Page   1   2   3   4     Pattern of Unisons and Octaves for Leftys (page 4)     Focus on Unisons Even a brief glance at these eight plates is enough to draw ones attention to the existence of unison tones. You can't help noticing the diagonal pattern of repeating zeros and twelves. The pattern of the occurrence of unison tones can be summed up this follows: unison tones occur on adjacent strings and (with one exception) at a distance of five frets (away) from where you are. See Figure 9. So, no matter where your finger is on the fretboard, there is always an optional location unison tone five frets away on either the next lower pitched string or/and on the next higher pitched string. The one exception to this rule, between strings four and five, is due to the guitar's change in tuning pattern at the Fifth String — being an interval one half-step smaller, a Major-Third, rather than the usual Perfect-Fourths. As a result, the distance between unison tones on adjacent strings four and five is only four frets (away).     Figure 9       With an emphasis on unison tones, Figure 10 concludes our numerical analysis of the Pattern of Unisons and Octaves. Twenty-four 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 (6 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 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.       Figure 10             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.]     Figure 11       In the next and final series of illustrations, Figures 12, 13, and 14, 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 3 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.           I’ve provided an 8 page PDF of assorted blank guitar fretboard grids on the Free page. Use them to practice building Pattern’s of Unisons and Octaves from and around any point on the fretboard. The grids on page 1 are 15 frets long, giving you a full 12 frets (an octave) plus 3 extra frets of area (so the repeats can easily be seen). Explore and have fun. You might use a few pages to map out complete Pattern’s of Unisons and Octaves for all 12 rooting centers or keys. Soon you’ll be able to put your pen down anywhere on the fretboard facsimile (or your finger on the fretboard) and instantly be able to ”see” a few of the closest nearby octave and unison tones.       Figure 12           Figure 13           Figure 14           Page   1   2   3   4       On to Cipher Demonstrations 2 (right-handed version only) Index of The Cipher for Lefty Guitar: 3 Minute Introduction for Leftys Commonsense String Numbers for Leftys Five Degree Calculation Line for Leftys Demonstrations 1 for Leftys Number formula translation tables: intervals, scales, and chords Pattern of Unisons and Octaves for Leftys Triads on Lefty Guitar fretboard (two pages) Scales, Major and minor, in parallel, on the Lefty Guitar fretboard Chord Progressions for Lefty Guitar (Triads of Major) Notes of Lefty guitar fretboard spelled Blank 6 string fretboard grid paper in PDF     Up to Top of page