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The Diatonic Fingerboard - Part 2

The open strings of the guitar are tuned (from low to high);

(6)  P.4th (5)  P.4th (4)  P.4th (3)  Ma3rd (2)  P.4th. (1)   E             A              D             G              B              E

This arrangement of intervals is the result of an evolutionary process intended to enable the guitar to function diatonically. The high and low strings are precisely two octaves apart in pitch when played at the same fret ... The four low strings are tuned to PERFECT 4ths, and the P.4th is also the interval between the two top stings. The split between the 2nd and 3rd strings is a MAJOR 3rd. It would seem that we have an asymmetrical arrangement - but there are hidden symmetries. Discovering the geometrical symmetry of the fretboard should not be put off or saved for advanced study.

Imagine playing the piano without the benefit of the different physical keys for natural tones and enharmonics. Playing piano in the key of C might be a bit more difficult to master. Having physical references or analogs for the tones of an instrument is a big part of finding the note you want, when you want it. The guitar offers certain landmarks, such as FRET MARKERS or dots. Also the special significance of the 12th fret (usually prominently marked) and the open strings. But unless you can connect the fret markings to some logical system of navigation it is difficult to have a true picture of the tones of the diatonic system.

The Diatonic Fingerboard - Part 1

The guitar fingerboard - it's strings and frets - are laid out to accommodate the same system of tones as the piano keyboard - minus an octave or two. I'm referring of course to the Diatonic System, which is the basis of western music theory.

Just how is this symbiosis accomplished? What logic underlies the specific tuning of the strings to E A D G B and E? And what importance should the guitar student (and teacher) place on the theory behind the diatonic system?

The guitar is part of a family of instruments which predate the diatonic system and are far ranging in shape, size, numbers of strings and tuning configurations. Each instrument is intended to function within a certain musical context, and the modern guitar is - like the piano and the harp - intended to play chords and melodies which are drawn from the diatonic scale.

The real question is, why isn't a basic understanding of the Diatonic System at the core of every guitar student's experience? It really shouldn't be under-emphasized.

If one accepts the challenge of actually learning music - not just a few chords and scale patterns - but the language of music, there are plenty of interesting twists and turns along the path. Much more satisfying to have a clear sense of direction, than being put in a little box at the start of the Journey. I believe some guitar teachers treat their students like pet cats that have to moved from one concept to another in secure boxes with only small windows to peek through and see the bigger picture.

I've worked with more than a few intermediate students who've had several teachers and still don't know how to play octaves, can't tell me the difference between a minor and major chord, or know what a mode is. I believe the reason for most guitar methods imposing a kind of myopia on students is well intentioned. Get them started playing open position chords, maybe a pentatonic scale, and they'll be happier sooner. Why complicate matters by having them play scales up and down the neck before they fully master the first five frets?

My experience has been that there's nothing essentially more difficult about playing notes on the 9th fret than the 5th. The only real difference is that you may have to learn a couple of basic theory concepts and increase your vocabulary by about a dozen words. If someone is serious about learning the instrument, these are easily achievable goals.

In fact, once you are away from the open strings things are actually simpler....


(more soon)

Syncretic Blues

The Blues is syncretic. All forms that are derived from the Blues are based on the essential syncretic nature of the Blues (If you don't know what 'syncretic' means, you can look it up. This is the internet, you know).

Nice to know that there is a word which aptly describes the balancing of otherwise irreconcilable forms. I'm referring primarily to the simultaneous use of the Mixolydian and Aeolian modes without which there would be no Blues as we know it.

When I teach basic Blues forms I like to emphasize the fact that Blues was not accepted as a legitimate musical form by late 19th and early 20th century musicologists because these formalists couldn't handle the idea of any music being 'Major' and 'minor' at the same time.