In most guitar method books, no -

Jh:s orms~m is a
most logical place
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of playing up and down one string. a single siring is absolutely the observations:
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The simplest way to see notes is in a sjtraight line. A single string is a straight line. On a single string, there is a direct rel ionship between interval distance and movement in space. Playing on a single string helps to el paralysis (fear of movement) and * entire length of the fingerboard is uti This approach is conducive to leami a fingering pattern (as in position pi function and displays the principle

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te two potential problems: ophobia (fear of higher frets), since the d from the very beginning.
note locations because you cant rely on

The problem of changing strings is eli inated. This simplifies the right-hand
hand function in their purest form. Different types of phrasing and articula ions can be played very consistently.
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Elements of fundamental theory can b 1 shown to a beginner in clear and simple visual and aural terms: Intervals, scale construction, chords, a peggios, etc. The same could be said 4 for dynamics, articulations, and timbre.1 . Someone probably invented a one-stri{ged instrument (let3 call it a unitar!) tong before anyone ever thought of two&rings, let alone six of them. So it would seem sensible to learn in the sa e way that the instrument developed chronologically.
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Many stringed instruments in Eastern untries are played in a much more up and down the neckfashion (most notacI ly, the sitar). Do you have any idea . how long the music of India has been apund? All of the above contribute to support my personal ontention that you have no real understanding of the fingerward until youve spen a lot of time playing up anddown the strings individually. If ail you know is position piayi ~ ! you cant even begin to see the whole fingerboard. in fact, you cant even underst nd the proper uses and advantages of position playing until youve played up and down o the strings a lot. The strange thing about all of this is that its really s obvious. (Hidden in the Eye of the Sun, so to speak.) One ca,ni help but wonder how tP is that hardly anyone has noticed it. It is safe to say that you would do well to spend this (in itself) would beginto completely transfo within two orthree weeks. I CQUM almost guara this volume presents goes like this: ime playing on one string. Doing r understanding of the fingerboard Consequently, the approach that

1. Playing up and down each of the six stri{gs individually (The Science I , of the Unitar)

2. Playing up and down five combinations f t&o adjacent strings (Moveable Minipositions)
3.

Study of Intervals: Melodic and Harmoni (Poor Mans Guide to Counterpoint) . 4. The Open Position 5. fosition Playing
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6. Combination Playing (The R?alm of th Ekctric Ice-Skating Wink)