The Little Guitar Book That Could: Seventeenth Position - Walter H. Klosowski - Bog

This LITTLE GUITAR BOOK THAT COULD showcases the popular C A G E D chord and scale sequence exclusively in the guitar's SEVENTEENTH POSITION, for all to see, use and reference. But, before thumbing through this book, there's some subject matter that the guitarist may need reminding of...even though he or she may have played for years. For example, in this book, six consecutive frets formally constitutes a guitar position, and each position, including the upper SEVENTEENTH, spans a musical two octaves plus a perfect fourth so long as the guitar remains in standard tuning. Also when in this or any other guitar position the second and third fingers on the hand remain stationary in their respective frets or "slots", generally speaking, as their stationary qualities are the very thing that allows the first and or fourth finger to stretch or slide to their notes located in the outer fret areas. On the picking hand, a very useful and important string picking pattern occurs down by the sound hole or bridge, where that hand predominantly resides. The pattern involves every other string and is best evidenced when the C A G E D main root note sequence is plucked alphabetically, starting with the C root on the first or thinnest guitar string. Start by picking the C there (first string, fourth finger); then D (third string, third finger); then E (fifth string, third finger); G (second string, fourth finger); A (fourth string, third finger) and conclude with the low C on the thickest string (sixth string, fourth finger). The one-three-five- two-four-six string pattern naturally fits the picking hand and is looped, forwards or backwards (six-four-two-five-three-one) as the C root notes located on the first/third/sixth strings are deemed interchangeable. Three additional terms used in this book are main root notes, octaves and unisons. Here, main root notes represent a specific set of root notes that fall or cluster underneath the mostly stationary, second and third fingers of the fretting hand. The placement of each main root note is to be fully memorized, and once that occurs, the attention then moves to their matching octaves. The term octave is used to define the interval between one musical pitch and another with half or double its own frequency. Some correctly call the interval a "perfect octave", and in guitarland, octaves are usually "one string one fret away". This little fact helps memorize their location on the fretboard straightaway, even though, occasionally, two strings and or two frets are involved (the same concept applies in that there will be some sort of string skipping.) And finally, the last term used is the term unison, this occurring when two or more music notes happen to sound the same pitch. In guitarland this usually means "same note different string or fret", and the unison itself occurs in the guitar position at hand. After showcasing the above C A G E D material, THE LITTLE GUITAR BOOK for the SEVENTEENTH POSITION then concludes with an A B C D E F G A alphabetical appendix, in which all the C A G E D material is thus reorganized to include the B and F material and placed in alphabetical order. This plus the book's uncomplicated, straightforward "picture worth a thousand words" format allows one to take full advantage of the musical material straight away. You'll have fun discovering some fresh perspectives on the same old same old, while also adding some new twists and turns to your own guitar technique. As a bonus, THE LITTLE GUITAR BOOK THAT COULD for the SEVENTEENTH POSITION also contains copious amounts of manuscript and fretboard paper too, for writing and composing your personal guitar material. As always, thank you very kindly for welcoming this LITTLE GUITAR BOOK into your library of fretboard knowledge needs...Enjoy!