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Guitar Fretboard Workbook 2nd Edition
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A progressive teaching method that offers a clear roadmap through the tangles of the fretboard maze. Gary Joyner, Acoustic Guitar -- Acoustic Guitar Magazine, July 2004
From the Author
This book clearly relates the fretboard to the same musical principles all professionals on any instrument use, teaching the practical hands-on basics without glossing over the theory every guitarist should know. It does not invent its own terminology or pattern numbering system, a problem that has lessened the value of many books like this in the past. The CAGED-based fretboard system used has world-wide recognition and a long historic basis, refined and tweaked in Musicians Institute curricula since 1977 by hundreds of instructors after its introduction by Howard Roberts in the early 1970s.
You'll cover everything you need for a rock-solid foundation, including modes and slash chords. You'll understand and play (anywhere on the neck!) any scale or chord you encounter or imagine. Besides offering you a chance to completely grasp the guitar, this method assures you will be able to communicate with other trained musicians no matter what their instrument.
The book was designed for use in three arenas: private lessons, classroom instruction, and personal study by the motivated individual. There are 22 short chapters of very gradually increasing difficulty, suitable for teaching in 20-30 minute time frames. Each chapter has modest written and playing assignments, with all the answers in the back of the book. The text was written specifically to be concise, informative, and fun, yet easily understood by non-native English speakers.
After over a year of intense work, I'm happy to present this book. Please use and enjoy it.
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Top customer reviews
This book is like the missing link for me, I always felt other books concentrate on teaching the notes of scales ( giving you the whole step and half step sequences to build them for yourself). This book focuses on mapping scales to the guitar fretboard, with the aim to give you a system to locate them up and down the fretboard.
Chapter 7 has been reviewed as a sticking point by other reviewers but this is when you should roll up the sleeves and use the examples already illustrated to build the scales and fretboard maps for yourself.
I used a writing pad to draw up the fretboard and mark out scales for each position for root notes A,B,C,D,E,F,G
I did write out the scale notes and used them in the process.
I don't believe the reader should be memorizing patterns and scales, this would take a life time, I think this is an approach you can use to analyze scale notes. So if I have a piece of music now I will identify the key, chords, scale and use these position maps to analyze the notes.
With time this should help a number of things to happen :-
1. Get strong with fretboard knowledge (where notes are found)
2. Chords and scale knowledge will develop giving me an understanding of how music can be pieced together
3. Develop a reference point that will familiarize sounds by ear (scale note intervals in relation to chords)
4. With experience you will be able to call on scales with ease and translate quickly to guitar.
I believe the book has already given me the tools to achieve the above. I can see the major and minor pentatonic analysis coming up soon and beyond that arpeggios, which I think will provide more tools to use for fretboard mapping.
I had studied classical guitar for several years,and learned all sorts of music, including some by Fernando Sor and Albeniz. I was really quite good. I never understood the fretboard though and have since forgotten how to play the music. Trying to relearn it, I realize that I can read the notes and know where they are through about the 5 fret, but not beyond that. I had learned by following my instructors directions as to where on the neck to play the music and just playing it from memory. Now, years later, I am trying to regain my lost ability, and thought my problem was note reading. It is not. The problem is that I don't know the fretboard.
Unlike a piano that has one line of keys, and a visible pattern of black and white, the guitar has 6 strings that all look alike. After working with this book for two days, I can see the pattern on the fretboard and am quickly learning where all the notes are. The author understands that music is largely about patterns. Rather than having you memorize everything with rote practice, he clearly shows you the patterns and makes it easy to remember. He also has you practice several different ways, so depending on how you learn, you will still be exposed to a method that works for you. I am very excited that it will not take long to become fully knowledgable of where every note is on my guitar. I wish I had discovered this book ages ago.