metal]

Full-Neck Scale Runs — Combining All Concepts (Frets 0–24)

A Minor — Complete Two-Octave Run, Frets 0–24 (All Techniques)

[Open position up through tapping the highest frets] e |--0-3-5-7-8-10-12---T17p12h15-T20p12h15-T22p12h15-T24p12h15--| B |--1-3-5-6-8-10---------------------------------------------- | G |--0-2-4-5-7-9----------------------------------------------- | D |--0-2-3-5-7-9----------------------------------------------- | A |--0-2-3-5-7---------------------------------------------------------| E |--0-3-5-7-8-10-12-15-17-19-20-22-24--------------------------| [Lower strings: fingered run open→fret 24 on low E] [High e: open position then tapping from fret 12 to 24] [This is the FULL range of the 24-fret guitar in A minor]

Ionian (Major) — Full Neck Ascending in A (Frets 4–24)

e |--4-5-7-9-11-12-14-16-17-19-21-T23-T24--| B |--5-7-9-10-12-14-16-17-19-21----------- | G |--4-6-7-9-11-12-14-16-18-19-21--------- | D |--4-6-7-9-11-12-14-16-17-19-21--------- | A |--4-6-7-9-11-12-14-16-17-19-21--------- | E |--4-6-7-9-11-12-14-16-17-19-21-T23-T24--| [From A on fret 4 all the way to fret 24 using tapping for the last notes] [This covers A B C# D E F# G# A B C# D E F# G# A B C# — 2.5 octaves!]

True Temperament — The Wavy Fret Concept in Practice

On a standard equal-temperament guitar, the major 3rd is 14 cents sharp of just intonation. True Temperament frets correct this by curving each fret to the exact position required for each note. In tab, you play the same fret numbers — but the guitar is physically tuned to just intervals. Awareness of this helps you understand why certain notes need micro-adjustment in pitch:

Interval	ET (cents)	Just (cents)	Difference	Adjustment
M3 (major 3rd)	400	386	+14¢ sharp	Bend slightly flat in chords for pure tuning
P5 (perfect 5th)	700	702	−2¢ flat	Negligible; P5 is nearly pure in ET
m7 (minor 7th)	1000	969 (7th partial)	+31¢ sharp	Blue notes, bends approximate the just m7
P4 (perfect 4th)	500	498	+2¢ sharp	Negligible in practice

Practical upshot: The reason blues guitarists instinctively bend the b3 and b7 slightly, and why a well-intoned guitar chord sounds "off" against a piano — equal temperament is a compromise. Your ear already knows what just intervals sound like; trust it when you tune.

Cacophony to Consonance — Dissonance Resolution Exercise

Tritone Resolution — Maximum Tension to Maximum Rest

[G7 tritone (B + F) resolving to C major (C + E) — voice lead by half steps] Dissonant: Consonant: e |--x-----------x-------------|--0------| B |--7-----------6-------------|--5------| [F → E: half step down] G |--x-----------x-------------|--5------| D |--x-----------x-------------|--5------| A |--x-----------x-------------|--3------| E |--x-----------x-------------|--x------| [B on B string → C: half step up (leading tone resolution)] [F on G string (as chord note) → E: half step down] [This is the tritone resolution that drives all tonal harmony]

Chromatic Approach Notes (Apoyatura/Enclosure) — Jazz/Blues

[Enclosure of A: approach from above (Bb) and below (G#), then land on A] e |--10-8-9--10-8-9--10-8-9--10-8-9--| [10=Bb (above), 8=G# (below), 9=A (target)] [This is the bebop chromatic enclosure: above-below-target] [Use before any scale tone for bebop phrasing]

"To play a wrong note is insignificant; to play without passion is inexcusable."

— Ludwig van Beethoven

"The most important thing I look for in a musician is whether he knows how to listen."

— Duke Ellington

The Guitarist's Compass:Intervals, Scales & TappingAcross All 24 Frets

The Guitarist's Compass:
Intervals, Scales & Tapping
Across All 24 Frets