The Special Edition is the first two volumes of the Fretboard Logic guitar series combined, at a special discount. Part One deals with the pattern organization of the fretboard which results from the guitar's unique tuning system. Part Two teaches the tone groups of music - Chords, Scales and Arpeggios - by building them in the context of this pervasive pattern organization, and thereby eliminating the usual guesswork and rote memorization associated with these areas of a guitarist's education. This alone can take years off the learning curve. Combined, the two parts form a solid foundation by which a guitarist can intelligently pursue the music styles and technical approaches of their own choosing, and play them on the guitar types which they prefer.
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Author Bill Edwards started learning music on the piano at a young age in the traditional manner, playing classical music and reading standard notation. He became interested in popular music and the guitar in high school but those educational experiences centered around learning rock and roll songs by ear from records, and figuring leads and rhythms out by trial and error. In college, working part time as a music teacher, these dissimilar educational approaches finally came together when a guitar student asked him to show them how he was able to figure things out just by listening to it. The result was a discovery that became the cornerstone of Fretboard Logic, which is that while it has gone unrecognized and unexplained for centuries, the guitar's tuning system produces a separate and unique area of study and puts the instrument into a class by itself. The author took advantage of ongoing advances in personal computer technology and developed his own books and videos which offer innovations in several areas. Bill Edwards still plays guitar and piano every day and is always developing new projects in the fields of music, invention and education.
From Chapter 2: Verbally distinguish the guitar forms from the chord names from now on. For now it is important to identify them by describing what your eyes are seeing and your fingers are playing. The form is what you play, the chord is what you hear.
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