Time Chords tells two deeply-felt stories based on true events: Stones: October, 1940. Joseph, an 8-year-old boy living on a farm in upstate New York is blindsided, then attacked and stoned by his classmates, an action set up by a manipulative, anti-Semitic teacher. Drowning: July, 1943, portrays the boy's first encounter with death. Joseph leads two rabbi's sons, breaking into a weeds grown-wild deserted lake closed for the war. Another boy appears and a macho war game ends in a tragic drowning. Followed by a fierce interrogation and, wrestling with guilt, a search for elusive truth.

This book is designed to be useful for guitarists at any skill level. Beginners can use it as an introduction to the foundational concepts of the instrument, intermediate players can use it for training and theoretical work, and advanced players can explore the sections on advanced theory, extended technique andthe exhaustive tables of melodic and rhythmic possibilities.It is divided into two parts: pitch and rhythm. Part 1 (pitch) begins with the properties of string, harmonics, and tuning systems. It then moves methodically through pitch information, beginning with locating all versions of a single pitch, building pentatonic, heptatonic, and all possible symmetrical scales. This is followed by a study of intervals, with all possible locations of every two pitches, and a long study that moves through every possible fingering of three pitches, with a series of exercises to master triadic syntax. Part 1 closes with a study of four-pitch structures and complete tables that show all possible pitch sets in circular visual notation.Part 2 (rhythm) begins with a complete course in "Symmetrical Picking," a methodbased on drum rudiments that builds control in the picking hand through an exhaustive variety of movements. The focus of this section is building a strong rhythmic foundation, with a focus on efficiency, accuracy, speed, dynamics, and groove. It is followed by a study of legato playing, working with ornaments and slides. The study of playing with fingers on multiple strings takes up the remainder of the book. This begins with the study of pulse against pulse, playing twosimultaneous tempos. The book concludes with a study of polyrhythm, playingone rhythm against another. Plain English is used as much as possible to describe theoretical concepts, and hundreds of illustrations were made for the book as an aid to those who either don't speak English or prefer to think visually. This approach is designed to beinclusive and to promote creative practice. The main idea of the book is described in this passage (page 154): "Even in this small area there is a lot of material, potentially a lifetime of study. The amount of information can feel overwhelming to students at any level. For this reason, the book is designed for self-directed practice, with an emphasis on what the player "could" do, rather than what the player "should" do. The principle is to develop your own learning process, rather than following someone else?s. The ability to make choices is essential in finding a personal approach to the instrument. Pick and choose the studies that seem interesting - there should be enough variety to accommodate a wide range of personalities. If any particular concept or exercise has been useful as the starting point for a new creative direction, then the book has done its job. Its purpose is not to push any dogma,method, or style, but to open the door to options for guitarists of any background that are looking for new perspectives.

Younger students will enjoy this creative approach to playing simple guitar chords. Chords are taught with exercises that build upon each other and eventually lead the student to playing logical and common chord progressions. These progressions include I-iii-vi-ii-V-I and twelve bar blues in many different keys. Chords are shown in chord diagram form with detailed illustrations showing finger positions in relationship to the fretboard. Open chords for folk music as well as power chords for rock music are presented clearly and easily in this text. A complete easy chord chart and capo chart is provided at the end of the book for easy reference. Examples and exercises are presented in strum bar notation.

This monograph covers a fresh and original look at musical chords. The idea emanates from the fact that an intervallic representation of the chord leads naturally to a discrete barycentric condition. This condition itself leads to a convenient geometric representation of the chordal space as a simplicial grid. Chords appear as points in this grid and musical inversions of the chord would generate beautiful polyhedra inscribed in concentric spheres centered at the barycenter. The radii of these spheres would effectively quantify the evenness and thus the consonance of the chord. Internal symmetries would collapse these chordal structures into polar or equatorial displays, creating a platform for a thorough degeneracy study. Appropiate morphisms would allow us to navigate through different chordal cardinalities and ultimately to characterise complementary chords.