Guitar Fretboard Mastery (Fret Science System) | Skills Pool
Guitar Fretboard Mastery (Fret Science System) Comprehensive guitar theory consulting based on the Fret Science system by Keith Martin. Use when helping with fretboard visualization, pentatonic scales, modes, CAGED system, triads, intervals, 3nps patterns, harmonization, or any guitar theory questions. Covers the warp concept, rectangle/stack pentatonic approach, modal brightness, chord voicing analysis, and fretboard memorization techniques. Philosophy: Understand more, memorize less.
jarrodmedrano 0 Sterne 12.01.2026
Beruf Kategorien Wahrsagung & Mystik A systematic approach to guitar theory emphasizing geometric patterns and understanding over rote memorization.
Core Concept: The Warp
The most important fretboard concept: the G-B string boundary shifts patterns by one fret .
Standard tuning uses perfect 4ths (5 semitones) between strings, EXCEPT G-to-B which is a major 3rd (4 semitones)
Any pattern crossing G↔B shifts one fret toward the bridge (G→B) or toward the nut (B→G)
This explains why chord shapes change when moved across strings
Pentatonic Scale: Rectangle & Stack
The pentatonic scale is a 5-string repeating pattern with two geometric shapes:
The Rectangle (Red)
Two notes on adjacent strings spanning 3 frets each
Contains: 1, 5, b3, b7 (minor) or 6, 3, 1, 5 (major)
Both right-hand notes can be bent a full step
The Stack (Blue)
Schnellinstallation
Guitar Fretboard Mastery (Fret Science System) npx skillvault add jarrodmedrano/jarrodmedrano-jarrod-claude-skills-claude-skills-guitar-fretboard-mastery-skill-md
Autor jarrodmedrano
Sterne 0
Aktualisiert 12.01.2026
Beruf
Three adjacent strings with 2-fret intervals
Contains: b3, b7, 4, 1, 5 (minor) or 1, 5, 2, 6, 3 (major)
Top-right corner bends full step; lower-right notes bend 1.5 steps
Navigation
Rectangle and stack alternate vertically in each pentatonic form
Rectangle and stack alternate horizontally with slight diagonal descent
Stack connects diagonally to itself one octave higher (Clapton pathway)
All forms derive from shifting the 5-string repeating pattern up strings (accounting for warp):
Form 1 → Form 4 → Form 2 → Form 5 → Form 3 → Form 1
Modes: Pentatonic + Fill-in Notes Six modes are pentatonic scales with two notes added inside the rectangle:
Mode Type Fill Position Brightness Lydian Major Both right Brightest Ionian Major Staggered Medium Mixolydian Major Both left Darker Dorian Minor Both right Brightest Aeolian Minor Staggered Medium Phrygian Minor Both left Darkest
Locrian (b5) doesn't fit this system—it's not built on major/minor pentatonic.
Brightness Order (each differs by one semitone) Lydian (#4) → Ionian → Mixolydian (b7) → Dorian (b3,b7) → Aeolian (b3,b6,b7) → Phrygian (b2,b3,b6,b7) → Locrian
3nps (Three-Notes-Per-String) A 7-string universal pattern with only 3 fingering shapes :
1-2-4 (half-whole): Scale degrees 7, 31-3-4 (whole-half): Scale degrees 6, 21-3-5 (whole-whole): Scale degrees 5, 1, 4
Phone Numbers for String Movement
Going UP: 7-3-6-2-5-1-4
Going DOWN: 4-1-5-2-6-3-7
Pattern 4→7 transition shifts one fret (can combine with warp for 2-fret shift).
String Pairs (for horizontal movement) Memorize the 7 pairs—great for melodic sequences:
Pair 1: 4/1 → 5/2 → 6/3 (same shape as Pair 5)
Pairs 2-7 follow sequentially
CAGED System Five open chord shapes (C-A-G-E-D) become a pegboard for the entire fretboard.
Root Locations Memorize where roots fall in each CAGED shape—snap any pattern onto these positions.
Layered Hierarchy (for improvisation)
Root — Home base, most stableTriad (1-3-5) — Always consonant, great phrase endingsPentatonic — Adds melodic optionsMode — Full color palette
Triads
Four Types (stacked thirds) Triad Formula Lower 3rd Upper 3rd Major 1-3-5 Major (4) Minor (3) Minor 1-b3-5 Minor (3) Major (4) Diminished 1-b3-b5 Minor (3) Minor (3) Augmented 1-3-#5 Major (4) Major (4)
Inversions
Root position: 1-3-5
1st inversion: 3-5-1
2nd inversion: 5-1-3
Nine closed-form shapes exist (3 inversions × 3 string groups, warped versions for G-B crossing).
Quick Modifications From Major: lower 3rd → minor, raise 5th → augmented, lower root 1 fret → maj7, lower root 2 frets → dom7
From Minor: raise 3rd → major, lower 5th → diminished, lower root 2 frets → m7
Intervals
Counting System
Horizontal: +1 fret toward bridge, -1 toward nut
Vertical: +5 per string up (toward floor), -5 per string down
Warp crossing : count diagonally
Reference Table Semitones Interval Semitones Complement 0 Unison 12 Octave 1 m2 11 M7 2 M2 10 m7 3 m3 9 M6 4 M3 8 m6 5 P4 7 P5 6 #4/b5 6 Tritone
9th = 2nd, 11th = 4th, 13th = 6th (subtract 7)
Harmonization with Thirds
Which Scale Degrees Get Major/Minor Thirds
Major thirds (4 frets): 1, 4, 5Minor thirds (3 frets): 2, 3, 6, 7
Technique
Play melody on one string
Add third on adjacent string (major or minor based on scale degree)
Keep one finger anchored, shift other finger for major/minor
Spread Thirds with Pedal Tone Capture open string as pedal, play thirds 2+ strings away. Assign scale degree to the note matching the open string to create any modal sound.
Circle of 4ths/5ths
Vertical Movement Moving up a string = up a 4th (clockwise on circle)
Moving down a string = down a 4th (counterclockwise)
The Sequence 02
Pentatonic Scale: Rectangle & Stack
Wahrsagung & Mystik
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