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Note how when I start on the 8th fret, I quickly get to 12+ frets. I include their 0-12 fret equivalent on the line below. Notice any fret +In order:# whole/- 12 frets is the same note. For example, 1st string, 3rd fret is whole (stretch) (C D E)# whole/half (ring) (D E F)# half/whole (middle) (E F G. 15th fret is its octave, also )# whole/whole (stretch2) (F G.A)# whole/whole (stretch) (G A B)# whole/half (ring) (A B C)# half/whole (middle) (B C D)
# whole/whole (stretch)# whole/half (ring)# half/whole (middle)# whole/whole (stretch2)# whole/whole (stretch)# whole/half (ring)# half/whole (middle)Here's the same diagram but starting on the E on the 1st string:
Here's the same diagram but starting on the E on the 1st string. Now the order is a little different, but I wanted to demonstrate the same principlethere's still 3 whole/whole, 2 whole/half, and 2 half/whole patterns.
Here we have # half/whole (middle, ) (E F G)# whole/whole (stretch2, ) (F G A)# whole/whole (stretch, ) (G A B)# whole/half (ring, ) (A B C)# half/whole (middle, ) (B C D)# whole/whole (stretch, ) (C D E)# whole/half (ring...repeat.) (D E F)
→Patterns
half, whole 12-13----15 7--8-----10
whole, whole2 13----15----17
''Note how when I start on the 8th fret C, I quickly get to 12+ frets. I include their 0-12 fret equivalent on the line below. Notice any fret +/- 12 frets is the same note. For example, 1st string, 3rd fret is G. 15th fret is its octave, also G.''
The 4-note whole/whole/half tetrachord is present twice in the major scale (C D E F, G A B C). This combines a whole/whole pattern ((C D E) and (G A B)) and a whole/half ((D E F) and (A B C)). The first tetrachord is connected to the second with a whole tone (F G). This gives us a half/whole pattern (E F G). If we reverse the order of tetrachords (G A B C, C D E F), they share the tonic note as an ending/starting point (C C). Since the tonic note to the 2nd note in the scale is also a whole tone, this gives us the same pattern of half/whole (B C D).
All that remains is the initial whole tone that bridges the two tetrachords (F G A). This is represented by "whole, whole2" above. If we reverse the order of tetrachords (G A B C, C D E F) we notice they overlap on the C - there is no whole or semitone between them - one goes right into the other. Thus, there is no additional 3 note pattern ((C D E) is already covered in the first tetrachord).
We have 2 middle, 2 ring, and 3 stretch patterns per scale per octave (given that we need to extend for all positions inside one note past the octave to get of the last 3 note pattern - see how the last middle pattern extends nowhere above)scale.
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fig. 3
stretch2 1-----3-----5
== What Does this Mean? ==