Fretboard Logic SE: The Reasoning Behind the Guitar's Unique Tuning Plus Chords Scales and Arpeggios Complete(2 Volumes)

Bill Edwards' Fretboard Logic is a brilliant explanation of how the notes on the guitar fretboard are laid out. Edwards explains how there are patterns that run up the fretboard in the CAGED sequence. The patterns remain the same no matter what key you're in, although where they are located on the fretboard changes in regards to what key you're in. The explanation of these forms is important to know because it allows you to easily get around the neck. In other words, Edwards' book allows you to see the big picture.I feel bad for Edwards because I noticed that some people have dismissed this book as yet another scale book. If I had picked up Edwards' method right after I started playing the guitar, I might have had the same mistaken notion. It took years of frustration and dealing with other guitar methods that confused me to allow me to recognize the genius that lies behind Edwards series of books. Edwards' explanation of how the fretboard is laid out allows you to understand how scales, the modes within the scales and chords are laid out and how they are constructed along the length of the neck of the guitar. Once you grasp this information through Edwards' very clear explanations, you will be able to shift between positions, going up and down the neck, no matter what key you're in. Edwards' genius largely lies in the fact that he's able to take information that you get in bits and pieces here and there and puts all together and explains in such a clear manner that it allows you to grasp how the guitar works. When I first started trying to learn scales, I was baffled at what the connection there was between major and minor scales, pentatonic scales, the modes, etc. I realized later when rereading some of the books I used as a young guitarist that they weren't written very clearly or were even misleading. Edwards' explanation explains this in such a clear, straightforward manner that it leaves you stunned by the realization of how easy all of these concepts actually are once it is explained to you in the right way. Edwards' method also allows you to grasp how chords are put together, from the simplest to the most complex and how they are constructed from the CAGED forms. If you are a neophyte guitarist, take the time to learn the information in this book. It will save you years of frustration.If you've been playing the guitar for a while, this book will probably be very easy to get through since you already know many of the forms that Edwards' presents. After working your way through the book, you'll just know how to finally put all the information you've gathered and understand the big picture in a coherent and systematic way. For example, I've recently been working on learning how to read music in standard notation higher up the neck. Now that I now the CAGED sequence, it's allowed me to hit the right notes much more easily since I know what form I'm using in that position due to the key that I'm in.

Fretboard Logic SE is a great book that manages to distill a vast amount of information into a very concise and usable form. In a way, it's like a Rosetta Stone for the guitar. As I read the book, I "felt the light go on" over and over as bits and pieces I'd picked up over the years clicked into place and I began to understand how they related together.It covers a method called the CAGED system, which uses barre forms of the C, A, G, E, and D chords (thus the name). These chords are movable as a block to anywhere on the neck, the benefit being that you always know how to find a chord near where your hand is currently on the neck.Building on the CAGED system are various major and pentatonic scale forms, so that you can easily play runs - which are the basis for solo, riffs and improvising.It gives sensible explanations of music theory and how it pertains to playing the guitar. Building upon this he shows how to form the common chord types - (major, minor, sevenths, etc) in any key.It's opened up the guitar for me. I've only been playing my acoustic guitar a couple months, and I can sit and watch a guitarist on TV now and understand what I see him doing. I may see his hand on the fretboard and notice that his hand is making an E form, moved to the 8th fret. Sometimes I can make out that it's a 7th by hearing it. That's something I can reproduce immediately or later. Or I can (slowly) improvise along with a song I hear by using the pentatonic scales I've learned. I can hear and see the chord progressions from I to IV to V and back.You'll still need lots of practice to toughen and strengthen your fingers and hands and to make them quick and limber, but Fretboard Logic SE is a great book to start with or to brush up with if your more advanced. It will save you a great deal of frustration and make your learning quicker and more productive.

I have been playing guitar since I was 15 years old. I have taken lessons when i was young as well as at various times throughoutmy life. You never stop learning. Now at 62 I have a pretty good understanding of the fretboard, and various styles of playing. I have always liked to read different method books over the years. Some have been well written and some have been a little confusing. I always feel for a person just starting out, it's a good idea to get a good teacher in the beginning to set a good foundation if you can. I think this book is well written and easy to understand if you are like me and have been playing for several years. I don't think this is a first book for a new guitarist, but it is an excellent book after you have a good foundation established in your playing. I think it would cause frustration to a new guitarist. It is written for a person who would be considered an intermediate player. This is a nuts and bolts book. Once you understand the concepts well and have gone through it several times, you should practice, practice, practice to apply it to your style of playing.

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.

Learning guitar is an odd process. You're supposed to practice, practice, practice. You learn chord shapes. You have lessons. You dissect solos note by note. There appears to be no master plan. Somehow, through a variety of methods, you're supposed to learn. Eventually, you're assured, by some means you're not aware of yet (osmosis?), you'll "get it."This book is the "it" you're supposed to get.Far too many books assume that the common methods work. Many an aspiring student has put the guitar in the closet in frustration at something that doesn't address the basic question - What note do I play next?Bill Edwards has taken the idea of positional relationships to its highest point. If I play a C chord with a barre at the eighth fret, where will I find a convenient F and G position? What shape will I need to play, and what fret should I start from?This seems to me to be a basic question yet it hardly gets a mention in most books. It seems that if you practice long enough and don't get bored to death, you'll know this.Bill Edwards shows that the five major chord shapes (C, A, G, E, and D) follow as you move up the fretboard, so you quickly learn that if you're playing a certain shape at a certain fret, the chords you're going to need will be in a specific other shape a specific number of frets away.This is independent of what key you're playing in, so if you start a 12-bar blues with a A-shape, you can drop down a couple of frets and play an E-shape for the next chord.I've made it sound far more complex than it is. You'll need the book - make no mistake - and in just a few hours you'll have learned a huge amount of useful stuff.But this is just the first seventeen of over a hundred pages. The idea of positional relationships is used to describe scales and then the pentatonic blues scale, so you can build solos and know immediately where the next notes are.Fretboard Logic pulls all the useful stuff from other learning methods together. It shows you *why* you play the notes you do.I was suspicious of the other reviews here (mainly reprinted from the book's cover), because they sounded so good they couldn't be true. Then I saw the book recommended on the Fender Forum, so I decided to take a chance.Yeah, you still have to practice. Your fingers won't get supple until you do. But imagine practicing where you're constantly trying something new, and where the musical inspiration flows. That's what you'll get if you study Fretboard Logic.

As an Beginner/ Intermediate guitarist (Drummer by trade), this book is great if you believe the CAGED system of fretboard learning is the way to learn. From personal lessons through a Masters in music teacher from the local university, I was never taught this way. And although this method is widely taught, I don't find it to be as effective. With that said, reading farther in the book than my skills or knowledge of the guitar, I would say that this book has a very layman's way of laying out scale patterns and from the suggestions of guitarist friends, could see as to why it's probably the "Bible" of guitar book learning. The layout is very professional where the diagrams are easy to see and laid out right next to the explanation, which the author suggested is important to learning.I would think any student wanting to self teach, and not wanting to take personal lessons, would greatly benefit from this book. My patience with the guitar got thin, and I hit a wall, so I'm sticking to just being a drummer. LOL But with that said, this book gave me a bunch of Eureka moments of learning music that is so hard to understand sometimes.

As someone who started playing music with the drums at a young age, this book reminds me of some of the essential books for drummers; focused, versatile, and challenges you to learn the instrument comprehensively.I have been playing the guitar here and there for about 4 years, but it wasn’t until I ordered Fretboard Logic a few months ago that everything finally clicked. Having learned theory and its accompanying chords, scales, and arpeggios in the context of a keyboard instrument, understanding the fretboard of the guitar is an entirely different concept. The author eloquently shows why EADGBE tuning is the standard for guitar and how it lends itself to letting the player express musical ideas without having to think of each note individually, instead focusing on how the notes in a scale or mode interact with each other.If all of this sounds abstract and (potentially) convoluted, that’s because it is. While the CAGED system does expose relationships between notes and chords that you may have previously been unaware of, the deeper you delve there will be contradictory elements and shapes you will need to learn that do not fit neatly into the CAGED framework. With that being said, this book requires patience, practice, and at least an entry-level understanding of how to play the guitar and basic music theory concepts.My recommendation: this book should be owned by guitar players of all experience levels. It has completely opened my eyes and has allowed me to advance more as a player in the past 6 months than the 3 years that preceded it. If your goal is fretboard literacy that you can apply to your own style of playing - look no further. Fretboard Logic is THE book for guitar.

Good for beginners or experienced rhythm guitarists trying to understand get a grasp of the whole fretboard. Not for advanced lead guitarists. For that look to book III.I've been playing rhythm guitar and the same major and minor scales for years. This book really opened my eyes to the guitar layout and has expanded my playing and understanding of the fretboard more than I thought possible from such a small book.Concise and amazing. This book is for every guitar player who knows the basics but wants to understand how to navigate up and down the board.

Very great

If you really want to learn the basics + of soloing and IF you’re truly willing to put the work into it, this is definitely one of the best guides you can purchase to get the job done.I’ve been playing and jamming with friends for many years. I’m impressed. You will be, too.

This is a great introductory into the guitar theory will take you from beginner through to intermediate through to expert!

Es un excelente libro, la verdad no quería hacer la review porque te hará comprarlo y quisiera este recurso solo para mi. Pero bueno, musicos así hay demasiados, entonces, mejor que todos tengan acceso al conocimiento con causa.Desde las primeras lecciones hay cosas que uno descubre, si ya tienes conocimientos te hará avanzar unas hojas rapido y en un momento te dirá que te detengas y que hasta que no lo hagas bien no avances, queda de ti engañarte a ti mismo y tratar de avanzar.COMPRALO YA!!!

内容的にはとても良いです。でも最近はトモ藤田さん等が同じような内容をカバーした本を出されているので、日本人が敢えてこの本を買う必要は無いように思います。