Hello @Richard_close2u
The following is a little lengthy, but it’s a critical topic for me, and there are many perspectives.
Something I’ve wanted to bring up for a while.
In short, it relates to the chord-scale relationship, specifically ‘key colours’ and ‘chord colours’, and particularly in relation to lead playing, improv etc.
As I continue on my Blues centred guitar journey, I’m constantly working on a logical, musical, and structured way of helping me refine and internalise my visualisation of the fretboard, including a framework for the colour tones that surround any base triad; the interplay between the triad and the scale; and how these create movement/tension/resolution, and occasionally modal, outside sounds etc.
I’ve come to think about it as having 2 basic layers;
one layer relative to the key; the other layer relative to the chord. Same notes, same overall framework, but different interval structures, different relative sounds, different tensions.
Now, I started some time ago by trying to see the scale ‘underneath’ the triad; like a multi-layered image. I have developed some fairly reasonable practical and theoretical competency in both over time, but often had ongoing issues ‘seeing’ them simultaneously and consistently, in real time.
I started practicing this as a specific practice item; breaking it up into smaller components for Major and Minor tonalities, over small progressions, or even just a one chord vamp.
But, I was stalling somewhat; focus on one meant I often ‘lost’ the other temporarily; and ‘temporarily’ in music can be a long, long time.
And then it hit me like a freight train only fairly recently.
The colour tones immediately surrounding any triad are simply the adjacent triads that I’ve come to ‘know’ so well.
There’s your scale ‘framework’, Shane. It’s a continually localised, but ever moving snapshot of the chord/scale framework.
Yet again with guitar, as with life, things seem to reveal themselves at the right time, even though one wonders sometimes why one didn’t make the seemingly obvious connection before. It’s one of those aha moments, where you’re in the same familiar environment, but you see it anew, with greater clarity.
So for, say, A Major as the I chord ( Key of A) , the adjacent G#° and Bm triads contain the ‘key colour’ notes G#,B,D (7,2,4) and B,D,F# (2,4,6). respectively,…with the I chord, A, obviously containing A,C#,E (1,3,5).
If A Major is, say, the V chord ( Key of D), these surrounding key colour tones would be the notes of the Bm and G Major triads, the B,D,F# (6,1,3) and G,B,D (4,6,1) respectively. The A, as the V, contains the 5,7,2.
So, as long as I’m cognisant of the key I’m in, and what I’m playing over, it’s a logical, consistent framework.
So this perspective I’m calling ‘key colours’.
The other perspective is the chord-centric layer. So in the same examples above , with A Major as the I chord, it naturally has all the same interval ‘colours’ as the A Major key ( ala… Ionian, built off the Ist degree, the tonic).
With the A Major as the V chord, say, in the key of D, there is one differing interval from the standard Major 1234567.
The root of this V chord, A, down to the G, gives a b7 ( ala Mixolydian, built off the 5th degree).
All the diatonic chords will reveal their respective modal structures; something I wasn’t ‘looking for’, but it revealed itself.
So, this ‘exploration’ has revealed all the modal structures in a new, and much clearer light for me. This is a significant bonus.
These complementary, closely knit frameworks seem a much more musical and logical way to internalise it. It builds on what I already know, and complements my ongoing ear training.
Of course, these colour notes are the ‘local’ ones, on the same strings as the triad… Naturally, these same colour notes are on different string sets, all over the fretboard. Focusing in on one stringset though, is the most helpful first step I think; it can then be expanded once competency increases. And then there are extended chords…7ths 9th etc…
Additionally, it’s the ‘duality’ that is also significant; something I hadn’t realised before this., but something we all hear subconsciously in music.
In my example of the A Major as the V, the G note 2 frets down simultaneously pulls toward the root of the chord, A (b7 - I, G-A, subtonic to tonic), and, in a sort of ‘background’ ever present way, to the tonic of the key ( V - I, G-C, subdominant to tonic) that the listener has locked onto. It’s like a nested resolution.
Below is a tabular explanation, which perhaps explains it much more clearly.
As I said, the ultimate primary goal here for me is to allow this all to seep into the subconscious, so it’s simply drawn upon automatically, as Im led around solely by my ear; a multi year endeavour.
But for now, it’s about consciously building the framework first.
I’d love to get get your take on this Richard; perhaps what your experiences have been in navigating this topic over the years; what errors or oversights you can see that may be apparent in my thinking; and of course any additional insight which I know will be forthcoming.
Also appreciate any input from other suitably experienced/ seasoned players.
Cheers, Shane