On Mon, Mar 14, 2011 at 11:38 AM, Michael Ellis <michael.f.el...@gmail.com> wrote: > On Mon, Mar 14, 2011 at 11:06 AM, Francisco Vila <paconet....@gmail.com> > wrote: >> >> 2011/3/14 David Kastrup <d...@gnu.org>: >> > Francisco Vila <paconet....@gmail.com> writes: >> >> Frets in a guitar are absolutely chromatic. I did not mention >> >> fretless instruments. >> > >> > So please explain how you are would sort frets into a diatonic scale >> > arrangement corresponding to white keys on a piano, with the frets >> > corresponding to black keys put someplace else. >> >> I a sense, frets behave like buttons. >> >> > The frets in a guitar are not _deliberately_ designed around a chromatic >> > scale, but because their positioning is dictated by physics. >> >> Still, frets behave somewhat like buttons. >> >> > Contrast that with a flute or a saxophone or anything else with a >> > _deliberate_ design of controls. >> >> That's why I mentioned Stanley Jordan who percutes strings against the >> fretboard only, thus allowing complex two-hand polyphony and making >> frets look as if they were buttons :-)) >> > I'm not familiar with Stanley Jordan's music but a guitar tuned by > fifths, like a cello or violin, has a very convenient relationship to > diatonic scales because the first 3 modes (ionian, dorian, and > phrygian) have symmetric tetrachords starting on the 1st and 5th > degrees of each mode. See the diagram below. > > HEAD > --------------- > . . . . . . > c g d a e b > . . . . f c > d a e b . . > . . f c g d > e b . . . . > f c g d a b > > > > So the major scale patterns are very easy to visualize. Of course you > need to have huge hands or play high on the neck to execute them > without shifting. >
Oops! Typo in last line of diagram. Highest note is, of course, "e" instead of "b". _______________________________________________ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
