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With an emphasis on unison tones, Figure 10 concludes our numerical analysis of the Pattern of Unisons and Octaves. Twenty-four plus frets-worth of the Pattern of Unisons and Octaves, including the number-values of the in-between tones, is shown. Note the centrally located rooting-center, absolute zero-point, and complete (4 string) Five Degree Calculation Line. Twelve frets-worth of pattern lie above the rooting-center and another twelve lie below it. Sets of like unisons are then highlighted/isolated e.g. all zeros, all twelves, and all twenty-fours. Remember, the particular number-values of octave tones shown here, whether zero 0°, 12°, or 24°, are relative to this particular (absolute) zero-point. i.e. tones marked twelve degrees here will (at other times) be numbered zero degrees etc. The important things to see here are the general diagonal patterns of how and where unison tones occur on the bass fretboard, and then to distinguish sets of different octaves of Unisons — no matter what numbers they are assigned. That is, always look for general, generic, reusable, universal, patterns.
Given the twenty-four fret size of this sample pattern, it (like some previous examples) could be used as a universal/movable reference pattern. That is, isolate any twelve fret section of pattern and imagine that it represents an actual fretboard. Note the fret-number/location of the Rooting-Center, hence, the letter-name/tone the pattern would represent aligned as such with the nut.
The repetitious use of the word Universal is unavoidable when speaking about the Pattern of Unisons and Octaves. But the word is singularly appropriate and fitting. You must have guessed that the things we've learned during this discovery session — e.g. the general principles, patterns, relative and changing number-values, locations of unison tones — have application beyond the tonic/roots of musical materials. All tones, every scale tone, every chord tone, can be similarly charted, and all would yield the exact same patterns: octave and unison relationships, locations and distances, and their relative and changing (octave) number-values. [The number-values of the octaves of any tone are always plus or minus twelve degrees, e.g. (1°, 13°, and 25°) are octaves of each other, as are (2°, 14°, and 26°). Stripped of all numbers though, the underlying pattern and relationships are always the same.] Again, multiple complete patterns of unisons and octaves are present simultaneously, but/and you only have to know one complete pattern, backwards and forwards, to know them all.
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Returning our focus to the smaller parts of the pattern
Having seen now, with the help of the Five Degree Calculation Lines, the big picture of how the Pattern of Unisons and Octaves works (hence, the big picture of how the fretboard works), we’ll continue (and conclude) our introduction to the Pattern of Unisons and Octaves by returning our focus to the smaller parts of the pattern, the pattern fragments, common to all larger patterns. These two to four-tone fragments are the things we rely upon most and will use repeatedly day to day. They are, for example, indispensable to chord construction and modification i.e. creating inverted chord voicings.
We'll begin by reviewing the seven one-octave intervals (Figure 11) introduced earlier. Practice these intervals by putting any finger (anywhere) on the fretboard and see if you can locate/visualize its nearest octave tones. [These intervals and shapes are often used by jazz guitarists (ala West Montgomery) to execute melody lines. The key to that style/sound is to hold and audibly slide these shapes up and down the fretboard while picking out the tones of the melody line. Muffle all but the two strings necessary to play the intervals and use short down-strokes only.]
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In the next and final series of illustrations, Figures 12 and 13, a complete Pattern of Unisons and Octaves has been broken up into many smaller sections of pattern. The idea here is to get the small, medium, and large pictures of the pattern etched into your mind. Look at these patterns from many angles. That is, physically turn your head.
Notes on the next 2 plates – Octave and Unison Pattern Fragments:
- For the sake of a context, all pattern fragments are aligned as they would occur relative to the tone “A”. That is, as parts of the complete Pattern of Unisons and Octaves rooted at the fifth fret. Remember, all patterns and all fragments are movable.
- Practice walking your fingers around the tones in each fragment. For some larger fragments, use fingers of both hands to touch as many points at the same time as you can. This will help accustom your eye and hand to the actual distances/proximities involved. If you aren't using a little finger yet, this is a good place to start.
- The pattern fragments are rendered here without numbers. But, by now, you should be able to recognize the relationships among any/all of these tones (i.e. which tones span one octave, which span two, and which are Unisons) and mentally insert number values (0°, 12°, 24°) whenever you need them.
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