Guitar Wisdom – Tomo Fujita

It’s easy to think of each note of do-re-mi-fa-so-la-ti-do as having an alias: Rt (do), M2 (re), M3 (mi), P4 (fa), P5 (sol), M6 (la), M7 (ti). Rt is root, M is major, P is perfect, and numbers mean second, third, etc. The symbol (b) means flat, or a semitone lower. A lowercase “m” indicates a minor chord. We don’t need to think about the meaning for now. Just remember that we call them that. The goal is to recognize pitches by ear, so a good starting point is to memorize the notes of the C Major Scale on the fretboard and understand each note’s degree.

You can train your ear by practicing with an awareness of the intervals—for example, noticing the sound of Fa as a Perfect 4th from Do, or a Mi as a Major 3rd, and feeling how each interval sounds. As you learn intervals, you’ll sense them uniquely—maybe by associating colors. This helps visualize sound and say, “This song feels blueish,” or “This chord has many tension colors.” Without a sense of degrees, everything is just a shape on the fretboard, a monochrome world. When you know degrees, you’ll feel chords, recognize progressions by ear, and play intuitively.

Video 24: Effective singing interval exercise with one-string approach Figure 4-4 Degrees from Do at the first fret of the 2nd string. Let’s play it while keeping track of the degrees from Rt. Recognize M3 and b3 Intervals Once you can play do-re-mi-fa-so-la-ti with just your index finger, start relating the notes to their intervals.

For example, Do and Mi are separated by two whole tones, which form a Major 3rd (M3). On the other hand, Re and Fa have one whole tone and one semitone between them, creating a minor 3rd which is commonly called a flat third (b3). A b3 is a semitone smaller than an M3. Similarly, Mi and So also span one whole tone and one semitone, forming a b3.

In summary, two whole tones (4 semitones) make an M3, while a whole tone and a semitone (3 semitones) make a b3. It’s important to become familiar with the sound of these intervals. Start by identifying which notes form M3 and which form b3. If you skip one note from Do, Fa, or So, the interval is an M3. If you start from Re, Mi, La, or Ti, the interval is a b3. By understanding the intervals, you’ll not only recognize the pitch you want to play but also play it accurately.

Imagine the Sound In the next step, let’s explore skipping more notes. Start by playing the C chord, then try different variations of skipping notes within the scale, such as playing every other note. The key here is to always start with the C chord as your foundation.

I created this book to help you develop essential guitar skills and enjoy playing more freely. Rather than just teaching you what to play, my goal is to show you how to learn and practice for deep understanding, so that you can apply your knowledge to your playing. The exercises included in this book are focused on building a strong foundation, making them for everyone, regardless of style or experience.

These lessons are drawn from over 30 years of teaching experience at Berklee College of Music and working with students from diverse backgrounds and skill levels. I’ve included demo videos throughout to make it feel like we are in a private lesson together. I recommend watching the videos for clear guidance on each exercise. While using tablature would make it easier for me to teach you each exercise, I want you to learn how to rely less on your eyes and more on your ears.

I’ve kept each exercise simple, but I explain everything in detail to help you build both technical skill and musical awareness. If you focus on these basics, your playing will become smoother, your rhythm will improve, and you will express yourself more effectively. Video 1: The #1 mistake guitarists make at the start Many players use effects or background music that make everything sound good—but that can mask poor technique or timing. If you strip away those layers, you can really hear yourself, and that’s how you identify areas of weakness to improve your playing.

You’ll notice I avoid using effects like distortion or backing tracks in the demos. I record everything with just a clean amp sound and a metronome—just like a real practice session. This allows you to hear every detail and you can focus on the basics. If you already know these exercises, you may finish the book quickly. But the point is not just to repeat technical patterns; it is about deepening your connection to your instrument and to music.

Every time you train your ear and develop your feeling, you invest in real improvement. Even if it seems invisible at first, each step brings you closer to your goals. For example, when you train your body, you can see your muscles grow or your posture improve. But when you train your ear, you cannot see it. Sometimes it is hard to notice the improvement. If you keep practicing these exercises, one day you will say, “Oh, now I can play smoothly without extra finger movement,” or “Now I can hear rhythms I did not notice before,” or “I can use more feeling when I play.”

Over time, you will recognize these positive changes in your playing. Trust the process, and remember: Don’t worry! Don’t compare! Don’t expect too fast! Be kind to yourself!

This is a short excerpt from the opening of “” by Unknown, quoted for review and introduction purposes. All rights belong to the copyright holders.

Book Information

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• Title: –
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• Pages: 175
• Language: English (en)

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