Shapes

From StickiWiki

Shapes are the building blocks for harmonic madness. You have the option of using ten fingers as well as only one finger, in any possible combination. Every shape is compatible together with every other shape, anywhere on the fretboard. Using fragments of triangles, diamonds and zig-zags with a grid-like concept, the note selection process becomes sophisticated. One could go crazy with all these strings and frets, and that may not be preventable once you get sucked into the vortex. But that goes with the territory. So if you do end up jamming with a gremlin in a distant solar system at the end of time, just try and record it so people don't think you're nuts. Anyhow, mixing shapes between the two hands is an infinite and enlightening quest. All are equally the creator of these 'sacred' shapes. This tonal universe is interconnected in many different lights.

This part is graphed on the bass side for simplicity, though it applies equally to the treble side. It is a game of variables and constants.

Now move the two variable notes vertically up or down together, depending which side you're on (bass or treble).

Then one at a time move the variable notes horizontally in a similar systematic fashion. After that try changing the constant note into a variable note.

Once you get the hang of this it provides many tonal options. Pick any three or four note starting pattern. Then make a clear, simple series of changes. This enables more options in a single hand position.

Now a full fretboard. You can use the previous system to create tonal variations. Or you can maintain each respective pattern, while moving them up and down the strings, as well as horizontally transposing. The bass side could move while the treble side stays put, or vice-versa. Many new ideas will start showing up. This style can be used for well thought out harmonic composition or for improvisation. Each has its merits. This is an extremely warped way to discover new harmony. The most insane thing is that after a while, everything that you try will work. It frees up the mind in a certain sense, when there is a movable structure. Break in and out of these kinds of things while playing for dramatic impact.

The next ones take advantage of only the top three bass strings, so a harp like texture can be blended perfectly. Try alternating notes between both hands like a mad-scientist. Mathematical and precise, yet out of control! Mixing in dissonant notes is a matter of taste. It can be overwhelming at times when you begin to realize the equality amongst the fretboard.