The Little Guitar Book That Could: Sixteenth Position

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!