Bøker av Walter H. Klosowski

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!

This LITTLE GUITAR BOOK THAT COULD showcases the C A G E D chord and scale sequence exclusively in the FIFTEENTH 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 is what constitutes a guitar position, and each position spans a full two octaves plus a perfect fourth so long as the guitar remains in standard tuning. Also when in the FIFTEENTH POSITION the second and third fingers on the fretting hand are to remain stationary in their respective frets or "slots", for the most part, as their stationary qualities are the very thing that allows the first and or fourth finger to stretch or slide to their notes in the outermost frets. On the other hand, literally the picking hand, a very useful and important picking pattern occurs down by the sound hole or bridge, where that hand predominantly resides. This pattern involves every other string, and is best evidenced when the center most C A G E D main root notes are plucked alphabetically, starting with the A note found on the first or thinnest guitar string. Start by picking the A root there (first string, third finger); then pick the C (third string, third finger); then the D (fifth string, third finger); move onto the E (second string, third finger); the G (fourth string, third finger), and conclude with the low A (sixth string, third 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 A's on the first/sixth string(s) are deemed interchangeable octaves. Moving on, there are also three important music vocabulary terms used in this book, those three being main root notes, octaves and unisons. Here, main root notes represent a specific set of root notes that fall or cluster underneath the, again mostly stationary second and third fingers of the fretting hand. Typically, both the second and third fingers are involved in fretting them, however in this position the third finger is the only finger used. Even so, once the placement of each main root note is actually memorized, the attention then moves to their matching octaves, which is defined as 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 handy 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.) The last term used is unison, which occurs when two or more musical notes happen to sound the exact same pitch. In guitarland this usually means "same note different string or fret", and the unison in question typically occurs in the given position. After showcasing all the above C A G E D material, THE LITTLE GUITAR BOOK THAT COULD for the FIFTEENTH POSITION then concludes with an A B C D E F G A or alphabetical appendix, in which the C A G E D material is thus reorganized to include the B and F material. And even there the book's uncomplicated, straightforward "picture worth a thousand words" format allows one to take full musical advantage of the 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 fingering technique, plus THE LITTLE GUITAR BOOK THAT COULD also contains copious amounts of manuscript and fretboard paper too, for jotting down any technical or compositional aspirations you may get from your own musical ideas. As always, thank you very kindly for welcoming THE LITTLE GUITAR BOOK THAT COULD into your library of fretboard knowledge needs..Enjoy!

This LITTLE GUITAR BOOK THAT COULD showcases the C A G E D chord and scale sequence exclusively in the SIXTEENTH 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 constitutes a guitar position, and each position spans a musical two octaves, plus a perfect fourth, so long as the guitar remains in standard tuning. Also when in this position the second and third fingers on the fretting hand are to remain stationary in their respective frets or "slots", for the most part, as their stationary qualities are the very thing that allows the first and or fourth finger to stretch or slide to the notes in the outermost frets. On the other hand, the picking hand, a very useful and rather important picking pattern occurs down by the sound hole or bridge, where that hand predominantly resides. This pattern involves every other string and is best evidenced when the center most C A G E D main root notes in the SIXTEENTH POSITION are plucked alphabetically, starting with the A note found on the first or thinnest guitar string. Start by picking the A root there (first string, third finger); then pick the C (third string, third finger); then the D (fifth string, third finger); the E (second string, third finger); the G (fourth string, third finger), and conclude with the low A (sixth string, third finger). This string picking pattern, 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 A's on the first/sixth string(s) are deemed interchangeable. The three important music vocabulary 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. Typically, both the second and third fingers are involved in the fretting, however in the SIXTEENTH POSITION C A G E D main root note sequence only the second finger is employed. Even so, the placement of each main root note is memorized prior to memorizing their matching counterparts located in the outer fret areas. Those octaves are defined when an interval between one musical pitch and another with half, or double, its own frequency is voiced. Some correctly call the interval a "perfect octave", and in guitarland, octaves are usually "one string one fret away". This handy 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.) The last vocabulary term used is unison, which occurs 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 in question typically occurs in the guitar position at hand. After showcasing all the above C A G E D material, THE LITTLE GUITAR BOOK THAT COULD for the SIXTEENTH POSITION then concludes with an A B C D E F G A or alphabetical appendix, in which the C A G E D material is thus reorganized to include the B and F material. So that's it! This 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 technique. Plus THE LITTLE GUITAR BOOK THAT COULD for the SIXTEENTH POSITION contains copious amounts of manuscript and fretboard paper too, for jotting down those on the spot compositional ideas. To close, thank you very kindly for welcoming my LITTLE GUITAR BOOK THAT COULD into your library of fretboard knowledge needs...appreciate you...Enjoy!

This LITTLE GUITAR BOOK THAT COULD showcases the popular C A G E D guitar chord and scale sequence exclusively in the EIGHTEENTH POSITION for all to see, use and reference. But before thumbing through this book, there exists some important subject matter that the guitarist may need reminding of...even though he or she may have played for years. In this book, six is the exact number of consecutive frets involved in the EIGHTEENTH POSITION, and it spans a musical two octaves plus a perfect fourth when in standard tuning. Moreover when in the EIGHTEENTH POSITION or any other position, the second and third fingers on the fretting hand remain stationary in their respective frets or "slots", generally speaking, as their stationary qualities allow the first and or fourth finger to accomodate the notes found in the outer fret areas. For the picking hand, there is a very important string pattern best picked near the sound hole or bridge where that hand happens to reside nearly all the time. This 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. To best understand, start by picking the C there on the first string, fretted with the third finger, then move to the D (third string, second finger); then E (fifth string, second finger); G (second string, third finger); A (fourth string, second finger) and conclude with the C (sixth string, third finger). The one-three-five-two-four-six string pattern naturally fits the picking hand, it being every other sting, plus the pattern is looped forwards or backwards (six-four-two-five-three-one) as the C root notes found on the first /sixth string(s) are deemed interchangeable. The three musical terms used in this book that need clarification are main root notes, octaves and unisons. What are main root notes? Generally speaking, main root notes represent a specific set of core root notes that fall or cluster under the second and third fingers of the fretting hand, and in the EIGHTEENTH POSITION, all C A G E D main root notes make use of the the second and third fingers only. Once the location of each main root note is memorized the attention then moves to their octaves as found in the outer frets. An octave is defined as 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 handy fact helps memorize their location 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). Next, and perhaps a bit unrelated, are unisons, which often occur in guitar positionwork. Unisons are simply defined as when two or more music notes happen to sound the same pitch. In guitarland, it usually means "same note different string or fret". And very importantly, the term also implies that the unison itself occurs in the current guitar position. This LITTLE GUITAR BOOK concludes with an A B C D E F G A alphabetical appendix, in which the C A G E D material is thus reorganized alphabetically to include the B and F material. And even there the book's uncomplicated, straightforward "picture worth a thousand words" format allows one to take full musical advantage of the material straight away. You'll have fun discovering some fresh perspectives on the same old appraoches, while also adding some new twists and turns to your own technique. And to top it off, this LITTLE GUITAR BOOK THAT COULD concludes with copious amounts of manuscript and fretboard paper too, making it an ideal musical guitar journal of sorts. To close, thank you very kindly for welcoming THE LITTLE GUITAR BOOK into your library of fretboard knowledge needs...Enjoy!

This LITTLE GUITAR BOOK THAT COULD showcases the C A G E D chord and scale sequence exclusively in the FOURTEENTH 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 is the exact number of consecutive frets involved in the FOURTEENTH POSITION, and each guitar position spans a full two octaves plus a perfect fourth when in standard tuning. Also, when in this guitar position the second and third fingers on the fretting hand are to remain stationary in their respective frets or "slots", initially, as their stationary qualities allow the first and or fourth finger to stretch or slide to those notes in the outermost frets. As for the picking hand, a very useful and important picking pattern occurs down by the sound hole or bridge where the picking hand resides a majority of time. This picking pattern involves every other string and is best evidenced when the core root notes, or main root notes, in the FOURTEENTH POSITION are plucked alphabetically, starting with the G root note located on the first or thinnest guitar string. The specific string picking pattern begins by picking the G root there (first string, second finger); then A (third string, first finger); C (fifth string, second finger); D (second string, second finger); E (fourth string, first finger) and conclude with the G (sixth string, second 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 G root notes are deemed interchangeable. That said, there are three terms that need brief clarification for the purposes of this LITTLE GUITAR BOOK...those being main root notes, octaves and unisons. What are main root notes? Generally speaking, main root notes represent a specific core set of root notes that fall or cluster under the second and third fingers of the fretting hand as it resides in the position itself. However, there are two instances in the FOURTEENTH POSITION where the main root notes are played using the first and fourth fingers, both of which are an exception of sorts, yet musically valid. Once the location of each C A G E D main root note is memorized, the attention then moves to their matching octaves. Octaves are defined as 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 handy fact helps memorize their location 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.) Last is the term unison, which is defined as when two or more music notes happen to sound the exact same pitch. In guitarland, this heavily implies "same note different string or fret", and the unison itself occurs in the guitar position at hand. So that's it! This LITTLE GUITAR BOOK THAT COULD for the FOURTEENTH POSITION remains uncomplicated, straightforward and very practical to use. Its visual based "picture worth a thousand words" format allows one to take full musical advantage of the fretboard material right away. You'll have fun discovering some fresh perspectives on the same old efforts, while also adding some new twists and turns to your own fingering technique. Plus, THE LITTLE GUITAR BOOK THAT COULD for the FOURTEENTH POSITION here also contains generous amounts of both manuscript and fretboard paper too!...plenty of room to jot down your musical ideas. To close, thank you very kindly for welcoming THE LITTLE GUITAR BOOK THAT COULD into your library of fretboard knowledge needs...Enjoy!