Position Playing Interactive Ebook by Garner Guitar

GarnerGuitar.
com
GARNER GUITAR PRESENTS:

POSITION PLAYING
A guide to single string playing &
connecting major scales, 7th arpeggios,
drop 2, and drop 3 chords in positon.
by: Lane Garner
SAMPLED FROM INTERMEDIATE
GUITAR LESSONS FOR ALL AGES
GarnerGuitar.com
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WITH GARNER GUITAR
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lesson one:
using single string scales to deepen
your understanding of position playing GarnerGuitar.com
PAGES 4-15
lesson two:
connecting modal positions to
arpeggios, drop 2, and drop 3 voicings
PAGES 16-27
SAMPLED FROM INTERMEDIATE GUITAR LESSONS FOR ALL AGES
VISIT GARNERGUITAR.COM FOR MORE INFORMATION
LESSON one
using single string scales to deepen your understanding of position playing
Intro
single string scales
Key Signatures
modal positions
relating modal positions to fifth string roots
GarnerGuitar.com
lessons menu lesson one lesson two 5

intro
Many students are first presented with scales in position. While this is a quick way to start improvising it does not
provide a thorough understanding of each scale. This lead me to practice single string scales as described by Mick
Goodrick in The Advancing Guitarist as the “Science of the Unitar.” Instead of relying on pre-developed muscle
memory I now had to to think more specifically about each note in the scale.
Begin by learning the key of C major on each string- these are the white notes on the piano.
Next, practice improvising over a bass line or drone from each scale degree to practice the modes of C major. This
allows you to hear the relationship of scale to bass note for each mode/chord. For example play over a C drone for
Ionian/Maj7, D for Dorian/Min7, E for Phrygian/Esusb9, F for Lydian/Maj7#11, G for Mixolydian/G7, A for
Aeolian/Amin7b6, and B for Locrian/Min7b5.
Spend lots of time studying C major as all other keys will relate back where the natural notes lie.
Practice each string by itself then begin to combine strings.
First practice consecutive strings then try string skipping, and combining strings. For example, challenge yourself to
play only on the fifth and second string in a given key... or all of them!
When combining strings you will begin to see more clearly how notes fit into each position. GarnerGuitar.com

SINGLE STRING SCALES SAMPLED FROM INTERMEDIATE GUITAR LESSONS FOR ALL AGES
VISIT GARNERGUITAR.COM FOR MORE INFORMATION KEY OF C
E B G
G D A E
E
GarnerGuitar.com

key signatures
After firmly grasping C major expand to the remaining key centers. Learn F major by flatting all B’s and practicing in
the same way as C major. Next learn G major by sharping all F’s; learn Eb by flatting all B’s, E’s, and A’s; learn B by
sharping all F’s, C’s, G’s, D’s, and A’s, etc.
Memorize all key centers in this way.
Eventually try this approach with other scales such as

melodic minor, harmonic minor, and harmonic major.
C major: no sharps, no flats
Flat Key Signatures

F major: Bb
B-flat major: Bb, Eb
E-flat major: Bb, Eb, Ab
A-flat major: Bb, Eb, Ab, Db
D-flat major: Bb, Eb, Ab, Db, Gb
G-flat major: Bb, Eb, Ab, Db, Gb, Cb
Sharp Key Signatures

G major: F#
D major: F#, C#
A major: F#, C#, G#
click on a key
E major: F#, C#, G#, D# to view single string sales
B major: F#, C#, G#, D#, A# GarnerGuitar.com

modal positions
The guitar is a pentatonic instrument- each scale can be played in five positions on the neck. The guitar can be
broken into five “modal positions”- Ionian, Dorian, Lydian, Mixolydian, and Aeolian. We exclude the modes
beginning with half steps, Phrygian and Locrian, because they are positionally redundant to Lydian and Ionian.
After a detailed study of single string playing it is now easier to understand how each of these positions
functions theoretically rather than just using muscle memory while improvising.
Another benefit to studying each key on single strings

is the ability to connect the modal fingerings
smoothly and play all over the neck.
click on a key to view

modal positions
GarnerGuitar.com

relating modal positions to fifth string roots

While many teachers and students prefer relating these
scale fingerings to the sixth string I prefer relating to the
fifth string. The sixth string will have the same notes as
the first string so by relating to a fifth string root there
is less material to learn. If you are already accustomed to
sixth string roots don’t fret- they are the same fingerings
starting on different strings (5th root Ionian=6th root
Mixolydian, 5th root Dorian=6th root Aeolian, 5th
root Lydian=6th root Ionian, 5th root Mixolydian=6th
root Dorian, 5th root Aeolian=6th root Lydian). The
dedicated student may want to familiarize his or herself
with both fifth string and sixth string root modal
fingerings. Discovering as many possible angles to view a
topic deepens understanding.
click on a key
to view fifth root modal positions
GarnerGuitar.com

LESSON two.
connecting modal positions to arpeggios, drop 2, and drop 3 voicings
Intro
connecting modal positions to
arpeggios, drop 2 and drop 3 chords
Practice Ideas
GarnerGuitar.com

Throughout my early years in college I struggled to apply new chord voicings to my vocabulary. As much as I
practiced inversions up and down the neck I would constantly find myself reverting to a few comfortable voicings
(usually root inversions). Even more, I had trouble creating harmonic interest while playing chord melodies or
comping for myself while soloing. I have always been very drawn to a pianistic style of comping for your own solo
but struggled to apply it to guitar. Gilad Hekselman particularly amazed with his command of chordal vocabulary to
the extent of accompanying himself and even being able to completely alter the harmonic framework a la a pianist’s
left hand. To put it lightly: I have piano envy.
I have developed a system to connect the modal positions described in the previous chapter to chord voicings and
arpeggios in each position. Practicing in this way has given me greater command of each of the three elements.
Connecting these elements has proven to be, for me, a far superior approach to the normal up and down the neck
inversions many guitarists learn.
I have made these diagrams as simple as possible by sticking to “fifth-string-root modal positions”, arpeggios in
position, drop 2/drop 3 voicings, and by avoiding too many stretch fingerings or additional chord voicings. These
diagrams are major 7, unaltered dominant 7, and minor 7 chords. Try practicing other chords such as altered
dominants, minor7b5, and min(maj7).
Don’t forget to practice these in all twelve keys.

GarnerGuitar.com

cmaj7 third position cmaj7 fifth position

cmaj7 seventh position cmaj7 ninth position
cmaj7 twelfth position
c7 third position C7 fifth Position
c7 seventh position C7 ninth Position
c7 twelfth position
cmin7 third position Cmin7 fifth Position
cmin7 seventh position Cmin7 ninth Position
Cmin7 twelfth Position GarnerGuitar.com

Practice ideas:
1. Start off with a vamp one one chord type and root. Slowly go through each corresponding position, chord type, and
root. First play each scale position, arpeggio, and chord voicing. As soon as a position is comfortable begin to improvise
within these same confines.
2. Take a single position and play through keys in 4ths.
3. Take a single position and play through keys in 5ths.
4. Take a single position and play through random keys.
5. Play through a standard in one position.
6. Start to combine positions into one cohesive fretboard. Think of the “puzzle pieces” connecting positions.
7. Use iReal Pro to make vamps to play over.
8. Force yourself to use these concepts while playing with others.
9. Play scales in four note patterns to get used to any unfamiliar positions. Do the same with arpeggios. Play the chord
voicings as arpeggios.
10. Begin to experiment with further altering these positions for

minor7b5 chords, min(maj7) chords, etc.
GarnerGuitar.com

GarnerGuitar.com
MATERIALS:
SINGLE STRING
SCALES
KEY OF C SINGLE STRING SCALES return to menu
E
E B
B G
G D A EE
KEY OF F SINGLE STRING
key of SCALES
F single string scales
return to menu
E G D A E
KEY OF B FLAT
key ofSINGLE
B FLAT single STRING
string scalesSCALES
return to menu
G D A
KEY OF E FLAT SINGLE STRING SCALES
key of E FLAT single string scales
return to menu
G D
KEY OF A FLAT
key ofSINGLE
A FLAT singleSTRING
string scalesSCALES
return to menu
G
KEY OF D FLAT
key ofSINGLE
D FLAT singleSTRING
string scalesSCALES
return to menu
KEY OF G FLAT SINGLE STRING
key of G FLAT single string scalesSCALES
return to menu
KEY OF G SINGLEkeySTRING SCALES
of G single string scales
return to menu
E B G D A E
KEY OF D SINGLE STRING SCALES
key of D single string scales return to menu
E B G D A E
C
KEY OF A SINGLE STRING
key of SCALES
A single string scales
return to menu
E B D A E
G
KEY OF E SINGLE
key ofSTRING SCALES
E single string scales
return to menu
E B A E
KEY OF B SINGLE
key ofSTRING SCALES
B single string scales
return to menu
E B E
MODAL
POSITIONS.
SAMPLED FROM INTERMEDIATE GUITAR
LESSONS FOR ALL AGES return to menu
MODAL POSITIONS. KEY OF C
g mixolydian A aeolian c ionian d dorian f lydian
MODAL POSITIONS. KEY OF F
g dorian A lydian c mixolydian d aeolian f ionian
MODAL POSITIONS. KEY OF B FLAT
g aeolian A ionian c dorian d lydian f mixolydian
MODAL POSITIONS. KEY OF E FLAT
a flat lydian b flat mixolydian c aeolian e flat ionian f dorian
MODAL POSITIONS. KEY OF A FLAT
a flat ionian b flat dorian d flat lydian e flat mixolydian f aeolian
MODAL POSITIONS. KEY OF D FLAT
a flat mixolydian b flat aeolian d flat ionian e flat dorian g flat lydian
MODAL POSITIONS. KEY OF G FLAT
a flat dorian c flat lydian d flat mixolydian e flat aeolian g flat ionian
g ionian A dorian c lydian
MODAL POSITIONS.
d mixolydian
KEY
e aeolian
OF G
MODAL POSITIONS. KEY OF D
g lydian A mixolydian c aeolian d ionian e dorian
MODAL POSITIONS. KEY OF A
f sharp aeolian A ionian b dorian d lydian e mixolydian
MODAL POSITIONS. KEY OF E
f sharp dorian A lydian b mixolydian c sharp aeolian e ionian
MODAL POSITIONS. KEY OF B
f sharp mixolydian g sharp aeolian b ionian c sharp dorian e lydian
FIFTH ROOT
MODAL
POSITIONS.
FIFTH ROOT MODAL POSITIONS. KEY OF C
c ionian d dorian f lydian g mixolydian a aeolian
FIFTH ROOT MODAL POSITIONS. KEY OF F
c mixolydian d aeolian f ionian g dorian b flat lydian
FIFTH ROOT MODAL POSITIONS. KEY OF B FLAT
c dorian d lydian f mixolydian g aeolian b flat ionian
FIFTH ROOT MODAL POSITIONS. KEY OF E FLAT
c aeolian e flat ionian f dorian a flat lydian b flat mixolydian
FIFTH ROOT MODAL POSITIONS. KEY OF A FLAT
d flat lydian e flat mixolydian f aeolian a flat ionian b flat dorian
FIFTH ROOT MODAL POSITIONS. KEY OF D FLAT
d flat ionian e flat dorian G flat lydian a flat mixolydian b flat aeolian
FIFTH ROOT MODAL POSITIONS. KEY OF G FLAT
d flat mixolydian e flat aeolian G flat ionian a flat dorian c flat lydian
FIFTH ROOT MODAL POSITIONS. KEY OF G
c lydian d mixolydian e aeolian g ionian a dorian
FIFTH ROOT MODAL POSITIONS. KEY OF D
b aeolian d ionian e dorian g lydian a mixolydian
FIFTH ROOT MODAL POSITIONS. KEY OF A
b dorian d lydian e mixolydian g aeolian a ionian
FIFTH ROOT MODAL POSITIONS. KEY OF E
b mixolydian c sharp aeolian e ionian g dorian a lydian
FIFTH ROOT MODAL POSITIONS. KEY OF B
b ionian c sharp dorian e lydian f sharp mixolydian g sharp aeolian
CONNECTING MODAL
POSITIONS TO ARPEGGIOS,
DROP 2, AND DROP 3
CHORDS.
cmaj7
CONNECTING MODAL POSITIONS TO ARPEGGIOS, DROP 2, AND DROP 3 CHORDS.
CMAJ7 THIRD POSITION
CMAJ7 FIFTH POSITION
CMAJ7 SEVENTH POSITION
CMAJ7 NINTH POSITION
CMAJ7 TWELFTH POSITION
c7
C7 THIRD POSITION
C7 FIFTH POSITION
C7 SEVENTH POSITION
C7 NINTH POSITION
C7 TWELFTH POSITION
cmin7
CMIN7 THIRD POSITION

CMIN7 FIFTH POSITION
CMIN7 SEVENTH POSITION
CMIN7 NINTH POSITION
CMIN7 TWELFTH POSITION

Position Playing Interactive Ebook by Garner Guitar

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Position Playing Interactive Ebook by Garner Guitar

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GarnerGuitar.

GARNER GUITAR PRESENTS:

lessons menu lesson one lesson two 5

Practice each string by itself then begin to combine strings.

lessons menu lesson one lesson two 6

lessons menu lesson one lesson two 7

Memorize all key centers in this way.

Eventually try this approach with other scales such as

C major: no sharps, no flats

Flat Key Signatures

Sharp Key Signatures

lessons menu lesson one lesson two 8

Another benefit to studying each key on single strings

click on a key to view

lessons menu lesson one lesson two 9

relating modal positions to fifth string roots

lessons menu lesson one lesson two 10

connecting modal positions to arpeggios, drop 2, and drop 3 voicings

lessons menu lesson one lesson two 11

Don’t forget to practice these in all twelve keys.

lessons menu lesson one lesson two 12

cmaj7 third position cmaj7 fifth position

lessons menu lesson one lesson two 13

2. Take a single position and play through keys in 4ths.

3. Take a single position and play through keys in 5ths.

4. Take a single position and play through random keys.

5. Play through a standard in one position.

7. Use iReal Pro to make vamps to play over.

8. Force yourself to use these concepts while playing with others.

10. Begin to experiment with further altering these positions for

lessons menu lesson one lesson two 14

CMIN7 THIRD POSITION

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