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Bruce Cyburt

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  1. Eric Polin
    August 18th, 2012 @ 11:29 am

    simply awesome.

  2. ripoMann
    August 27th, 2012 @ 2:45 pm

    this is absolutly a mind blowing technique-awsome

  3. Geo. Applqst
    January 24th, 2013 @ 2:48 pm

    This is tremendous. I’m always looking for systems and insight rather than rote memorization like a child first learns music. Is there a reason for starting with A=0 as opposed to other possible numbers? Do you have any references to closely related info on the net or in the music literature? (If not, this is the only article of its kind.) Any ideas for tying this together with the staff, so that reading music is more streamlined, with less concern for note numbers?

  4. Olay
    September 12th, 2014 @ 10:34 pm

    I had been looking for a “theoretical way” to learn the guitar chords then i stumbled on this site while helping my daughter looking for “suspension bridges”…
    Nice one.

  5. Robert
    February 29th, 2016 @ 4:52 am

    Good article. I have a couple of tips for helping to use this technique. The first is to check out memory pegs and method of loci to help remember the note to number lookups. I use a rhyming mnemonic for the number and an alphabetical mnemonic for the note letter then make a memorable image fusing them together e.g. Hen = 10 + Goat = G, my image being a Hen sitting on a nest of eggs on the back of a Goat. This provides an easy two-way lookup mechanism. Also you can handle the flats and sharps by finding words that end in ‘b’ and ‘sh’ and incorporating them into the mnemonic e.g. a Dab fish stuffed with Cash, allows me to combine D flat and C#. I use a Door to represent 4 in my model so I cement the association by creating a mental image of hanging a Cash-stuffed Dab off the Door handle. Weird but seems to be working. My next step is to see if I can now use the same representations to help memorise chords.
    Another possible hack can help with the 12-based arithmetic by leveraging famililiarity your brain may already have dealing with a 24 hour clock. For example my brain already has a handy encoding that knows that 13 is 1 o’clock, 14 is 2 etc. If I’m looking for B I know the index number for this note is 2, so it can also be be represented by 14 (I.e. the equivalent of 2am and 2pm). Therefore I can scan the strings to find out what I need to add in terms of fret positions to get either 2 or a 14. If the open string value is 2 or lower then I can find the 2, if it’s 3 or higher then I know I need to find the 14 when travelling up the fretboard. E.g open A string is 0 so I just add two frets to get to 2; and the open G string is 10 so I need to add 4 frets to get to 14, whereas the open B string has a number of 2 already, so I don’t need to add anything, I can just play it open.
    Hopefully these techniques may be of use.

  6. Randall Paul
    August 31st, 2016 @ 1:47 am

    I found this confusing: But what if the sum of the string value and the fret is 12 or greater? In this case, you will have to subtract 12 from your sum until you get a result from 0 to 11. For example, if you press the 10 th fret of the G string, your sum is 10+10=20. Simply subtract 12 from 20 to get 8, and you see your note is F. If your result is 0, that means don’t push a fret and play the string open to get your note. Refer to the following note map and try this for other notes along the fret board: If F on the G string is fret 10 10 how do we get 8 which is an Eb. I love this whole approach but this one I am not getting for some reason Thank you