Fretboard Logic Volume II - Chords Scales and Arpeggios Complete


Fretboard Logic II: Chords Scales and Arpeggios Complete
The Tonal Materials of Music Without Guesswork or Rote
Last Revised: May 9, 2009

ISBN: 096247701X
SKU / ORDER #: 701X
PUBLISHED: June 1989
AUTHOR: Bill Edwards
PAGES: 61
BINDING: Comb
PRICE: $14.95 US, $15.95 Canada/International

Armed with a comprehensive understanding of the fretboard from Volume I, you will now explore the next area common to all styles of music and all types of guitars: the tone groups.
Fretboard Logic is the first method ever developed which teaches the tonal elements of music in a way that eliminates guesswork and rote memorization. By combining the basic fretboard forms of Volume I with each tone group's unique formula, the guitarist learns to build all the different types of chords, scales and arpeggios.

With Fretboard Logic you are not forced to memorize thousands of patterns or stuck trying to guess which string to look for which note on as with ordinary methods. Instead, you’ll be building everything based on the patterns already mastered in Volume I. This takes years off the learning curve.
Volume II presents the three basic tonal elements of music in the context of the fretboard pattern organization of Volume I. The tonal materials available to a musician come from note groupings. Groups of notes can be expressed only two ways: as played simultaneously or consecutively. Groups of notes that are played simultaneously are termed chords and those that are played consecutively are called scales or modes. The third category consists of a hybrid whereby chords are played like scales, known as arpeggios. Chords, scales and arpeggios are not music by themselves but are the tonal materials that the musician uses to produce it.

"I purchased Fretboard Logic 1, 2, and 3. I have got other guitar books, but nothing compares to Fretboard Logic. It's a must-have book for every guitarist."
Nick Cluff Petal MS

Tone groups can only be expressed two ways in time: simultaneously or consecutively. This produces not two but three fundamentally different types of tone groups: Chords, or notes played all at once, scales, or notes played one after another, and arpeggios, a hybrid whereby chords are played like scales.
In the past, two schools of thought have dominated the learning of tone groups. One school believes them to be relatively insignificant items of information to be acquired by repetition and memorization, only to be applied to higher purposes. In a manner of speaking they say, "Just memorize them and then I'll show you what to do." Then students get to buy a chord, scale or arpeggio book or "encyclopedia" with a few thousand patterns in each one to memorize (of which they will retain a dozen or two, if diligent.) The other, presumably more academic approach, is to reduce them to sub-components and locate each individual tone, one by one, on the fretboard. This involves considerable guesswork as you can imagine. The fundamental problem becomes "What string do you look for which note on?" Volume II eliminates the problem of learning all the tone groups by rote memorization or guesswork by teaching them in the context of the guitar's fretboard pattern organization outlined in Volume I.

Volume II represents a full and complete "tool box" of these essential musical elements and provides a means of learning them with less effort than ever before. Included also are introductions to Theory, Technique, Style, Lead and Rhythm Playing.
According to traditional music theory, music can be divided into two main catagories: tones (or pitches) and rhythms. For our learning purposes as guitarists, the tone groupings have been further separated, both so that the pattern organization of the guitar can be accomodated, and so learning and retention can be facilitated. More importantly, since Fretboard Logic does not dictate any specific style of music, we can present chords, scales and arpeggios as the one area which all types of music have in common.