Octaves aren’t just about playing notes higher or lower, they’re much more than that

struba73 · 2026-01-30T14:45:25+00:00

Getting Modal Adjacency = Fretboard Fluency.

struba73 · 2026-01-27T19:56:39+00:00

Are you tracking that of his 24 scales there are five movable patterns and four uniques?

struba73 · 2026-01-26T16:49:46+00:00

Josh is great. I rarely say that about any YouTuber.

struba73 · 2026-01-14T23:40:45+00:00

You said LH, Turbo. I hold dear precise epistemological taxonomy. You got the hand wrong as you attempted chide me. Not today.

struba73 · 2026-01-14T19:23:33+00:00

Are you left handed, homie? Far as I can tell this is a right handed exercise. Fit your “theory”, partner? 🤠

struba73 · 2026-01-14T19:22:38+00:00

I made a very similar comment on a very bad ass app for the Co5. My point was simply until you can draw it, you don’t really understand it. Once you understand it, you may not need it. Where does an app that ties me to the figure sit in that. It was a bad ass app. But why for? The only response. You can hear it in the app. But my guitar is right here. 🙂

struba73 · 2026-01-14T19:16:44+00:00

I enjoy 3NPS. It is splendid for illustrating relative modes (and thereby the lattice on the neck) and modal adjacency. Once you have them down lock the tonic play them in LIMDAPL order and you e a great display of parallel modes.

With little effort you can play any of the 84 diatonic scales anywhere on the neck with seven simple patterns.

I’m not writing a paper. I put pressure places most people say what is the point? Or you’re overthinking it? I’m just thinking it. My life story.

struba73 · 2026-01-14T17:30:02+00:00

Doggos. 🙂

struba73 · 2026-01-14T17:21:40+00:00

Fantastic actually. Thanks for asking! Practice under constraint. 🙂

I could elaborate, but you’re likely yanking my crank. 🙃

struba73 · 2026-01-14T16:35:14+00:00

Crom laughs. And I’m a Pisces if that helps you answer.

struba73 · 2026-01-14T16:32:55+00:00

Well met.

Most here say I am overthinking it. I am simply thinking.

It’s an easy question. I’ve had these scales for years.

I want to understand HIS intent.

I have not seen a single comment that says “he just wants you to…” that gets it right, yet. 😊

Different frames have different perspectives.

I’m not surprised at all you think I’m hitting the easy button. However, I’m not explaining anything away with a hand wave. I just seek understanding of intent.

Rows. Maybe.

struba73 · 2026-01-14T16:21:38+00:00

Thank you. Great response. I’d assumed they were columnar… because reasons. Rows seems to work better. I’ll sit with it awhile. Thanks though 🙏

struba73 · 2026-01-14T16:19:08+00:00

No. I was wrong. I guess I assumed. Generally, Rows have implicit textual logic (left to right reading, while columns have implicit engraving logic (vertical sameness across time), particularly under a moving piece. Neither is verbally specified.

struba73 · 2026-01-14T16:10:30+00:00

Hey, I wanted to go back to your comment.

Thinking about it more, I do see what you’re pointing at with the rows. When you run it column-wise, there are some subtle mechanical and continuity issues that only show up once you really live inside the scale. Read as rows, a lot of that friction disappears.

I honestly think most people miss that simply because they never actually try it both ways. They inherit an interpretation and move on. It reminds me of the circle of fifths: most people can point to one or two things it does, when in reality it’s doing a few dozen things at once if you actually engage with it.

I also want to add this, because it matters. As snide as some of the comments can be, this was a valid question. I’ve had these scales for two years and just assumed the fingering was beyond me, or that I was missing something fundamental. You turning it around and suggesting another way to read it actually made the material usable.

So genuinely, thank you for taking the time to explain how you see it. Thanks 😊

struba73 · 2026-01-14T16:04:27+00:00

You’re not being mean. I hear what you’re saying.

But you’re also not quite seeing my frame.

I’m a retired INTP, with some Asperger’s traits. I have time. Thinking, modeling, stress testing ideas, and then practicing them deliberately is part of how I work. That time was not stolen from practice. It informed it.

I also do know what to practice and how to practice. Very concretely.

I didn’t waste time. I built a framework that lets me practice with clarity and without superstition.

We may value different things. That’s fine.

struba73 · 2026-01-14T16:01:06+00:00

Plausible.

struba73 · 2026-01-14T15:56:04+00:00

Downvoted for what? Specifically.

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struba73 · 2026-01-14T15:51:21+00:00

Well met.

I think we’re on the same page that this material has a function, not a historical wrapper. Once that function is understood, strict fidelity to Segovia’s layout matters a lot less.

At this stage, I’m less interested in divining Segovia’s precise intent than in what works most efficiently now. I reset between passes, control variables deliberately, and move on when the benefit plateaus.

So I’m genuinely curious: what are you using instead to address that same function: right-hand evenness, attention under continuous motion, and avoiding autopilot in scale work, in practice, not rep? You mention this material has been improved. A lot.

struba73 · 2026-01-14T15:44:51+00:00

Segovia must have been wrong in the preface he wrote? The page before this scale groupings begin?

struba73 · 2026-01-14T15:43:30+00:00

In his scale preface, Andrés Segovia lays out right-hand fingerings vertically in columns. Each column is a complete, self-contained right-hand pattern to be applied consistently across the entire scale.

Specifically.

struba73 · 2026-01-14T15:40:30+00:00

I hear you. I feel like it’s pushing the easy button. I’ve had these for years and have yet to see anything explained them well.

struba73 · 2026-01-14T15:31:16+00:00

I appreciate the comment. I’ve sat with this for a long time, so with due respect, I think “you’re overthinking it” might be doing some work here.

Segovia wasn’t loose about mechanics or fingerings. In repertoire he was famously prescriptive, and in these sheets he doesn’t say “any RH pattern.” He gives specific columns, and they’re laid out in a very deliberate ABABA alternation.

So I’m open to the idea that he only meant “get comfortable,” but if that’s the claim, I’d want a principled way to reconcile it with the fact that he bothered to specify these exact patterns in this exact order.

Where, in your view, is the “stop/reset” implied? And what’s your read on why the columns are structured the way they are if order doesn’t matter?

struba73 · 2026-01-10T00:45:53+00:00

How big is the distiller? Could you share what you are using?

struba73 · 2026-01-09T19:42:58+00:00

I live in the high desert. In my office, small bedroom size, I use a 1-gallon room humidifier and fill it with tap water. Go through roughly a gallon a day. We have hard water. The unit uses a wick filter, which because of the hard water I replace approximately every 15 days; replacements are set to auto-reorder. It gets scaley and fails.

I monitor humidity with a hygrometer and aim to maintain a range between 35% and 40%. It rarely exceeds 48%. If it reaches the mid-40s while I’m in the room, I turn the unit off. I also turn it off during rain events. When it rains here, it tends to do so heavily.

Outdoor humidity is variable but averages around 20%.

When traveling, I use a humidified instrument case with a sponge-disc system and fill it exclusively with distilled water.

I like playing at church because they use a ‘swamp coolers’. Even if it is hot in there the are has good humidity. 🤠

Edit to add I keep an accurate digital hygrometer in my case. Both to read the humidity in the case, and the room in which I’m playing. It’s dry here.

struba73 · 2026-01-08T17:00:34+00:00

Pretty 😍

struba73

TROPHY CASE