Guitar
标题：The Super Cluster Method— A Progressive and Intuitive Method for Teaching the Guitar Fretboard
来源：https://danbarber-12163.medium.com/the-super-cluster-method-a-progressive-and-intuitive-method-for-teaching-the-guitar-fretboard-90e961e12a31
(This is an excerpt from the book The Rosetta Pattern. If you are scanning this article to get the gist, make sure you get to at least Lesson 4 before leaving. That’s where the meat is. Also, be sure to check out the bit on Pattern Recognition and a further introduction to The Rosetta Pattern at the end.)（这是《罗塞塔模式》一书中的部分内容。如果你扫描这篇文章只是为了大致了解，记得至少要读到第 4 课才离开。那才是重点所在。此外，还请务必查看关于模式识别的部分以及对罗塞塔模式的进一步介绍。）Zoom image will be displayedThe Rosetta Pattern: An Intuitive Guide To Scales And Modes罗塞塔模式：音阶与模式的直观指南Rote memorization is the exact opposite of understanding. It should be relied upon as little as possible.死记硬背恰恰与理解相反。应尽可能少依赖死记硬背。This method is the result of my contemplating the best way to teach my young daughters (6- and 7-years old) how to play guitar. I wanted a system of teaching that was simple, intuitive, easy for a young mind to assimilate, and progressed in small steps. Indeed, as this method has come together, my own knowledge, speed and ability has improved significantly as well. Truly knowing the fretboard has freed my mind from searching for the next note in the scale to playing what I hear in my head.这种方法是我思考如何最好地教我的年轻女儿们（6 岁和 7 岁）弹吉他时得出的成果。我希望有一种教学系统，简单、直观，容易被年轻的大脑吸收，并且逐步推进。实际上，随着这种方法的形成，我的知识、速度和能力也有了显著的提升。真正掌握了琴弦，我的思维不再被寻找下一个音阶中的音符所困扰，而是能够演奏我脑海中听到的音乐。This method is an intuitive progression of easily digestible chunks of information that, together, grow exponentially until a full knowledge of the fretboard is had. It works equally well for adults as it does for children. If you are like me and after thirty years of playing you are still unable name all of the notes on the fretboard at a moment’s notice, then this course will help you quickly. If you are new to the instrument, this method will allow you to quickly move beyond one of the most painful parts of learning how to play.这种方法是直观地逐步提供易于消化的信息，这些信息组合起来，会呈指数级增长，直到完全掌握琴弦。它对成人和儿童都同样有效。如果你像我一样，在弹琴三十年后仍然无法在瞬间说出所有琴弦上的音符，那么这门课程将帮助你迅速掌握。如果你是乐器的新手，这种方法将帮助你迅速越过学习过程中最痛苦的部分。Starting with the locations of the BC half-step note combination which occurs in only six places on the fretboard in the first 12 frets, we then add the whole-step to the D note. This gives us a note, half-step, whole-step pattern. We then add, using the exact same pattern, the E, F and G notes. Doing so clearly illustrates the clustered relationship of the BCDs to the EFGs. By adding another whole-step to the A, we have in just a few short lessons built the entire C major scale across all 6 strings up and down the fretboard.在琴颈前 12 品内的 B 和 C 半音音程组合只出现六个位置开始，然后我们将 D 音加上全音，这就形成了一个音、半音、全音的模式。接着，我们使用相同的模式添加 E、F 和 G 音。这样做清楚地展示了 BCD 与 EFG 之间的簇群关系。通过在 A 音上再加一个全音，我们仅在短短几堂课内就在整个 6 弦琴颈上下构建了整个 C 大调音阶。The BC half-step note combination will be referred to as BC cluster throughout the rest of this course.在本课程的其余部分，我们将 B 和 C 半音音程组合称为 BC 簇群。A very nice side benefit of this method of learning the fretboard is that it also acts as a very nice transition between the scale shapes of the CAGED positions, tying those shapes together in the student’s mind. As long as you remember where the half-step clusters occur, you are free to roam around the entire fretboard at will.这种方法学习琴颈的一个非常不错的额外好处是，它还充当了 CAGED 位置的音阶形状之间的过渡，将这些形状在学生脑海中联系在一起。只要你记得半音簇群的位置，你就可以自由地在整个琴颈上移动。A very nice side benefit of this method of learning the fretboard is that it also acts as a very nice transition between the scale shapes of the CAGED positions, tying those shapes together in the student’s mind.这种方法学习琴颈的一个非常不错的额外好处是，它还充当了 CAGED 位置的音阶形状之间的过渡，将这些形状在学生脑海中联系在一起。The BC Cluster is the logical focus point for these lessons due to the nature of their relationship with the EF Cluster (the BC Cluster is almost always on the same frets on the string below) and with the C major scale itself. You’ll notice preferential treatment for the BC Cluster throughout the lessons that follow.BC 簇是这些课程的逻辑焦点，因为它们与 EF 簇的关系（BC 簇几乎总是位于下方弦的相同品上）以及与 C 大调音阶本身的关系。在随后的课程中，你会发现 BC 簇得到了特别的重视。I believe it is imperative for the student to utilize the mnemonic provided and to say the notes out loud while practicing all of the following lessons. Doing so will cement this information deep into their minds and allow it to be called upon instinctively thereafter.我认为学生在练习接下来的所有课程时，利用提供的记忆法并大声说出音符是至关重要的。这样做可以将这些信息深深印在他们的脑海中，并使他们在以后能够本能地调用这些信息。The fretboard should be the very first thing any new guitar student should learn. By learning and knowing the C major scale on the fretboard by heart, the student is now far better prepared to understand intervals (and in fact has an intuitive knowledge of intervals already), the relationship between the various scales and modes and how chords are built. This progression of instruction for guitar is far more intuitive and easy to learn for the student than by starting with music theory, chords or songs.指板应该是任何新吉他学生的第一个学习内容。通过熟记指板上的 C 大调音阶，学生现在对音程有了更好的理解（实际上已经具备了对音程的直觉知识），并且能够理解各种音阶和模式之间的关系以及和弦的构建方式。这种吉他教学的顺序对于学生来说比从音乐理论、和弦或歌曲开始学习更加直观和容易掌握。My daughters had had some experience with piano lessons before starting on guitar, so they carried with them a basic knowledge of the notes and their relationship to one another. Likewise, some basic knowledge of the guitar and music is necessary before embarking on this course. Below we’ll go over the convention for numbering strings, half- and whole-steps, and the notes that make up the C major scale.我的女儿们在开始学习吉他之前已经接受过一些钢琴课程，所以她们对音符及其相互关系已经有了基本的了解。同样，在开始本课程之前，对吉他和音乐的基本了解也是必要的。下面我们将介绍编号弦的方法、半音和全音，以及 C 大调音阶中的音符。As per convention, the strings on the guitar are numbered from the highest to the lowest. The first string is the high E string at the bottom of the fretboard (numbered 1 below) and the sixth string is the low E string at the top of the fretboard (numbered 6 below).按照惯例，吉他的弦从高到低编号。第一弦是底部的高 E 弦（下图中标记为 1），第六弦是顶部的低 E 弦（下图中标记为 6）。All of the fretboard diagrams in this book are pictured as if the guitar is laying on the lap of the player with the headstock to the left and the body to the right. This puts the low E string at the bottom of the diagram and the high E at the top.本书中的所有指板图都假设吉他放在演奏者的膝上，琴头朝左，琴身朝右。这样，低 E 弦位于图的底部，高 E 弦位于顶部。Zoom image will be displayedIllustration 1: String Numbers插图 1：弦的编号Moving from string 5 to string 6 is moving down. String 4 is below string 2. These are seemingly opposite of what you would expect when holding the guitar and looking at the fretboard, but these directions are referencing the difference in tone rather than physical location. In other words, deeper notes are below and down, higher notes are above and up.从第 5 弦移动到第 6 弦是向下移动。第 4 弦位于第 2 弦之下。这似乎与你握住吉他并查看琴格时的预期相反，但这些方向是基于音调的差异而不是物理位置。换句话说，更低的音是下面和下面的，更高的音是上面和上面的。A half-step is the distance between one fret and the next; a whole-step is the distance spanning three frets. Normally, one says that a half-step is one fret and a whole-step is two. I.E., the distance between fret 4 and fret 5 is a half-step; the distance between fret 5 and fret 7 is a whole-step. Similarly, the distance between frets 12 and 13 is a half-step, while the distance between 12 and 14 is a whole-step. Most systems will refer to the half-step as being a distance of one fret and a whole-step as being a distance two frets.半音是相邻品之间的距离；全音是跨越三个品的距离。通常，人们说半音是一个品，全音是两个品。也就是说，品 4 和品 5 之间的距离是一个半音；品 5 和品 7 之间的距离是一个全音。同样，品 12 和品 13 之间的距离是一个半音，而品 12 和品 14 之间的距离是一个全音。大多数系统会将半音定义为一个品的距离，全音定义为两个品的距离。Zoom image will be displayedIllustration 2: Whole-Step vs. Half-Step图 2：全音 vs 半音There are 12 notes in the western music scale:西方音乐音阶中有 12 个音符：Illustration 3: 12 Notes Of Western Musical Scale插图 3：西方音阶的 12 个音Of those, only the seven natural tones (neither sharp nor flat) make up the C major scale:其中，只有七个自然音（既不是升音也不是降音）组成了 C 大调音阶：Illustration 4: 7 Natural Tones Of Western Musical Scale插图 4：西方音阶的 7 个自然音On the guitar fretboard, two pairs of those notes are each a half-step away from the other. B is adjacent to C and E is adjacent to F. On a single string, that looks like:在吉他指板上，其中两对音符分别与另一对音符相差半音。B 音紧邻 C 音，E 音紧邻 F 音。在单根弦上，这看起来是这样的：Illustration 5: Half-Step Pairs On 2nd String插图 5：第二弦上的半音对You’ll notice that the BCs and EFs are the only notes that are each a half-step apart. I call these groupings ‘Clusters’. Because it is the C major scale that we will be building, we are going to use the BC Cluster as our starting point. It is the relationship between the BC clusters and the EF Clusters that is the foundation of this method.你会发现只有 B 和 C 以及 E 和 F 是相邻的半音。我将这些组称为“簇”。由于我们将基于 C 大调音阶进行构建，因此我们将使用 B 和 C 的簇作为起点。B 和 C 簇与 E 和 F 簇之间的关系是这种方法的基础。The BC cluster occurs only 6 times in the first twelve frets, once on each string. This makes it easy to memorize them across the fretboard. Here’s the diagram:B 和 C 的簇在前十二品中只出现 6 次，每根弦上各出现一次。这使得它们在整个品弦上容易记忆。以下是图表：Illustration 6: The BC clusters插图 6：B 和 C 的簇Use the mnemonic, seven-two-nine-four-zero-zeven (729407) (the location of the B note across all six strings), to remember the starting fret of each cluster beginning on the low sixth string.使用助记符“七二九四零七”（729407）来记住低六弦上每个簇的起始品，该数字代表所有六根弦上的 B 音位置。Illustration 7: 729407 Mnemonic图 7：729407 助记符The student should play this series of 12 notes forward and backward, each time saying the note out loud. For most people it won’t take long to have cemented these locations and notes into their memory. From my experience, children will learn this much faster than adults will.学生应该正向和反向演奏这 12 个音，每次说出音名。对于大多数人来说，这些位置和音名很快就会被牢固地记在脑海中。根据我的经验，孩子们比成年人学得更快。It is helpful to do the following exercises with a metronome (now available as an app for most smart phones) in order to improve technique and timing.为了提高技巧和节奏感，使用节拍器（现在大多数智能手机上都有应用程序）进行以下练习是有帮助的。Zoom image will be displayedIllustration 8: Tablature: BC clusters插图 8：谱表：BC 集群It is easy at this point to expand the BC clusters to BCD Extended Clusters. The D is a whole-step beyond the C and gives us a simple pattern to remember: note, half-step, whole-step. Like the other exercises, the student should practice playing these notes backwards and forwards, while saying the note out loud. Here is the diagram of the BCD Extended Clusters.此时很容易将 BC 集群扩展为 BCD 扩展集群。D 是在 C 之后的一个全音，这给了我们一个简单的记忆模式：音符，半音，全音。和其他练习一样，学生应该练习正向和反向演奏这些音符，同时说出音符。以下是 BCD 扩展集群的图表。Illustration 9: The BCD Extended Clusters插图 9：BCD 扩展集群Zoom image will be displayedIllustration 10: Tablature: BCD Extended Clusters插图 10：谱表：BCD 扩展集群We got here fast, right? Even young children will get to this point very quickly with only their manual dexterity holding them back. Now we make a fairly large jump by adding only a single chunk of information. We already know the six locations on the fretboard for the BCD Extended Clusters. We now create the Double Clusters by adding the EFGs on the next higher string, again using the note, half-step, whole-step pattern. The student will notice that except for the cluster that spans strings 2 and 3, the EFG clusters all fall on the same frets as the BCDs. The only bit of memorization that the student needs to add here is that the EFG pattern on string 2 is offset a half-step higher than the BCD pattern on string 3.
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Illustration 11: The BCDEFG Double Clusters
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The Rosetta Pattern continues this method with an intuitive treatment of modes and scales, including the pentatonic and blues scales.
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It is now that the locational relationship between these two patterns becomes clear and the fretboard has essentially revealed itself to the student. In four simple and easy lessons, the student now has a vocabulary of 6 out 7 of the natural tones on the fretboard. Using the location of these Double Clusters as a base during practice, the student can shift from one cluster to another as they improvise around the neck always assured that they will be on a proper note in the C major scale.现在，这两个模式之间的位置关系变得清晰，琴颈已经基本上向学生揭示了其结构。通过四堂简单易懂的课程，学生已经掌握了琴颈上 7 个自然音中的 6 个。在练习时以这些双簇的位置为基础，学生可以即兴演奏时在琴颈上从一个簇移动到另一个簇，始终确保自己在 C 大调音阶的正确音符上。Zoom image will be displayedIllustration 12: Tablature: BCDEFG Double Clusters图 12：谱表：BCDEFG 双簇And lastly, by adding the A note, we see that we’ve completely built the C major scale. Using the mnemonics to remember six spots on the fretboard (729407) and the simple, note, half-step, whole-step pattern, we now know exactly where we are on the fretboard at all times (given that you practice the above lessons until retained). Here is the whole fretboard:最后，通过添加 A 音，我们看到我们已经完全构建了 C 大调音阶。使用助记符记住琴颈上的六个位置（729407）和简单的音符、半音、全音模式，我们现在在任何时候都知道自己在琴颈上的确切位置（前提是您练习上述课程直到熟练掌握）。这是整个琴颈：Illustration 13: The BCDEFGA Super Clusters图 13：BCDEFGA 超级簇Expand the method previously shown in tablature to practice this full complement of patterns.扩展之前在谱表中展示的方法，来练习这些完整的模式组合。Zoom image will be displayedIllustration 14: Tablature: BCDEFGA Super Clusters图示 14：谱表：BCDEFGA 超级群组Above, you’ll notice that I’ve left off the notes that did not follow the pattern from the six starting points, but have added them below. The pattern repeats itself starting on the 12th fret. The full C major scale on guitar:如上所示，我已省略了不符合从六个起点开始的模式的音符，但已在下方添加了它们。该模式从第 12 胯开始重复。完整的 C 大调音阶：Illustration 15: The C Major Scale, with Highlighted Super Clusters图示 15：C 大调音阶，突出显示的超级群组Incorporate the orphaned clusters into your practice:将孤儿簇融入你的练习中：Zoom image will be displayedIllustration 16: Tablature: C Major Scale Complete示例 16：谱表：C 大调音阶完整版We now have a very solid understanding of the fretboard built intuitively in small steps from the ground up. To further enhance our knowledge of the fretboard, along with our fluidity and technique, it is worthwhile to use the CAGED method to break any artificial limits in our method of playing. By focusing solely on the clusters, although useful for learning the fretboard, we are inadvertently limiting our possibilities as musicians. Adding other frameworks like the CAGED method to our vocabulary will expand the options available at our fingertips.我们现在对琴颈有了非常坚实的理解，这种理解是从小步逐步建立起来的，具有直观性。为了进一步增强我们对琴颈的理解，以及提高我们的流畅度和技巧，使用 CAGED 方法来打破我们演奏方法中的人为限制是值得的。虽然专注于簇对于学习琴颈非常有用，但我们作为音乐家的潜在可能性却因此受到了限制。将 CAGED 方法等其他框架加入我们的词汇中，将扩展我们手指上的选择。The CAGED method breaks the C major scale into five different patterns across the neck in a five fret horizon. The five patterns are:CAGED 方法将 C 大调音阶分解为五个不同的模式，跨越五个品的位置。这五个模式是：Illustration 17: CAGED 1 插图 17: CAGED 1Illustration 18: CAGED 2 插图 18: CAGED 2Illustration 19: CAGED 3 插图 19: CAGED 3Illustration 20: CAGED 4 插图 20: CAGED 4Illustration 21: CAGED 5
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Practice the above patterns to gain technical skill in moving across strings, improve your knowledge of the fretboard and to increase your speed. Incorporate the clusters to move back and forth between these patterns on any of the strings to vary your play. As always, say the note names out loud and use mnemonics to aide in the memorization of the patterns.
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Applying the chunked information we learned from the Super Cluster Method to the CAGED patterns allows us, using pattern recognition, to instantly name the notes that we are playing, while we are playing.
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Every single CAGED pattern has a string on which only two notes are played. These two notes are always, without exception, a G A combination:
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Illustration 1: CAGED 1, GA Pattern插图 1: CAGED 1, GA 模式Illustration 2: CAGED 2, GA Pattern插图 2: CAGED 2, GA 模式Illustration 3: CAGED 3, GA Pattern插图 3: CAGED 3, GA 模式Illustration 4: CAGED 4, GA Pattern插图 4: CAGED 4, GA 模式Illustration 5: CAGED 5, GA Pattern插图 5: CAGED 5, GA 模式As you know, a Super Cluster consists of the BCD pattern on the low string mirrored by the EFG pattern on the next string higher. This makes it easy to recognize the BCDs when you are playing because you know that a note, half-step, whole-step pattern within a Super Cluster on the lower string is always a BCD combination.如你所知，一个超级簇由低弦上的 BCD 模式镜像到高一级的弦上的 EFG 模式组成。因此，在演奏时，你可以很容易地识别出 BCD 模式，因为你知道低弦上一个半音或全音的模式总是 BCD 的组合。Illustration 6: CAGED 1, BCD Pattern插图 6: CAGED 1, BCD 模式Illustration 7: CAGED 2, BCD Pattern插图 7: CAGED 2, BCD 模式Illustration 8: CAGED 3, BCD Pattern插图 8: CAGED 3, BCD 模式Illustration 9: CAGED 4, BCD Pattern插图 9: CAGED 4, BCD 模式A note, half-step, whole-step combo on the first string (highlighted in green above) that is not part of a Super Cluster will always be BCD.在第一弦上（如上图用绿色高亮显示）的音符、半音、全音组合，如果不属于超级簇，总是 BCD。Illustration 10: CAGED 5, BCD Pattern插图 10: CAGED 5, BCD 模式A note, half-step, whole-step pattern within a Super Cluster on the higher of the two strings is always an EFG combination.在一个 Super Cluster 中的高音弦上的音符、半音、全音模式总是 EFG 组合。Illustration 11: CAGED 1, EFG Pattern图 11：CAGED 1，EFG 模式A note, half-step, whole-step combo on the sixth string (highlighted in green above) that is not part of a Super Cluster will always be EFG.在第六弦（如上图高亮所示）上的音符、半音、全音组合，如果不在 Super Cluster 中，总是 EFG。Illustration 12: CAGED 2, EFG Pattern图 12：CAGED 2，EFG 模式Illustration 13: CAGED 3, EFG Pattern插图 13: CAGED 3, EFG 模式Illustration 14: CAGED 4, EFG Pattern插图 14: CAGED 4, EFG 模式Illustration 15: CAGED 5, EFG Pattern插图 15: CAGED 5, EFG 模式A note, whole-step, half-step pattern within a Super Cluster on the lower of the two strings is always an ABC combination.在一个超簇中，较低的两条弦上的音符、全音、半音模式总是 ABC 组合。Illustration 16: CAGED 1, ABC Pattern
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Illustration 17: CAGED 2, ABC Pattern
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Illustration 18: CAGED 3, ABC Pattern
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A note, whole-step, half-step combo on the first string (highlighted in green above) that is not part of a Super Cluster will always be ABC.
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Illustration 19: CAGED 4, ABC Pattern插图 19: CAGED 4, ABC 模式Illustration 20: CAGED 5, ABC Pattern插图 20: CAGED 5, ABC 模式A note, whole-step, half-step pattern within a Super Cluster on the higher of the two strings is always a DEF combination.在一个超级簇内，较高两根弦中的音符、全音、半音模式总是 DEF 组合。Illustration 21: CAGED 1, DEF Pattern插图 21: CAGED 1, DEF 模式Illustration 22: CAGED 2, DEF Pattern插图 22: CAGED 2, DEF 模式Illustration 23: CAGED 3, DEF Pattern插图 23: CAGED 3, DEF 模式Illustration 24: CAGED 4, DEF Pattern插图 24: CAGED 4, DEF 模式Illustration 25: CAGED 5, DEF Pattern插图 25: CAGED 5, DEF 模式A note, whole-step, half-step combo on the sixth string (highlighted in green above) that is not part of a Super Cluster will always be DEF.
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These relationships, with the exception of the GA, are true even when spanning CAGED patterns, so regardless of where you are on the neck, or in which direction you are going, you will always be able to name the notes you are playing.
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You also may recognize other combinations instinctively as you play. Pay attention to them and try to consciously name them when that happens. Practice this pattern recognition in as many different combinations as possible while playing at speed to truly become proficient. Pattern recognition is one of the key differences between this method and other, rote-memorization based methods.
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Pattern recognition affords an easy way to know where you are on the fretboard and what you are playing at all times, even if you get lost in the emotion of an improvised solo.
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With an intuitive knowledge of the fretboard and the ability to easily recognize repeating patterns of notes, an understanding of scales and modes and their inter-relationships is the next obstacle to overcome. I attack those subjects in my next method, The Rosetta Pattern. See the following diagram.
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The Rosetta Pattern does for modes and scales what The Super Cluster Method does for the fretboard. By that I mean it gives a simplified framework for understanding them in the way that the students learn best.
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Zoom image will be displayedUsing The Rosetta Pattern To Find Derivative Scales
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The Super Cluster Method is also available now on Kindle.
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And now as a quick, two minute video.
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See my other story, also on medium, for a simplified method for Teaching the Notes of the Musical Staff — A Progressive and Intuitive Method.
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The Circle Of Fifths As A Matrix
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Thanks for taking the time to read.
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