Sunday, September 19, 2010

The Philosophy of Fretography - Part II

Here are a few concepts which are essential to, and form the basis of the Fretography method;

- Symmetry is inherently part of the standard tuning of the guitar.

- The study of the fretboard begins at the 5th fret (not the nut).

- The symmetries on the fretboard, which correspond with those of the standard diatonic system, are centered around the 5th fret.

- The key of C is the template for the patterns in Fretography which, once learned, can be applied to every key.

- The three axes in the key of C (Open Strings=EADGBE/5th fret=ADGCEA/10th fret=DGCFAD) and the positions of the natural half-steps (B-C and E-F ) should be learned first.

- The four top strings (DGBE), as a group, comprise one aspect of the symmetry, the three bottom strings (EAD), as a group, comprise another aspect. These two symmetries are studied separately, then combined. These lower and upper string groups can be thought of as analogous with the left and right hands of the piano, respectively.

- Scales, modes, double-stops, triads and extended chords are all found in symmetrical positions.

- Additional symmetries are present, which are learned once a satisfactory comprehension of the above concepts has been achieved.

Regardless of the style of music being played, the mapping of tones in Fretography remains consistent. Just as the pattern of black and white piano keys is no different whether one is playing Ludwig van Beethoven or Thelonius Monk, Fretography can be applied to classical, jazz, rock, folk, blues etc.



All contents of this blog are © Mark Newstetter

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