TI.IE et BOOKOF DAILY EXERCIS Jhe f irsfof its kind to hewrif fenfor fhe PLECTR UM GUITAR PART ONE Chromatic Scales and Ererciscs and all maior err minor Scales with many ftngerings in ell positiom. Incorporatint the full range of thc flngcrboard. PART TWO Studies, A.rpeggios-ind Exerc.ises in single rtring run and..chords in major and minor kcys -to help iqc facility and ertemporisation. Incorporating the full range of the f,ngcrboard. Chords of the dominant including seventh, ninth, au1 fifth, f,attened flfth, aug. ninth, fiittened ninth, cic- ' Special scales on diminished chords and augmcntcr chords. Whole Tone Sceles FRANCIS. DAY & HUNTER. LTD.. t38-140. CHAR|NG CROSS ROAD, LONDON. W.C.2. lrAot Na rt{Gr r'D
Transcript
TI.IE et
BOOK OF
DAILY EXERCISESJhe f irsf of its kind to he wrif fen for fhe
PLECTR UM GUITAR
PART ONEChromatic Scales and Ererciscs and all maior errminor Scales with many ftngerings in ell positiom.Incorporatint the full range of thc flngcrboard.
PART TWOStudies, A.rpeggios-ind Exerc.ises in single rtring runand..chords in major and minor kcys
-to help iqc
facility and ertemporisation.Incorporating the full range of the f,ngcrboard.Chords of the dominant including seventh, ninth, au1fifth, f,attened flfth, aug. ninth, fiittened ninth, cic-
'
Special scales on diminished chords and augmcntcrchords.Whole Tone Sceles
FRANCIS. DAY & HUNTER. LTD..t38-140. CHAR|NG CROSS ROAD,
LONDON. W.C.2.
lrAot Na rt{Gr r'D
THE
IVOR MAIRANTS'B O O K O F
D A I L Y E X E R C I S E S
Thc f rsr rrf irs kind ro ht zt'rirtot for thc
PLECTRLJM GLJITAR
[ .RANCIS, DAY & HUNTER, LTD.I18- I . IO CHARING CROSS ROAT)
I_ONDON. W.C .2
r
FOREw.ORD
The object of this book is to provide the plectrum guitarist with a
set of progressive exercises which may be Practised at any t ime and
which wil l rbsult in giving the player complete f ingerboard knowledge
and f inger f lex ib i l i ty .The present day plectrum guitar has been in general use in this coun-
try since about 1930 although Eddie Lang played it in the early 1920's.
Although great players l ike Eddie Lang, charl ie christ ian and Django
Rheinhardt each had or have their own \4'ay of playing which served their
own genius, i t is necessary for the present day player to have at hand a
collection of scales and exercises to help him improve his technique.
The method u'ritten by George van Epps some years ago was the most
logical and served the more advanced player. With the help of this method
and after many discussions with some of our own and American leading
gui tar is ts I wrote the " lvor Mairants Gui tar Method" and in genera l
helped to establ ish the down and up st roke p lect rum method which is
being used by a l l the leading gui tar is ts .Since this method was published I have had the good fortune to study
with Andri Segovia, Abel carlevaros and other great spanish guitar
players and coupled with my experience inteaching at the Central School
of Dance Music have been able to discover which are the most effective
scales and exercises to produce speedy and definite results.
The contents of this book, therefore, have come as the result of much
practise and book,research,and are a col lection of studies and exercises
also adaptations for plectrum of what is best and most effective in guitar
f inger ing.I practice these exercises myself and although Ex.1 is one which I give
to beginners, i t is also one which should be part of the guitarist 's daily
opening or l imbering up practice for synchronizing both hands.
steady pract ice at a speed wi th in your capabi l i t ies wi l l improve your
technique beyond recognit ion. In fact, regular practise of these scales
and exerc ises wi l l make You a br i l l iant technic ian.
fz tor Mairants
F. & D. 22668
,]
tTHE..IVOR MAIRANTS''BOOK OF
DAILY EXERCISES FOR GUITARPART I
Play wi th a l ternate down and up st rokes. The f inger ing is the same on a l l s t r ings. 4P-_l denotes { l . iposi t ion. i .e . When ls t f inger is on 4th f ret , Znd f inger is on 5th f ret , Srd f inger on 6th f ret and { th fLns, . ron ?th f ret .
Ex .16th String
N V N V N V N V N V N V N V N V N V N V N V N V
lrll*lt*?+ ?n#r*r #r"l lfif,t twt t 1 iir .\ ', q ttr|'\ t
4th Str ing Fingering as above'D - -_ - - ]'L, - ,i zp-------r 3P----------"14P------1 5P-----16P----l ?p------t gp--..-,
t t v l t v - r _9P------1, tOP--- r
eP-__lsp------l ''-.-i"l ' 5P--:=4P --r
3P-:-l2P------'' lP---r
3rd Str ing. Fingering and posit ions as aboveN V N V
;ll
C o p y r i g h t 1 9 5 2 b y F r a n c i s , D a y & H u n t e r , L t d . , t 8 8 - 1 4 O C h a r i n g C r o s s R o a d , I - o n d o n , W . C . 2 . F. & D. 22s68
42nd St r ing F inger ing and pos i t ions as be fore
N V N V
1st String Finger ing and pos i t ions as be fore
| 1 v f l
When fam i l i a r w i t h f i nge r i ng p lay on a l l s i x s t r i ngs a t one tempo w i thou t Pause , commenc ing on_ s i x th
ls t r ing.
Ex.2a Chromatic Scales. Three ways of playing Chromat ic Scales? u 2 . , t
N V N V t 2 t a g r u ror 23 4 oLt?Z*zl f3 i ih i i
Til
^,.r. FilEx.2b
means repeat section between the double bars marked thus
' ^ ' g ^ g q l z g 4 | 2 3 4 l 2 3 4 l 2 3
O ' r @ t @ t @---) @
iTLLLL; 3 r 2) V t L l'.; ' 4 g t 2> n D n 1 t 4 a
s b e Z
@
iti z , s 4r$re F| . , 22i l f L i l i hi 1 4
0t 2 t It b t
@---------J @,]-., @-*------J @-----------J @
N.B. A number in a r ing under a note or notes thus @ means that the note or notes must be played onthe str ing numbered in the r ing.
n & D. 22568
Ex.2co t 2 3 4 | 1 2 3 4 1 4 | 2 3 2 3
; t
2+
i i l
1 4 3 2 1 2 1 4
@ - - r @ : @ ' @
Next in order of the dai lv rout ine exercises comes the scales. The player should try to be famii iar rv i thal l the scales and I therefore give the major, melodic minor and haimbnic minor s?ales.Thc sequeirce is major scale, re lat ive melodic minor , re lat ive harmonic minor .That is , c , A minor melodic, A minor harmonic. Therefo le we have the Keys of :
c G D A E B 6T' --
G'. Db Ai EbAmi Emi Bmi Ff lmi Cf lmi Gf lmi Df lmi Ebmi Bbmi F mi C mi
B b FG m i D m i
_o_,_3 ?
1 2 4 - 3 t ?
6 - l o ' @ t @ t o
r s a L # 3 r .
6 @ ' @ t ' @ r O
4 1 2 4 l 3 l
I r a r' + i
? ' 4 2 - . � -
@----r-@------, @ -,
6:J2 z r s ' 1
| 3 ! Z :
@---G;:r @ r @ - - '@-J
? 1 r r e ksssssss�-J_t 4 z 1
6-1 0-----' @ '� @ r @ J O r @ _ : @ _ _ _ r b '@ -, 6:_1
4 r z 4 : - U 3 ' ? 2 ) i f i f i l : ? ' 3 I 1 l o r t 4 2
6 - - , O ' @ r @ ' O @--.1- @----J6jc o D A ' t r " , r - L - # r 3 1 2
\ 1s," g ' 1 s ' :L l : ? r , 1
6---r @ '? : L ? t 4
@ r
2 4 g
r . - ) - , 7 C r
v----------J (6)_ |
Enharmonic
@ r @---.rrar r\9,/_-l
@ - r
R & D. 226s8
@ r @ t
A melodic minorA o r z 4 4 2 4 r , r 1 + i l I i
\ 7 3 i l i i l
@ r @ t @
1 , . 1 3 r o * t
, 1 z | l t z r o 2 |
= t ? r @
o P? \ ? q i i : t r r
6 6:-, @ I 5I-=, oh i q i F i L i t z I s , 4 . q r
f - - ; 4 2 | 4 2 | 4 z I
@ r @ r @ @ -, @::6 6: 6
A harmonic minor . r 34 I z ^ U ) i .
r i l i L L ir u o r z 4 2 s
@ r @ r @
i l i l L L 2 3 ,t - r y | 4
t J 2 r
@ t @ r @ r
@ - _ t @ r @ - ' @
1 3 3 4 1 2 4 2 9 � 2 -L L i r e i l i i i i
r @
tI'J
@
r s 4 r g + 2 1 s 4 t s t
t - r 6 , @
- ' @ '
: o i E i L L l t * r 4 s , o g _ 34 g r 4 3 t 4 g
@ r @ - r @ r @ - 6
Scale of G major in four positions
l l j B o z s o z + 9 2 o r s o ? 2 ?l ^
! z o r ' -Y ' � o
s 4 - 2
2 0 s 2
t r z 4 r z 4 r s ! r s 4 z n y 3 5 3 t 4 z o J t +
B - I 4 2 r 4 z r
dia=@ ff ia '@------------r @---r@----r@'@-6J3,F. & D. 22568
, 6 - : ' 6 - ' Q :
= i L L : L r z
2 4 1 2 4 1 3 4 t s r s r ' 1 2 )e l : )
@ r @ r @ O
! a | 4 f1-3 1 4 2 1 4 2 | / t
@ @-i4 ,@ " r J,€l=3
| 2 2 4 | ? 4 | z l t r ! L 2
_, ._--_---_J
E m ic minor
n o 2 o , 2 . t o 2 - 2 Z o s
t 2 1 1 4 r 2 4. 2 1 !
: ; ir i l"? i
elod
tr 3 0 2 4 l 2
I t t t , 6 n - " ' @ ; @ . - ', @
' \
2 \ i \ i i i z \ s I 4 a , 4 s r d
@ r O----------, O- - , t - - * t , d
o @----
i - \ * n i i l z , 3 , 1 4 B r 1 8 1 4
5
, , o , I a s + t _ Z i i # l L L i J
@ I @ - ' @ r @ - - _ _ _ . r @ r @ O
G
F. & D. p2b68
2 1 o 2 1
I
E harmonic minor0 2 3 0 2 3 | 2 1 o 2 o + o 2t o t+ I o 2-9.-+ z 1 3 2 0 3 2 0 2
4 3 t 4 3 l s 2 o J z
@ r@ ,o__-___,]l!!__,@ -r', 6
D maj In six al ternate f ingerings, the sixth going up to A at the l?th fret
z / + t ] 4 | g t
,' ,t
3 , ? t ' L L L I
or
tr o - r 3 o r o r z o , Z l i i i i f t i i Z y r , 2 ' ? k B | , , 3
@ -
@---r@---164? t i i z t 3 1
B J a ? , 4 z ,
@-.r @-_il@---r4 | 3 4 t g I z
@ ' @
B melodic minor
@ r @-r@ r@_r@__lO r@ ,@:_1
r ' 3 i i L ? L f l i r . z t s , o * , r B r 4 B
1 9 . - , @ - J @ @ - ' 6 4
= E F t i i i t z I r 4 s I
o-,o-!i64, @ '@-r@4 3 r 4 z r z 4 2 4 t z ; l $ t 3 2 , 3 i L i
t @ ' @ t @ _ t @ t @ r @ _ t @ r
4 r 2 4 r 3 ? 1 , 2 4 ? t f f , f r r i i L L i * n 2 ' " , t i - J | + z r
66-- - @ r @l- - - r@ t@ t @ r@ - : @' '@-
@ r @ r @ O
R& D. 2P508
B harmona
3 l : 2 : i $ i f i i f it 3 4 l
r 3
J € ) O - - - t @
n f n l l : L r r! t - 4 2 r : t r 4 t | 4 g t 4 3
r @
lC mlnor, , \ 2 : l
_ r _ _ : r 1 r o - ; r - q . , 4 i r Z : 2 i l i ? ) - f i l ? ) 3 ! 1 , " , ' - - t ' l t - - t - ' t ' : t
o l \ t ) - , > 4 t ' ! l ) L [ i - 5 l i
tr t1 ,1 - i t 4 ! - - . r ' * | - , , tL1 : : ) ; ) - i , j ! 2 z r s 1 - " - l ) . , ' , : t 1 4 : l
#a - - @ ' 6a - l@- - - - - l @-e tb _ ,@
- : _ , 61Lz 4 t 2 4 t , 4 r 3 1 3 \ 2 3 i i i l Z t r , i 1 n r , I t 2 t , t
, 1 3
t . B 4 z 4 I 2 4 | 2 4 I Z 3 ? ?
t 3 t 4 i i n t 1 4 2 t 4 2 1 4
@ - - r @ r @ - - - r @ r G ) - = - _ - - - - : 6
T
- { T ' a h , @
- _ r @ r O - - - r @ - -0 . 9
: i l E E i i L i l r : 2 . 1 r , , B , z 4 - t 1 4 : , r r , : , l
o 2 4 o 2 , t | 2 o 2 g o 1 Z [ : l Z ' o " " o , - ' - t - o ? J t - 1 - , - - ? - - - 9 - _ _ t
F. & D. 22588
toFfl melodic minor
1 : l / t l 3 l g 4 r:,-# 3 ,r r 2 + l i i l i $ i i
t r -, iil '
7 ' . J
i l g h i * i i , r , a
r 6 t - i
o r
l 3 r a - ! - - r 4
Ffl harmoE
nic minor2 ! * O 2 . 1 O B t r , # , u , ? ' : ? , , r B 2 o J _ _ r 4 3 o 4 2 O 4 2 I
32t 3 4 l i l 4 z g
g 4 l s 4 t iili i
@ r @ O9--tt 2 3 1 3 2 :
1 - , 1 2 4 s r 4-l
E major@ r @ ' @ _ ' @
A o
L 3 r 4 3 r 4
1 2 g4 0 \ - :
z \ t 22
@
L t 2 1 t + - t I t + g l z
+ r s t r
O-.t@--li-O_----r @ t
+ r s 1 I B 4 | ? L 3 i2 A 2 r
o_J@fff - 3 : z t 4 s t a u r
I
2 1 r ? 4 r 3 4
- ' � ) 7
, 1 -L l i l i t 2 i+ i t : 1 t 3 t t ! 1 1 : t l
@ - @ ' J , @ - 1q. A 1 :l
o 1 3 4 2 2 4 t 2 1 r r r I L i ;
. f t \ 1 6 \,-) \l/- \l,r
', i@tt e r
\ z r 3 r ' t 3 . � 1 7 s
@__Gi].b_, @_lCil met ic minor
' t l z ' t l
odtr # t r ? ' r l t t i l i l i
i
B -major
tr i; , ";2-fi r z '\zliliit il*llz ,: , ,. '-u-, l?;
! 4 s r i g
@ @---.1 @-bF. & D.22568
l _ , r 2 1 4 2 | 7
t2Gil melodic minor
r t z r r 3 i i 2 , , 1 . . L : , 3 f l L r u t , " r s r ' ' ! z t + z t
l i l t * l : l 1 3 1 2 t t t 3 t \ 2't ), Lili.i t L i
hfr€hc i ), t :! r 1 , t B r 4 g
2 1 4 4 3 t ' + 3
@_- j @ | @ --
@ | @_::_J6Gil harmon
nlc mlnor
r g 1 1 g I ? _ i l B 4 r s r , . 2 2 , i l : . . 1 | t | + B J - - 2 , , 3
4 r 2 4 r 2 1 2 l 2 ' r l 2 , ? L L L L L . i + i i
6 6 - - , @ 5o-- r @ t@
" i L 2 t \ sr ^ - z t 1
4 3 l 4 g l
v @ | @_________J 6119 r@__=_=___:_ilThe keys of Cb and Ffl are omitted but only the ei-harmonic B and Gb ur" ,.""i@Gb major
z 4 | 3 4 | s 4 2 4 L Z l 2 l 4 z o * t ' l 9 1 4 2 t 4 2
6%=@-) 65o--,@ @--,@ @ -'6:idil
. o 4 l
2 4 | z 4 7 s 4 r s 4 | c 1 2 i i A ? t2 L r 1
{---t @-r@
1 \ s:! r ,t 2
tJ--t t 4 2 2 1 4 2 t 4
O r @ r @ - F r @
@ - r
_-L
15
z l l ?
€ ) _ J @ r @ _ r @ r @
, , !L iLL |LL g i i i i i l t 1 r 4 2 r J - z r
F.& D .22668
r@ I@___JG;__J@ |
tr 2 4 1 2 / + 1 3 4 1 3 1 3 1 1 2 ]
32)
1
7 f , . - - , @ r
I Q_,,| '
I t ,
= t i l l z ! e r
@-=r o@ l
3 _ l , t4 3 1 q z I t t ? l
r I 2 1 4 2 | 7 J
I r r l [ a l I f , \ \ r r r l t| \ : /J\3, /J \9
- ' \2 -
! t t t
% @ ro-rP o r@---: d=ie=_.,o':
1 : ] r 1: , 1 3 +-\23i \2\ i11ibfui i i : l r@-rn-
--€F - i-J-- K--,rnZ-: C----iO _-1O- - - -=1e-l@-Errt r'r- ( t r \3/ JJ\7 J
, u
(E) r* '
E b h a r m o n i c m i n o r ' 2 ' ) '
A , n r : , { r 3 1 r r \ : ; i i - i r t l | - _ F ; F P i ? Z \ r . s ' , t r t ' I
q i i l ) , : 1 r 2 , , 3 * a 3
@_-16=r@: ,@r( ? , / - - - - - - - . i r : z - - - . : r , f : f \ S t .
2 r 1 2 r | 3 r i \ Z l l i t i E t l j j r r r 3 * j
r - r r rol
lejor "
6 6-----, Slio-----,o s ' \ 3
,f.l\ | f.l\ l/i\ t -^ t Or r : / r \ l / ,q /J ( !_
i i : j t r , . ' F * i , , , i
1
ffia * t
1 j . i r . 1 r
z \ )i l 3 ' t t 3 7 | 3 l
;- z\ | tr--( l ) \ l / ' z r I
\1./ '
! t l . . i 1 | 3 1
@-r@ -l
z a l ? 4 r 3 t r
-, ^ffi?-oet'| \ : / J \ Z J r l ) l \ j / J { r l )
_---l@__r O--J @ | @___.r @ t6l -, e -
, 1 z ! 2 r
r 3 ̂ 1 3 7 i i 1 r _ t c 7 : : l r o 3 * 1
. a 1 ' , : ' ,
6-1e --fs-----t @ r@ro o r@-
t r - 2 "
2 a r 3 , r r 3 L i l + i i i i i Z :-i
F. & D.22668
1€)---r@r@
t4Bb melodic minor
Bb harmonic minor
l l 2 t t lr 3 1 , 2 4 th2hl i2 Li i ; l r , : l a r l r + .
1 3 7 r 3 - )r I L t i ' i i ' , i i i i
4 : t l 3 1 4 : l
O r g -
+ 1 3 4 ) 1 1: l ' L )
. o r l ?
) L L 2 4 t lt 1
@--__J @
l 2 1 - 3 1 4 g I
O . - @ r @ r
t r , t t 2 t t , r 7 o , r z t t ) ) h L i L i
= . - l @ 1 6 . - - - ,
\ ) ) " " , n 3 - _ 2 t 4 z l r r ; J
Ah major 66___,o @ r@-ro---r!:o:5 6:dry. t t ' ! 2 4 r j | 1 , , r + ! \ ) l i i , L t , ^ t r , r : ! / r 2 | 1 p l
66::@ @_F6_:@
^ . . I
E , ' , | 2 , + r - 2 l i i l t ft \ s !
{ a - l @ t @ r @ t @ r @ r @ _ _ r @ I
1 Z t t t 3 4 r B r I i )
t 4
, L t i + f i i
- B ) $ - @ ' 5 - e o
l l t 4 r r - l - 1 - B t 4 z r 4 z 1 4
r@ r@____ . r @ r@ G ) ' € >
F.& D.22688
---------------= @
F melodic minort 5
| 3 4 1 3 0 a o-*i , o r ^ 3 i : t t 4 , 2 r r r o B I 1 i ] 1 4 3
1 3 4r z--LJ B , l 1 ^ 3
- - l ; \
. @ ' ' g '
iv iv : t r 1 1 r 4-s I 2 1 4 ! t : 1 1 1 * : l
I O ----J O- - =
F h a r m o nlC mlnor
n l l l l l ' . l r * 2 3: t 4 1 3 .'t 7 L 1 , " r : | r , t : t _ 1
656----'at z 4 r r 2 )
z t l :
1 3 4 l \ t t
- @ , o l O r C e _
" 6 " ' 6 - @ -
1 q i i i i z : : , , z , 1 l t 3 1 4 3 1 4 3
Eb majortr g l l 2 : ] r . i r L i L i L i i i : , t ; , 1 4 2 | 1 2 1
@-l@--:il--_----lO rO
4 r s , ! 1 B t P ' t L L i ) l 1 i r i i i i : v , r j , , 4 : , , ! , i r
@@ rdf t r@ @-s:b ,@a2 4 t 2 , 1 1 B 4 l ^ 3 : i i i f � f
2 1 ' . ^
= ? i i i Z y - s r 4 2 , 4 ! r
g-.l@--JF-6______1
4 | 3 j t B zr I 1 ) i i i i t i i L ; L 3 : r , 4 r , 4 : , , , + r 4
v z ^ r C E - - : O - _ _ J @ r C _ _ J O _ r o , _ t O _ _ l O - =: v
1 1 ) : )
' = L L i t r r 1 : t t 1
5 ; r ) , b -_ - ,@ r@- - - - - : o 6 r 1 6 \ r ^ $ -
^ ' t -\ 7 J \ r - r ( 9 , 6 ) J t D .
r
6 i6 :,-: -. ' @ ('-
i i * i i l : z , 3 1 I , J . , : l
r 1 6 r ; . - _
l 3 r O i l l o 3
D m e lod
tric minor
' * l z ' t l s : l ' t
onlc mlnor
l : l 4 l : t 4 2 3
' T2iainii€ ft iqqiviLt,
, . . , . \ I :
3 r L ) ) I i E i! r I
l{ni l
@
, . l . J 1
r : f r i r r 3 4 t l : i A i f i t f t i a j s ; l L < , ,
6 , o | g t @ r @ - ' O i
7a.
D h a r mtr f r 2 7 : t - 1 1 : t
@ r @ _ � t ' , @ r O _ _ _ r O _ r e - C t f f i
7 | . : ' � | 2 ; t , t r . ; r l 1 , L j j
I
e
@ r @ r @ r
t . & D 2 2 5 6 S
@
1 9
PART II
The fo l l ow ing se t o f s tud ies a re based on the ma jo r sca le and cons i s t o f ma jo r and m ino r t r i ads p lusm a j o r o r m i n o r s e v e n t h s . M a j o r s e v e n t h c h o r d s m a y a l s o h a v e t h e f o l l o w i n g s y m b o l : - C ( + z )
Here are the chords in the key o f C major .* ^' C m a i ? D m ? E m ? FnrajT A m ? B m ? - 5 C m a j T
Key C
To be p layed i n p o s i t i o n . i . e . F i r s t F i n g e r a t t h e ? t h F r e t .t h e ? t h7 P
. " ' "| !* i-t
2 1 : 3 t - o . , 4 z t ' l t - 2 , ' , l 4
Key C
Learn above tho rough l y be fo re go ing on
The same pat tern fo l lows when p lay ing in the other keys. Therefore only the f i rs t four bars are g iven.
Key G2 1 4 3 1 4 2 1 2 t 4 3 r 4 2 r 4 s - : 4 - g r 4 z r o t , t J r r
D ma.j7
Key D
e tc.
GmajT G m a j T
Gma j? Cfim ?-5
2 r E t J z t
xMay be writ ten C (+z)
F. & D .22568
20
Key A
Key E
Key B
Key Ffl
Key Gl,
8 P"""" ' : :z t ' t t 1
I
Bma jT E ma j? Af im?-5
B m a j ? Eflm?-5
Gbmaj ?
1 P""""" '
Gbma jT
Key Dl,
F. & D. 225S8
Key Ab
Key Eb
Key Bb
Key F
FmajT Bbma j?
Key F
ln lst posi t ion u. i th open str ings.
t t o l' '-.o 3 2 O B 2 1 , 3 _ 3 O 3 e o 3, t, l-! : o 3 2 1
t - . s 2 o o 3 2 l , g ? o g s 2 o : l 2 _ s 3 2 l o 3 2 o i r
t'
. 3 2 0 3 1
UJ=
D b m a j ? Ab maj 7
Eb maj ? Ab maj ?; "
s,E|'
'3';'!,
Bb ma j? Bb nra j ?
1 0 3 t 0 3
P o . g 2 o g I 0 3 2 0
F . & D . 2 z b 6 8
3 l o 3 2 0 : ] l
J
, ,
Key E
2 r + ? r 4 2 t O , I 2 t . r Z L 1 . t
2 0 4 2
--+e
Alternat ive posi t ions and f inger ing of same studies commencing on f i f th s t r ing.2P """""" '2 | 4 3 r l 4
P , r 2 l 4 t 3 J r t B t 4 3 , 2 l 4 J 2 4 2-'t g I
3P """"""""t ; - 3 1 , :i . : . 3 r 3 t t z t L ' ! : t r r
D O t @--=r
t L L l , , , ' 4 p s j ! s t s s z r ' l 3 7 s e 4 / t 2 4 s l
2 2 - 1 ! 1
a
2I
--f -r-1 r- . - + +e t e d
J:
Key C
Key G 9th and 10th PositionsKey D 4th and bth PositionsKey A Special Fingering given belowKey E 6th and ?th PositionsKey B, lst and 2nd Posit ionsKey Ff, 8th and gth positions
2 Special Fingerings in Keys A and Bb
Key A
Key Gb 8th and 9th Posit ionsKey Db 3rd and 4th Posit ionsKey Ab 10th and 11th Posit ionsKey Eb 5th and 6th Posit ionsKey Bb Special Fingering g.iven belowKey F ?th and 8th Posit ions
C
4 2 1
The above fingering may also be used in the following keys and positions:
z 7 q 2 0 4 4 2 0 4 0
F. & D .22568
, L L l L t , o r i i L L t tKey A
Key Bb
-E;:
P. . 12
Dtt74to
:J
!1
?1o r C
: ( l P
3
; ; :? + ;
I
; t: l - _ e
P1
t ( )l !
,
Key B i'
r 1' : i L ' : ? 1
- . ' - - . ' _
s r I s 1 1 B | 4 l 3 ^ l I r 1 1
I o : t 2 0 g r o g l o 3 , 2 o g I o s 2 \ 3 j _ o s , o E r - i p o
3 2 l 4 i J t 3 2 o s e l 4 t 3 2 r r t 2 l t + 3 1 z r \ 3 2 \ + J
P 7 n 2 \ s o s s 1 4 g , o t , ' t _ 3 2 o
o s z j S _ . g o g s r o S , P o g t r o s ? o g t o s r o 3 , 2 o B t o 3 t o 7
o " ' i l l l l l l l l l l l l l l l � l j . a s 7 4 2 i L 2 \ n r r l i i l Z ' o T i f e i l l
^ ' : i i i i : : - L L -2 ! i i t ' : ' i += i i i i LL - , i== :_ i i
i : \ 2 , 2 1 .
' l i E e + i . tl .
r. L i Fei;.t
*e* : r - l f r +: r i - lJ+#-1j � ) : , , , . r , : - :? ,1, ) , ! . ' , , , , , , n
The above f inger ing may a lso be used in keys Db,D, nb ,p , R Ch,G ana ab .
F.& D . 22568
" . t i - l
24
In order to be able to extemporise freely, the requircd notes must be found easily anywhere on the guitar. Heretherefore is stil l another fingering which enables you to play chords as chords and as arpeggios employing thef i rst four str ings. For convenience sake the example is in G, but i t may be transposed.
o ' n *\ 2 4 2
' - f f i z B 1 B , 3
L z r g4 2 4 3
@--,G1, +-J z 9
L z t , n
L z r a, 3 D 4-_�2 4
! s 4
Besides learning the chords based on the Major Scale it is also necessary for the purpose of extemporisation tolearn the arpeggios and runs based on the two Minor Scales i.e. the Melodic and Harmonic. It is here import-an t to po in t ou t tha t the Melod ic minor Sca le i s mod i f ied , and ins tead o f acend ing and desend ing in theusual manner thus:-
it ascends and descends in the same way, therefore having a minor third, major sixth and a leading' note bothascending and descending:
We now proceed to build a four note chord on each degree of this Scale:Gfim?-5
iAm(majz)
f.Lm1ma5z) Bm? **Cmaj z*5 Ff,m7-5A minor(Melodic)
In First Position. With open Strings. Practise slowty and smoothly.3 2 0 4 2 1 4 2 0 3 2 , 1 4 2
t B2
I
4
)23
@4
3I
1e
3@
4
I
1_4.
t
1e
f Mu" also be writ ten* . r' C (+z)+o
r
F.& D. 22688
? 5With No Open Str ings.
5P------t| 4 3 2
7Pa 1 4 3 |
9 Pl r r
9P ---r
3 1 4 2 3 l + g I 4A minor(Melodic)
9P4 3
1 4
?P-----__--lgP--__---l2 l , 4 t 2 - l 4 2 4 g l g l 4 2
Fm(maj7) Gm7 AbmajT+5 nbz D m ? _ 5 E m 7 - 5 F m ( m a i ? r-" [ ' h* h*
"
@-J1 r 4 2
6P3
5P -----------l
I t * S 2?P---_-r 5P3 1 4 2 3
I t i s p rac t ica l to p lay the above exerc ise in the keys o f Fm. F$m. Gm. Abm. Am. (as above) Bbm. Bm. Cm.Do not g 'o on unt i l you are thoroughly famil iar with above study.
Herewith the scale in chords of these keys with the first four bars of the exercise in each case.
C 7
F minor(l l felodic)
F$minor(Me lod i c )
Gminor(Melodic)
lP----r 3Po 3 1 4 3 t 4 4 Z t 4 g
Ff ,m(maj?) c$m? Amaj 7+5 D $ m 7 - 5 f
2{--14P 1 6 P
Gm(maj?) Bbmaj Z+S
3P----l 5p--------r ?Pq s 7 s l
E$m ?-5 F$n1(majz )
r 4 3 2 g t 4 3 t 2 1 4 3 1 z l q 2 t 4 s 1
Ff,m ?-5 Gm(ma.,1? )
F .& D . 22568
1 4 3 2 g t 4 2 1 4 3 7 1 + S 1 , / l z l a 2 , t I
1 4 3 2 , 3 1 4 3 r - 3 1 4 z 1 + 3 4 + s r 4 2 ! 9 r J - s r
A minor, as wri t ten at the beginningof the ser ies.Bb.m(majZ)Bbm(maj?) Cm? DbmaiZ+S SbZ
Ab minor(I\telodic)
Bbminor(NIe lodic)
B minor(Me lod i c )
Cminor(Melodic)
Cf,minor{N Ie lod i c )
6P---------r 84 s ? s 1 4 2 l 4
Bm(maj7) Cf m7 DmajT+5
?P-----r 9P1 4 s 2 3 2 1 4 3 l
cfm(majz) Dfim?
Cm (maj 7) Ebmaj 7+5
t i E t f , , o " , 1 rf i:i t j
4 2 r q ' j a-3 t r , z 41J '3 t
@--.r
Ff,7 G f , m ? - 5 A f m ? - 5 B m ( m a j ? )
4 2 | 4 B r t 4 - s t r , z 1 a , 7 l $ s - r
Bm7-5 Cm(ma j7 )
4 - 3 t 4 z 1 4 , 2 1 4 3 r
@r
Gfi7
l 1 0 P; 3 r
11P3 t
/;\\z4P
@ @
EmajT+5 r fz Af rn?-5 B$m 7 -5 C [m (ma j? )
3 - r t t 2 r t E r - ! t 4 z r l z J ?P;l ----------r
4P.-3 t 4 2 J P r ! z t s z
i l t , , , t l l ! ! , ,
t.I
F . & D . P 2 5 6 8
r:ww
Dm (maj7) Fmaj 7+5C#m ?-5
B m 7 - 5
D minor(Me lod i c )
Eb minor(Melodic)
Ebm (maj 7) Fm? Gh maj 7+5 rbz Bbz C m 7 - 5( rna l )b m
hrD m ? - 5 E
3P
, t 3 2 1 g r t t 3 I
etc.
Eminor(Melodic)
e lc .
On f i rst 4 str ings
G minor
4 . 3 2 1 2 3
? +;J Tfg ( r
The above arpeggios may a lso be p layed in F and Ff , minor on the f i rs t four s t r ings. Hold the notes of t i .echord throughout each bar.
6P3 ! ! , 1 g
3 t4)2
3 2l-'l
e . )
Em(maj7) GmajT+5
9
F. & D. 22568
28
Next in sequence i t is necessary to learn the Harmonic minot scale and the chords, runs ancl arpeg-giosbased on the sca les i n a l l keys .F i r s t he re i s t he sca le o f A m ino r . Ha rmon ic .
We aga in bu i l d a fou r no te cho rd on each no te o f t he* *
Bm 7-5 ' C maj 7+5
+Am{maj z )
s c a l e .
E 7D m i z
I n f i r s t P o s i t i o n prac t i se as be fo re s l ow ly and smooth ly .
s 2 | 3 - z o a z o s j 7 _ s i 2 * 2 J s 3 D( t t 1 g z 4 " + " r
No open Str ings
7 P
a L 4 . 2-�4 s * ; 4 " - r ; 4 2 * r - l - 3 . r 1 * i . . o *A mHarmonic
s r l g l t 4 3 l s r B | 4 - 9 1 4 g 1 4 3
@
5 P+ ' z j 4 g ! + z z | 4 : 1 J 2 | s 1 4 j 2 + s
I t is pract ical to play the above exercises with exact ly the same f ingering in the keys of :Fm. F f lm. Gm. Abm. Am. Bbm. cm. bu t f i r s t be qu i te sure o f the f inger ingHerewith the scales in chords of these keys and the f i rst four bars of arpeggios and runs as above.These should be played with exact ly the same f ingering throughout as the exercise above.
x.May a lso be wr i t ten en (+z)
**"a;r also be written C (+z) +r F . & D . 2 2 5 6 8
BbmT Db maj 7Fmi(maj 7) Gmi ? -5 Ab ma j 7+5
F mHarmon ic
F f l mHarmonic
t 4 3 2 4 g z o a z z t j z - r L 23 P
4 3 4
e l c .
@@@________.__, o__,
F'fl m(maj ?t Gflm 7-5 Amaj 7+5 B m 7 c l z D m a j T Ef ,o l ' f lm{maj 7
2 Pt
Gm (maj ?) Am ?-5 Bb maj ?+ 5 C m 7 Ebmaj ? Ff iO Gm (ma j 7 )
G m iHarmonic
Ab miHarmon ic
B b mHarmonic
Abm(maj ?) BbmT-5 C b m a j 7 + 5 D b m T nbz Fb maj 7 G o Abm {m:r , .y ?)
6 Pt + 2
A minor as a t beg inn ing o f ser ies .
Bbm (maj ?) Cm 7- 5 Dbmaj ?+S Ebm 7 F 7 Gb maj ?( m a l 7 I
8 Pg l 2 r - � o " " I
4 2 1
'iii$S&",,'iit*j&is��
2 4 9
F . & D . 2 2 5 6 8
3 - i o s
soBm(maj ?) Cf lm Z-b Dmaj ?+g E m 7 Gmaj 7 AflO Bm (maj ?)
B m iH a r m o n i c
( ) m iHarmon ic
C mHarmon ic
Cfl minorHarmon ic
in , l t h Pos i t i on
+ s 1 4 - s l 4 2 - 4 3 t 3i-a s9P_ =4 P g * c { r z
Cm(ma j Z )Cm (ma j ? ) Dm Z -5 Ebma j ?+g F m 7
F.& D. pps6g
',"'
Ab majT
etc.
e/c.
10 P.
I- lere ts an al ternatrve f ingering for the harmonic minor ser ies commencing o' c minor in Brd posit ion.3 P
r_4 1 1B- , s r, 131 ,#'1 4jL#3*l , n 2 7 3 2 z t 4 ^ z
Cf,m (maj 7) Dflm Z-5 Emaj Z+5 Fflm z ofrz Ama j 7 BflO Cf m (maj Z)Cf, minorHarmonic
descending in the sameway as C minor.
; ,:'***ililM:, $ry
31
D minorHarmonic
5th Posit ion
Eb minorHarmonic
6 th Pos i t i on
E minorHarmonrc
Drn (maj 7) Em ?- 5 F nraj ?+5 Grn 7
Ebm(maj 7) Fm ?-S Gbmaj ?+5 Abm?
Em (maj ?) Ff lm ?-b G maj ?+5 Am7
Bb naj ?
C't majT
C m a j T D f l O
c r o Drn {ma j ? )
etc.descending
Ebm(ma j ? )
etc.descending
etcdesoend i ng
t,
6Pl o * e
7 th Pos r t ron
F . & D . zpb68
32Be- lou, is the same sequence as before, but in two octaves.a rpegg ios and runs a l l ove r t he i ns t rumen t .
1 P7 4 3 2 4 3 1 4 3 5 . 4 3 2 4 3 L
F minorH a r m o n i c
7 P
The purpose is to be ab le to ex tend the
2 P3 2 7 4 2 t 3 2
6P........-.--_7P7 4 3 1 r , 1 2 r B
e :@@@___i_,6_
z l 45 P ' ,2 J " B
8 Pz 7 4 : 1_11 3 I
7 P_10P-- 8 Pr 4 2 y 7 3 2 r , n , 3 o
e1 /;\ /'\, ; . ' azr@\q---- _-_r
8 Pa
8 P4
6 P _g , r 4 1 J - z r '
3 P2 4 3 2 4 3 c . 7
I t is also possible to play this sequence in two octaves in the keys of Ff, minor and G rninor, thereforeprac t ise th is exerc ise in a l l th ree keys o f Fm. F lm and Gmi .I t i s fu r ther poss ib le to p lay these chords(a l though somewi thd i f f i cu l ty ) on the 6 th ,5 th ,4 th & Brds t r ings ;and on the 4 th , 3 rd , 2nd and 1s t s t r ings .Here they are as arpeggios on one set of str ings at a t ime.
Am (maj 7 )4 3 2 1 2 3
B m 7 - 54 3 2 1 2 , A l ' 2 9
2 3
D m 74 3 2 7 2 3
C m a j 7 + 54 3 2
A minor6 . 5 . 4 . 3 .
C minor5 . 4 . 3 . 2 .
Fmaj 74 3 2 '
Go2 3 4 3 2 7 2 3
C m ( m a j 7 )Z g 4 Z t I
B o4 3 2 1 .
Ab maj?9 4 3 1
Ami3 { >
* @ @ @ @ @ @T h e l a s t t w o c h o r d s a r e n o t p r a c t i c a l o n 6 . 5 . 4 . 3 . s o p l a y t h e mo n 5 . 4 . 3 . 2 .
Cmi (maj 7)3 1 0 0 0
D m 7 - 54 2 1
Eb maj ?+54 3 2 71 l
F m 74 3 2 7 2 3
G 74 3 2 Cm
3 G
T
T
F. & D. 22b68
l 7 J , . 2
F minor1 . 3 . 2 . 1 .
Fm (ma i ? )4 2 S" rc 7
4 3 2 7 2maj 73 2 1
Db4
Eo4 3 2 7 2 3
These chords maythey are played.f inger ings .
Chord ExtensionsI t i s poss ib le to make major chords sound much more rn te res t ing by the add i t ion o f the S ix th , Ma jorseventh , n in th and augmented e leventh ,and by invers ions as fo l lows. Note : The roo t o f the chord isca l led 1 and so on . The th i rd ,3 , f i f th ,5 , ma jor seventh ,? , n in th ,g and aug 'mented e leventh ,+ 11 .
Key C
b eI t
used in a l l keys ,and the f inger ing w i l l cor respond to the se t o f s t r ings in wh ichis use fu l p rac t ice to invent your own exerc ises based on the chords and the i r
Here a re as many o fb u t p r a c t i s e i n o t h e r
these cho rds as i s p rac t i ca l w r i t t en as an exe rc i sc f o r gu i t a r i n t he key o f C ,kevs .
Key C
2 a
The same extensions can be obtained with minor chords as fol lows, in the key of C minor.
Ex tended chords
C minor
F . & D . 2 2 5 6 8
34Chords based on the p rev ious i nve rs ions i ntnco rpo ra t t ng the cho rds . P rac t i se i n a l i
?@
wr i t ten fo r gu i ta r . An e x e r c r s e r n w a l t z t i m e
@ ' @I n d e a l i n g
Y i . t h . e x t e n s i o n s o n m a j o r t r i a d s i t h a s b e e n f o u n d t h a t t h e s e v e n t h i s a m a j o r i n t e r v a l , a n dw i th rn ino r t r i ads the seven th i s a m ino r . i n te rva l ; uu t w i t t r dom inan t cho rds t he seven th i s a lways mrno r .F o r e x a m p l e t h e d o m i n a n t c h o r d o f c i s G a n d t h e s e v e n t h n o t e b u i l t o n G i s F w h i c h i s a m r n o r s e -ven th f r om G. We now tabu la te t he ex tens ions .
?/:\\,
C m ino rkeys .
r@
G 7 + 5 + 9 G 7- 5+9
G 7 + 5 - G 7 - 5 - 9 G 7 + 5 - 9 + 1 1e 1 3
4l i
2 P B 7 P B
<>(trslI
2
1311I
Bt*g1 1 P B
bfslS'
A b 9
4 P B
GD 9
4 P B3
Ab9
11PB{}
6 P B
B n 9
133l,
J P BG 9in a l l keys samefo rma t i on . (a )
3 P B
G 9i n a l l keysfo rma t i on /b )
oC 9
PB 1 P B
{>Ff l9 <>
B 98 P Bb& 2 P B
{>F 9
roiE z 9
8 P B
G h 9
G 9
4 P B
oE 9
7 P B
ba
A 9
1 2 P Bba
E p 9
6 P B
C 9
4 P B
{>F 9, , 8 P Bf,e
GFfl9 io'
E 9R &B 9
D . z P b 6 8
I
10 PB
bE
G h 9
35? P B!a'
2 P B
fi=F fl9+5
2 P B
= Ffl9+5
7 P B
C 9 + 5
8 P B
b 3 P B
c 9 - 5
4 P B
- 5
2 P B
8 9 - 5
oBb9+5
O P R
Eb9+512PB( ) 5 P B
.T PB
b o
l -p t OAb9+!-r
lOPB€>
D 9 + 5
10 PB
A b 9 + b
r D p
1 P B
G 9 + 5( a )
G 9 + 5(b )
G 9 + 5( c )
G 9 - 5( a )
G 9 - 5(b )
&- -na_31--: i l
eF9+b
Db9+5
Db9+5
oE 9 + 5
12 PBilob ' 8
€>A9+5
9 P Bo $ o3 r' {F>
G 9 + 5
2 P B
l sG9+5
5 P B
G 9 - 5
4 P B
! eis___
F 9 + 5
1 P B
Bb9+5
6 P B
9+l-r11PB
#*
Gb9+5
o.
E 9 + 5 A9+58 9 + 5
etc. Through the cyc le of keys as before.
1 P B
€>
D 9 + 5
PB
g1o . !
F 9 - 5
P B
B b 9 - 5
2 P B
E b 9 - 5
7PB
Ab9-5
12 PR
bg
E b 9 - 5
Db9-5
T h i s c h , r r d m a y b ef i n g c l p d i n t h r e eways on 1,2,3 & -1ths t r ings . Prac t isee a c h r r { t h e s e f i n -g e r i n g s a n d r i n 2 ,3 , 4 & 5 t h s l r i r r g s .
3 P B
q
*fib- o , b
G b g - 5 A 9 - 5 D 9 - 5
9 P B'b o.4 € > 4 < >
G 9 - 5G13-5 C9-5
cb9-5 nnilg-r
i s ob ta inab le on bo th the
Bb9-5
1 , 2 , 3 , 4 & 5 t h s t r i n g s a n d 2 , 3 , 4 , 5 &
F. & D.22568
= F i l
3 P B
E9 -5
7PB
F 9 - 5 baAb9-5
The same chordabove Agth-b(b)
A
6il
a9 - 5
t s t r i n g s a s
D9-! - r
f i n s e r e d
1 0 P B
G 9 - 5
86There are 4in 6 ways:
G ? + 9
G7+5+9
G7-5+9
G 7 - 9
"f)
G?+5-9
G7-5-9
G7+5-9+11o r
G7+5 -9-5
formations of the Dominant seventh chord with thec)
augmented ninth G ?+9 and they can be playedd r )
the previous chords, going through the cycle
e)4
r u @
d)
T^he chords ca_n be played in al l keys so pract iseo f f i f t h s i . e . G 7 + 9 , C 7 + g , l r 7 + g , - e l c .
b)4
them as with
d)a)
t
o)
4
c)4
s)4
ft4
b)t
4
c)7
c > @
somet imes wr i t ten
r o t @ p O @
d) e)
It b
l'
9PBh
/l
I2
@s)
4t ,
t 5 I b-q
G13-9
o ,@€)Tl
1 0 '
3 B
bo
a l s @
ll':-"lotl js sil1ira1 to the chord ."{ Pb? (F) but.which r"i" tnl _c t."i'D Therefore when unable to
reach !9.t "ny of the. inversions,quickly supisTitute the chord of the Dominant seventh based on the f lat-tened 5th. e.g. subst i tute for Eb?'5' i = Bbbl or A?. The special discordant effect, t rowe"ei, is tost.
I
@
F. & D.225a8
3 7Dim in i shed Cho :ds . I n o rde r t o ex tend the scope o f d im in i shed cho rds ,he re a re a se r i es o f s tud ies cons i s t i ngo f d im in i shed cho rds t v i t h suspens ions and runs based on these suspens lons .
Ao, co, Ebo, F$o
34J
J
J i ,. 1 ) ,3
t iv1>
#@
Bo, Fo, Gf 1Do
:* '1 #1i ; b i
Dlo, E4o, GolBbo4
b ' r
@Etude on 1st,2nd and 3rd str ings. Based on D im in i shed Chords
' l
Ie4
.t3
b)
Iimaj ?
rp - --;l
h-2 . L I B t 4 1 u i + t l i 7 v \ < g 4 , s ' : L b 3 b L '
6P-----_--__l
, t )-bLi f L I t | | .
I ? a - b i b j - 2 \ q r.1
r 3 P
o
P
coP
b ? r b L ; ^ 'I
' ! , 2r l- - |
,1
c i r Ebo
? ilai Lbl iri#i| l1P i Lbz' .bLUl\ b2
12PL 2
Abob*
i$
I2
F.
; a ? iriili iili hE
F . & D . 2 2 5 6 8
38Etude on Znd,3rd and 4th s t r ings Based on Dimin ished chords
Ebo" o , r -74 rT , r 4 2 r_4 B r \o r_- ! 2 4 t 3 l r l 4
F$o, l J - "
--J @ re-------.,Gf,O
4 r , 2 t 4 t f h : , l ^ 1 , I 1 l
r @ - - '
z r R � � � � � � � � � � � � � � � � l t s 4 t t 2 l i L b l
+ ! 2 u 2 t 2 l l 3 r : t t . r , a t z 1 4
l 4 3 r
Etude on al l str ings Based on Diminished Chords2 4 a , r z + t r 1 u \ i l . L l 2 r Z , o 2 4 4 _ � 2 1 4 4
a - -Z 1 6 ) t ( 9 '\ v -
-----.r @ t O O@------r @-:Bbo,C#o or Dho,Eo,Ao,Co,Ebo,Ff io or Gbo
+ 4 r 2 4 4
!
l 4 4 2 t
l"l:j: Tlt:lnltiuXos*"n"ins at the lowest note of the suitar. These runs may be used with any or the chords
B r B o $ 2 * i l l l S i f i S Z ^ 2 r , 4 _ 3 | 4 1 4 2
@-r @E @ -,6:11
Gb9-5 orAg+5 or CZ+b+11
2 . 4 ! i z \ 1 2 , 3 r 3 t 4
o J @ - , @ ' - b - @-:
Cf +orDb+
3 T Tl { >
;">-
I
Bb9-5 or C9+5 or E?+b+11
B9-5 or Cfg+f or F7+b+ll
F.& D .225a8
t_PSCg-S or A9+5 or Dbz+b+U
3 9
1 3 4 l 4 t 3 4 | s r t ! H 2
- . i@ '
a € r t 3 t
O - - - r @ - r
@ r O : - :
3 u b $ n o g - s o r B b g * b o r D ? + 5 + 1 1
th l( f j t _ J
-bD*aJ*1-..-!r'rVr_€5*l
r=j
r f,.+
l 3 + 7 3 , \ 2 I
_U-
i t r , r a - 3 t a 3 l z r 3I D 9 - 5
! D e o r
ai.-___-)
f@
[:-o--=6:@-r o-------jt6rp ------J e ----, ""36i iFB "'il$G7+5+11 l .orDb e-b , ̂ G+ j,fl* :ft
bft ^:;'.F;*?i,' il$'3i-ot.
t c
Whole tone sca les on 5 th ,4 th ,3 rd ,2nd and 1s t
u o ? Y I I ! Y t , l
: @ ' ' @- - - - t @ , O
Whole tone scales on 3rd,2nd and 1st str ings
4 2 . 4 \ 2 L : 4 1 2 , 4 . 2
Etude in Thi rds Based on Augmented Chords
r ? L
/ : ] \ , r a \ -\:/' .J \? -l /t\ /;\\ r , t
s t r ingsn Yf ' * : l b
n7 3 n
tb nn v4 3
n v n2 4 3 7
, b t
LLri,L,z z t4 3 1
1 Z1
2 r t4 t 3 i1
3 1g 2 i+
iltbi+fi1 3 1
1 3 t
3 ,lun ,,rL,,LSi*3 t4 2 L2 t " t
@ 'D+, Ff,+ or Gb+, Bb+ or Ail+
All the foregoing chords and runs are of greatest value in extemporising. Famil iar i ty with the exercises in thisbook wi l l provide the student -with greatest faci l i ty and freedom in invent ion on any given chords. Some of theseruns have never before been wri t terr down for plectrum guitar and dai ly pract ice is essent ial .
F . & D . 2 ? 5 6 8
I
40Inva luab le Chord Prac t iee : The fol lowing four
4 - 3 - 2 . t s t r i n g s .a r e e o n s i s t e n t i n notation n'hen played on o-b-4-g
tr1 a s E r g
C,r +gA I e_4
n o t e
treho rds
trs t r l n g s , 5 - 4 - 3 - g s t r i n g s o rG6 r Em7r . r .nb @ ry
f x a m p l e o f s a m e e x e r c i s etr r-r
u s i n g C 6
tro r A m 7 .
tr .E tr
flT+31 ' 2t ta I eT5-2-l r l
€)T2t-1 IPrac t ice rcund the cyc le o f keys F , Bb,Et, Ai, Db, Ob, B, E, A & D.G m 6 / C t i n o r o o t l rir l
E ,bE o.ztr g t r ,ry , E2 0 D
I
And here is the chord of 07.
z
@ _
ete. , on a l l s t r ings.
I o m i t t i n g r o o t G ( e a n a l o - o b e D m 6 ) .
Alsopract iee Dm6 wiJh {sharp instead of F natura l ,a l ter ing i t to D6. Exeel lent for ehangin ' f rom major tominor ' Pract ice a l l chords, ascending by semi tones- then t i rough the cyc le of keys. a o
G9-5 omi t t ing root G, a lso equals Dbz+b, a lso Ag+b omi t t ing 7th.? D
44
* z a l, i I
G9+5 oni t t ing root , or B7-5, or F7-b.
t d 3
( ) l
G
n;t2
4
E3 , , Q
@
trtrtrtr
1I- ;1 , | | |
b..-
l
Example of Ai7 eommenci lg at lowest point.
^ t?l tr a ,l-3-}
F-& D. : , lc;r ir j
r
' 3. How to find the chords of ony populor
tune with o chord onolysis-of200 fomous Stondords.
