R L Using the Cipher — Stick Demonstrations         Working with the Cipher System is a matter of transferring the Cipher number-formula to the Stick fretboard using the Five and Seven Degree Calculation Line’s and resulting counting-grids. Ultimately, this is done with constant reference to a larger framework of landmarks provided by the fretboard’s built-in (but invisible) Pattern of Unisons and Octaves (coming up). These initial small-area demonstration examples are meant to get our feet wet and will be shown again later in relation to that larger context. Demonstration examples — preliminaries To demonstrate how the Calculation Line’s and the Cipher System as a whole are used we’ll begin with small examples and gradually build until the big picture is seen and understood. That is, the big picture of how the Cipher System works, and consequently the big picture of how the Stick fretboard works. The area of the fretboard that used in the first demonstration isþ nonspecific and movable. The patterns could be aligned/rooted anywhere on the neck, i.e. onþ any fret-line, any tonic/root (providing there’s enough room above and below the calculation line for what you want to see or do). The musical materials (formula) included in this first demonstration are as shown in Figure 1. Note the Cipher formula at far right       Figure 1       Demonstration examples: Common musical materials: interval, scale, chord, progression root movement This plate shows the first examples of Cipher formula plotted on the Stick fretboard. Two versions are included: Standard tuning Matched Reciprocal       Standard tuning     Matched Reciprocal tuning           Remember, all of these patterns and shapes are natural to the fretboard. The Cipher System isn’t creating them, just illuminating them. All intervals — two octaves of intervals on Stick fretboard The second 2 plate series of examples is an example of plotting all intervals, large and small, on the Sick, from a single root tone C (one within each logical half of the Stick). Two octaves of harmonic interval fingerings are shown. The two tones of any harmonic interval are meant to be played simultaneously, like a small chord, so their fingerings may be different from their counterpart melodic intervals. i.e. interval tones played in succession — one after the other or scale-wise.               Blank fretboard grids — to print out Assorted sizes of blank Stick fretboard grids (8, 10, and 12 string) are available on the Free page. Use them to practice plotting with the Five Degree and Seven Degree Calculation Lines and counting grids from any point on the fretboard.       What’s next? These demonstration examples were limited to small (3 string) areas of the fretboard. As we enlarger the area to include all 10 or 12 strings at once, the complete Five and Seven Degree Calculation Lines, full fretboard patterns, and all available octaves of tones, many points of interest, each wanting attention, will arise simultaneously. Establishing priority among them and finding the best sequence to present them is not an easy task. There are hundreds of possibilities. One thing, however, will emerge in reappear in every future illustration or example, a common thread, regardless of the topic or sequence of presentation, that must be addressed before we go any further. That is; portions of the fretboard's large but invisible pattern of octave tones and unisons. We can't go much further in explaining how the fretboard works without bumping into the Pattern of the Unisons and Octaves. So that’s our next stop. Index of The Cipher for Stick: 3 Minute Introduction for Stick Commonsense String Numbers for Stick Number formula translation tables: intervals, scales, and chords 5° and 7° Degree Calculation Line for Stick Cipher Demonstrations for Stick Pattern of Unisons and Octaves for Stick Notes of tapping fretboards spelled (and PDF) Blank tapping fretboard grid paper in PDF: 8, 10, 12   Up to Top of page