So you still want to learn more about this stuff? Good. Get ready 'cause now it gets funky.

Part three is going to take this information to an entirely different level. This is where we really make some headway in terms of coverage. When at all possible, repetative forms and geometric shapes can save an enormous amount of thinking energy. That's a very good thing for us non-rocket scientist types.

The concept is built around a system of twos and threes. Two notes on one string and three notes on the next.

I have to stress one very important thing here. In fact I'm adamant about it to the point of needing a sledgehammer to drive the idea home; Keep track of the root! The only way to make practical sense of this stuff is to relate everything to the key note. In our example we have a 'G' on the same string but behind the root 'A'. You can use the 'G' as a launching pad to get the pattern on the neck but it is not the root!

Here's the same structure repeated through all six strings:

Look at that! It's amazing how much ground it covers and it's user friendly. Take special notice of the little jog at the second string, it's that tuning thing again, always a thorn in the players paw. Regardless of this little wrinkle we've managed to span the neck from the 3rd fret right up to 12th. Cool!

Now try and see how far you can get when you transplant it up an octave past the 12th fret ..... Chances are if you put it in the right place, you ran out of room on a standard 21 or 22 fret electric. Still good for punching a hole though in the neck though.

That's it for part three so on to part four, the beginning of the end.

Once again we'll take advantage of geometric and repetitive forms. This time we're going back to our 12th fret 'A' for our reference. From that point go directly up to the sixth string and back two tones. That's a 'C' which we'll use as our starting point. From here we're doing a bit of a flip-flop, beginning with three notes then two. Remember to keep track of the root!

Then continue the idea of threes and twos right on through to the first string.

As you can see by the diagram, this pattern spans from the 8th fret to the 17th! Wicked! - and congratulations, if you've done everything right you've managed to cover virtually the entire fretboard! Here's a diagram of the whole enchelada:

Wow that's intimidating! But not impossible if you take the time to tackle the individual bits and pieces.

So is this the end? Absolutely not. There are some very important comments I need to make before I let the issue rest.

As you play through this assembly of patterns, undoubtedly they're going to sound somewhat ... scaley. In the end they're just maps to the right sounds and require practice to become more natural under your fingers. (Remember what it was like trying to play chords for the first time? - same thing). The fact is you can play any note at any time anywhere within these structures and it'll fit because they are all of the same family of five notes.

Putting the information in a different key is the next trick. This means picking it up and plopping it in a different place. The challenge is in keeping all the patterns referenced properly and therefor all those fret markers you were using in 'A' are going to change. Hence, the most important things are the shapes themselves and their correct relation to any given root.

To get a grip on exactly how to phrase with them, try stealing some of your favourite artist's licks available from inumerable tab sources. The catch is that not all songs are in the key of 'A' and there'll usually be extra notes thrown in for added texture. Nonetheless we have an excellent practical framework with which we can build bigger better things.

Epilogue. This is only the beginning!