PHOTOS: As you look at the sequence above, notice how the frets correspond to the natural movement of my fretting hand. Notice also how the intonation line of the bridge is parallel to the plucking/strumming hand.
The multi-scale layout of the frets is based on the natural movement of the human forearm and wrist.
First, the shoulders want to remain relaxed and level. Second, the fretting arm wants to hang relaxed from the shoulder, with the elbow directly beneath. Third, movement of the wrist is controlled by the elbow, which simply pivots the wrist from end to end of the neck.
Unlike conventional instruments, we do not want to engage the shoulder muscles to position the wrist.
Fourth, the index finger of the fretting hand naturally seeks to pivot as it approaches the torso. We can demonstrate this principle without using a guitar. Hold your fretting hand in barre chord position at the (imaginary) nut. Note your index finger and forearm form a vertical line, parallel to the torso, as seen in the first photo in the sequence.
Next, pivot from the elbow, moving your wrist toward your torso, as if you are playing (imaginary) upper registers. Note your index finger naturally rotates and seeks to point toward the center of your chest, as seen in subsequent photos of the series. Note also, no shoulder or forearm muscles were used in an effort to hold the index finger perpendicular to the centerline of the neck.
Again — unlike conventional instruments — we do not want to engage shoulder or forearm muscles. Both of those large muscle groups slow the movement of the finger tendons when they are contracted. For centuries, guitarists have been struggling with this biomechanical issue.
Considerable thought is invested into these multi-scale fretboard layout improvements. The patent pending TOONE & TOWNSEND hardware I've been developing makes these ergonomic advances possible in headless configuration. Considerable advantages await. This article is first in a series defining capabilities of the new system.