This LITTLE GUITAR BOOK THAT COULD showcases the quite popular C A G E D chord and scale sequence exclusively in the SEVENTEENTH POSITION, for all to see and use. But, before thumbing through this book, there's some subject matter that the guitarist may need reminding of...even though he or she may have played for years. For example, in this book, six consecutive frets is what formally constitutes a guitar position, and each position spans a full two octaves plus a perfect fourth so long as the guitar remains in standard tuning. Also when in this, or any other, guitar position the second and third fingers on the fretting hand are to remain stationary in their respective frets or "slots", for the most part generally speaking, as the stationary qualities are the very thing that allows the first and or fourth finger to stretch or slide to their notes in the outermost frets. On the picking hand, a very useful and rather important string picking pattern occurs down by the sound hole or bridge, where that hand predominantly resides. The pattern involves every other string and is best evidenced when the C A G E D main root note sequence is plucked alphabetically, starting with the C root on the first or thinnest guitar string. Start by picking the C there (first string, fourth finger); then D (third string, third finger); E (fifth string, third finger); G (second string, fourth finger); A (fourth string, third finger) and conclude with the C (sixth string, fourth finger). The one-three-five, two-four-six string pattern naturally fits the picking hand and is looped, forwards or backwards (six-four-two, five-three-one) as the C root notes located on the first/third/sixth strings are of the same pitch class and therefore interchangeable. There are also three additional terms used in this book, those three being main root notes, octaves and unisons. Here, main root notes represent a specific set of root notes that fall or cluster underneath the, again mostly stationary, second and third fingers of the fretting hand. The placement of each main root note is to be fully memorized. Once that occurs, the attention then moves to the octaves which follow. An octave is defined as an interval, it being between one musical pitch and another with half or double its own frequency. Some correctly call the interval a "perfect octave", and in guitarland, octaves are usually "one string one fret away". This handy factoid helps memorize their location on the fretboard straightaway, even though, occasionally, two strings and or two frets are involved (the same concept applies in that there will be some sort of string skipping.) And finally, the last music vocabulary term used is the unison, this occurring when two or more music notes happen to sound the same pitch. In guitarland this usually means "same note different string or fret", and the unison itself typically occurs in the immediate guitar position without question. After showcasing all the above C A G E D material, THE LITTLE GUITAR BOOK THAT COULD for the SEVENTEENTH POSITION then concludes itself with an A B C D E F G A alphabetical appendix, in which the C A G E D material is thus reorganized to include the B and F material and placed in alphabetical order. And the uncomplicated, straightforward "picture worth a thousand words" format allows one to take full advantage of the material on the spot. You'll have fun discovering some fresh perspectives on your same old same old, while also adding some new twists and turns to your own guitar fingering technique. As a bonus, THE LITTLE GUITAR BOOK THAT COULD for the SEVENTEENTH POSITION also contains copious amounts of manuscript and fretboard paper too, making it your personal guitar journal over time. As always, thank you very kindly for including this LITTLE GUITAR BOOK THAT COULD in your library repertoire of fretboard knowledge needs...catch you at another time!...Enjoy!