Bob

Thank you for your help ! Yes I am definitely enjoying
the book. It does require some mental gymnastics as
you mentioned in the beginning of the book. I am
learning jazz guitar and your book helps me to
understand the fretboard better as far as recognizing
notes in the fretboard. I am at the part where there
are mini scales to memorize intervals.
Before that page there is a page where you have 2
fretboards on right and left of the page, one showing
roman numerals and another showing the notes. I
noticed that in one of the shapes, a note i think (IV,
sorry I cant remember which shape right now as I am at
work) I wonder if that is intentionally left out ?

Thanks

Ed


--- beadguitar <beadguitar@...> wrote:

> morpheuz,
>
> Shape 2 shares some of the notes from shape 1.  The
> shape number has
> nothing to do with the note of the scale that it
> begins on. If you
> want to be methodical in thinking about the scale
> forms and how they
> fit just remember that the next scale form up the
> neck begins on the
> last note of the previous form on the sixth string.
> If you are moving
> down the neck the last note on the sixth string of
> the next form will
> be the first note of the scale you just played.  It
> will take some
> time to master this and the exercises should help
> you.
>
> As for arpeggios,  well it's hard not to play the
> scale forms in
> fourths (or fifths) and not get the feeling you are
> playing
> arpeggios... They just kind of sound like arpeggios
> studies don't
> they...  Arpeggios is a technique of playing and I
> didn't want to
> write a book about technique.  The method is meant
> to anchor you in
> your understanding of where the elements of notes,
> chords, scales and
> modes are.
>
> I'm glad you are enjoying the book... ?;O)
>
> Bob Dietz
>
> --- In beadmethod@yahoogroups.com, morpheuz
> <morpheuz2282@...> wrote:
> >
> > Hi Mr. Diez
> >
> > I have just purchased a copy of your book. It is
> > really good information. Thank you for putting out
> the
> > information. I have a small question, on the
> shapes,
> > what logical way can I use to piece them together?
> For
> > example in the key of F, shape 1 starts in 6th
> string
> > open (E), shape 2 starts in G(3rd fret), I am
> guessing
> > that shape '2' means second note of the scale.
> shape 3
> > starts at A (5th fret), please let me know if that
> is
> > correct. Just happens that Shape 1 doesn't make
> sense
> > to me, starting at E it'll maybe be shape 7
> instead?
> >
> > Another question is, why are we not covering
> > arpeggios?
> >
> > Thank you
> >
> >
> >
> >
> >
> >
>
________________________________________________________________________________\
____
> > Looking for last minute shopping deals?
> > Find them fast with Yahoo! Search.
>
http://tools.search.yahoo.com/newsearch/category.php?category=shopping
> >
>
>
>



      
________________________________________________________________________________\
____
Be a better friend, newshound, and
know-it-all with Yahoo! Mobile.  Try it now. 
http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ

morpheuz,

Shape 2 shares some of the notes from shape 1.  The shape number has
nothing to do with the note of the scale that it begins on. If you
want to be methodical in thinking about the scale forms and how they
fit just remember that the next scale form up the neck begins on the
last note of the previous form on the sixth string. If you are moving
down the neck the last note on the sixth string of the next form will
be the first note of the scale you just played.  It will take some
time to master this and the exercises should help you.

As for arpeggios,  well it's hard not to play the scale forms in
fourths (or fifths) and not get the feeling you are playing
arpeggios... They just kind of sound like arpeggios studies don't
they...  Arpeggios is a technique of playing and I didn't want to
write a book about technique.  The method is meant to anchor you in
your understanding of where the elements of notes, chords, scales and
modes are.

I'm glad you are enjoying the book... ?;O)

Bob Dietz

--- In beadmethod@yahoogroups.com, morpheuz <morpheuz2282@...> wrote:
>
> Hi Mr. Diez
>
> I have just purchased a copy of your book. It is
> really good information. Thank you for putting out the
> information. I have a small question, on the shapes,
> what logical way can I use to piece them together? For
> example in the key of F, shape 1 starts in 6th string
> open (E), shape 2 starts in G(3rd fret), I am guessing
> that shape '2' means second note of the scale. shape 3
> starts at A (5th fret), please let me know if that is
> correct. Just happens that Shape 1 doesn't make sense
> to me, starting at E it'll maybe be shape 7 instead?
>
> Another question is, why are we not covering
> arpeggios?
>
> Thank you
>
>
>
>
>
>
________________________________________________________________________________\
____
> Looking for last minute shopping deals?
> Find them fast with Yahoo! Search.
http://tools.search.yahoo.com/newsearch/category.php?category=shopping
>

Hi Mr. Diez

I have just purchased a copy of your book. It is
really good information. Thank you for putting out the
information. I have a small question, on the shapes,
what logical way can I use to piece them together? For
example in the key of F, shape 1 starts in 6th string
open (E), shape 2 starts in G(3rd fret), I am guessing
that shape '2' means second note of the scale. shape 3
starts at A (5th fret), please let me know if that is
correct. Just happens that Shape 1 doesn't make sense
to me, starting at E it'll maybe be shape 7 instead?

Another question is, why are we not covering
arpeggios?

Thank you





      
________________________________________________________________________________\
____
Looking for last minute shopping deals?
Find them fast with Yahoo! Search. 
http://tools.search.yahoo.com/newsearch/category.php?category=shopping

Thank you Jack... I know you meant Jnagarya and not John...  You are
right.  So far the year started out hard as we lost our wind turbine
in the recent winter storms.  I'll go with your confession that this
is going to be a great year... Hopefully I'll get to writing the next
book.  I'll keep my trust in Jesus... He's my only hope...

Thanks again friend... Good to hear from you...

In love with Jesus,

Bob ?;O)

At--- In beadmethod@yahoogroups.com, Jack Jackson <gjack316@...> wrote:
>
> Dear Bob,
>   Please don't spend any time justifying your work to this prima
donna. I'd like to thank him for breathing some new passion into the
website. Suddenly, we have lots of folks rushing to defend the BEAD
method, and, I'm sure, many others will take a look at it simply to
find out what this fool is talking about. P.T. Barnum said it best -
right? It's interesting to note tahat we actually do have a common
meeting point with our self assessed "professional writer and poet."
We agree that we are all able to recognize a bona fide "pain in the
ass." I send you God's blessings and my very best regards. You remain
in my prayers. I've gotta feeling 2008 is going to be a really good
year for you in many areas of your life. I sincerely believe it's your
turn. I remain anxiously awaiting your future writing projects.
>   Your friend and ardent student,
>   Jack Jackson
>
> beadguitar <beadguitar@...> wrote:
>           John,
>
> Thank you... I write for people just like you...
>
> Bob Dietz ?;O)
>
> --- In beadmethod@yahoogroups.com, "kabanuk1" <jkabanuk@> wrote:
> >
> > I am new to Guitars and have just ordered the book. I made sure I
> > ordered the Hot edition which should have the most current changes in
> > it. That along with what has been posted on the web, for changes, is
> > good enough for me. I appreciate the time it took to develop and then
> > put in writing, this method. I understand as humans, we will make
> > mistakes. Since I am new, I am very appreciative of the effort that
> > must have went into this book. I want to be self taught and this
is an
> > excellent source for me to do that. He has even posted the first 20+
> > pages of the book so that we all can get a feel for the system and
see
> > if it is something that may work for us. The way I look at it, I am
> > ahead of the game, if this doesnt ring a bell with me, I am only out
> > what most of you would pay for one private lesson from a tutor. But I
> > know that I have already utilized the method he has taught in the 20+
> > pages posted on the web. So, I have no doubt I will be learning allot
> > more when the book arrives.
> > Thanks again for this book and I have no problem working with the
> > revisions posted on the web.
> >
> > John
> >
>
>
>
>
>
>
> ---------------------------------
> Looking for last minute shopping deals?  Find them fast with Yahoo!
Search.
>

John,

Thank you... I write for people just like you...

Bob Dietz ?;O)

--- In beadmethod@yahoogroups.com, "kabanuk1" <jkabanuk@...> wrote:
>
> I am new to Guitars and have just ordered the book. I made sure I
> ordered the Hot edition which should have the most current changes in
> it. That along with what has been posted on the web, for changes, is
> good enough for me. I appreciate the time it took to develop and then
> put in writing, this method. I understand as humans, we will make
> mistakes. Since I am new, I am very appreciative of the effort that
> must have went into this book. I want to be self taught and this is an
> excellent source for me to do that. He has even posted the first 20+
> pages of the book so that we all can get a feel for the system and see
> if it is something that may work for us. The way I look at it, I am
> ahead of the game, if this doesnt ring a bell with me, I am only out
> what most of you would pay for one private lesson from a tutor. But I
> know that I have already utilized the method he has taught in the 20+
> pages posted on the web. So, I have no doubt I will be learning allot
> more when the book arrives.
> Thanks again for this book and I have no problem working with the
> revisions posted on the web.
>
> John
>

John,

Thank you... I write for people just like you...

Bob Dietz ?;O)

--- In beadmethod@yahoogroups.com, "kabanuk1" <jkabanuk@...> wrote:
>
> I am new to Guitars and have just ordered the book. I made sure I
> ordered the Hot edition which should have the most current changes in
> it. That along with what has been posted on the web, for changes, is
> good enough for me. I appreciate the time it took to develop and then
> put in writing, this method. I understand as humans, we will make
> mistakes. Since I am new, I am very appreciative of the effort that
> must have went into this book. I want to be self taught and this is an
> excellent source for me to do that. He has even posted the first 20+
> pages of the book so that we all can get a feel for the system and see
> if it is something that may work for us. The way I look at it, I am
> ahead of the game, if this doesnt ring a bell with me, I am only out
> what most of you would pay for one private lesson from a tutor. But I
> know that I have already utilized the method he has taught in the 20+
> pages posted on the web. So, I have no doubt I will be learning allot
> more when the book arrives.
> Thanks again for this book and I have no problem working with the
> revisions posted on the web.
>
> John
>

I am new to Guitars and have just ordered the book. I made sure I
ordered the Hot edition which should have the most current changes in
it. That along with what has been posted on the web, for changes, is
good enough for me. I appreciate the time it took to develop and then
put in writing, this method. I understand as humans, we will make
mistakes. Since I am new, I am very appreciative of the effort that
must have went into this book. I want to be self taught and this is an
excellent source for me to do that. He has even posted the first 20+
pages of the book so that we all can get a feel for the system and see
if it is something that may work for us. The way I look at it, I am
ahead of the game, if this doesnt ring a bell with me, I am only out
what most of you would pay for one private lesson from a tutor. But I
know that I have already utilized the method he has taught in the 20+
pages posted on the web. So, I have no doubt I will be learning allot
more when the book arrives.
Thanks again for this book and I have no problem working with the
revisions posted on the web.

John

I would like to dispel the idea that professional writers don't write
books with errors.  This is absolute hogwash! The term Errata is not
one of my own making.  It is a term used by writers and publishers to
identify errors in books.  You usually won't see one for a work of
fiction or poetry.  They exist mostly to clarify things of a technical
nature...

Perform a simple Google search on the term "Errata" and you will find
9,250,000 web pages using the term... Have fun if you can read all of
them... Many like myself will thank their readers for helping them
find this Errata.  This is customary.

1) ERRATA for Introduction to the Theory of Computation,
second printing. This is a text book used at MIT. It's in it's second
printing and you will find that both the first and second printing
have pages of Errata.

http://www-math.mit.edu/~sipser/itoc-errs1.2.html

2) Speech and Language Processing. Again another textbook in it's
second publishing.  It seems that even people who deal in language
can't help in creating Errata...

http://www.cs.colorado.edu/~martin/SLP/slp-errata.html

3) Here's a fun one yet only two errors in the Painless Grammar book...

http://www.nakedize.com/ccc-errata.cfm

I could go on but... I think my point is made.  Errata happens.  It's
a natural part of writing.

Bob Dietz ?;O)

Jnagarya,

I respect you for having a strong opinion and I'm sure others might
share in it.  I personally can care less what you think. I say this
because your tone is destructive.  You say nothing constructive and
are only taking stabs at me and my editor. Your condescending attitude
  turns me off as I am sure it will those who grace you in reading it.

I have what I believe to be some valuable insight in the guitar.  That
is what I'm sharing.  I could charge someone months to visit my house
and give them lessons or put it in writing and charge them for the
copy.  I chose the later.  It is less costly to them and frees my time
for doing other things. If I am not eloquent to please a scholar such
as yourself, great! My manner of writing is down to earth and personal.

Lee Prosser is a respected critic for a highly respected web portal,
Jazzreview.com. In his review of "The BEAD Method of Fretboard
Mastery" he writes, "Illustrated, clearly written and clearly
explained, this fine book should be highly helpful to jazz
guitarists...."

There are many others of less or more education who have found the
book to be highly valuable in providing the mental shift they needed
to wrap themselves in what was otherwise a complicated instrument.
Many of them did so despite the fact that they were reading the
original copy with "many" errors.

I admit errors in the book and have worked with others on this forum
and elsewhere to identify them and to move the work into being the
best it can be. There is an errata page where I have documented as
many as have been identified.  I plan to continue to publish the "Hot
Revisions" to ensure the most accurate copy is available.

I apologize to those of you who appreciate the book, that you had to
put up with this nonsense, but I'm not going to censor the critics.  I
at least have the right to respond to them when they invade my own forum.

The book is what it is and I will make no excuses for it.  I don't
regret writing it and I appreciate Rod Williams (Who loves, teaches
and writes poetry!) for all of his help.

JNagarya, You and your friend from Berkley can write your own guitar
book... Good luck with that. Have a good day. You're not getting a refund.

Bob Dietz ?;O)

> beadmethod@yahoogroups.com, "JNagarya" <jnagarya@...> wrote:
>
>
> ----- Original Message -----
> From: "jnagarya" <jnagarya@...>
> To: <beadmethod@yahoogroups.com>
> Sent: Monday, November 26, 2007 4:07 AM
> Subject: Writing clearly --
>
>
> As a professional writer and poet, I was shocked to learn from reading
> their work that few well-known poets can't write prose to save their
> lives.
>
> It's even worse with guitarists.
>
> Your excuses are that the editor's field is not music, and yours is not
> writing.  I don't expect guitarists to be poets, or professional
> writers, but there is a minimum level of competence that a reader
> should properly expect.
>
> On writing:
>
> Simple premise: Writing is thinking on paper.  Our writing is an exact
> mirror image of how--and whether--our thinking is organized and clear.
>
> Simple method: Writing is rewriting; and that means one avoids loving
> one's amazing phrases to the degree that one cannot let them go as they
> are, therefore cannot correct and improve them.  It is by means of
> rewriting that one's writing is increasingly organized--bringing "like
> ideas" together is key--and clear.
>
> Tips: If a process is A-B-C, then the description of it should be A-B-
> C.  It can't be more than a third draft for the halfway attentive
> writer to still have ideas which should be stated at the outset being
> sprinkled as afterthoughts amid the material by which they should
> instead be followed.
>
> Circles -- whether "Circle of 5ths" or "Circle of 4ths" -- do not
> have "corners".  That error brings the reader up short, disrupting his
> progress in "thinking through" along with the writer.  That error is
> a "shorthand" which reveals neglect to think through that which is to
> be communicated, and the accurate terms in which to communicate it.
>
> Respect: Writer must respect language--and reader.  No mortal has time
> which, when lost, can be replaced.  Endeavor not to waste the reader's
> time with having to reread (or worse, puzzle over) the unclear, or plow
> through yet another repetition, or (if they know the topic
> sufficiently) juggle a just-enountered idea back to where it should
> have been before that point.
>
> Spellcheck.  This helps locate not only misspellings but also words
> that are run together.
>
> Your editor:
>
> Until I saw the name of an editor on the title page, I thought the
> writing was entirely your own.  His field may not be music, but it also
> isn't writing.  Then again, authors often "know better" than editors so
> refuse to allow changes which are actually necessary toward increased
> clarity.
>
> Learning guitar is difficult enough without a cheap guitar being an
> obstacle to that learning.  And learning the basics of music theory is
> difficult enough without the instructional material being an obstacle
> to doing so.
>
> Perhaps, if I can find the time, I'll give you an example of competent
> editing from the first several pages of one of your chapters in the
> preview download by at least unjumbling a few incoherencies.
>
> None of this is particularly difficult: "The 'Secret' to Successful
> Writing" is: rewriting.  And that means rewriting more than a specified
> number of times.  One rewrites until it is as clear as one can make it,
> then puts it away for a while -- several weeks, sometimes months.  The
> reason for doing that is so the written piece is unfamiliar, as if
> someone else wrote it.  As if it's the first time the writer has seen
> it.
>
> Then one pulls it and immediately begins rewriting, from the beginning,
> as one is reading that which appears to have been written by someone
> else.  The first few times you do this you'll be amazed at the number
> of errors you didn't see -- many of them glaringly obvious -- during
> the first stage.  My respect for the language, and for my thinking, and
> for the reader is such that I often rewrite even the ephemeral, such as
> email, and as I did with this post.
>
> It is, in a word, lazy to rely upon the reader to find your errors for
> you.  And, at the same time, you are charging them the price of the
> book for the "privilege" of doing that work for you.
>
> I am interested in that I've seen so far -- the stops and starts caused
> by the failure to sufficiently rewrite being disruptive, frustrating,
> and out-and-out pain in the ass -- but I haven't irreplaceable time to
> do the thinking through for, and in spite of, the author.
>

----- Original Message -----
From: "jnagarya" <jnagarya@...>
To: <beadmethod@yahoogroups.com>
Sent: Monday, November 26, 2007 4:07 AM
Subject: Writing clearly --


As a professional writer and poet, I was shocked to learn from reading
their work that few well-known poets can't write prose to save their
lives.

It's even worse with guitarists.

Your excuses are that the editor's field is not music, and yours is not
writing.  I don't expect guitarists to be poets, or professional
writers, but there is a minimum level of competence that a reader
should properly expect.

On writing:

Simple premise: Writing is thinking on paper.  Our writing is an exact
mirror image of how--and whether--our thinking is organized and clear.

Simple method: Writing is rewriting; and that means one avoids loving
one's amazing phrases to the degree that one cannot let them go as they
are, therefore cannot correct and improve them.  It is by means of
rewriting that one's writing is increasingly organized--bringing "like
ideas" together is key--and clear.

Tips: If a process is A-B-C, then the description of it should be A-B-
C.  It can't be more than a third draft for the halfway attentive
writer to still have ideas which should be stated at the outset being
sprinkled as afterthoughts amid the material by which they should
instead be followed.

Circles -- whether "Circle of 5ths" or "Circle of 4ths" -- do not
have "corners".  That error brings the reader up short, disrupting his
progress in "thinking through" along with the writer.  That error is
a "shorthand" which reveals neglect to think through that which is to
be communicated, and the accurate terms in which to communicate it.

Respect: Writer must respect language--and reader.  No mortal has time
which, when lost, can be replaced.  Endeavor not to waste the reader's
time with having to reread (or worse, puzzle over) the unclear, or plow
through yet another repetition, or (if they know the topic
sufficiently) juggle a just-enountered idea back to where it should
have been before that point.

Spellcheck.  This helps locate not only misspellings but also words
that are run together.

Your editor:

Until I saw the name of an editor on the title page, I thought the
writing was entirely your own.  His field may not be music, but it also
isn't writing.  Then again, authors often "know better" than editors so
refuse to allow changes which are actually necessary toward increased
clarity.

Learning guitar is difficult enough without a cheap guitar being an
obstacle to that learning.  And learning the basics of music theory is
difficult enough without the instructional material being an obstacle
to doing so.

Perhaps, if I can find the time, I'll give you an example of competent
editing from the first several pages of one of your chapters in the
preview download by at least unjumbling a few incoherencies.

None of this is particularly difficult: "The 'Secret' to Successful
Writing" is: rewriting.  And that means rewriting more than a specified
number of times.  One rewrites until it is as clear as one can make it,
then puts it away for a while -- several weeks, sometimes months.  The
reason for doing that is so the written piece is unfamiliar, as if
someone else wrote it.  As if it's the first time the writer has seen
it.

Then one pulls it and immediately begins rewriting, from the beginning,
as one is reading that which appears to have been written by someone
else.  The first few times you do this you'll be amazed at the number
of errors you didn't see -- many of them glaringly obvious -- during
the first stage.  My respect for the language, and for my thinking, and
for the reader is such that I often rewrite even the ephemeral, such as
email, and as I did with this post.

It is, in a word, lazy to rely upon the reader to find your errors for
you.  And, at the same time, you are charging them the price of the
book for the "privilege" of doing that work for you.

I am interested in that I've seen so far -- the stops and starts caused
by the failure to sufficiently rewrite being disruptive, frustrating,
and out-and-out pain in the ass -- but I haven't irreplaceable time to
do the thinking through for, and in spite of, the author.

Andy,

There is the HOT Revision which has the Title "The BEAD Method of
Fretboard Mastery REVISED."  This is the most current revision and it
is not being distributed through Amazon. You can only purchase this
version through Lulu at www.beadguitar.com.

The version on Amazon and other retailers is not the original version
but was revised November of 2006 to fix the errors that had been found
up to that time.

Why the errors?  Firstly few authors are as candid as I am about the
errors in their work... My motive as are those of the contributors who
have helped me find them is to eliminate these errors for others in
the future.

Secondly, "The BEAD Method of Fretboard Mastery" has so much
information!  You would have to buy several music books to get the
amount of information concisely delivered in this method. With so much
detail it is inevitable there will be errors.

Lastly, even though I did have an editor, his field is not music and
mine is not writing.  As you stated in your comments on Amazon, (Same
name, I'm assuming this is you), this is a great method. Those in this
forum have stated that the errors did not detract from their gleaming
the insight to master their guitars. I hope they are not detracting
from your mastering yours.

I hope this helps...

Thanks,

Bob Dietz ?;O)


--- In beadmethod@yahoogroups.com, "andycguthrie" <andycguthrie@...>
wrote:
>
> Is the "The BEAD Method of Fretboard Mastery REVISED" the same as "Hot
> Revisions"?
>

Is the "The BEAD Method of Fretboard Mastery REVISED" the same as "Hot
Revisions"?

Eric,

It took me a while to find it but yes, the 4th is missing on the
left-hand fretboard diagram on the 15th fret in pattern 2 of 5.

The bottom portion of the arrow does not extend to the end of the 4 of
5 scale form. I think we get the idea however. The diagram is merely
illustrating that the forms fit together.

The second paragraph is correct, however, it is not clear which string
and frets I am referencing.  If you look at the root note on the sixth
string 13th fret. The next root note on is on the third string, 10th
fret...

Thanks for finding these... When we're done this will truly be a
perfect work...

Bob Dietz ?;O)


--- In beadmethod@yahoogroups.com, "ewwhiteman" <ewwhiteman@...> wrote:
>
> Hi Bob,
>
> On page 21, the fretboard is missing the 4th interval, as well as the
> note on the second instance of pattern 2 of 5.
>
> The first pattern 4 of 5 arrow is not extended to include the fourth
> interval.  Looks like pattern 5 of 5 arrow should be extended to
> include the seventh interval.
>
> Also, the second paragraph under 4.2 intervals reads.
>
> You will notice the position of the root note on the sixth string to
> the root note on the third string.
>
> Third should be fourth, correct?
>
> Thanks,
> Erik
>

Hi Bob,

On page 21, the fretboard is missing the 4th interval, as well as the
note on the second instance of pattern 2 of 5.

The first pattern 4 of 5 arrow is not extended to include the fourth
interval.  Looks like pattern 5 of 5 arrow should be extended to
include the seventh interval.

Also, the second paragraph under 4.2 intervals reads.

You will notice the position of the root note on the sixth string to
the root note on the third string.

Third should be fourth, correct?

Thanks,
Erik

What are "Hot Revisions"? "Hot Revisions" are available only
through the BEAD Guitar(TM) Website.  The ISBN version that is
available through other retailers is an older revised version and does
not contain all the corrections found in the errata. The reason I am
doing it this way is so that I can make the most current revisions
available on demand.  As soon as a revision needs to be made, the
changes can be immediately available to the public. It can take weeks
before revisions make it to the marketplace and "Hot Revisions" are
the most economical way for me to make them available. There is a
hefty revision fee if the ISBN version is revised...

You may purchase the "HOT Revision" securely through Lulu at:

http://www.lulu.com/content/869662

Thanks you all for your interest in the BEAD Guitar(TM) Method!

Bob Dietz

No problem Mike... I added this to the Errata and also started a new
"Hot Revision" of the book... Here's the errata...

18 April 2007 - On page 24 my description of the mini-patterns leads
to confusion. I am reading the diagrams from left to right so the
order of strings described are not the actual string. The first
paragraphs should read:

"In order to memorize the intervals we will break them down into three
major scale mini-patterns. The first pattern will be played on the
sixth and fifth string. The second pattern begins on the fourth
string. The third pattern begins on the third string...

The second pattern is the same as the first but the starting note is
on the fifth string. Memorize the first pattern and you know the
second..."

A special thank you to Mike Alverd for finding this error..."

Thanks again Mike!

Bob Dietz

--- In beadmethod@yahoogroups.com, "M. Alverd" <malverd@...> wrote:
>
> Hi Bob,
>
> I looked at the book and I'm not sure what you mean by referencing
the diagrams as if you were looking left to right.  Also, I assume
that the fretboard diagram at the top of page 25 is correct with
string 1 being at the top and string 6 being at the bottom of the
diagram.  Was I correct in my prior email regarding the description of
the strings.
>
> Thanks again,
> Mike
>
>
> ----- Original Message ----
> From: Robert L. Dietz <beadguitar@...>
> To: beadmethod@yahoogroups.com
> Sent: Thursday, May 17, 2007 2:21:54 PM
> Subject: [beadmethod] Re: Page 24
>
> Mike,
>
> I had to take some time to look at this... Yes, that is confusing. I
> think when I originally wrote that, I was referencing the diagrams as
> if you were looking left to right... I should change this in future
> revisions since it does add confusion. You're the first to mention
> it... Thanks for pointing this out...
>
> Bob ?;O)
>
> --- In beadmethod@yahoogro ups.com, "Malverd" <malverd@ > wrote:
> >
> > Hi Bob,
> >
> > I am having difficulty understanding the mini patterns
> > on page 24.
> >
> >
> > It reads:
> > "The first pattern will be played on the first and
> > second string."
> > Should this be the 6th and 5th string?
> >
> > "The second pattern begins on the third string."
> > Shouldn't this be the 5th string
> >
> > "The second pattern is the same as the first but the
> > starting note is on the second string".
> > Shouldn't this be the 5th string
> >
> > "The third pattern begins on the fourth string."
> > This seems correct
> >
> > I don't see mention of the fourth pattern, other than
> > the diagram at the bottom of page 24. I assume that
> > it should read "Pattern 4 begins on the 3rd string".
> >
> > Great book so far.
> >
> > Thanks,
> > Mike
> >
>
>
>
>
>
>
>
________________________________________________________________________________\
____Sick
sense of humor? Visit Yahoo! TV's
> Comedy with an Edge to see what's on, when.
> http://tv.yahoo.com/collections/222
>

Mike,

I had to take some time to look at this... Yes, that is confusing. I
think when I originally wrote that, I was referencing the diagrams as
if you were looking left to right... I should change this in future
revisions since it does add confusion. You're the first to mention
it... Thanks for pointing this out...

Bob ?;O)

--- In beadmethod@yahoogroups.com, "Malverd" <malverd@...> wrote:
>
> Hi Bob,
>
> I am having difficulty understanding the mini patterns
> on page 24.
>
>
> It reads:
> "The first pattern will be played on the first and
> second string."
> Should this be the 6th and 5th string?
>
> "The second pattern begins on the third string."
> Shouldn't this be the 5th string
>
> "The second pattern is the same as the first but the
> starting note is on the second string".
> Shouldn't this be the 5th string
>
> "The third pattern begins on the fourth string."
> This seems correct
>
> I don't see mention of the fourth pattern, other than
> the diagram at the bottom of page 24. I assume that
> it should read "Pattern 4 begins on the 3rd string".
>
> Great book so far.
>
> Thanks,
> Mike
>

Mike,

I had to take some time to look at this... Yes, that is confusing.  I
think when I originally wrote that, I was referencing the diagrams as
if you were looking left to right... I should change this in future
revisions since it does add confusion.  You're the first to mention
it... Thanks for pointing this out...

Bob ?;O)

--- In beadmethod@yahoogroups.com, "Malverd" <malverd@...> wrote:
>
> Hi Bob,
>
> I am having difficulty understanding the mini patterns
> on page 24.
>
>
> It reads:
> "The first pattern will be played on the first and
> second string."
> Should this be the 6th and 5th string?
>
> "The second pattern begins on the third string."
> Shouldn't this be the 5th string
>
> "The second pattern is the same as the first but the
> starting note is on the second string".
> Shouldn't this be the 5th string
>
> "The third pattern begins on the fourth string."
> This seems correct
>
> I don't see mention of the fourth pattern, other than
> the diagram at the bottom of page 24.  I assume that
> it should read "Pattern 4 begins on the 3rd string".
>
> Great book so far.
>
> Thanks,
> Mike
>

Hi Bob,

I am having difficulty understanding the mini patterns
on page 24.


It reads:
"The first pattern will be played on the first and
second string."
Should this be the 6th and 5th string?

"The second pattern begins on the third string."
Shouldn't this be the 5th string

"The second pattern is the same as the first but the
starting note is on the second string".
Shouldn't this be the 5th string

"The third pattern begins on the fourth string."
This seems correct

I don't see mention of the fourth pattern, other than
the diagram at the bottom of page 24.  I assume that
it should read "Pattern 4 begins on the 3rd string".

Great book so far.

Thanks,
Mike

Oh my Malverd... Those senior moments are coming more frequently!  You
are certainly correct...

ERRATA to the Errata! A sharpened Perfect interval results in an
Diminished sound. A flattened Perfect results in an Augmented sound.

So many details. Thanks for catching this!

Bob Dietz ?;O)

--- In beadmethod@yahoogroups.com, "Malverd" <malverd@...> wrote:
>
> Hi Bob,
>
> I was just looking at your errata page.
>
> "This statement is incorrect. Flatten the Major interval to find the
> Minor counterpart. A flattened Perfect interval results in an
> Augmented sound."
>
> Shouldn't the flattened Perfect interval result in a Diminished sound?
>

Hi Bob,

I was just looking at your errata page.

"This statement is incorrect. Flatten the Major interval to find the
Minor counterpart. A flattened Perfect interval results in an
Augmented sound."

Shouldn't the flattened Perfect interval result in a Diminished sound?

Thanks Mike,

I'm glad you ordered the book and I think you'll ultimately be glad
you did as well... The BEAD Method works best when applied to standard
tuning.  Once you have it mastered however, you can adjust your
thinking to incorporate alternative tunings. For some tunings this
would take some level of experience to do but would be well worth the
effort.  I've thought of expanding the BEAD Method to include
alternative tunings but haven't found the time to finish the other
BEAD projects I'ld like to do... Please let us know how it works for
you.  We would all benefit from your experience...

Yours truly,

Bob Dietz ?;O)


--- In beadmethod@yahoogroups.com, "Malverd" <malverd@...> wrote:
>
> Hi,
>
> Just ordered the book a couple days ago.  How well does this method
> work with alternate tunings?
>
> Thanks,
> Mike
>

Hi,

Just ordered the book a couple days ago.  How well does this method
work with alternate tunings?

Thanks,
Mike

There is an error on page 25 in section 4.3 where it says:

"The scales are played in the following sequence from the 6th fret to
the 1st fret:"
It should say:

"The scales are played in the following sequence from the 6th string
to the 1st string:"

A special thank you to Lorenzo Childress for finding this error.



Thanks to all...

Bob Dietz ?;O)

Barry,

That's good news... I was reading in one of the guitar forums some of
the comments that people are making about my book.  It's a good
feeling when so many "smart" people are saying good stuff about the
book.  I don't suppose to be a smart person.

You also encouraged me to get off my duff and get some videos done.
I've been just so busy and this project has fell to the wayside. I'm
still churning on the sequal to the BEAD Method... Also a project that
has yet to see the light of day...

Thank you so much Barry... I believe you will love the book... I'm
looking forward to hearing how it goes for you...

Also, I would like to thank Jack Jackson for his support. He's one of
my heros...

Bob Dietz ?;O)

--- In beadmethod@yahoogroups.com, "barry411" <barry411@...> wrote:
>
>
> Hello.
>
>   Just wanted to let you know that I ordered the book from your
> website. Thanks for getting that snafu taken care of for me. I'm
> looking forward to getting into the material. I'll post and let you
> know how I'm progressing once I do. Thanks again.
>
>                                                     Barry
>
>
>
>
>
>
>
> --- In beadmethod@yahoogroups.com, "Robert L. Dietz" <beadguitar@>
> wrote:
> >
> > Sorry for the snafu,  I wasn't aware it wasn't available. This is a
> > glitch in the recent price changes imposed on all Lulu authors.  It
> > has been fixed.  The "BEAD Method of Fretboard Mastery" is now
> > available from my website...
> >
> > www.beadguitar.com
> >
> > Thanks for your support.  I believe you'll get more out of the BEAD
> > Method than anything else you've ever tried... With the exception of
> > prayer...
> >
> >
> > --- In beadmethod@yahoogroups.com, "barry411" <barry411@> wrote:
> > >
> > > Hello Bob,
> > >
> > >   I've been looking for a way to understand the guitar fretboard
> to
> > > help me learn to play with some level of skill. Your method looks
> > > great. Thanks for putting up the preview. It made me decide to
> buy it.
> > >
> > >   The book is not available from Lulu right now and Amazon has a
> note
> > > on their listing that says they only have one copy left in stock.
> I
> > > just wanted to know if you know whether Amazon's copy is one of
> the
> > > newly revised ones? I'd, of course, rather have a revised copy. I
> also
> > > understand that you may have absolutely no way of knowing that. I
> just
> > > thought I'd ask you and find out.
> > >
> > >   I'm looking forward to getting your book and finally
> understanding
> > > what I'm trying to play on the guitar. I'm excited to be a member
> of
> > > the group and I'm ready to learn.
> > >
> > >   Thank you.
> > >
> > > P.S. Did you ever get around to making those videos you mentioned
> in an
> > > early post from last year? I'd love to see them if you did.
> Thanks
> > > again. And I hope you get everything worked out with your
> publisher.
> > >
> >
>

Hello.

   Just wanted to let you know that I ordered the book from your
website. Thanks for getting that snafu taken care of for me. I'm
looking forward to getting into the material. I'll post and let you
know how I'm progressing once I do. Thanks again.

                                                     Barry







--- In beadmethod@yahoogroups.com, "Robert L. Dietz" <beadguitar@...>
wrote:
>
> Sorry for the snafu,  I wasn't aware it wasn't available. This is a
> glitch in the recent price changes imposed on all Lulu authors.  It
> has been fixed.  The "BEAD Method of Fretboard Mastery" is now
> available from my website...
>
> www.beadguitar.com
>
> Thanks for your support.  I believe you'll get more out of the BEAD
> Method than anything else you've ever tried... With the exception of
> prayer...
>
>
> --- In beadmethod@yahoogroups.com, "barry411" <barry411@> wrote:
> >
> > Hello Bob,
> >
> >   I've been looking for a way to understand the guitar fretboard
to
> > help me learn to play with some level of skill. Your method looks
> > great. Thanks for putting up the preview. It made me decide to
buy it.
> >
> >   The book is not available from Lulu right now and Amazon has a
note
> > on their listing that says they only have one copy left in stock.
I
> > just wanted to know if you know whether Amazon's copy is one of
the
> > newly revised ones? I'd, of course, rather have a revised copy. I
also
> > understand that you may have absolutely no way of knowing that. I
just
> > thought I'd ask you and find out.
> >
> >   I'm looking forward to getting your book and finally
understanding
> > what I'm trying to play on the guitar. I'm excited to be a member
of
> > the group and I'm ready to learn.
> >
> >   Thank you.
> >
> > P.S. Did you ever get around to making those videos you mentioned
in an
> > early post from last year? I'd love to see them if you did.
Thanks
> > again. And I hope you get everything worked out with your
publisher.
> >
>

Sorry for the snafu,  I wasn't aware it wasn't available. This is a
glitch in the recent price changes imposed on all Lulu authors.  It
has been fixed.  The "BEAD Method of Fretboard Mastery" is now
available from my website...

www.beadguitar.com

Thanks for your support.  I believe you'll get more out of the BEAD
Method than anything else you've ever tried... With the exception of
prayer...


--- In beadmethod@yahoogroups.com, "barry411" <barry411@...> wrote:
>
> Hello Bob,
>
>   I've been looking for a way to understand the guitar fretboard to
> help me learn to play with some level of skill. Your method looks
> great. Thanks for putting up the preview. It made me decide to buy it.
>
>   The book is not available from Lulu right now and Amazon has a note
> on their listing that says they only have one copy left in stock. I
> just wanted to know if you know whether Amazon's copy is one of the
> newly revised ones? I'd, of course, rather have a revised copy. I also
> understand that you may have absolutely no way of knowing that. I just
> thought I'd ask you and find out.
>
>   I'm looking forward to getting your book and finally understanding
> what I'm trying to play on the guitar. I'm excited to be a member of
> the group and I'm ready to learn.
>
>   Thank you.
>
> P.S. Did you ever get around to making those videos you mentioned in an
> early post from last year? I'd love to see them if you did. Thanks
> again. And I hope you get everything worked out with your publisher.
>

Hello Bob,

   I've been looking for a way to understand the guitar fretboard to
help me learn to play with some level of skill. Your method looks
great. Thanks for putting up the preview. It made me decide to buy it.

   The book is not available from Lulu right now and Amazon has a note
on their listing that says they only have one copy left in stock. I
just wanted to know if you know whether Amazon's copy is one of the
newly revised ones? I'd, of course, rather have a revised copy. I also
understand that you may have absolutely no way of knowing that. I just
thought I'd ask you and find out.

   I'm looking forward to getting your book and finally understanding
what I'm trying to play on the guitar. I'm excited to be a member of
the group and I'm ready to learn.

   Thank you.

P.S. Did you ever get around to making those videos you mentioned in an
early post from last year? I'd love to see them if you did. Thanks
again. And I hope you get everything worked out with your publisher.

I found three additional errors that were not fixed in the last
revision of "The BEAD Method of Fretboard Mastery":<p>
On page 24 in the third paragraph it says, "Once you feel comfortable
with the Major and Perfect intervals, practice flattening them to
determine their Minor counterparts."<p>
This statement is incorrect. Flatten the Major interval to find the
Minor counterpart.  A flattened Perfect interval results in an
Augmented sound.<p>
On page 37 the fourth and fifth diagram are labeled incorrectly.  The
fourth diagram is a Major 3rd. The fourth diagram is a Minor 3rd.

Thanks,

Bob Dietz ?;O)