Resource for learning notes.

[mambo4]

I've been taking the basic triad shapes and inversions (I somehow knew these already) and mentally calling out the notes as I play through the triad. Then I'll move through the notes of the traid to hammer it home.

In addition to memorizing the cycle of fourths/fifths as @thehindteet suggests
It is also quite useful to memorize the 'cycle of thirds'
C E G B D F A ( C E G B D F A...)
The notes of triads and 7th chords follow this order, modified by key signature
Also the order of lines & spaces on the staff

For example if you're playing a G triad of some kind,
you know the 3rd will be a B of some kind
and the 5th a D of some kind

 

[Drop1]

This has been a LOT easier than I ever thought it could be.
I've got the first 12 fret on a 4 strings down. I can put my finger on anyplace and tell you the note. Now I just need to do the bottom 12. At least I can just move things down this time. Should be a lot easier. I should have made myself do this a LONG time ago. It wasn't that difficult.
I mostly just sat watching TV working through the circle of fifths and any time I'd forget a note, I'd work it out. I feel like working out which notes I was having issues with is really what drove everything home.
Watching TV while doing this made also helped reduce boredom, letting me drill notes for hours at a time.

 

[mambo4]

I feel like working out which notes I was having issues with is really what drove everything home

Exactly why I encourage creating your own fingering charts

 

[SteveCS]

...
I've got the first 12 fret on a 4 strings down. I can put my finger on anyplace and tell you the note.
...

Assuming you haven't already done so, at this point in might be worth going around again and working the enharmonic equivalents. Depending on the key, Eb is also known as D#. Likewise Bb/A#, Ab/G#, C#/Db, and so on. You will discover that F is sometimes E#, B is sometimes Cb and that G can even be F##, alongside a few more oddities. Once you know the logic of these oddities, which includes this:

...
For example if you're playing a G triad of some kind,
you know the 3rd will be a B of some kind
and the 5th a D of some kind
...

, they cease being oddities and become perfectly logical and sensible!!

 

[Drop1]

Assuming you haven't already done so, at this point in might be worth going around again and working the enharmonic equivalents. Depending on the key, Eb is also known as D#. Likewise Bb/A#, Ab/G#, C#/Db, and so on. You will discover that F is sometimes E#, B is sometimes Cb and that G can even be F##, alongside a few more oddities. Once you know the logic of these oddities, which includes this:



, they cease being oddities and become perfectly logical and sensible!!

Sharps/flats are already in my head. That came naturally some how.

Assuming you haven't already done so, at this point in might be worth going around again and working the enharmonic equivalents. Depending on the key, Eb is also known as D#. Likewise Bb/A#, Ab/G#, C#/Db, and so on. You will discover that F is sometimes E#, B is sometimes Cb and that G can even be F##, alongside a few more oddities. Once you know the logic of these oddities, which includes this:



, they cease being oddities and become perfectly logical and sensible!!

What are double flats anyway? I assume they are are a note outside a scale renamed to be flat. If so, WHY lol.

 

[SteveCS]

...
What are double flats anyway? I assume they are are a note outside a scale renamed to be flat. If so, WHY lol.

Consider a key such as G# minor. The key of G# minor inherits its key signature from B Major, which is 5#. Now consider the Gm minor scales, natural, harmonic and melodic. The leading tone of each is an F of some type (ref @mambo4 post above) and it has to be a semi-tone (half-step) below the tonic G#. So for that you need the double-sharp, which raises it 2 semi-tones. Melodic goes one better because there you also have to raise the sub-mediant (6th), which is naturally E. It cannot just become F because that would make it a 7th, and we already have one of those. It has to be some flavour of E, so is becomes E#

 

[Drop1]

Figured I add another update since I've modified thr process.

I was learning the note names by circle of 4ths/5ths on each string. This has improved things for me for sure. But the notes were not buring into my head well enough to be able to play on call outs.

So I added a new step. I started running the same circle across the strings. One string for a letter and just keep cycling though the strings. Ill go high to low string, then reverse it or start over on the low or just pick a string at random and continue the cicle of 5ths. This seems to be better at forcing to find notes on command. I can blaze through the cicle of 5thd on one string at a time, but I realized that's due to pattern recognition. By jumping from string to string every note, this breaks up that pattern and forces me to find the notes.