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This LITTLE GUITAR BOOK THAT COULD showcases the stock C A G E D guitar chord and scale sequence exclusively in the FIRST POSITION, for all to see and use. But, before thumbing through this book, there's some subject areas that the guitarist might 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 FIRST POSITION (the open strings count as one fret) and each guitar position spans a full two octaves plus a perfect fourth when in standard tuning. Also, the second and third fingers on the fretting hand remain stationary in their respective frets, initially, as their stationary qualities allow the fourth finger to stretch that additional fret. But what of the first finger? And here, before we go any further, one must understand something quite important; and that is this...when playing guitar in the FIRST POSITION there isn't a first finger stretch. There is in every other guitar position, yes, but here, the open strings take care of that stretch making it an exception, the FIRST POSITION is, to the rule. And this exception, just by chance, makes certain chords and scales much easier to play. It is very important that guitarists understand this. It is also important that the guitarist understand that a very useful picking pattern occurs down by the sound hole or bridge, where the picking hand resides. This pattern involves every other string and is best evidenced in the FIRST POSITION when the C A G E D main root note sequence is plucked alphabetically, starting with the G root on the first or thinnest guitar string. To discover it, start by picking the G there (first string, third finger); then A (third string, second finger); C (fifth string, third finger); D (second string, third finger); E (fourth string, second finger) and conclude with the G (sixth string, third finger). The one-three-five, two-four-six "every other string pattern" naturally fits the picking fingers on the hand and is looped, forwards or backwards (six-four-two, five-three-one) as the G root notes found on the first /sixth string(s) are deemed interchangeable. That said, there are also three musical terms that need some brief clarification for the purposes of THE LITTLE GUITAR BOOK THAT COULD...those being main root notes, octaves and unisons. To start, main root notes are a specific set of root notes that fall or cluster together under the second and third fingers of the fretting hand. They are used to help orientate the finger work involved. Once the placement of each is learned in the FIRST POSITION, the attention then moves to their octaves. 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" from each other. This fact helps to memorize their location, however, occasionally, there will be two strings and or two frets involved. When two or more music notes happen to sound the same pitch, it is said they are in unison. In guitarland unison typically means "same note different string or fret", and it is implied that the unison occurs in the current guitar position. So that's it! THE LITTLE GUITAR BOOK THAT COULD for the FIRST POSITION remains uncomplicated, is straightforward and super easy to use. Its "picture worth a thousand words" visual based format allows one to take full advantage of the fretboard material right away. You'll have fun discovering some fresh perspectives on the same old same old, while also adding some new twists to your own technique. THE LITTLE GUITAR BOOK THAT COULD for the FIRST POSITION also contains generous amounts of manuscript, tablature and fretboard paper too. As always, thank you very kindly for including THE LITTLE GUITAR BOOK THAT COULD in your repertoire of fretboard knowledge needs...Enjoy!

This LITTLE GUITAR BOOK THAT COULD showcases the C A G E D guitar chord and scale sequence exclusively in the SECOND POSITION for all to see, use and reference. But, before thumbing through the material inside, 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 SECOND POSITION, each guitar position spanning a full two octaves plus a perfect fourth when in standard tuning. And in the SECOND POSITION, the second and third fingers on the fretting hand remain stationary in their respective frets or "slots", initially, as their stationary qualities allow the first and or fourth finger to stretch or slide that additional fret. Concerning the picking hand, a very useful picking pattern occurs down by the sound hole or bridge, where that hand resides. This important picking pattern involves every other string, and is best evidenced when the sequence is plucked alphabetically, starting with the G note found on the thinnest or first guitar string. Start by picking the G root there (first string, second finger); then move to the A (third string, first finger); the C (fifth string, second finger); the D (second string, second finger); the E (fourth string, first finger) and conclude with the G (sixth string, second finger). This one-three-five, two-four-six string pattern naturally fits the picking fingers and is looped, forwards or backwards (six-four-two, five-three-one) as the G root notes found on the first/sixth string(s) are deemed interchangeable. There are three musical terms, those being main root notes, octaves and unisons, that need clarification for the purposes of this LITTLE GUITAR BOOK THAT COULD. The main root note term represents a specific set of root notes that fall or cluster under the second and third fingers of the fretting hand, generally speaking, as there are two instances when the main root notes use the first and fourth fingers. Both instances are present here in SECOND POSITION. Please be aware of this. Once the placement of each main root note is learned the attention then moves to their octaves. 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.) And when two or more music notes happen to sound the same pitch, it is said they are in unison. In guitarland, this unison often implies "same note different string or fret". The term also implies that the unison occurs in the guitar position at hand. So that's it! THE LITTLE GUITAR BOOK THAT COULD for the SECOND POSITION remains uncomplicated, straightforward and super easy to use. Its "picture worth a thousand words" visual based format allows one to take full advantage of this material right away, discovering fresh perspectives on the same old same old, while also adding some new twists and turns to your own technique. Last, it should be mentioned that THE LITTLE GUITAR BOOK THAT COULD for the SECOND POSITION also contains a trifecta of manuscript, tablature and fretboard paper too, and in copious amounts, allowing for one to keep a music journal of sorts. To close, thank you very kindly for including this LITTLE GUITAR BOOK THAT COULD for the SECOND POSITION in your repertoire of fretboard knowledge needs...enjoy!

This LITTLE GUITAR BOOK THAT COULD showcases the popular C A G E D guitar chord and scale sequence exclusively in the FIFTH POSITION, for all to see, use and reference. But, before thumbing through this book, there's some important subject matter that the guitarist may need to be reminded 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 FIFTH POSITION, and it spans a full two octaves, plus a perfect fourth, when in standard tuning. Plus, when in the FIFTH 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 that additional fret space. For the picking hand though, a very important pattern occurs down by the sound hole or bridge (where that hand just so happens to be.) 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); E (fifth string, third finger); G (second string, fourth finger); A (fourth string, third finger) and conclude with the C (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 string(s) are deemed interchangeable. To that end, there are also three musical terms that need clarification for the purposes of THE LITTLE GUITAR BOOK THAT COULD...those being main root notes, octaves and unisons. What are main root notes? Generally speaking, main root notes represent a specific set of root notes that fall or cluster under the second and third fingers of the fretting hand. Most of the time, the second and third fingers fret them, but there are two instances in the FIFTH POSITION when the main root notes involve the first and fourth fingers. Please be aware of this. Once the location of each main root note is learned in the FIFTH POSITION, the attention then moves to their octaves. 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 to memorize their location sure enough, 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 last are unisons, a term used to define when two or more music notes happen to sound the same identical pitch. In guitarland, unisons imply "same note different string or fret". The term also implies that the unison occurs in the given guitar position at hand. So that's it! With some use, you'll soon discover that THE LITTLE GUITAR BOOK THAT COULD for the FIFTH POSITION is uncomplicated, straightforward and super easy to use. Its picture worth a thousand words approach allows one to take full advantage of the guitar fretboard 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. THE LITTLE GUITAR BOOK THAT COULD for the FIFTH POSITION also contains generous amounts of manuscript, tablature and fretboard paper too, which makes for an ideal guitar music journal of sorts. To close, as always, thank you very kindly for including THE LITTLE GUITAR BOOK THAT COULD in your library of fretboard knowledge needs...enjoy!

This LITTLE GUITAR BOOK THAT COULD showcases the C A G E D guitar chord and scale sequence exclusively in the SEVENTH POSITION for all to see, use and referance. But, before thumbing through this book, there's some important material 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 SEVENTH POSITION, and it spans two octaves plus a perfect fourth when in standard tuning. Plus when in the SEVENTH 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 that additional space. Also, it should be mentioned that in the SEVENTH POSITION, the first and fourth fingers are equally involved in this C A G E D sequence. Concerning the picking hand though, a very important pattern occurs down by the sound hole or bridge, where that hand just so happens to be. The pattern generally 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, second finger); then D (third string, first finger); E (third string, third finger); G (second string, second finger); A (fourth string, first finger) and conclude with the C (sixth string, second finger). The one-three-three-two-four-six string pattern naturally fits the picking hand and is looped, forwards or backwards (six-four-two-three-three-one) as the C root notes found on the first /sixth string(s), amongst others, are deemed interchangeable. To conclude, there are three musical terms that need clarification for the purposes of THE LITTLE GUITAR BOOK THAT COULD...those being main root notes, octaves and unisons. What are main root notes? Generally speaking, main root notes represent a specific set of root notes that fall or cluster under the second and third fingers of the fretting hand, and generally speaking, the second and third fingers do the fretting. However, in this, the seventh position, the A and D main root notes are fretted with the respective first and fourth fingers. That said, once the location of each main root note is learned in the SEVENTH POSITION, the attention then moves to their octaves. 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). And last, unisons are 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". The term also implies that the unison occurs in the guitar position at hand. So that's it! THE LITTLE GUITAR BOOK THAT COULD for the SEVENTH POSITION is uncomplicated, straightforward and super easy to use. Its picture worth a thousand words visual based format allows one to take full advantage of the guitar fretboard material right 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 technique. THE LITTLE GUITAR BOOK THAT COULD for the SEVENTH POSITION also contains generous amounts of manuscript, tablature and fretboard paper too. To conclude, as always, thank you very kindly for including THE LITTLE GUITAR BOOK THAT COULD in your repertoire of fretboard knowledge needs...Enjoy!

This LITTLE GUITAR BOOK THAT COULD showcases the C A G E D guitar chord and scale sequence exclusively in the TENTH POSITION, for all to see and use. But, before thumbing through this book, there's some material 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 TENTH POSITION, and it spans a full two octaves plus a perfect fourth when in standard tuning. Plus when in the TENTH 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 that additional space. For the picking hand though, a very important pattern occurs down by the sound hole or bridge where that hand just so happens to be practically all the time. 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 E root on the first or thinnest guitar string. To discover it, start by picking the E there (first string, third finger); then G (third string, third finger); A (fifth string, third finger); C (second string, fourth finger); D (fourth string, third finger) and conclude with the E (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 E roots on the first /sixth string(s) are deemed interchangeable. To conclude, there are three musical terms that need clarification for the purposes of THE LITTLE GUITAR BOOK THAT COULD...those being main root notes, octaves and unisons. What are main root notes? Generally speaking, main root notes represent a specific set of root notes that fall or cluster under the second and third fingers of the fretting hand. Once the location of each main root note is learned in the TENTH POSITION, generally speaking, the attention then moves to their octaves. 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). And lastly, unisons are defined as when two or more notes in music happen to sound or actualize the same pitch. In guitarland, it usually means "same note different string or fret". The term also implies that the unison in question does indeed occur in the guitar position at hand. So that's it! THE LITTLE GUITAR BOOK THAT COULD for the TENTH POSITION is uncomplicated, straightforward and super easy to use. Its "picture worth a thousand words" approach or more visual based format allows one to take full advantage of the guitar fretboard 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. THE LITTLE GUITAR BOOK THAT COULD for the TENTH POSITION also contains generous amounts of guitar friendly music notation paper and guitar tablature paper too, all of which can be used as a composition journal of sorts. As always, thank you very kindly for including THE LITTLE GUITAR BOOK THAT COULD in 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!

This LITTLE GUITAR BOOK THAT COULD is the inaugural volume in the FRETBOARD COLLECTIONS SERIES. It collects and subsequently showcases the C A G E D guitar chords and scales found in the FIRST, SECOND, THIRD and FOURTH POSITIONS for all to see, use and reference. But, before thumbing through this book, there is some practical 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 said random guitar position and it spans a full two octaves plus a perfect fourth when in standard tuning. Also when in said random 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 that additional fret. Conversely, for the picking hand, know that a very useful picking pattern occurs down by the sound hole or bridge where that hand happens to be a majority of 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 root on the first or thinnest guitar string. Start by picking the given root note as showcased in the specific chapter, located on the first string. Then pick the root note found on the third string, then the fifth, then second, then fourth and finally conclude with the root note on the sixth string. The one-three-five-two-four-six string pattern naturally fits the finger picking style and is looped, forwards or backwards (six-four-two-five-three-one) as the root notes found on the first/sixth string(s) are deemed interchangeable. There are also three musical terms that need brief clarification for the purposes of this collected volume of THE LITTLE GUITAR BOOK THAT COULD...those being main root notes, octaves and unisons. What are main root notes? Generally speaking, main root notes represent a specific set of root notes that fall beneath or cluster together under the second and third fingers of the fretting hand when in a guitar position, although there are two instances where the first and fourth fingers are involved. Still, once the location of each main root note is learned in the position, the attention then moves to their 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" on the fretboard. This handy guitar 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 involved.) And lastly, unisons are 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". The term also implies that the unison occurs in the guitar position at hand. And that's it! This LITTLE GUITAR BOOK THAT COULD for the FIRST, SECOND, THIRD and FOURTH positions is collected and presented for the first time ever in one handy single volume. VOLUME ONE here is uncomplicated, straightforward, and very easy to use due to its "picture worth a thousand words" visual based format allowing one to take full advantage of the guitar fretboard 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. As always, thank you very kindly for choosing this volume, volume one, from the collection to include in your library of fretboard knowledge needs...Enjoy!

This LITTLE GUITAR BOOK THAT COULD showcases the ever prevalent C A G E D guitar chord and scale sequence exclusively in the TWELFTH POSITION, for all to see, use and reference. The book incorporates four different chord types, the augmented, major, minor and diminished, along with four different scale types, the descending melodic minor, harmonic minor, melodic ascending minor and major. The pentatonic minor scale is placed below the usual descending melodic minor example in this book, and all modes are considered to be derived from the major scale. But, before thumbing through this book, there's some musical practicalities 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 TWELFTH POSITION, and it spans a full two octaves plus a perfect fourth so long as the guitar remains in standard tuning. Plus when in the TWELFTH 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 their notes found in the outer frets. For the picking hand though, a very important plucking pattern occurs down by the sound hole or bridge where that hand happens to reside most of the time. The pattern is best evidenced when the C A G E D main root note sequence is plucked alphabetically, starting with the G root on the first or thinnest guitar string. To play it, start by picking the G there found on the thinnest string (first string, fourth finger); then move to A (third string, third finger); then C (second string, second finger); D (second string, fourth finger); E (fourth string, third finger) and conclude with the low G on the thickest string (sixth string, fourth finger). The one-three-two-two-four-six string pattern naturally fits the picking hand and is looped, forwards or backwards (six-four-two-two-three-one) as the G roots on the first / third / sixth string(s) are deemed interchangeable. There are three musical terms that need clarification for the purposes of THE LITTLE GUITAR BOOK THAT COULD...those being main root notes, octaves and unisons. What are main root notes? Generally speaking, main root notes represent a specific set of root notes that fall or cluster beneath the second and third fingers of the fretting hand. Once the location of each main root note is learned in the TWELFTH POSITION, the attention then moves to their octaves. 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). And lastly, unisons are defined as when two or more notes in music happen to sound the same pitch. In guitarland, it usually means "same note different string or fret". The term also implies that the unison occurs in the guitar position at hand. That's it! This LITTLE GUITAR BOOK THAT COULD for the TWELFTH POSITION is uncomplicated, straightforward and super easy to use. Its picture worth a thousand words visual based format allows one to take full musical advantage of the guitar fretboard 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. THE LITTLE GUITAR BOOK THAT COULD for the TWELFTH POSITION also functions as a guitar journal of sorts, it containing generous amounts of manuscript and tablature paper too. Last, thank you very kindly for welcoming THE LITTLE GUITAR BOOK THAT COULD into your library of fretboard knowledge needs...I appreciate you...En

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 guitar chord and scale sequence exclusively in the ELEVENTH POSITION, for all to see, use and reference. But, before thumbing through this book, there's some material 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 this, the ELEVENTH POSITION, and it spans a full two octaves plus a perfect fourth when in standard tuning. Plus when in this 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 that additional space. For the picking hand though, a very important pattern occurs down by the sound hole or bridge; this pattern involving every other string. Such is best evidenced when the C A G E D main root note sequence is plucked alphabetically, starting with the E root on the first or thinnest guitar string. To discover it, start by picking the E there (first string, third finger); then G (third string, third finger); A (fifth string, third finger); C (second string, fourth finger); D (fourth string, third finger) and conclude with the E (sixth string, third finger). This first-third-fifth-second-fourth-sixth string pattern naturally fits the picking hand and is looped, forwards or backwards (six-four-two-five-three-one) as the E roots on the first /sixth string(s) in the ELEVENTH POSITION are deemed interchangeable. There are also three musical terms that need clarification...those being main root notes, octaves and unisons. What are main root notes? Main root notes represent a specific set of root notes that in general fall or cluster under the second and third fingers of the fretting hand. Once the location of each main root note is learned, the attention then moves to their octaves. 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). And lastly, unisons are defined as when two or more notes in music happen to sound the same pitch, and in guitarland, it usually means "same note different string or fret". The term also implies that the unison occurs in the guitar position at hand. So that's it! THE LITTLE GUITAR BOOK THAT COULD for the ELEVENTH POSITION is uncomplicated, straightforward and super easy to use. Its picture worth a thousand words format, being visually based, allows one to take full advantage of the guitar fretboard material right 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 ELEVENTH POSITION contains generous amounts of manuscript and tablature paper too, akin to a guitar manuscript journal; a very neat feature. In closing, thank you very kindly for choosing to include THE LITTLE GUITAR BOOK THAT COULD in 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 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!