Dont fret the frets 6th edition pdf download

There are couple things that you should immediately notice looking at the diagram above. Yes, low and high strings on the guitar are both Es just different octaves.

So that already simplifies the task of memorizing the fretboard! Notes on the 12th fret are the same as the open string notes just one octave higher. So there is that to simplify the learning too! Now take a look at Es on other strings. See how notes relate to the fretboard markers those little dots on your guitar. Sometimes the dots are placed right on the fretboard as well as on the upper part of the guitar neck. It helps a lot that most of the Es fall right on the frets with markers.

Use them as a visual reference! Take some time to really drill note E into your memory visually. Play an open 1st or 6th string and then locate and play all the other Es across the neck one by one. Use an open E string as a reference sound. All Es you play should sound like that some will sound exactly the same and some in a different octave.

You will easily hear whether you are playing the right notes or not make sure your guitar is tuned properly before you start! Once you learn all the notes up to 12th fret it will be very easy for you to move beyond it as the patterns of notes repeats itself all the way to the end of the neck.

Print out a dozen of blank guitar fretboard diagrams and use them to draw the notes you learn! Search this site. PDF Download. Download Displaced PDF. Download So you want to be a brain surgeon? Download The Vampire's Rescue: Psychics vs.

Vampires, Book 2 PDF. Download What's Become of Waring? PDF Online. Locating the notes from the 13th fret on is easy when you know where they are on the first 12 frets. Each note on the staff has a corresponding location on the guitar fretboard.

Using the Note Finder Chart you can find the location of a music staff note anywhere on your guitar neck. Additionally each note on the staff has a pair of guitar tablature numbers below it. In the graphic above the first note on the music staff is an E. The numbers directly below it are 6 That means the E note is located on the sixth 6 string at the twelfth 12 fret. The next note on the music staff is an A note. The numbers below that A note are 5 That means the A note is located on the fifth 5 string at the twelfth 12 fret.

Take a moment and review the graphic above. Locate all of the notes on the music staff on your guitar fretboard. Mais de Angel. Rene Trupej.

Populares em Irish Musical Instruments. Juank Lercar. Jack Kun. Stephen Feng. Jazlynn Dawn Mapa. Jacobo Larario. Thomas Haley. Jean-Marc Jalkabong. Cesar Shavi. Antonio Memoli.

Ricardo Mendez Padilla. Emma Barclay. Alekanian Alain. Gianluca Daglio. William Wu. Got to Believe - Arrangement by Jorell Prospero. Jonnah Romblon. On any string the fingering for major 2nd is 1S-2, , or S Ex. To understand how the intervals are constructed and fingered on the fretboard, one must be fully aware of the mechanisms of the guitar, its' tuning, the concept of position playing and the technical aspects of the fretting hand.

In Chapter 2, we found out that the tuning of the guitar is the foundation for constructing intervals on the fretboard. Due to the different intervallic relationships between string pairs, the fingerings for intervals have to be adjusted accordingly. When playing intervals or any material within a certain location of the neck, the term position playing is used.

The general rules of position playing state that the fretting hand fingers each have a designated fret within the position and that the index finger and the pinkie can stretch to a fret below or above their initial location in the position, respectively.

The fingers of the fretting hand, when playing intervals, are considered to be pairs that each has different fret reach and technical properties within the position. Ideally all the finger pairs would be readily usable when improvising. Thus conditioning and practicing the technical balance of the different finger pairs is strongly recommended. These aspects of guitar playing have been addressed in various ways in guitar literature.

Chapter 3 discussed selected guitar literature that cover intervallic playing concepts. The analysis of authors' work brought out a unique approach for playing intervals or how to alter the intervallic content of improvised music. The concepts covered included the intervals within a position when playing a certain scale, different fingerings for same intervals, building 3-note motifs or chords using interval pairs and a contrapunctal approach to intervals that addresses the movement of the notes.

All the discussed concepts were either based on tonal constructs or with a strong inclination towards the idiom of jazz. Chapter 4 introduced the fingerings of single intervals within one position.

This list of fingerings and intervals are devoid of tonality, preference for certain finger pairs or musical idiom. Thus it is a blank slate of sorts that can be utilized to realise both the intervallic possibilities and the technical considerations of the fretting hand within one position. After this realisation, one can apply the playing style, idiom, phrasing, etc. For instance, Pett utilizes interval exercises grouped according to the interval size small, medium and wide.

These are used to practice the control of different interval sound characters and the extension of thinking habits such as chromatic playing. Pett 12, 28 Crook ; ; , although approaching improvisation from the perspective of jazz, argues that practicing isolated musical material e. With over possible fingerings to play single intervals within an octave on one position listed in Chapter 4 one can be easily overwhelmed by idea of practicing them.

As a list, interval fingerings are nothing more than a display of technical possibilities on the guitar neck.

Therefore it is important to address the notion of organizing this material into musically meaningful parts or segments. Thus the primary avenue to further research intervals and their fingerings on the guitar would cover the different approaches one could utilize to practise this intervallic material in any given musical setting. The concepts introduced in Chapter 3 could serve as a starting point for this research.

As final remarks in this study two of the concepts analysed in Chapter 3 will be applied to the context of position playing and non-tonal harmony. This serves as a preview for further research mentioned above. First is the concept of contrapunctal "interval moves" introduced by Mick Goodrick Example 40 presents the interval move 3rd to 5th applied as major 3rd and perfect 5th to a descending chromatic scale.

Rather than practicing the interval fingerings in isolation i. Example Descending chromatic scale harmonized in alternating major 3rds and perfect 5ths with different fingerings.

For example, if one were to apply palette 24 as major 2nd and perfect 4th to form 3-note motifs ascending chromatically with alternating directions, the resulting fingering could be as indicated in the first bar of Example However, the second bar shows how changing the fingering of the second motif removes the four consecutive fretted notes with the finger 4.

Here the technical problem rises from the notion of connecting two motifs that are one semitone apart with the fretting finger 4 pitches F and G. By realizing the fingering options for this and similar situations, the player can avoid any unnecessary position shifts if the music at hand demands it.

Example Palette 24 played ascending chromatically with two different fingerings for the second motif. The control and usage of intervals as building blocks for melodic and harmonic musical material is a central topic for a musician to practice.

For guitarists, the mechanics of the instrument further emphasize the vastness and perceived difficulty of interval control. Removing the horizontal movement of the fretting hand the player has the opportunity to discover multitude of fingerings for intervals. Exploring just one part of the guitar fretboard can lead to realizations of technical and musical avenues not yet considered by the player.

This kind of mind-set is the path to true understanding of guitar playing. Bailey, Derek Improvisation: Its Nature and Practice in Music. New York: Da Capo Press. Campbell, Gary Lebanon: Houston Publishing. Crook, Hal Rottenburg: Advance Music. Damian, Jon The Guitarist's Guide to Composing and Improvising. Boston: Berklee Press. The Chord Factory. Milwaukee: Hal Leonard.

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