19 Playing in Positions
Introduction
Skillful sight-reading involves knowing the many locations where one specific note can be played on the guitar. There are many ways to develop this skill. I will share two different approaches in this unit. The first is to play chromatic scales and the second is to play in high positions on the guitar neck. Before we begin, let’s take a moment to think about the guitar’s unique construction.
Notations
One Note; Multiple Locations
A distinct pitch (represented by a note) can potentially be played in multiple locations of the guitar. There are many possibilities. For example, some pitches can be played in five different locations, whereas other pitches can only be played in one location. Some examples are below.
Five Locations
This ‘E’ can be played five locations.
Four Locations
This ‘G’ can be played in four locations.
Three Locations
This ‘D’ can be played in three locations.
Two Locations
This ‘B’ can be played in two locations.
One Location
This ‘F’ can be played in only one location.
Chromatic Scales
The chromatic scale will help you identify the name of any note on the guitar. It has a fancy name but it’s actually quite simple. A chromatic scale occurs when adjacent frets are played in either an ascending or descending order. Consult the chart below to know how pitches follow one another, fret by fret.
The easiest way to produce a chromatic scale is to start with an open string and play up the neck, one fret at a time. Make sure to look at the correct notation for each note and say its name as you go. Ascend the chromatic scale using the sharp enharmonic of the pitch, as in the first example below. Then, ascend the chromatic scale using the flat version of the enharmonic, as in the second example below. Do this on every one of the guitar’s six strings, starting with the name of the open string. View this graphic if you need extra help or want to double check your work.
Ascending String V in Sharps
Ascending String V in Flats
Playing in Positions
A position is way of expressing where fretting fingers are placed in relation to frets. In first position, for example, the first finger corresponds with fret one, the second finger with fret two, the third finger with fret three and the fourth finger with fret four. However, in second position, every finger is moved up by one fret so that the first finger corresponds with fret two, the second finger with fret three, the third finger with fret four, and the fourth finger with fret five. Note that the name of the position comes from the fret number that corresponds with the first finger. The majority of the previous play-along exercises are designed for playing in first or second positions. You will now encounter some exercises to be played in higher positions.
Bear in mind that positions are flexible. For example, you may have to shift your hand out of position to reach a really high note. Or, you may have to slightly extend a finger out of position, either up or