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INTRODUCTION
The Finge rboard Workbook
presents
a
number of basic concepts n log ical ingering
patterns.
Guitarists
generally
visualize
the fingerboard both
in terms of basic scale
patterns
and of arpeggio
relationships
to
various chord
functions. Connecting
these wo visual elements
nto flowing
lines often
produces
erroneous
ingering. Here are some
rules which will help
you
in
forming
the most
economical
ingering concepts
or traversing he neck.
1. The
term
position
means one finger to
each consecu-
tive fret without shifting the hand. Playing from position
offers
a stablebase
o move o
or from
(Example
1).
Position
limitations may be extended
by sliding
either the first or
fourth finger
out
of
posit ion
by one ret
(Example
1a) Slides
with the first finger are
preferable
o
stretching
he fourth,
and offer
the
possibil i ty
of slurring.
2. One way to move to
a
new
posit ion
is
by using
extended fingering, sometimes combined
with a one-fret
sl ide
(Example
2) .
3. Another
way
to move
on
the
neck s by a skip or
jump,
usually of two or
three
rets. The
safest
inger for this is the
first
(Example
3). To skip with the fourth finger is risky.
However, here
are exceptions,usually when
playing
in the
upper posit ionswhere he frets are smaller, and executinga
skip
to the highest
note of
a
phrase
(Example
3a).
4. When Skipping to
an arpeggiated
plrrase,
the
skip
should be
to the
finger which would ordinarily
play
that
particular
note
n the arpeggio
(Example
4) .
5.
For triad
arpeggioswithin a
phrase,
the finger-to-fret
principal
will usually apply
(Example
5).
When
playing
seventh
chords
it is frequently necessary o
use extended
fingering. These
are best
kept
on
three
adjacent strings
to
faci l i tate
icking.
Example
a).
6. For moving long
distances on
the
neck,
the
use of
consecutive irst and fourth fingers
on adj acent strings
is
comfortable
in dealing
with
diminished,
minor eleventh
or
major
ninth
phrases
Example
6).
7. Sequences repeatedphrasesmoving up and down in
pitch)
are
usually best not
played
n
position.
After finding
a
good
ingering for the
first
phrase,
the
sequential
phrases
should use
he
same
ingering
(Example
7) .
\
I
\
,
\ l
' l
\ f
- l
- l
- \
c \
An analysis
of one of
the
exercises
s
given
on
pages
9 10. This shows the components which should be
recognized before attempting
to
play
a
new
exercise,
enabling
he
player
to read
n
groups
of notes ather than
by
consecutive
single
notes. This
recognition will
also aid in
the
placement
of various
phrases
on
the
neck.
The first seven
exercises
on major
chords
are
given
without fingering so
that
the
student
may
devise
his
ow n
fingering
and
shifting.
The
same
exercises
are
then
repeatedwith fingering.
These are
not
exclusive ingerings
since
there
are several
logical ways to finge r
any
of the
exercises.
Fingerings
have been
kept to
a
minimum
since
they tend to distract
rom the notesbeing
read.
When a fingering
is
given,
stay
n
that
posit ion
(finger
o
a fret) unti l the next fingering moves o a new
position.
The exercises,
with the exception
of the
cycle of fifths
section,
have
been
written with continuouseighth
notes
so
that the
shift ing
must be done
on the move.
When
played
against a
gradually
increasedmetronome
speed,
they will
prove
beneficial
as an aid
to
technique,
All studies, except
those in the keys of G and C, are
written in flat keys. To
play
the
studies
in
sharp
keys,
change
the
signature
(four
flats
to
three sharps, etc.).
A sharp on
the
written
music then
becomesa double sharp,
a
natural
becomesa sharp, and a
flat
becomes
a natural. Remember
that a
bar
l ine
cancels
any added accidentals
n the
previous
bar, and
that
an
accidental
on
any
given
note
does
not apply to its octaves.
Another important
point:
The finger
tip
should be rol led,
not lifted, when consecutive notes appear on adjacent
strings of
the
same
ret.
These ew
principles
willprove helpful in visualizing he
neck
while
providing
technicalchallenge
or the
student.
\
I
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,
\
I t
1 /
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l -
l -
l e
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- l
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a
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Ex. l.
Second
osition
one inger
o each
consecutive
ret.
Cmaj9
I
Ex. l.
Third
position
Ebmaj
4 3
Ex. la.
Positions
ay
be
extended
y
a one ret
slidewith either
he
irst
or fourth finger.
Cmaj
Ex . a .
Gm7
I
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Ex.2.
Extended type
fingering coupled with one
finger slides.
.LipmaJ
1 2 4
l 2 4 r
I
@
I
@
2
@
@
Ex.3.
Skipswith the
first finger.
Gmaj
o 1 4
I
@
I
@
Dbmajg
I
@
Ex. 3a. Skipswith the
fourth
finger n the higher
positions.
- 4
4
@
I
i - - \ 1 ?
Cmaj
I
q
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Ex.
4. SkiPs
o
triad
forms'
(Ft)
I
@
/A
\y
4
3
h
2
I
@
-@@o
1nbml
I
r
B
1
I
, h 3 4
T @ @ @ o
3
2 4
@
I
2
@
@ @
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Ex.
5a.
Extended
fingering on
seventh
chords.
@
3
@
2
@
4
@
t 4 2 1
@
2
@
, 4
@
. 4 ,
4
2
t :
Z ,
B
Z h i f i
@ @ @
Ex.
5a.
@ @ 6
2 t 4 2 l 2 a
4
2
\ :
@ @
2 4 4 2 1
@ @
@ @
Ex.
6.
Using onsecutive
ne
- -
four fingers.
1 4 1 4 :
I
@
Ex.
6.
Bm7
4 1
1 , 4 b i
6 o
@
I
@
4
i
t
d , - 3
ETbe
3
2 1 4
4 1 4
Ex.
6.
using consecutive
one
- -
four
fingers for
minor ninth
and eleventh,
i
r
i
, 4
:
4
|
: ; ?
I
@
,_
bj
@
@ @
7 r l
4 l
@
I
4 . 3
I
@ @ o
t ? : l
1 l l i
I
@
, Li i
4
@
4 l
@
I
@
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,
o : l
z i i z a
1
4 : i i i
L i :
'
I
6 ' o
@
@ @
@
@ o
@ @ @
Ex.
6, Using
he
same
ingering
or
major
ninth.
L i 1 z I
|
4
t
r
I : i
r :
1 8 1
@ @ @
Ex.6.
Major
ninth
using
he
one
-
-
four
fingering.
2
@
Ex.7
.
Sequence.
4
1 2 )
|
2 : i
1 2 : i
t t ? : i
|
2 1 i
@ @
8 x . 6 .
E x . 7 .
2 4 1 2 3 1
@ @
E x . 7 .
e L : e r
1 2 : 1
Lbl-- . r-r
t
? :
r
? :
3
r - r |
2
t ^ l
4
@
t 4
@
z 4 1 2
@
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EXERCISE
NALYSIS
Eb
MAJOR
Chromatic
Fm7
Bb
Penta
C m 7
Gm7
---r|--------l[
I
l l
E b a g
appog.
f
ba
]r-----l
Bb Penta
Bo
Cm 7
Gm7
Chromatic
appog.
hromatic
Chromatic
l B o
I r - -
b
4th Pattern
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1 0
ANALYSIS
Continued
B
Triad
nb trian
B
Triad
Gm Triad
appog.
rb tr iad
appog.
-D
Triad
go
Chromatic
appog. -D Tr iad
Gm9 0r
Eba9f 11
Bb
Triad
gb
triad
gb
triad
r-------l
__________l
I
4th
Pattern
Eb
Penta
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G MAJOR
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?
C
MAJOR
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F
MAJOR
r?nffT'T
t i +
A
_
A
F ? +
-
-
| |
'
-
l L
I
13
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T4
Bb MAJOR
+
- o -
t L
? t ? t L t
f ;
- a 1 ' r t _ , r r t r r l _ r r r
t L - 2 . L - - 2 - - 2
A
= = t L
E E E f L X . = X . = L L
Q)
? 2
A r F F I
A e t ? t €
iffi
C L + ) + - +
, 1 l T - T -
..-.
-
I V | | I
a
I
- - ? - 2 - ^ - o - . . - F
--vrv---T---I--T
-Y--
a ,
-
L - r - r
r -
a t t l -
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Eb M JOR
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16
Ab MAJOR
-
a-
d
@
L
. +
. e f . 4 ? t ' t a t
F ? t +
fi
-
-
-
-
+
L
+ + 2 = = + 2 =
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Db
M JOR
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8
G
MAJOR
4
> l
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C
MAJOR
9
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Bb
MAJOR
L
:
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22
Eb
MAJOR
i :
@
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Ab MAJOR
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Db
M JOR
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D7
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C
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1 4 h
I
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Bb7
29
. 8 4 4
g
1
?
f
t
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30
Eb7
| 4 1
j
B r - r
4 4
2 1 4
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Ab7
31
t \
VI 1 r
r
1 ; a
I
r B
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CYCLE
OF
5 S
BY
POSITION
The
following
schematic
s a
simple
way
for
the
inexperiencecl
mprovisor
to
become
acquainted
with
the
cycle
of
5 s, one
of
the
most
used
progressionsln
contemporary
music.
In
this
casewe
relate
to
five
block
chord
formations
in
one
position
which
will
also
contain
the
appropriate
scale
and
arpeggio
or
each
chord.
To
con-
tinue
the
cycle,
you
need
only
to
move
up one
fret
and
follow
thi
same
procedure.
As shown
below,
we
have
A7,
D7,G7,C7,andF7
al l in thef i f thpos i t ion .oneexcept ion:
incetheATanaDTsca lesandarpegg ior in l r tbe twe
4th
and
5th
positions,we
would
observe
his
shift
when
playing
over
the full
register.
Ex.I.)
However.
f the
phrase
being
played
only
covers
he
four
high
strings,
hen
it ii
best
to
remain
in
5thlosition
and stretch
or
slide
the
first
finger
for
B
and f fl.
(Ex
Ia )
It
is
also
mportant
that
after
going
out of position for these wo notes to make surethat the following
note
is
fingered
back
in the
5th
position,
such
as
n the
second
bar
of Ex.
Ia where
the
A is
fin-
gered
with
the third
finger
and
not
the
fourth.
On the
D7
formation, yo_u
will
find
the
fingering
more
comfortable
by visualizing
he
forms
in
pa-
rentheses
rather
than
the regular
Dl3
form
although
both
are
used.
This
is best
demonstrat.i
uy
the
Charlie
Christian
phrase
n
Ex.
Ib.
Ex. 2
is
an
exercise
on
the
cycle
using
he
above
concept.
Ex.
3 is
another
way
of
runnrng
the
fifth
cycle
using
only
two
chord
formations.
A13
<E>
/a
v/
<>
(A
\y
;{>
o
@ @
ict
@
1 3
{>
.4.
10
@
@ o
@ o
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3 b 4
{>
@
4
o
{>
@
o @
@ @
3 b 3
@
I
{>
c>
@
4
{>
{>
@
o @
@ o
Ex. .
4th
pos.
1-5th
pos.
Ex. Ia.
D 7
Ex.
b.5th
pos.
G7
I
D 7
1 3 2 1
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u
EXAMPLE
A_7
5th
position
7th
position
8th
position
r
s
L :
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35
Ab13
Db13 GbLS
813
b13
€
Eb1s
-o.
<>
r$
;
.
a
rfi
rS f*
f= GIxb,ht
EXAMPLE
3
nbt
1
4
, e
> h , z 3
3 ,
) 2 2
','
,q *
SL
Z ,1 sL
B
Gb7
r
s , a , r - T .
9 L b 3
i l ' l
,
4
8 7
l I
g
g z I
L
, , r L 2
E 7
t
* 2 i z Z 1 - l
r - r
B
3
1 2
t
' r . l l
1
4
l 2
G7
i
2 2 |
z z * 2 , L b L :
2
z 4
|
l - s
r
)
J
C 7
l t t 4 4
e l o
F7
I
4
2
r 2
2 r 3 1 e b z
: > 3
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36
II
V I PROGRESSION
One of the bestways
of
gaining
control of
the
scales
nd
arpeggiosor use n an improvised
ine is to
play
a seriesof successive
ighth notes
through the
II V I
progression
his
practice
may
also be applied
n the
learning of any new tune.
Attention should
be
paid
to a smooth transition
from one chord
to the next
usuall
resolvingby either
a
half
or whole tone. In
due time the
linesshould mprove
melodically
and
gain
musical
sophis
tication.
The
following
five examples re
exercises n
the above using I V I in both major and minor.
and finally
a
line on
a standard
progression.
rom
the fingering
given
you
shouldbe able o take any bar and
pla-v
he relate
scaleor arpeggio rom
which the melody
s taken except
where an occasionalransitionalshift occurs.
t would
be
beneficial o lay down a chord track on atape recorder o play with;however be sure o useonly tonic. seventh
and third in the minor 7th
and dominant 7th
chords o avoid
confl iction with the altered
ifths
and nintirs
n the
melody lines.
II
V
I
MAJOR
Eb7
Pb7
Gb
I
9 : e
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II,
V, I MAJOR
3
Eb m?
I
r 4 l 4 l
3 1 3 B l l
:tl l
r
I
r
3
s
a
f
Am?
L O m t
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38
II,
V,
I
MINOR
Cm7b5_4
o\
7
FTbe Bbm
4
t - - r
ebmzbs
rf
mzbs
8 7 b 9
I
E M / D D
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II,
V, I MINOR
39
BmTbs
ETbe
D7-9
2
- t m /p i )
D mzbs
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4
STANDARD
PROGRESSION
BbmT
4 1 1
BbmT
DbmT
Bbm?