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INTRODUCTION
The Fingerboard Workbook presents a number of basic conceptsin logical fingering patterns. Guitarists generally visualize
the fingerboard both in terms of basic scale patterns and of arpeggio relationships to various chord functions. Connecting
these two visual elements into flowing lines often produceserroneousfingering. Here are some rules which will help you in
forming the most economicalfingering conceptsfor traversing the neck.
1. The term position means one finger to each consecutive fret without shifting the hand. Playing from position
offers a stable base to move to or from (Example 1). Position
limitations may be extended by sliding either the first or
fourth finger out of position by one fret (Example 1a). Slides
with the first finger are preferable to stretching the fourth,
and offer the possibility of slurring.
2. One way to move to a new position is by using
extended fingering, sometimes combined with a one-fret
slide (Example2).
3. Another way to move on the neck is by a skip or jump,
usually of two or three frets. The safest finger for this is the
first (Example 3). To skip with the fourth finger is risky.
However, there are exceptions,usually when playing in the
upper positionswhere the frets are smaller, and executinga
skip to the highest note of a phrase (Example3a).
4. When Skipping to an arpeggiated plrrase, the skip
should be to the finger which would ordinarily play that
particular note in the arpeggio (Example4).
5. For triad arpeggios within a phrase, the finger-to-fret
principal will usually apply (Example 5). When playing
seventh chords it is frequently necessaryto use extended
fingering. These are best kept on three adjacent strings to
f a c i l i t a t ep i c k i n g . ( E x a m p l e5 a ) .
6. For moving long distances on the neck, the use of
consecutivefirst and fourth fingers on adjacent strings is
comfortable in dealing with diminished, minor eleventh or
major ninth phrases (Example6).
7. Sequences(repeatedphrases moving up and down in
pitch) are usually best not played in position. After finding
a good fingering for the first phrase, the sequentialphrases
should use the same fingering (Example 7).
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EXERCISEANALYSIS
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ANALYSISContinued
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36
II, V, I PROGRESSION
One of the best ways of gainingcontrol of the scalesand arpeggiosfor usein an improvisedline is to
play a seriesof successive
eighth notes through the II, V, I progression,This practice may also be applied in the
learning of any new tune. Attention should be paid to a smooth transition from one chord to the next, usually
resolvingby either a half or whole tone. In due time the lines should improve melodicallyand gain musicalsophistication. The following five examplesare exerciseson the above,using II, V, I in both major and minor. and finally
a line on a standardprogression.From the fingeringgiven,you should be able to take any bar and pla-vthe related
scaleor arpeggiofrom which the melody is taken,except where an occasionaltransitionalshift occurs.It would be
beneficial to lay down a chord track on atape recorder to play with;however, be sureto use only tonic. seventh,
and third in the minor 7th and dominant 7th chords to avoid confliction with the altered fifths and nintirs in the
melody lines.
II, V, I MAJOR
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II, V, I MINOR
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II, V, I MINOR
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STANDARD PROGRESSION
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