Fretboard Logic SE: The Reasoning Behind the Guitar's Unique Tuning + Chords Scales and Arpeggios...

Fretboard Logic SE: The Reasoning Behind the Guitar's Unique Tuning + Chords Scales and Arpeggios Complete ... | Bill Edwards | Brilliant

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Fretboard Logic SE...

	Fretboard Logic SE: The Reasoning Behind the Guitar's Unique Tuning + Chords Scales and Arpeggios Complete ... Bill Edwards Bill Edwards Publishing, 1997 - 106 pages average customer review:based on 98 reviews view larger image
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highly recommended

Wanting More From your Guitar Experience?

Forget the rest...beginner to advanced. All of the books together does not equal this book. Better yet, buy the combined vid and book package. Bill Edwards has captured the keys to the mystery of guitar playing. Everything else is kid stuff and if you have chosen the "teach yourself" method of playing, regardless of style or classic, std. electric or whatever, this book will help you move at a greater pace, will let you see the insight in guitar, whether amateur or pro and will help you become much more proficient playing 6 strings. A system is finally out there that will let you see the cord scales, will lessen your time on "the learning curve" and is a strong method of analysis and learning. For over 30 years, I have played both for my enjoyment and for the recreation of others, professionally, chiefly in blues and moderate rock. I wish I had this book available from the 1960's...before fingers stiffened and vision tunneled. You feel a strong sense of achievement without playing "Mary had a little Lamb..." This is stuff you can use.......

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Brilliant

This book is brilliant. With a lot of practice and a few headaches, the concepts in this book will increase your playing exponentially. How do I emphasize A LOT OF PRACTICE? Only get this book if you are willing to put in the work to learn the guitar!

Also, if you are truly seriously about learning, you will feel incomplete after this book so you should probably get the third one while you're at it; as you will know the guitar layout very well, but be still unsure about how to use it to your advantage.

I'd recommend this book to any person that wants to take a very well organized and understandable guitar college course in a book(including the hours of homework). Hope this review helps! Good luck.

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A path for people who don't have a natural grasp of the guitar

This book explains why the guitar neck, which seems confusing and stupid, actually strikes an excellent balance between flexibility and usability.

It shows how to systematically learn the guitar neck and how to use this knowledge.

This is worthwhile for adults who will never be playing gigs but still have an interest in the instrument. I don't think there's a lot here for the truly talented.

If you're a beginner and you just wanted to play chords, you don't need this book. If you're a pro, you don't need this book. If you're frustrated enthusiast and you're willing to work to learn more, this book is excellent.

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add initiative and go!

Not much is left to be said about this remarkable book, but here's my take: its strengths and weaknesses interact in a compelling way. Its strength is in its emphasis on patterns and visual, mnemonic devices at the expense of theory or even of reading music, and at the expense of any reference to songs or styles. FL gives one a remarkable set of tools without telling you what to build or how to build it--that might seem a weakness. But I rate this lack of musical, stylistic direction a plus--one must find one's own musical way after FL gives a player a basic vocabulary. Others have criticized this book for its emphasis on patterns rather than on playing scales in the manner a pianist would, with a clear understanding of every note played. In fact, knowing what key and scale one is in is (nearly) essential in its method. But as in many of its lessons, FL leaves the matter of how one connects its visual patterns to conventionally conceived scales up to the player. Thus this book is a daunting but usually a good teacher: if it has many theoretical holes in it, these are to be filled by the creativity and initiative of the individual player. (This is a plus except in FL's department of "lead patterns," which are allegedly the skeletons of guitar solos, but they have almost nothing melodic about them, nor are they in any essential way the backbones of solos. I find them too skeletal to be useful. Other information in the book informs my imagination of leads.)
The only editorial recommendation I would make to the author is that he cut down on the rather nerdy-sounding, unnecessarily exclusivist rhetoric of the "all other texts are wayward and even goofy, but lo, here is the method" sort. A little of that goes a long way, and concessions to other methods of guitar education would broaden, not limit this book's appeal. Also, this book could acknowledge that it is not the end of the road: there's a lot more to be understood about the guitar than is spelled out here. This is not a new or final method, but a way of synthesizing a lot of basic information and, especially, conceiving it visually in compelling, clever, and memorable ways.

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