This LITTLE GUITAR BOOK THAT COULD showcases the very popular C A G E D guitar chord and scale sequence, but exclusively in the NINTEENTH POSITION for all to see and use. Before thumbing through this book, there exists some important subject matter that the guitarist may need to be reminded of...even though he or she may have played for years. For example, in this book, six is the exact number of consecutive frets involved in the NINTEENTH POSITION, and it spans a full musical two octaves plus a perfect fourth when in standard tuning. Plus when in this position the second and third fingers on the fretting hand are to remain stationary in their respective frets or "slots", initially, as their stationary qualities allow the first and or fourth finger to stretch or slide to the notes found in that additional outer fret. For the picking hand there is a very important pattern occurs that involves the strings, best picked near the sound hole or bridge where that hand just so happens to be a majority of the time...convenient. The pattern 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. To best understand this pattern, start by picking the C there on the first string, fretted with the second finger, then D (third string, first finger); E (third string, third finger); G (second string, second finger); A (fourth string, first finger) and conclude with the C (sixth string, second finger). The one-three-three, two-four-six string pattern naturally fits the picking hand well. Plus the every other string pattern is looped, forwards or backwards (six-four-two, five-three-one) as the C root notes found on the first /sixth string(s) are deemed interchangeable. Three additional terms used in this book that need clarification are main root notes, octaves and unisons. What are main root notes? Generally speaking, main root notes represent a specific set of root notes that fall or cluster under the second and third fingers of the fretting hand, and in the NINTEENTH POSITION, that is for the most part true. However, in this position some of the C A G E D main root notes use the nontypical first and fourth fingers, making this position an exception of sorts. That said, once the location of each main root note is memorized the attention then moves to their octaves, which are defined as the interval 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 fact helps memorize their location 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). Next, and perhaps a bit unrelated, are unisons, which do often occur in guitar positionwork. Unisons are simply defined as when two or more music notes happen to sound the same pitch. In guitarland, it usually means "same note different string or fret". And very importantly, the term also implies that the unison occurs in the guitar position at hand. This book concludes with an A B C D E F G A alphabetical appendix, in which the C A G E D material is thus reorganized alphabetically to include the B and F material. And even there the book's uncomplicated, straightforward "picture worth a thousand words" format allows one to take full advantage of the material immediately. You'll have fun discovering some fresh perspectives on the same old same old, while also adding some new twists and turns to your own fingering technique. And to top it off, this LITTLE GUITAR BOOK THAT COULD concludes with copious amounts of manuscript and fretboard paper too, making it an ideal personal guitar journal. To close, thank you very kindly for choosing my LITTLE GUITAR BOOK THAT COULD to be in your repertoire of fretboard knowledge needs...I appreciate you and enjoy