TWO FINGER EXERCISES FOR THE FRETTING HAND, Part 2 of "THE 1-2-3-4 GUITAR SYSTEM" 4-part SERIES

i Th e 1-2-3-4 Guitar System, Part 2 i Th e 1-2-3-4 Guitar System, Part 2

iiii

TWO FINGER EXERCISES FOR THE FRETTING HAND

Part 2 of a 4 part Series: “THE 1-2-3-4 GUITAR SYSTEM” by - Jim Ross

*Also available*• 1 FINGER EXERCISES FOR THE FRETTING HAND• 3 FINGER EXERCISES FOR THE FRETTING HAND• 4 FINGER EXERCISES FOR THE FRETTING HAND• THE ‘1-2-3-4’ GUITAR SYSTEM COMPLETE SERIES• J.S.BACH’s DOUBLE CONCERTO FOR 4 GUITARS *with many more titles available soon*

All four books of this series contain unique material. Th is system isdesigned to maximize the potential within each fi nger grouping.

While introducing new material in each book, it builds on informationlearned in each preceding book. While you can gain a lot from any oneof these books on their own, it is recommended that you work through

all 4 of them for the best possible results.

Part 2 of a 4 part Series: “THE 1-2-3-4 GUITAR SYSTEM” by - Jim Ross

*Also available*• 1 FINGER EXERCISES FOR THE FRETTING HAND• 3 FINGER EXERCISES FOR THE FRETTING HAND• 4 FINGER EXERCISES FOR THE FRETTING HAND• THE ‘1-2-3-4’ GUITAR SYSTEM COMPLETE SERIES• J.S.BACH’s DOUBLE CONCERTO FOR 4 GUITARS *with many more titles available soon*

All four books of this series contain unique material. Th is system isdesigned to maximize the potential within each fi nger grouping.

While introducing new material in each book, it builds on informationlearned in each preceding book. While you can gain a lot from any oneof these books on their own, it is recommended that you work through

all 4 of them for the best possible results.

iii Th e 1-2-3-4 Guitar System, Part 2

iv

************************************************

Th is 1-2-3-4 Series is dedicated to the love of music and guitars! And to the education

and advancement of guitar music.

v Th e 1-2-3-4 Guitar System, Part 2

• All transcriptions, exercise material, layout design, formatting, & typesetting by Jim Ross.

• Original artwork created by Mark Cooper. See more of his work here: www.markcooperart.com

• Original artwork also by my brother, tattoo artist Barrett Nevins.

• Original artwork in Interval Analysis section by ‘Gruesome’.

© 2012 SEOTCI PUBLICATIONS, INC.ALL RIGHTS RESERVED. INTERNATIONAL COPYRIGHT SECURED.

No part of this publication may be reproduced in whole or in part, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopy, recording, or otherwise without written permission of the publisher.

For information regarding this Book contact: [email protected]

• All transcriptions, exercise material, layout design, formatting, & typesetting by Jim Ross.

• Original artwork created by Mark Cooper. See more of his work here: www.markcooperart.com

• Original artwork also by my brother, tattoo artist Barrett Nevins.

• Original artwork in Interval Analysis section by ‘Gruesome’.

vi

TWO FINGER EXERCISES FOR THE FRETTING HAND PAGE #INTRODUCTION ------------------------------------------------------------- THE TWO FINGER APPROACH --------------------------------------------• The 6 Two Finger Groups ------------------------------------------------• More Thoughts on Picking ----------------------------------------------• Staccato Versus Legato ---------------------------------------------------TWO FINGER EXERCISES --------------------------------------------------• Exercise Format -----------------------------------------------------------• BASIC MOTION --------------------------------------------------------• Expand On The Basic Motions ------------------------------------------HAMMER PULLS ------------------------------------------------------------• Economy Of Motion -----------------------------------------------------• Hammer-Ons ------------------------------------------------------------• Pull-Offs -----------------------------------------------------------------• Hammer-Pulls ------------------------------------------------------------ • Hammer & Pull Examples -----------------------------------------------FINGER STRETCHING -----------------------------------------------------• Range Of Motion --------------------------------------------------------• Stretch Forms ------------------------------------------------------------• Tips on Difficult Stretch Forms ----------------------------------------• Stretch Variations ------------------------------------------------------FINGER STRETCHING FORMAT -----------------------------------------• 12 Stretch Variations ----------------------------------------------------MORE STRING SKIPPING ------------------------------------------------- • 8 String Skipping Variations -------------------------------------------PEDAL POINT & PEDAL TONES --------------------------------------------• Pedal Point + Stretch Variations ----------------------------------------INTRODUCTION TO INTERVAL ANALYSIS II ---------------------------• Intervals & Dyads -------------------------------------------------------• 25 Intervals -------------------------------------------------------------- • Music Symbolism --------------------------------------------------------• 25 Dyad Fingerings ------------------------------------------------------• Chromatic Dyad Intervals ------------------------------------------------WALKING ARPEGGIOS ------------------------------------------------------ ETUDES ------------------------------------------------------------------------- • Mind Over Matter & Matter Over Mind -------------------------------- • 26 Two Finger Etudes ---------------------------------------------------BONUS MATERIAL ---------------------------------------------------------- • Pentatonic Modes & Diatonic Sequences ------------------------------- • Real Music ------------------------------------------------------------ • J.S. Bach - BWV 996 Bouree Lute Suite ------------------------------- • Fernando Sor - Op 35 No 17 allegro grazioso -----------------------• Bela Bartok - Two Pictures In Bloom ---------------------------------• Fracisco Tarrega - Gran Vals ------------------------------------------• Fredric Chopin - Etudes; Opus 10, #2 --------------------------------

by -Jim Ross 1

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vii Th e 1-2-3-4 Guitar System, Part 2

TWO FINGER EXERCISES FOR THE FRETTING HAND

1 Th e 1-2-3-4 Guitar System, Part 2

W elcome to part Two of the 4-part Series! If you haven’t checked out my 1st Book:“One Finger Exercises For Th e Fretting Hand”, I highly recommend that you do so. I know what you are probably thinking: “okay the 1st book had a bunch of stuff in it to

work on, great. But this 2nd, 3rd, & 4th book are just going to be all the same material that was covered in the 1st book, right?” I assure you that this is not the case at all. In fact, you should apply all the new things you pick-up in this book to the 1st one. Th e idea is to build on what you’ve learned in the 1st book. But each of these books in the series stand very strongly in their own right. Th ere is much to be gained from these individually, so don’t worry if you can only check out one of them.

“RECAPITULATION” In the 1st book, I talked a bit about how most musicians neglect their potential to be better players; more times than not this is true (at least from a physical/ mechanical perspective). Th e main idea was to build each fi nger as a separate unit by pushing their boundaries. And by systematically pushing them to carry a much ‘heavier load’ than they are accustomed to handling.

Th ere was a good portion dedicated to using proper form & technique. And those thingsreally are crucial in getting the best quality sounds out of your instrument in regards to pitch, intonation, ease-of-access, etc... I strongly feel that all of the “Form & Practice Tips” should be regarded with the highest priority, considering the direct impact each minor nuance ultimately has on the outcome of your sound. And in music, it’s all about the SOUND!

Th e 1st book involved 3 main sections: “Parallel, Reverse, & Alternating Motions”. Each section was made up of: linear, string-skipping, & arpeggio-style patterns. Each of these sections had exhaustive exercises focusing on each form of motion. “Th e 3 Basic Principles Of Motion” was also discussed briefl y. Musical Motion in short: you stay put, ascend, or descend the current note you are on. Additionally, there was an “Introduction to Interval Analysis”, which focused on all of the basic intervals within one full octave.

I left off with some classic excerpts from J.S.Bach, Beethoven, & Mozart in a “Bonus Material” section. And also in that section I hinted at the idea of applying multiple fi nger groups (like the ones in this & the following books). Th at’s where we had left off in Book One, and that is where we are going to start up again in this 2nd book of the Series.

In this book, we are going to start pairing off our fi ngers in groups of two. We will explore more string skipping exercises and a wider interval analysis incorporating ‘dyads’. I’ll introduce some pedal-point & also some stretching exercises. Th ere are some “walking arpeggio” forms that utilize all the ‘stretch’ forms as well. And in this book, I’ll give you some cool “etudes” to focus on your intervals & stretches. Plus a bunch of other new material to get your fi ngers moving like they never have before!

So let’s get started on these Two Finger Exercises. Good luck & Enjoy yourself!!!

elcome to part Two of the 4-part Series! If you haven’t checked out my 1Introduction

-Jim Ross

2

1-2 2-3 3-4 1-3 2-4 1-4

A A A B B C

So now that you’ve primed your fi ngers individually in the One Finger study, you should be ready to start reinforcing your phrasing with a 2nd fi nger. Th is book basically follows suit with the 1st one. You still want to practice as cleanly & accurately as possible. You want to exhaust as many shapes & patterns as you can with Two Fingers in these 6 Two Finger Groups. Let’s take a look:***********************************************************************************

THE 6 TWO FINGER GROUPS• 1 - 2 form A

• 2 - 3 form A

• 3 - 4 form A

• 1 - 3 form B

• 2 - 4 form B

• 1 - 4 form C

************************************************************************* As you can see, there are 6 basic Two Finger Groups that you will need to get familiar with. You could think of these 6 fi ngerings as being made up of three separate forms (A, B, C). For example: • form A - the 1-2, 2-3, & 3-4 fi ngerings, all consist of adjacent fi ngers. Th ese notes are all separated by a 1/2 step, 1 fret, or you could also say a minor 2nd apart from each other. • form B - both fi nger groups; 1-3 & 2-4 are separated by a whole step, 2 frets, or a Major 2nd apart from each other. • form C - the 1-4 fi ngering is in a group of its own, and the notes are separated by 1 1/2 steps, 3 frets, or a minor 3rd apart. **************************************************************************You will strengthen all of these Finger Groups as paired units*

So now that you’ve primed your fi ngers individually in the One Finger study, you should be One Finger study, you should be One Fingerready to start reinforcing your phrasing with a 2nd fi nger. Th is book basically follows suit with the

one. You still want to practice as cleanly & accurately as possible. You want to exhaust as many shapes & patterns as you can with Two Fingers in these 6 Two Finger

A A

Groups. Let’s take a look:Two Finger Groups. Let’s take a look:Two Finger***********************************************************************************

THE 6 TWO FINGER GROUPS• 1 - 2 form A

• 2 - 3 form A

• 3 - 4 form A

• 1 - 3 • 2 - 4

• 1 - 4

*************************************************************************

THE TWO FINGER APPROACH

3 Th e 1-2-3-4 Guitar System, Part 2 3 Th e 1-2-3-4 Guitar System, Part 2

MORE THOUGHTS ON PICKING As in the 1st book, you will need to use some sort of picking technique to play through all of this. But since these are mainly fretting hand exercises I will leave it up to you to pick however you want to, or however you are most comfortable picking. You could play fi nger-style; using any of your picking hand fi ngers in any combination you choose. You could potentially “ghost hammer” every single fret. Th is would eliminate the need to pick entirely, but it is a lot less accurate of an attack. I would suggest however, that you simply play everything with a pick. Do EVERYTHING with strict down-strokes. Do it ALL again with strict up-strokes. And do it ALL AGAIN with alternate picking (strict & also economy picking). Keep a conscious awareness of your picking hand as you move through this study. You may want to work at your picking hand on it’s own if you fi nd it is keeping you from playing these exercises. But then again, these are GREAT exercises to work on the picking hand as well. ***************************************************************

STACCATO VERSUS LEGATO Now that we are utilizing Two Fingers at a time, that creates the option of playing these exercises with “hammer-ons & pull-o� s”. In eff ect, that will change the sound of your phrasing to either a staccato or a legato type of articulation.

Staccato- is more of a ‘stiff ’, choppy, articulated sound; where the notes are cut short, or separated sounding. Th is is created by a straight forward picking attack, but more so when coupled with a palm-muting technique, or other muting techniques.

Legato- is more of a fl uent, ‘liquid’ sort of sound; where the notes all fl ow together with a seamless & smooth, continuous & connected feel. Th is eff ect is created largely by applying combinations of “hammer-ons & pull-o� s”. Where you would use your pick as little as possible (sometimes not at all) and avoid any muting or abrupt stops in your phrasing.

*A good sliding technique can also give the feeling of legato type phrasing.* Try to do both hammer ons, pull off s, & straight alternate picking throughout the course of this & the following books. (see the Hammers & Pulls section) You’ll fi nd that the way you articulate your notes & phrases will play a huge role in the personality, and overall feeling that the music you play creates.

Aside from being a great phrasing tool to utilize, the use of ‘hammer ons & pull off s’ will defi nitely help in the process of strengthening your fi ngers. So as you play through the rest of this 4-part Series, try to apply them wherever you can!













44

Th e “Two Finger Exercises” are made up of: Basic motion, Stretches, String-Skipping, & Pedal-Point motions. Th ere is an extended Interval Analysis section, a ‘Walking Arpeggio’ section, and a unique set of

Etudes to work through as well.

Basic Motion- this follows the same basic ‘Parallel Motion’ fl ow as was used in the ‘One Finger Exercises’ book.

Hammers & Pulls- will take a look at the various hammer-on & pull-off combinations that you can apply to the rest of this Series.

Stretching- you will explore 12 multi-fret stretches among each of the 6 Finger Groups.

String Skipping- this expands on the variations from the string skipping exercises in Book One.

Pedal Point- here you will start to cycle your fi ngerings with some newpedal-point & symmetrical types of motions.

Interval Analysis- this exploits all of the possible intervals up to 2 fulloctaves. (within the 12-tone scale*)

Walking Arpeggios- similar to the arpeggio-style section of Book One, but with a Two Finger ‘walking’ approach, while making use of intervals and the 12 multi-fret stretches as well.

Etudes- a set of unique e-TWO-des,,,(haha) or sequences designed to work through specifi c intervals and stretches.

TWO FINGER EXERCISES


Now let’s take a look at these exercises!!!

6

In example (A) you see a simple fretting example that starts on the (E6) string & the 1st fret. You play the 1st fret on each string, moving down from string to string until you reach the (E1) string. Th en you simply work your way back to the (E6) string again. And example (B) just goes in the opposite direction of example (A) as shown below:

THE EXERCISE FORMAT

11

11

11 1

11

11

1

11

11

11 1

11

11

1

Th e forms in example: (A) and (B) are the basis in which all of the exercises from Book One were designed. It’s a basic fl ow of ascending

from string to string, then descending in the same way, (Basic Motion).

In the “Bonus Material” section of Book One, I had outlined a means to apply multiple fi nger groupings to all of the exercises previously presented. Meaning: you can take all 6 of the Two Finger Groups and apply them to all of the Parallel, Reverse, & Alternating Motions, as well as the arpeggio-style & string skipping exercises from Book One. ************************************************************************* Th at alone is a huge undertaking! But you really should do it! It will give you many, MANY more ways to apply your Two Finger Groupings. *************************************************************************

In example (A) you see a simple fretting example that starts on the (E6) string & the 1st fret. You play the 1st fret on each string, moving down from string to string until you reach the (E1) string. Th en you simply work your way back to the (E6) string again. And example (B) just goes in the opposite direction of example (A) as shown below:

11

11

11 1

11

11

1

11

11

11 1

11

11

1

Th e forms in example: (A) and (B) are the basis in which all of the exercises from Book One were designed. It’s a basic fl ow of ascending

from string to string, then descending in the same way, (Basic Motion).

In the “Bonus Material” section of Book One, I had outlined a means to apply multiple fi nger groupings to all of the exercises previously presented. Meaning: you can take all 6 of the Two Finger Groups and apply them to all of the Parallel, Reverse, & Alternating Motions, as well as the arpeggio-style & string skipping exercises from Book One. ************************************************************************* Th at alone is a huge undertaking! But you really should do it! It will give you many, MANY more ways to apply your Two Finger Groupings. *************************************************************************

THE EXERCISE FORMAT


Take a look at Exercise (1) from PARAllEl MOTiON in Book One:

1 21 2

1 21 2

1 21 2 1 2

1 21 2

1 21 2

1 2

You could play this as written with both your 1st & 2nd fi nger, or you could apply any of the Two Finger Groups to Exercise (1), shown above. For example, the 1st & 2nd fi nger of each of the 6 Groups would follow the intended motion of the 1st fi nger in Book One. You would still move your 1st fi nger, or starting fi nger from the 1st fret to the 2nd fret. But you would play 2 notes per every one note indicated. See the example below.

(1) 2 (2) 3(1) 2 (2) 3

(1) 2 (2) 3(1) 2 (2) 3

*lets move on to the TWO FiNGER exercises!!!*

In the above example, you would shift your 1st fi nger; as indicated by ( )in the same way as intended in Book One. But to apply the Two Finger exercises of this Book, you would add the 2nd fi nger as well. (*with a 2-3 or 2-4 fi nger grouping, the 2nd fi nger would act as the 1st or starting fi nger, etc...*). Th is concept applies to all of the exercises in Book One!!!

************************************************************************* It sounds more complicated than it really is, but you will get a true feel for how it can work for you once you start applying it all. And the number

of possible variations you will gain from doing this is a staggering one! *************************************************************************

So I encourage you to explore as many variations as you can with these Two Finger Groups in conjunction with all of the motions from Book One.

Take a look at Exercise (1) from PARAllEl MOTiON in Book One:

1 21 2

1 21 2

1 21 2 1 2

1 21 2

1 21 2

1 2

You could play this as written with both your 1st & 2nd fi nger, or you could apply any of the Two Finger Groups to Exercise (1), shown above. For example, the 1st & 2nd fi nger of each of the 6 Groups would follow the intended motion of the 1st fi nger in Book One. You would still move your 1st fi nger, or starting fi nger from the 1st fret to the 2nd fret. But you would play 2 notes per every one note indicated. See the example below.

(1) 2 (2) 3(1) 2 (2) 3

(1) 2 (2) 3(1) 2 (2) 3

*lets move on to the TWO FiNGER exercises!!!*

In the above example, you would shift your 1st fi nger; as indicated by ( )in the same way as intended in Book One. But to apply the Two Finger exercises of this Book, you would add the 2nd fi nger as well. (*with a 2-3 or 2-4 fi nger grouping, the 2nd fi nger would act as the 1st or starting fi nger, etc...*). Th is concept applies to all of the exercises in Book One!!!

************************************************************************* It sounds more complicated than it really is, but you will get a true feel for how it can work for you once you start applying it all. And the number

of possible variations you will gain from doing this is a staggering one! *************************************************************************

So I encourage you to explore as many variations as you can with these Two Finger Groups in conjunction with all of the motions from Book One.

8

BASIC MOTION Let’s jump right into this! Th e following are all “Basic Motion” exercises for each of the 6 Two Finger Groups. Th e 1st set of exercises use the 1-2fi ngering (Group 1), then also the reverse 2-1 fi ngering motion. Th e rest of the exercises will follow this same basic ‘fl ow’ as you move through the remaining 5 Two Finger Groups.

Let’s jump right into this! Th e following are all “Basic Motion” exercises for each of the 6 Two Finger Groups. Th e 1st set of exercises use the 1-2fi ngering (Group 1), then also the reverse 2-1 fi ngering motion. Th e rest of the exercises will follow this same basic ‘fl ow’ as you move through the remaining 5 Two Finger Groups.

2-3 / 3-2 Fingering Group 2

3 23 2

3 23 2

3 23 2 3 2

3 23 2

3 23 2

3 2


2 12 1

2 12 1

2 12 1 2 1

2 12 1

2 12 1

2 1

2 32 3

2 32 3

2 32 3 2 3

2 32 3

2 32 3

2 3


3 23 2

3 23 2

3 23 2 3 2

3 23 2

3 23 2

3 2


111111111 222222222111111111 222222222

111111111 222222222111111111 222222222

111111111 222222222111111111 222222222

2 12 1

2 12 1

2 12 1 2 1

2 12 1

2 12 1

2 1

2 32 3

2 32 3

2 32 3 2 3

2 32 3

2 32 3

2 3

BASIC MOTIONBASIC MOTION Let’s jump right into this! Th e following are all “Basic Motion” exercises Let’s jump right into this! Th e following are all “Basic Motion” exercises Let’s jump right into this! Th e following are all “Basic Motion” exercises for each of the 6 for each of the 6 for each of the 6 Two FingerTwo FingerTwo Finger Groups. Th e 1 Groups. Th e 1 Groups. Th e 1Two Finger Groups. Th e 1Two FingerTwo FingerTwo Finger Groups. Th e 1Two Finger Groups. Th e 1Two Finger Groups. Th e 1Two FingerTwo FingerTwo Finger Groups. Th e 1Two Finger ststst set of exercises use the 1-2 set of exercises use the 1-2 set of exercises use the 1-2fi ngering (Group 1), then also the reverse 2-1 fi ngering motion. Th e rest fi ngering (Group 1), then also the reverse 2-1 fi ngering motion. Th e rest fi ngering (Group 1), then also the reverse 2-1 fi ngering motion. Th e rest of the exercises will follow this same basic ‘of the exercises will follow this same basic ‘of the exercises will follow this same basic ‘fl owfl owfl owof the exercises will follow this same basic ‘fl owof the exercises will follow this same basic ‘of the exercises will follow this same basic ‘of the exercises will follow this same basic ‘fl owof the exercises will follow this same basic ‘fl owof the exercises will follow this same basic ‘fl owof the exercises will follow this same basic ‘of the exercises will follow this same basic ‘of the exercises will follow this same basic ‘fl owof the exercises will follow this same basic ‘ ’ as you move through the ’ as you move through the ’ as you move through the remaining 5 remaining 5 remaining 5 Two Finger GroupsTwo Finger GroupsTwo Finger Groups. . .

1-2 / 2-1 1-2 / 2-1 1-2 / 2-1 Fingering Group Fingering Group Fingering Group

111111111 222222222111111111 222222222

111111111 222222222111111111 222222222

111111111 222222222111111111 222222222

2222222 11111112222222 1111111

2222




3 43 4

3 43 4

3 43 4 3 4

3 43 4

3 43 4

3 4

4 34 3

4 34 3

4 34 3 4 3

4 34 3

4 34 3

4 3

1 31 3

1 31 3

1 31 3 1 3

1 31 3

1 31 3

1 3

3 13 1

3 13 1

3 13 1 3 1

3 13 1

3 13 1

3 1

10



2 42 4

2 42 4

2 42 4 2 4

2 42 4

2 42 4

2 4

4 24 2

4 24 2

4 24 2 4 2

4 24 2

4 24 2

4 2

1 41 4

1 41 4

1 41 4 1 4

1 41 4

1 41 4

1 4

4 14 1

4 14 1

4 14 1 4 1

4 14 1

4 14 1

4 1


Th e fi rst 12 exercises of the Basic Motion section were all shown in the Parallel Motion format. You should also apply the Reverse & Alternating Motions, and ALL of the string skipping, stretching, & hammer-on/pull-off motions to them. Doing ONLY these exercises as shown will benefi t you greatly, but you will broaden your overall sense of melodic movement so much more by applying all of those previous motion applications from Book One to the rest of this 4-part Series.

At this point, you should start to analyze the motions of ALL of the musical lines and exercises that you come across. You should be able to determine which of the ‘motions’ are being used. And then also which of the other motions could be used if you wanted to use them. Th en just apply them, depending on what the musical situation you’re in actually calls for. Th at will give you the freedom to explore more musical directions. ************************************************************************* So there are the 6 Finger Groups. I’ve mentioned: Finger Groups at least 10 times already, has it stuck yet? So how many fi nger groupings are there? Th e answer is: 6 Two Finger Groups! Th ere are only 6 possible Two Finger groups that you have the option of even using. Th is book will explore many ways to approach these 6 Groups. *************************************************************************

I am willing to bet that the majority of the time you use your 1-2, 1-3, & 1-4 fi nger groupings, while using the remaining 2-3, 2-4, & 3-4 groupings much less. To me, that is sort of a ‘red fl ag’ indicating that your hand strength is not as balanced as it could be. Obviously your 1st few fi ngers carry the majority of all fretting duties. To be clear, I am not tryingto say that this is a bad thing, its just an observation. It’s not a critique so much, but merely taking note that there is an opportunity to improve that aspect of the fretting hand. And that IS the goal here in this Series:*to improve your playing by all means available to you*

Expand on the Basic Motions

12

HAMMER’S & PULLS Hammer’s & Pulls (or hammer-on’s & pull-off s) are a great way to add a more fl uid legato sound to your playing. Th ey are great for building individual fi nger strength and control. And they have their own distinct sound when used. Having a good ‘hammer/pull’ technique allows you to play fast fretting hand passages with minimal picking. In other words, you can generally play faster with a good hammer/pull technique than when you are trying to synch both hands and pick every single note. Of course you should work towards having your fretting hand and picking hand being as balanced in all applications as possible. But if you take one hand out of the equation, it means you can focus a little more of your attention on the hand that is playing. And with that extra concentrated attention, maybe that does allow you to play just a little faster. Try it out and you’ll see what I mean. Th ere are hammer-ons which ascend, pull-off s which descend, and hammer-pulls which do both in various sequences. Although you can do them with any of your fi ngers, we’ll apply just the 6 Two Finger Groups to these hammer-pull examples. As with the rest of the material in the 1-2-3-4 Finger System, you want to apply these hammers/pulls to any exercises that you can. By working hard at these, you will gain much more fi nger independence and a balance of strength in your hand.

HAMMER-ONS Hammer-ons are when you actually fret a note without picking it. Just as the name indicates, you literally hammer your fi nger down onto the fret in a sort-of ‘snapping’ motion. By striking the fret with enough force, you will make the sound of that fret ring out. *Hammer-ons almost always ascend* You can apply a hammer-on with any of your 4 fretting hand fi ngers (and even your thumb). You can also ‘hammer’ with your picking hand, but this is generally referred to as “tapping”. You can hammer each of your fi ngers, or all of them at once, in any order; depending on the phrase you are trying to play. In Book One I mentioned the possible use of ‘ghost hammers’. Th is is when you hammer a note without picking it at all. You can do this with just one fi nger, or a group of fi ngers. In this Book we are focusing on 2 fi nger applications, so I will show a few examples of possibilities that involve various Two Finger hammer-ons.

PULL-OFFS Pull-off s are the reverse motion of a hammer-on. Th ere are also literally how they sound. You pull-off from a fretted note to a new note. When you pull-off a note, you do it in a way that is similar to plucking a note with a picking hand fi nger. *Pull-off s always descend to a lower pitched note* So when you do a pull-off , you’ll notice that you actually pull your fi nger downwards towards the E1 string as you release the note ( you can ‘pull’ by plucking the note upwards towards your E6 string, but its much more common to pull down towards the fl oor). If you do it properly, the pull-off motion will sound the next note (whether fretted or an open string) beneath the note you pulled from. As with the hammer-ons, you can use any of your fi ngers (and even your thumbs) from both your fretting hand & your picking hand. We will concentrate on Two Finger pull-off variations for this Book.

HAMMER-PULLS When you combine the motion of hammer-ons & pull-off s, you get ‘Hammer-Pulls’. Th ere are many ways you can sequence hammer-pulls within a single passage to create interesting sounds. If you alternate a hammer with a pull continuously its known as a ‘trill’. Th e trill gives a very cool sound with a rapid “rolling” sort of motion. Th ere are many ways you can combine hammers & pulls, but we’ll focus on how to apply them to Two Finger phrases in the next few pages.

Hammer’s & Pulls (or hammer-on’s & pull-off s) are a great way to add a more fl uid legato sound to your playing. Th ey are great for building individual fi nger strength and control. And they have their own distinct sound when used. Having a good ‘hammer/pull’ technique allows you to play fast fretting hand passages with minimal picking. In other words, you can generally play faster with a good hammer/pull technique than when you are trying to synch both hands and pick every single note. Of course you should work towards having your fretting hand and picking hand being as balanced in all applications as possible. But if you take one hand out of the equation, it means you can focus a little more of your attention on the hand that is playing. And with that extra concentrated attention, maybe that does allow you to play just a little faster. Try it out and you’ll see what I mean. Th ere are hammer-ons which ascend, pull-off s which descend, and hammer-pulls which do both in various sequences. Although you can do them with any of your fi ngers, we’ll apply just the 6 Two Finger Groups to these hammer-pull examples. As with the rest of the material in the 1-2-3-4 Finger System, you want to apply these hammers/pulls to any exercises that you can. By working hard at these, you will gain much more fi nger independence and a balance of strength in your hand.

HAMMER-ONS Hammer-ons are when you actually fret a note without picking it. Just as the name indicates, you literally hammer your fi nger down onto the fret in a sort-of ‘snapping’ motion. By striking the fret with enough force, you will make the sound of that fret ring out. *Hammer-ons almost always ascend* You can apply a hammer-on with any of your 4 fretting hand fi ngers (and even your thumb). You can also ‘hammer’ with your picking hand, but this is generally referred to as “tapping”. You can hammer each of your fi ngers, or all of them at once, in any order; depending on the phrase you are trying to play. In Book One I mentioned the possible use of ‘ghost hammers’. Th is is when you hammer a note without picking it at all. You can do this with just one fi nger, or a group of fi ngers. In this Book we are focusing on 2 fi nger applications, so I will show a few examples of possibilities that involve various Two Finger hammer-ons.

PULL-OFFS Pull-off s are the reverse motion of a hammer-on. Th ere are also literally how they sound. You pull-off from a fretted note to a new note. When you pull-off a note, you do it in a way that is similar to plucking a note with a picking hand fi nger. *Pull-off s always descend to a lower pitched note* So when you do a pull-off , you’ll notice that you actually pull your fi nger downwards towards the E1 string as you release the note ( you can ‘pull’ by plucking the note upwards towards your E6 string, but its much more common to pull down towards the fl oor). If you do it properly, the pull-off motion will sound the next note (whether fretted or an open string) beneath the note you pulled from. As with the hammer-ons, you can use any of your fi ngers (and even your thumbs) from both your fretting hand & your picking hand. We will concentrate on Two Finger pull-off variations for this Book.

HAMMER-PULLS When you combine the motion of hammer-ons & pull-off s, you get ‘Hammer-Pulls’. Th ere are many ways you can sequence hammer-pulls within a single passage to create interesting sounds. If you alternate a hammer with a pull continuously its known as a ‘trill’. Th e trill gives a very cool sound with a rapid “rolling” sort of motion. Th ere are many ways you can combine hammers & pulls, but we’ll focus on how to apply them to Two Finger phrases in the next few pages.


ECONOMY OF FRETTING MOTION While doing all of these exercises & examples, you want to pay attention to how much, or how far your fi ngers are actually moving. Economy of fretting motion is a technique in which you move your fi ngers as little as possible to achieve the sound of each note. Th ink of Bruce Lee’s famous one-inch punch. Th e highly explosive focus into the smallest possible range of motion can yield powerful results. Some players are great at this, and when you watch them play you can hear a lot of notes but it looks like their hand is hardly moving at all. It’s a great technique to learn, and will make you a more effi cient player! But explore the opposite of this too. Try to lift your fi ngers in an exaggerated manner by movingthem way farther than necessary. Th is can give you the feel for how much energy can be applied throughout the full range of motion. It’s defi nitely a good way to test your control & volume dynamics as well. You want to test how loud you can play, and how soft you can play through the full range of motion. You’ll fi nd there are ‘sweet spots’ if you spend some time doing this. **************************************************************************************************************** “I have not invented a “new style,” composite, modifi ed or otherwise that is set within distinct form as apart from “this” method or “that” method. On the contrary, I hope to free my followers from clinging to styles, patterns, or molds. Remember that Jeet Kune Do is merely a name used, a mirror in which to see “ourselves”. . . Jeet Kune Do is not an organized institution that one can be a member of. Either you understand or you don’t, and that is that. Th ere is no mystery about my style. My movements are simple, direct and non-classical. Th e extraordinary part of it lies in its simplicity. Every movement in Jeet Kune-Do is being so of itself. Th ere is nothing artifi cial about it. I always believe that the easy way is the right way. Jeet Kune-Do is simply the direct expression of one’s feelings with the minimum of movements and energy. Th e closer to the true way of Kung Fu, the less wastage of expression there is. Finally, a Jeet Kune Do man who says Jeet Kune Do is exclusively Jeet Kune Do is simply not with it. He is still hung up on his self-closing resistance, in this case anchored down to reactionary pattern, and naturally is still bound by another modifi ed pattern and can move within its limits. He has not digested the simple fact that truth exists outside all molds; pattern and awareness is never exclusive. Again let me remind you Jeet Kune Do is just a name used, a boat to get one across, and once across it is to be discarded and not to be carried on one’s back.” -Bruce Lee **************************************************************************************** Th e legendary Master: Bruce Lee *shown below*

ECONOMY OF FRETTING MOTION While doing all of these exercises & examples, you want to pay attention to how much, or how far your fi ngers are actually moving. Economy of fretting motion is a technique in which you move your fi ngers as little as possible to achieve the sound of each note. Th ink of Bruce Lee’s famous one-inch punch. Th e highly explosive focus into the smallest possible range of motion can yield powerful results. Some players are great at this, and when you watch them play you can hear a lot of notes but it looks like their hand is hardly moving at all. It’s a great technique to learn, and will make you a more effi cient player! But explore the opposite of this too. Try to lift your fi ngers in an exaggerated manner by movingthem way farther than necessary. Th is can give you the feel for how much energy can be applied throughout the full range of motion. It’s defi nitely a good way to test your control & volume dynamics as well. You want to test how loud you can play, and how soft you can play through the full range of motion. You’ll fi nd there are ‘sweet spots’ if you spend some time doing this. **************************************************************************************************************** “I have not invented a “new style,” composite, modifi ed or otherwise that is set within distinct form as apart from “this” method or “that” method. On the contrary, I hope to free my followers from clinging to styles, patterns, or molds. Remember that Jeet Kune Do is merely a name used, a mirror in which to see “ourselves”. . . Jeet Kune Do is not an organized institution that one can be a member of. Either you understand or you don’t, and that is that. Th ere is no mystery about my style. My movements are simple, direct and non-classical. Th e extraordinary part of it lies in its simplicity. Every movement in Jeet Kune-Do is being so of itself. Th ere is nothing artifi cial about it. I always believe that the easy way is the right way. Jeet Kune-Do is simply the direct expression of one’s feelings with the minimum of movements and energy. Th e closer to the true way of Kung Fu, the less wastage of expression there is. Finally, a Jeet Kune Do man who says Jeet Kune Do is exclusively Jeet Kune Do is simply not with it. He is still hung up on his self-closing resistance, in this case anchored down to reactionary pattern, and naturally is still bound by another modifi ed pattern and can move within its limits. He has not digested the simple fact that truth exists outside all molds; pattern and awareness is never exclusive. Again let me remind you Jeet Kune Do is just a name used, a boat to get one across, and once across it is to be discarded and not to be carried on one’s back.” -Bruce Lee **************************************************************************************** Th e legendary Master: Bruce Lee *shown below*

14

HAMMER & PULL EXAMPLES

Both of these examples are 2 note groupings. For both you would pick the 1st note while the 2nd note is sounded by applying the hammer, or the pull respectively. GO BACK to the Basic Motions section & apply these hammer/pull techniques to the rest of the 6 Two Finger Groups. Th is will give you a good feel for using hammers and pulls with all of your fi ngers.

Take the 1st two ascending and descending Exercises (1) and (2) from the Basic Motions, Group 1-2/2-1 shown below:

Exercise (1) would be the simplest way to apply a hammer-on. While Exercise (2) would make a great pull-off exercise. Hammers & pulls are indicated with “tie symbols” or as indicated below:

1 21 2

1 21 2

1 21 2 1 2

1 21 2

1 21 2

1 2

2 12 1

2 12 1

2 12 1 2 1

2 12 1

2 12 1

2 1

Both of these examples are 2 note groupings. For both you would pick the 1st note while the 2nd note is sounded by applying the hammer, or the pull respectively. GO BACK to the Basic Motions section & apply these hammer/pull techniques to the rest of the 6 Two Finger Groups. Th is will give you a good feel for using hammers and pulls with all of your fi ngers.

Take the 1st two ascending and descending Exercises (1) and (2) from the Basic Motions, Group 1-2/2-1 shown below:

222111111111 222222222

111111111 222222222111111111 222222222

222222222 111111111222222222 111111111

222222222 111111111222222222 111111111

222222222 111111111222222222 111111111

Exercise (1) would be the simplest way to apply a hammer-on. While Exercise (2) would make a great pull-off exercise. Hammers & pulls are indicated with “tie symbols” or as indicated below:

1 21 2

1 21 2

1 21 2 1 2

1 21 2

1 21 2

1 2

2 12 1

2 12 1

2 12 1 2 1

2 12 1

2 12 1

2 1

HAMMER & PULL EXAMPLESHAMMER & PULL EXAMPLES Take the 1st two ascending and descending Exercises (1) and (2) from Take the 1st two ascending and descending Exercises (1) and (2) from Take the 1st two ascending and descending Exercises (1) and (2) from Take the 1st two ascending and descending Exercises (1) and (2) from Take the 1st two ascending and descending Exercises (1) and (2) from Take the 1st two ascending and descending Exercises (1) and (2) from the Basic Motions, Group 1-2/2-1 shown below: the Basic Motions, Group 1-2/2-1 shown below: the Basic Motions, Group 1-2/2-1 shown below:

111111111 222222222111111111 222222222

111111111 222222222111111111 222222222

111111111 222222222111111111 222222222 111111111 222222222

111111111 222222222111111111 222222222

222222222 111111111222222222 111111111

222222222 111111111222222222 111111111

222222222 111111111222222222 111111111 222222222

Exercise (1) would be the simplest way to apply a hammer-on. While Exercise (1) would be the simplest way to apply a hammer-on. While Exercise (1) would be the simplest way to apply a hammer-on. While Exercise (2) would make a great pull-off exercise. Hammers & pulls are Exercise (2) would make a great pull-off exercise. Hammers & pulls are Exercise (2) would make a great pull-off exercise. Hammers & pulls are indicated with “tie symbols” or indicated with “tie symbols” or indicated with “tie symbols” or


Th e previous hammer/pull examples as played through the Basic Motions section can be applied to any 2 note sequence that you can reach with any of the fi nger groups. Be sure to experiment further with that concept! Now take a look at what you can do if you apply both of those techniques in the form of a hammer-pull. Th e following examples are groups of 3 notes, although you are only using Two Fingers. As a 3 note groupings, you pick only the 1st note, but then you hammer & pull the 2nd & 3rd notes. Th is is shown in the following examples. See below:

1 2 11 2 1

1 2 11 2 1

1 2 11 2 1 1 2 1

1 2 11 2 1

1 2 11 2 1

1 2 1

2 1 22 1 2

2 1 22 1 2

2 1 22 1 2 2 1 2

2 1 22 1 2

2 1 22 1 2

2 1 2

Th ose should be applied with all the 6 Two Finger Groups as well. Now look at these examples where you alternate the pattern every 3 notes:

1 2 12 1 2

1 2 12 1 2

1 2 12 1 2 1 2 1

2 1 21 2 1

2 1 21 2 1

2 1 2

2 1 21 2 1

2 1 21 2 1

2 1 21 2 1 2 1 2

1 2 12 1 2

1 2 12 1 2

1 2 1

Again, these are based off of the 1-2/2-1 group. Apply these to each of the other 5 fi nger groups. Again, these are based off of the 1-2/2-1 group. Apply these to each of the other 5 fi nger groups.

16

Now take a look at some 4 note hammer-pull combinations. All the same principles apply: pick the 1st note and hammer & pull the rest:

1 2 1 21 2 1 2

1 2 1 21 2 1 2

1 2 1 21 2 1 2 1 2 1 2

1 2 1 21 2 1 2

1 2 1 21 2 1 2

1 2 1 2

2 1 2 12 1 2 1

2 1 2 12 1 2 1

2 1 2 12 1 2 1 2 1 2 1

2 1 2 12 1 2 1

2 1 2 12 1 2 1

2 1 2 1

And the same applies to 5, 6, 7, etc.., note sequences. See Below:

1 2 1 2 11 2 1 2 1

1 2 1 2 11 2 1 2 1

2 1 2 1 2 12 1 2 1 2 1

2 1 2 1 2 12 1 2 1 2 1

1 2 1 2 1 2 12 1 2 1 2 1 2

1 2 1 2 1 2 12 1 2 1 2 1 2

Trills are just a extension of this concept, but played faster. A trill is indicated by the ‘tr’. Th e 1st number is the picked note. Th e number in ( ) is the fret being hammered , or pulled to. See Below:

1 (2)1 (2)

1 (2)1 (2)

2 (1)2 (1)

2 (1)2 (1)

(count) 1-2-3-4-5 etc...

(count) 1-2-3-4-5-6 etc...

(count)1-2-3-4-5-6-7 etc...

Now take a look at some 4 note hammer-pull combinations. All the same HAMMER & PULL EXAMPLES


5 85 7

5 7

5 85 7

5 7

5 85 7

5 75 7

5 75 7

5 85 7

5 85 8 8 5

8 57 5

8 57 5

7 57 5

7 57 5

8 5

7 57 5

8 5

7 57 5

8 5

12 812 8

11 910 9

10 912 8

9 10 99 10 9

9 11 99 10 9

9 11 98 12 8

8 12 8 12 14 12

8 128 12

9 119 10

9 108 12

10 9 1010 9 10

11 9 1110 9 10

11 9 1112 8 12

12 8 12 14 12 14

Another cool thing to do is combine picking with hammer/pulls. Try these 2 mixed picking/ hammer & pulls based on Exercises (1) and (2):

1 21 2

1 21 2

1 21 2 1 2

1 21 2

1 21 2

1 2

2 12 1

2 12 1

2 12 1 2 1

2 12 1

2 12 1

2 1

Th ere are a lot of variations of hammer-pulls involving multiple fi ngers, string skipping, & stretching, etc... You should explore as many variations as you can. Try to make up some of your own, and be creative with it!Here are a few examples of what you could do with combining Two Finger

hammer-pull patterns. Try these, and again, make up your own!

Of course, those are only a few directions you could go with combining hammers, pulls, and picking. But that should give you a good idea of how many possibilities there are for you to choose from. Re-arranging them all to create your own custom lines & phrases is the fun part. Try it out!

Of course, those are only a few directions you could go with combining hammers, pulls, and picking. But that should give you a good idea of how many possibilities there are for you to choose from. Re-arranging them all to create your own custom lines & phrases is the fun part. Try it out!

18

FINGER STRETCHING

RANGE OF MOTION

Before I get into these stretching exercises, I’d like to talk about the importance of literal stretching. Just as all athletes do a stretch routine before doing any physical activity, so should you before playing your guitar. Consider the fact that any physically demanding activities you do requires your blood & oxygen to be fl owing properly through the muscles to their fullest range of motion. Without stretching, your blood won’t fully extend into the muscles at their farthest range. So as you start to exert energy, your blood & oxygen do their best to push their way into your muscle fi bers. It’s very similar to how motor oil lubricates the gears in a car to minimize any harsh friction. Without proper lubrication, the parts will not only work improperly, but run a high risk of being badly damaged. So the main idea with stretching is to ensure that your blood is fl owing fully into the muscles you are working. By doing this, you’re body won’t be fi ghting itself to work through its full range of motion, and you will be operating at your full capacity in a healthy way. It’s for your own good!

*Th is is an important point that you NEED to put to use* Of course you’re just playing guitar, you’re not trying to lift weights or run a marathon. But the same principle applies. If you want to be in your best form, and playing to your fullest potential, then stretching WILL make a diff erence. Th ink about what happens when your fi ngers move. Th ere’s actually a chain-reaction of many things going on just to wiggle your fi nger. Your brain sends a signal to your body telling it to move. Th is ‘basically’ triggers the muscles in your shoulders, arms, hands, and fi nally your fi ngers to move. So blood & oxygen fl ow is important not only to your fretting fi nger, but to your entire body, at least between your brain & all the way through to your fi nger-tips.

I’m not saying you have to do a 30 minute stretch routine every time you play, but at the very least, it’s good to shake loose your arms, hands, and fi ngers to stimulate healthy blood fl ow. I am always stretching my hands and fi ngers with my other hand. Th is defi nitely helps to keep me limber and fl exible for all the things I am doing on my guitar.

While we are thinking in terms of blood fl ow and stretching, let’s think about the actual range of motion we are using in our individual fi ngers when we are playing our guitars. Like I had mentioned earlier, usually your 1st few fi ngers do most of the work while your other fi ngers are on “standby”. Chances are that those working fi ngers are much more fl exible and strong because you use them more. You demand more from them, so they adapt to what you require them to do; giving you a fuller range of motion. Now suppose you ‘demand’ more from your weaker fi ngers, and you make an eff ort to use them as oft en as your stronger fi ngers. What will happen, no doubt, is that you will see them growing stronger & taking on more musical responsibility. If the range of motion in our fi ngers is stretched to it’s fullest degree, then we’ll likely be able to play better. So this really should be a goal to strive for, of course!

Before I get into these stretching exercises, I’d like to talk about the importance of literal stretching. Just as all athletes do a stretch routine before doing any physical activity, so should you before playing your guitar. Consider the fact that any physically demanding activities you do requires your blood & oxygen to be fl owing properly through the muscles to their fullest range of motion. Without stretching, your blood won’t fully extend into the muscles at their farthest range. So as you start to exert energy, your blood & oxygen do their best to push their way into your muscle fi bers. It’s very similar to how motor oil lubricates the gears in a car to minimize any harsh friction. Without proper lubrication, the parts will not only work improperly, but run a high risk of being badly damaged. So the main idea with stretching is to ensure that your blood is fl owing fully into the muscles you are working. By doing this, you’re body won’t be fi ghting itself to work through its full range of motion, and you will be operating at your full capacity in a healthy way. It’s for your own good!

*Th is is an important point that you NEED to put to use* Of course you’re just playing guitar, you’re not trying to lift weights or run a marathon. But the same principle applies. If you want to be in your best form, and playing to your fullest potential, then stretching WILL make a diff erence. Th ink about what happens when your fi ngers move. Th ere’s actually a chain-reaction of many things going on just to wiggle your fi nger. Your brain sends a signal to your body telling it to move. Th is ‘basically’ triggers the muscles in your shoulders, arms, hands, and fi nally your fi ngers to move. So blood & oxygen fl ow is important not only to your fretting fi nger, but to your entire body, at least between your brain & all the way through to your fi nger-tips.

I’m not saying you have to do a 30 minute stretch routine every time you play, but at the very least, it’s good to shake loose your arms, hands, and fi ngers to stimulate healthy blood fl ow. I am always stretching my hands and fi ngers with my other hand. Th is defi nitely helps to keep me limber and fl exible for all the things I am doing on my guitar.

While we are thinking in terms of blood fl ow and stretching, let’s think about the actual range of motion we are using in our individual fi ngers when we are playing our guitars. Like I had mentioned earlier, usually your 1st few fi ngers do most of the work while your other fi ngers are on “standby”. Chances are that those working fi ngers are much more fl exible and strong because you use them more. You demand more from them, so they adapt to what you require them to do; giving you a fuller range of motion. Now suppose you ‘demand’ more from your weaker fi ngers, and you make an eff ort to use them as oft en as your stronger fi ngers. What will happen, no doubt, is that you will see them growing stronger & taking on more musical responsibility. If the range of motion in our fi ngers is stretched to it’s fullest degree, then we’ll likely be able to play better. So this really should be a goal to strive for, of course!


20

If you can stretch 3-4 or more frets that’s great! A better reach will open a lot of doors for your phrasing possibilities.

If you can stretch 3-4 or more frets that’s great! If you can stretch 3-4 or more frets that’s great!

Stretch Form When you look at the way your hand is positioned on the neck, you’ll see that each adjacent fi nger falls naturally to the next closest fret when in any given position. So you could say that: your fi ngers naturally cover the span of four frets without stretching. Lets take a look at how we are about to apply fi nger stretches to the 6 Two Finger Groupings.

I have decided to limit all of the following stretches to 2 frets above the natural position. Take the 1 - 2 grouping for example. If you start on the 1st fret of the guitar, fi ngers 1 & 2 fall naturally to the 1st & 2nd frets. I would consider that the “natural position”. See image below: natural position

Now if you keep your 1st fi nger planted on the 1st fret while moving your 2nd fi nger to the 3rd fret, then that would be a 1 fret stretch. If you keep your 1st fi nger planted on the 1st fret and move your 2nd fi nger once more to the 4th fret, then that would be a 2 fret stretch. You can stretch as much as you want to, or are able to. Be careful not to strain & hurt yourself though. 1 fret stretch 2 fret stretch


Tips on Diffi cult Stretch Forms As you do these stretching exercises, you should try to keep both fi ngers hovering as close as you can to their designated frets, if not planted directly onto each fret. However, you may fi nd this is very diffi cult, if not impossible to maintain the span of a full stretch for some of the wider reaching exercises.

If this is the case, it’s okay for you to let up with your “anchoring” fi nger in order to reach the fret you are aiming for. You can shift your hand a little towards that note if you need to, just try to hold as big of a stretch as you can. Th is will help develop strength through the fullest range of stretching motion that your fi ngers are capable of.

************************************************************************* Take note that some of these stretches are diffi cult when you are in the

1st fret position. You can slide the “pattern” of these exercises further up the neck (towards the 12th fret) to ease the strain of diffi cult stretches. And again, if you do these exercises regularly, you’ll fi nd that they will become easier for you to do, and your stretch & hands will get stronger as well. *************************************************************************

STRETCH VARIATIONS

If you take the 6 Two Finger Groups and stretch up to 2 frets maximum with them, then there will be a total of 12 stretch variations; there are 24 if you count the descending pattern of each Group (2-1 as opposed to 1-2).

*18 variations for 3 frets, 24 for 4 frets, etc, etc, etc...*

All 12 variations will be exhausted through 6 groups of four exercises in the exercises in the next few pages. But 1st lets take a closer look at how

the stretches are formatted per each Two Finger Group.

22

FINGER STRETCHING FORMATTh e Finger Stretching exercises are based on each of the 6 Two Finger Groups. For each of the 6 Groups, there will be 4 exercises that are applied to it.

************************ See Exercise (13) - (16)***************************• Exercise (13) is a Parallel Motion, an ascending then descending motion

as are all the others. Th e 1st grouping (1-2) ascends. For example: 1 - 2 . Th is is all applied with a ‘One Fret Stretch’.

• Exercise (14) is the same format as well, but the (1-2) grouping descends now. For example: 2 - 1. Also with a ‘One Fret Stretch’.

• Exercise (15) is the same as the (13), but with a ‘Two Fret Stretch’.

• Exercise (16) descends like (14), but with a ‘Two Fret Stretch’.

*************************************************************************

Group 1-2 stretches for all 4 exercises would be played with the 1st & 2nd

fi ngers only. So in Exercises (13) and (14), you would fret the 1st & 3rd

frets. While in Exercises (15) and (16) you would fret the 1st & 4th frets.*See the grouping + the fi ngering with stretches applied below:

Group + 1 fret stretch 2 fret stretch Grouping #1 1 - 2 = 1-3 (1 fret) & 1-4 (2 frets) Grouping #2 2 - 3 = 2-4 (1 fret) & 2-5 (2 frets) Grouping #3 3 - 4 = 3-5 (1 fret) & 3-6 (2 frets) Grouping #4 1 - 3 = 1-4 (1 fret) & 1-5 (2 frets) Grouping #5 2 - 4 = 2-5 (1 fret) & 2-6 (2 frets) Grouping #6 1 - 4 = 1-5 (1 fret) & 1-6 (2 frets)

*Th ere is a total of 12 stretch variations*

Th e Finger Stretching exercises are based on each of the 6 Two Finger Groups. For each of the 6 Groups, there will be 4 exercises that are applied to it.

************************ See Exercise (13) - (16)***************************• Exercise (13) is a Parallel Motion, an ascending then descending motion

as are all the others. Th e 1st grouping (1-2) ascends. For example: 1 - 2 . Th is is all applied with a ‘One Fret Stretch’.

• Exercise (14) is the same format as well, but the (1-2) grouping descends now. For example: 2 - 1. Also with a ‘One Fret Stretch’.

• Exercise (15) is the same as the (13), but with a ‘Two Fret Stretch’.

• Exercise (16) descends like (14), but with a ‘Two Fret Stretch’.

*************************************************************************

Group 1-2 stretches for all 4 exercises would be played with the 1st & 2nd

fi ngers only. So in Exercises (13) and (14), you would fret the 1st & 3rd

frets. While in Exercises (15) and (16) you would fret the 1st & 4th frets.*See the grouping + the fi ngering with stretches applied below:

Group + 1 fret stretch 2 fret stretch Grouping #1 1 - 2 = 1-3 (1 fret) & 1-4 (2 frets) Grouping #2 2 - 3 = 2-4 (1 fret) & 2-5 (2 frets) Grouping #3 3 - 4 = 3-5 (1 fret) & 3-6 (2 frets) Grouping #4 1 - 3 = 1-4 (1 fret) & 1-5 (2 frets) Grouping #5 2 - 4 = 2-5 (1 fret) & 2-6 (2 frets) Grouping #6 1 - 4 = 1-5 (1 fret) & 1-6 (2 frets)

*Th ere is a total of 12 stretch variations*

FINGER STRETCHING FORMATFINGER STRETCHING FORMATTh e Finger Stretching exercises are based on each of the 6 Th e Finger Stretching exercises are based on each of the 6 Th e Finger Stretching exercises are based on each of the 6 Two FingerTwo FingerTwo Finger Groups. Groups. Groups. Two Finger Groups. Two FingerTwo FingerTwo Finger Groups. Two Finger Groups. Two Finger Groups. Two FingerTwo FingerTwo Finger Groups. Two Finger For each of the 6 Groups, there will be 4 exercises that are applied to it. For each of the 6 Groups, there will be 4 exercises that are applied to it. For each of the 6 Groups, there will be 4 exercises that are applied to it.

************************ ************************ ************************ ************************ ************************ ************************ See ExerciseSee ExerciseSee Exercise (13) - (16) (13) - (16) (13) - (16)*********************************************************************************• • • Exercise (13)Exercise (13)Exercise (13) is a Parallel Motion, an ascending then descending motion is a Parallel Motion, an ascending then descending motion is a Parallel Motion, an ascending then descending motion

as are all the others. Th e 1as are all the others. Th e 1as are all the others. Th e 1st st st grouping (1-2) ascends. grouping (1-2) ascends. grouping (1-2) ascends. For example: 1 - 2 . Th is is all applied with aFor example: 1 - 2 . Th is is all applied with aFor example: 1 - 2 . Th is is all applied with a ‘One Fret Stretch’. ‘One Fret Stretch’. ‘One Fret Stretch’.

• • • Exercise (14)Exercise (14)Exercise (14) is the same format as well, but the (1-2) grouping descends is the same format as well, but the (1-2) grouping descends is the same format as well, but the (1-2) grouping descends now. For example: 2 - 1. Also with anow. For example: 2 - 1. Also with anow. For example: 2 - 1. Also with a

• • • Exercise (15)Exercise (15)Exercise (15) is the same as the is the same as the is the same as the (13)(13)(13)

• • • Exercise (16)Exercise (16)Exercise (16) descends like descends like descends like

************************************************************************* ************************************************************************* *************************************************************************

Group 1-2 stretches for all 4 exercises would be Group 1-2 stretches for all 4 exercises would be Group 1-2 stretches for all 4 exercises would be fi ngers fi ngers fi ngers onlyonlyonlyonlyonlyonlyfrets. While in Exercises (15) and (16) you would fret the 1frets. While in Exercises (15) and (16) you would fret the 1frets. While in Exercises (15) and (16) you would fret the 1

***


1 31 3

1 31 3

1 31 3 1 3

1 31 3

1 31 3

1 3

3 13 1

3 13 1

3 13 1 3 1

3 13 1

3 13 1

3 1

1 41 4

1 41 4

1 41 4 1 4

1 41 4

1 41 4

1 4

4 14 1

4 14 1

4 14 1 4 1

4 14 1

4 14 1

4 1


24

2 42 4

2 42 4

2 42 4 2 4

2 42 4

2 42 4

2 4

4 24 2

4 24 2

4 24 2 4 2

4 24 2

4 24 2

4 2

2 52 5

2 52 5

2 52 5 2 5

2 52 5

2 52 5

2 5

5 25 2

5 25 2

5 25 2 5 2

5 25 2

5 25 2

5 2


25 The 1-2-3-4 Guitar System, Part 2

3 53 5

3 53 5

3 53 5 3 5

3 53 5

3 53 5

3 5

5 35 3

5 35 3

5 35 3 5 3

5 35 3

5 35 3

5 3

3 63 6

3 63 6

3 63 6 3 6

3 63 6

3 63 6

3 6

6 36 3

6 36 3

6 36 3 6 3

6 36 3

6 36 3

6 3


26

1 41 4

1 41 4

1 41 4 1 4

1 41 4

1 41 4

1 4

4 14 1

4 14 1

4 14 1 4 1

4 14 1

4 14 1

4 1

1 51 5

1 51 5

1 51 5 1 5

1 51 5

1 51 5

1 5

5 15 1

5 15 1

5 15 1 5 1

5 15 1

5 15 1

5 1



2 52 5

2 52 5

2 52 5 2 5

2 52 5

2 52 5

2 5

5 25 2

5 25 2

5 25 2 5 2

5 25 2

5 25 2

5 2

2 62 6

2 62 6

2 62 6 2 6

2 62 6

2 62 6

2 6

6 26 2

6 26 2

6 26 2 6 2

6 26 2

6 26 2

6 2


28

1 51 5

1 51 5

1 51 5 1 5

1 51 5

1 51 5

1 5

5 15 1

5 15 1

5 15 1 5 1

5 15 1

5 15 1

5 1

1 61 6

1 61 6

1 61 6 1 6

1 61 6

1 61 6

1 6

6 16 1

6 16 1

6 16 1 6 1

6 16 1

6 16 1

6 1



“Every difficulty slurred over will be a ghost to disturb your repose later on.”

-Frédéric Chopin (1810-1849)

30

E B G D A E

E B G D A E

MORE STRING SKIPPING To ‘recap’ briefl y, lets look at how we worked on the string skipping

exercises from Book One. Take a look at the example below:

And then we progressively added wider string skipping to the routine.See the DOUBLE, TRIPLE, & QUADRUPLE string skip examples below:

E B G D A E

Th ose demonstrate the basic string skipping motion used throughout Book One’s: Parallel, Reverse, & Alternating Motion sections.

I would defi nitely recommend that you apply all 6 of the Two Finger Groups to all of the string skipping motions from above.

************************************************************************* Th ere are 8 variations of string skips introduced into this next section

from Exercise (37) through (45x). In (45x) you need to combine:• all 8 string skip variations• all 5 remaining Finger Groups (I notated the 1st group 1-2)• all of the 1 & 2 fret stretching concepts

I didn’t bother notating ALL of those exercise, but if I had there would be a total 576 of them. Th at iS a lot, but DO ALL OF THEM!!!

• 8 string skip variations x • 6 Finger Groups = (48) x • 12 Stretch variations = 576 total exercises!

To ‘recap’ briefl y, lets look at how we worked on the string skipping exercises from Book One. Take a look at the example below:

111111111

111111111111111111

111111111111111111

111111111111111111

111111111 111111111

111111111111111111

111111111111111111

111111111111111111

111111111

E B G D A E

And then we progressively added wider string skipping to the routine.See the DOUBLE, TRIPLE, & QUADRUPLE string skip examples below:

E B G D A E 111111111

111111111

111111111

111111111

111111111

111111111

111111111

111111111

111111111

111111111

111111111

111111111

111111111

111111111

111111111

111111111

111111111

111111111

111111111

111111111

111111111 111111111

111111111 111111111

111111111

E B G D A E


I think you would agree that it is a waste of space to have notated all of them. So you need to do all of these on your own. Use Exercise (37) - (44) as a model to guide you through the motions. You’ll just have to change up the Finger Groups & the Stretch variations as you exhaust each one. Sure, 576 is a lot of exercises. If you played each one in 5 seconds (which is realistic) it would take you 48 minutes to play all of them. If you apply the 2 motions: Reverse & Alternating (they are already in Parallel format) to those 576 you’d then have 1,728 exercises to work through. Chances are that you can easily recognize these forms & patterns as they are laid out. But its likely that you never use even a small fraction of them.

*************************************************************************So in the spirit of improving your playing, you should try them ALL!Who knows how many great ideas you may have in the process?!

*************************************************************************In Exercise (37) - you start the 1-2 group on the (E6) string with an

ascending 1-2 pattern. Th en you skip to higher & higher strings, but cycle back & forth to the (E6) string every other note. You do this until you reach your (E1) string. *Th is is a form of ‘Pedal Point’ phrasing which we’ll take a better look at in the next chapter*

In Exercise (38) - you do exactly the same thing as (37), except this time you start on the E1 string and work your way towards the E6 string, using the same ascending 1-2 pattern.

In Exercise (39) - the same thing happens, only this time you use a 2-1 descending pattern starting on the E6 string.

In Exercise (40) - the same thing again, only you descend with the 2-1 pattern starting on the E1 string.

- (These permutations continue similarly for 4 more Exercises)-

*Now, lets move on to the new string-skipping exercises*

32

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

2 1

8 String Skipping Variations


• 8 string skip variations x • 6 Finger Groups x • 12 Stretch variations =

576 total exercises! To help you stay focused enough to actually get through all 576 of these,Here’s a reference guide to assist you with the changing fret confi gurations: *Th e 8 string skip variations are out-lined to the left .* Follow the motion of all 8 of those as you move through each of the Groups & Stretches below, replacing the 1-2 group with the other 5 groups.

Follow each Group from left to right starting with the Grouping #1, followed by the 1 fret stretch, and then the 2 fret stretch columns. You would play the 8 exercises for each of these 3 columns. Th en move to the next row with Grouping #2 next, play the 8, continue to each column, etc...************************************************************************* Group + 1 fret stretch 2 fret stretch Grouping #1 1 - 2 = 1-3 (1 fret) & 1-4 (2 frets)

Grouping #2 2 - 3 = 2-4 (1 fret) & 2-5 (2 frets)




Grouping #6 1 - 4 = 1-5 (1 fret) & 1-6 (2 frets)*************************************************************************

Of course you can work through these any way you wish. I’d encourage you to be creative & come up with your own routines. Just have fun with these, and really, REALLY focus on getting your fi ngers moving fl uently.

34

Pedal Point & Pedal Tones Th is is a motion device in music where one note (or tone) is sustained while a separate melody moves around. Th is is a really cool phrasing techniquethat you can use to give your melody lines the feeling of holding a note while running through a scale at the same time. In the previous sections you saw Pedal Point put to use, but there is usually only 1 ‘Pedal Tone’, not 2 of them like you see below in Exercise (37):

What could be considered a Pedal Point in the above example is the reoccurring, somewhat sustained return to the 1st & 2nd frets of the (E6) string. As the 2 note groups move away from the (E6) string, they sort of keep ‘checking back in’ every couple of notes; it’s a basic pedal point form. To the RIGHT are examples A-F. Each demonstrate how Pedal Point motion can be used in diff erent ways. You want to pay attention mostly to the note that keeps reoccurring, the ‘Pedal Tone’. *************************************************************************example A & B - are motions similar to what was in the string skipping exercise above. Ascend & descend while pedaling on the ‘fi xed’ 1st fret of the (E6) string. Try to create some ‘fi xed’ exercises with the other 5 Groups.

example C & D - (C) pedals on the 12th fret (E1) string, while stretching and descending through a symmetrical run. (D) does something that is very similar, but in reverse form.

example E & F - pedals off of the open strings, while moving up & down chromatically until similarly reaching the octave of the ‘pedal tone’.

************************************************************************* Of course these are just random examples of what you could do. Th e main idea is to recognize the ‘pedal tone’ that is sustained throughout. Th ese are based loosely on a 1-2 grouping, try to use all of the other groupings as well.

Th is is a motion device in music where one note (or tone) is sustained while a separate melody moves around. Th is is a really cool phrasing techniquethat you can use to give your melody lines the feeling of holding a note while running through a scale at the same time. In the previous sections you saw Pedal Point put to use, but there is usually only 1 ‘Pedal Tone’, not 2 of them like you see below in Exercise (37):

What could be considered a Pedal Point in the above example is the reoccurring, somewhat sustained return to the 1st & 2nd frets of the (E6) string. As the 2 note groups move away from the (E6) string, they sort of keep ‘checking back in’ every couple of notes; it’s a basic pedal point form. To the RIGHT are examples A-F. Each demonstrate how Pedal Point motion can be used in diff erent ways. You want to pay attention mostly to the note that keeps reoccurring, the ‘Pedal Tone’. *************************************************************************example A & B - are motions similar to what was in the string skipping exercise above. Ascend & descend while pedaling on the ‘fi xed’ 1st fret of the (E6) string. Try to create some ‘fi xed’ exercises with the other 5 Groups.

example C & D - (C) pedals on the 12th fret (E1) string, while stretching and descending through a symmetrical run. (D) does something that is very similar, but in reverse form.

example E & F - pedals off of the open strings, while moving up & down chromatically until similarly reaching the octave of the ‘pedal tone’.

************************************************************************* Of course these are just random examples of what you could do. Th e main idea is to recognize the ‘pedal tone’ that is sustained throughout. Th ese are based loosely on a 1-2 grouping, try to use all of the other groupings as well.

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

1 2

Pedal Point & Pedal Tones Th is is a motion device in music where one note (or tone) is sustained while Th is is a motion device in music where one note (or tone) is sustained while Th is is a motion device in music where one note (or tone) is sustained while a separate melody moves around. Th is is a really cool phrasing techniquea separate melody moves around. Th is is a really cool phrasing techniquea separate melody moves around. Th is is a really cool phrasing techniquethat you can use to give your melody lines the feeling of holding a note while that you can use to give your melody lines the feeling of holding a note while that you can use to give your melody lines the feeling of holding a note while running through a scale at the same time. running through a scale at the same time. running through a scale at the same time. In the previous sections you saw In the previous sections you saw In the previous sections you saw Pedal PointPedal PointPedal Point put to use, but there is usually put to use, but there is usually put to use, but there is usually Pedal Point put to use, but there is usually Pedal PointPedal PointPedal Point put to use, but there is usually Pedal Point put to use, but there is usually Pedal Point put to use, but there is usually Pedal PointPedal PointPedal Point put to use, but there is usually Pedal Point only 1 ‘ only 1 ‘ only 1 ‘Pedal TonePedal TonePedal Tone’, not 2 of them like you see below in Exercise (37):’, not 2 of them like you see below in Exercise (37):’, not 2 of them like you see below in Exercise (37):

What could be considered a What could be considered a What could be considered a Pedal PointPedal PointPedal Pointreoccurring, somewhat sustained return to the 1reoccurring, somewhat sustained return to the 1reoccurring, somewhat sustained return to the 1string. As the 2 note groups move away from the (Estring. As the 2 note groups move away from the (Estring. As the 2 note groups move away from the (Ekeep ‘keep ‘keep ‘checking back inchecking back inchecking back in’ every couple of notes; it’s a basic pedal point form.’ every couple of notes; it’s a basic pedal point form.’ every couple of notes; it’s a basic pedal point form. To the RIGHT are examples A-F. Each demonstrate how To the RIGHT are examples A-F. Each demonstrate how To the RIGHT are examples A-F. Each demonstrate how motion can be used in diff erent ways. You want to pay attention mostly to motion can be used in diff erent ways. You want to pay attention mostly to motion can be used in diff erent ways. You want to pay attention mostly to the note that keeps reoccurring, the ‘the note that keeps reoccurring, the ‘the note that keeps reoccurring, the ‘***************************************************************************************************************************************************************************************************************************example A & Bexample A & Bexample A & Bexample A & Bexample A & Bexample A & Bexample A & Bexample A & Bexample A & Bexercise above. Ascend & descend while pedaling on the ‘exercise above. Ascend & descend while pedaling on the ‘exercise above. Ascend & descend while pedaling on the ‘the (Ethe (Ethe (E666) string. Try to create some ‘) string. Try to create some ‘) string. Try to create some ‘

example C & Dexample C & Dexample C & D

1111111 2222222

1111111 2222222

1111111 2222222

1111111 2222222

1111111 2222222

1111111 2222222

1111111 2222222

1111111 2222222


1 2 12

1

2

1

2

1

2

1

2

1

2

1

2

1

2

1

2

12

1 2

1 2 12

1

2

1

2

1

2

1

2

1

2

1

2

1

2

1

2

12

1 2

11 12 10 12 9 1211

1210

129

12

11

12

10

12

9

12

11

12

10

12

9

12

9 10 9 11 9 12 910

911

912

9

10

9

11

9

12

9

10

9

11

9

12

0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 0 10 0 11 0 12

0 11 12 0 9 10 0 7 8 0 5 6 0 3 4 0 1 2 0 13 14 0 11 12

1 2 1 2 1 2 1 2 1 2 1 2

1 2 1 2 1 2 1 2 1 2 1 2 etc...

1 2 1 2 1 2 1 2 1 2 1 2 etc...

1 2 1 2 1 2 1 2 1 2 1 2 1 2 1 2

36

Pedal Point + Stretch Variations To utilize Pedal Point with 2 fi ngers, I put together a set of exercises that use ascending & descending patterns (1-2 and 2-1, etc.). Here are the 6 Two Finger Groups with 6 ascending & 6 descending variations each that utilize a “short range” of Pedal Point motion. Th ere are 12 total per group. ************************************************************************* Exercises (46) - (57) are the 12 exercises that exhaust the combinations for the 1-2/ 2-1 Finger Group Th ere are 72 total for all of the 6 Groups. Th ese start aft er the Pedal Point + Stretching Variations chart shown on the following pages. *************************************************************************• For Exercise (46) I only notated that motion ascending through 6 strings. Th en the following exercise (47), is the backwards Motion of (46). Th is format continues through the rest of the Pedal Point stretch variations.

• For the rest of these exercises (58) - (117) I decided to notate them mostly because the shapes change a lot and its easy to confuse them. So, I went ahead and set them all to print for your convenience. ************************************************************************* Th e chart on the following pages puts all of the Pedal Point & Stretch Variations into perspective. Th ere are 12 variations within each Two Finger Group. Th e chart shows how they are related, & how they can be exhausted. I encourage you to spend some time with this, and to think of your own creative ways to work out all the possibilities contained within it. As far as Pedal Point is concerned, these exercises really aren’t the best way to show what the motion is capable of. A more thorough explanation would include phrases that revolve around a key center. Th e Pedal Tone can be used as a means to direct the fl ow of the melodic structure, or to imply a chord progression. However, this Book of Two Finger exercises is designed to exploit the possible 2 fi nger functions. For extensive Pedal Point phraseapplications, you’ll fi nd that using it with all four of your fi ngers & with specifi c key signatures will take you much further than a somewhat limited ‘Two Finger’ approach can. Just imagine what an organist, or pianist who use 10 “fi ngers” plus their feet can do with the Pedal Point motion.

I encourage you to spend some time with this, and to think of your own

As far as Pedal Point is concerned, these exercises really aren’t the best way to show what the motion is capable of. A more thorough explanation

can be used as a means to direct the fl ow of the melodic structure, or to imply a

exercises is designed to exploit the possible 2 fi nger functions. For extensive Pedal Point phraseapplications, you’ll fi nd that using it with all four of your fi ngers & with specifi c key signatures will take you much further than a somewhat limited

approach can. Just imagine what an organist, or pianist who


“logic will get you from A to B. imagination will take you everywhere.’’

-Albert Einstein

3838




************************************************************************* Ascending Descending 1-2 1-3 1-4 4-1 3-1 2-1 1-2 1-4 1-3 3-1 4-1 2-1 1-3 1-2 1-4 4-1 2-1 3-1 1-3 1-4 1-2 2-1 4-1 3-1 1-4 1-2 1-3 3-1 2-1 4-1 1-4 1-3 1-2 2-1 3-1 4-1



Pedal Point + Stretch Groups 1 - 2 - 3























40

1 2 1 3 1 41 2 1 3 1 4

1 2 1 3 1 41 2 1 3 1 4

1 2 1 3 1 41 2 1 3 1 4

4 1 3 1 2 14 1 3 1 2 1

4 1 3 1 2 14 1 3 1 2 1

4 1 3 1 2 14 1 3 1 2 1

1 2 1 4 1 31 2 1 4 1 3

1 2 1 4 1 31 2 1 4 1 3

1 2 1 4 1 31 2 1 4 1 3

2 1 3 1 4 12 1 3 1 4 1

2 1 3 1 4 12 1 3 1 4 1

2 1 3 1 4 12 1 3 1 4 1

1 3 1 2 1 41 3 1 2 1 4

1 3 1 2 1 41 3 1 2 1 4

1 3 1 2 1 41 3 1 2 1 4

4 1 2 1 3 14 1 2 1 3 1

4 1 2 1 3 14 1 2 1 3 1

4 1 2 1 3 14 1 2 1 3 1

Pedal Point + Stretch Group #1


1 3 1 4 1 21 3 1 4 1 2

1 3 1 4 1 21 3 1 4 1 2

1 3 1 4 1 21 3 1 4 1 2

2 1 4 1 3 12 1 4 1 3 1

2 1 4 1 3 12 1 4 1 3 1

2 1 4 1 3 12 1 4 1 3 1

1 4 1 2 1 31 4 1 2 1 3

1 4 1 2 1 31 4 1 2 1 3

1 4 1 2 1 31 4 1 2 1 3

3 1 2 1 4 13 1 2 1 4 1

3 1 2 1 4 13 1 2 1 4 1

3 1 2 1 4 13 1 2 1 4 1

1 4 1 3 1 21 4 1 3 1 2

1 4 1 3 1 21 4 1 3 1 2

1 4 1 3 1 21 4 1 3 1 2

2 1 3 1 4 12 1 3 1 4 1

2 1 3 1 4 12 1 3 1 4 1

2 1 3 1 4 12 1 3 1 4 1

1 3 1 4 1 21 3 1 4 1 2

1 3 1 4 1 21 3 1 4 1 2

1 3 1 4 1 21 3 1 4 1 2

2 1 4 1 3 12 1 4 1 3 1

2 1 4 1 3 12 1 4 1 3 1

2 1 4 1 3 12 1 4 1 3 1

1 4 1 2 1 31 4 1 2 1 3

1 4 1 2 1 31 4 1 2 1 3

1 4 1 2 1 31 4 1 2 1 3

3 1 2 1 4 13 1 2 1 4 1

3 1 2 1 4 13 1 2 1 4 1

3 1 2 1 4 13 1 2 1 4 1

1 4 1 3 1 21 4 1 3 1 2

1 4 1 3 1 21 4 1 3 1 2

1 4 1 3 1 21 4 1 3 1 2

2 1 3 1 4 12 1 3 1 4 1

2 1 3 1 4 12 1 3 1 4 1

2 1 3 1 4 12 1 3 1 4 1

1 3 1 4 1 21 3 1 4 1 2

1 3 1 4 1 21 3 1 4 1 2

1 3 1 4 1 21 3 1 4 1 2

2 1 4 1 3 12 1 4 1 3 1

2 1 4 1 3 12 1 4 1 3 1

2 1 4 1 3 12 1 4 1 3 1

1 4 1 2 1 31 4 1 2 1 3

1 4 1 2 1 31 4 1 2 1 3

1 4 1 2 1 31 4 1 2 1 3

3 1 2 1 4 13 1 2 1 4 1

3 1 2 1 4 13 1 2 1 4 1

3 1 2 1 4 13 1 2 1 4 1

1 4 1 3 1 21 4 1 3 1 2

1 4 1 3 1 21 4 1 3 1 2

1 4 1 3 1 21 4 1 3 1 2

2 1 3 1 4 12 1 3 1 4 1

2 1 3 1 4 12 1 3 1 4 1

2 1 3 1 4 12 1 3 1 4 1

1 3 1 4 1 21 3 1 4 1 2

1 3 1 4 1 21 3 1 4 1 2

1 3 1 4 1 21 3 1 4 1 2

2 1 4 1 3 12 1 4 1 3 1

2 1 4 1 3 12 1 4 1 3 1

2 1 4 1 3 12 1 4 1 3 1

1 4 1 2 1 31 4 1 2 1 3

1 4 1 2 1 31 4 1 2 1 3

1 4 1 2 1 31 4 1 2 1 3

3 1 2 1 4 13 1 2 1 4 1

3 1 2 1 4 13 1 2 1 4 1

3 1 2 1 4 13 1 2 1 4 1

1 4 1 3 1 21 4 1 3 1 2

1 4 1 3 1 21 4 1 3 1 2

1 4 1 3 1 21 4 1 3 1 2

2 1 3 1 4 12 1 3 1 4 1

2 1 3 1 4 12 1 3 1 4 1

2 1 3 1 4 12 1 3 1 4 1

42

2 3 2 4 2 52 3 2 4 2 5

2 3 2 4 2 52 3 2 4 2 5

2 3 2 4 2 52 3 2 4 2 5

5 2 4 2 3 25 2 4 2 3 2

5 2 4 2 3 25 2 4 2 3 2

5 2 4 2 3 25 2 4 2 3 2

2 3 2 5 2 42 3 2 5 2 4

2 3 2 5 2 42 3 2 5 2 4

2 3 2 5 2 42 3 2 5 2 4

4 2 5 2 3 24 2 5 2 3 2

4 2 5 2 3 24 2 5 2 3 2

4 2 5 2 3 24 2 5 2 3 2

2 4 2 3 2 52 4 2 3 2 5

2 4 2 3 2 52 4 2 3 2 5

2 4 2 3 2 52 4 2 3 2 5

5 2 3 2 4 25 2 3 2 4 2

5 2 3 2 4 25 2 3 2 4 2

5 2 3 2 4 25 2 3 2 4 2



2 4 2 5 2 32 4 2 5 2 3

2 4 2 5 2 32 4 2 5 2 3

2 4 2 5 2 32 4 2 5 2 3

3 2 5 2 4 23 2 5 2 4 2

3 2 5 2 4 23 2 5 2 4 2

3 2 5 2 4 23 2 5 2 4 2

2 5 2 3 2 42 5 2 3 2 4

2 5 2 3 2 42 5 2 3 2 4

2 5 2 3 2 42 5 2 3 2 4

4 2 3 2 5 24 2 3 2 5 2

4 2 3 2 5 24 2 3 2 5 2

4 2 3 2 5 24 2 3 2 5 2

2 5 2 4 2 32 5 2 4 2 3

2 5 2 4 2 32 5 2 4 2 3

2 5 2 4 2 32 5 2 4 2 3

3 2 4 2 5 23 2 4 2 5 2

3 2 4 2 5 23 2 4 2 5 2

3 2 4 2 5 23 2 4 2 5 2

2 4 2 5 2 32 4 2 5 2 3

2 4 2 5 2 32 4 2 5 2 3

2 4 2 5 2 32 4 2 5 2 3

3 2 5 2 4 23 2 5 2 4 2

3 2 5 2 4 23 2 5 2 4 2

3 2 5 2 4 23 2 5 2 4 2

2 5 2 3 2 42 5 2 3 2 4

2 5 2 3 2 42 5 2 3 2 4

2 5 2 3 2 42 5 2 3 2 4

4 2 3 2 5 24 2 3 2 5 2

4 2 3 2 5 24 2 3 2 5 2

4 2 3 2 5 24 2 3 2 5 2

2 5 2 4 2 32 5 2 4 2 3

2 5 2 4 2 32 5 2 4 2 3

2 5 2 4 2 32 5 2 4 2 3

3 2 4 2 5 23 2 4 2 5 2

3 2 4 2 5 23 2 4 2 5 2

3 2 4 2 5 23 2 4 2 5 2

2 4 2 5 2 32 4 2 5 2 3

2 4 2 5 2 32 4 2 5 2 3

2 4 2 5 2 32 4 2 5 2 3

3 2 5 2 4 23 2 5 2 4 2

3 2 5 2 4 23 2 5 2 4 2

3 2 5 2 4 23 2 5 2 4 2

2 5 2 3 2 42 5 2 3 2 4

2 5 2 3 2 42 5 2 3 2 4

2 5 2 3 2 42 5 2 3 2 4

4 2 3 2 5 24 2 3 2 5 2

4 2 3 2 5 24 2 3 2 5 2

4 2 3 2 5 24 2 3 2 5 2

2 5 2 4 2 32 5 2 4 2 3

2 5 2 4 2 32 5 2 4 2 3

2 5 2 4 2 32 5 2 4 2 3

3 2 4 2 5 23 2 4 2 5 2

3 2 4 2 5 23 2 4 2 5 2

3 2 4 2 5 23 2 4 2 5 2

2 4 2 5 2 32 4 2 5 2 3

2 4 2 5 2 32 4 2 5 2 3

2 4 2 5 2 32 4 2 5 2 3

3 2 5 2 4 23 2 5 2 4 2

3 2 5 2 4 23 2 5 2 4 2

3 2 5 2 4 23 2 5 2 4 2

2 5 2 3 2 42 5 2 3 2 4

2 5 2 3 2 42 5 2 3 2 4

2 5 2 3 2 42 5 2 3 2 4

4 2 3 2 5 24 2 3 2 5 2

4 2 3 2 5 24 2 3 2 5 2

4 2 3 2 5 24 2 3 2 5 2

2 5 2 4 2 32 5 2 4 2 3

2 5 2 4 2 32 5 2 4 2 3

2 5 2 4 2 32 5 2 4 2 3

3 2 4 2 5 23 2 4 2 5 2

3 2 4 2 5 23 2 4 2 5 2

3 2 4 2 5 23 2 4 2 5 2

44

3 4 3 5 3 63 4 3 5 3 6

3 4 3 5 3 63 4 3 5 3 6

3 4 3 5 3 63 4 3 5 3 6

6 3 5 3 4 36 3 5 3 4 3

6 3 5 3 4 36 3 5 3 4 3

6 3 5 3 4 36 3 5 3 4 3

3 4 3 6 3 53 4 3 6 3 5

3 4 3 6 3 53 4 3 6 3 5

3 4 3 6 3 53 4 3 6 3 5

5 3 6 3 4 35 3 6 3 4 3

5 3 6 3 4 35 3 6 3 4 3

5 3 6 3 4 35 3 6 3 4 3

3 5 3 4 3 63 5 3 4 3 6

3 5 3 4 3 63 5 3 4 3 6

3 5 3 4 3 63 5 3 4 3 6

6 3 4 3 5 36 3 4 3 5 3

6 3 4 3 5 36 3 4 3 5 3

6 3 4 3 5 36 3 4 3 5 3



3 5 3 6 3 43 5 3 6 3 4

3 5 3 6 3 43 5 3 6 3 4

3 5 3 6 3 43 5 3 6 3 4

4 3 6 3 5 34 3 6 3 5 3

4 3 6 3 5 34 3 6 3 5 3

4 3 6 3 5 34 3 6 3 5 3

3 6 3 4 3 53 6 3 4 3 5

3 6 3 4 3 53 6 3 4 3 5

3 6 3 4 3 53 6 3 4 3 5

5 3 4 3 6 35 3 4 3 6 3

5 3 4 3 6 35 3 4 3 6 3

5 3 4 3 6 35 3 4 3 6 3

3 6 3 5 3 43 6 3 5 3 4

3 6 3 5 3 43 6 3 5 3 4

3 6 3 5 3 43 6 3 5 3 4

4 3 5 3 6 34 3 5 3 6 3

4 3 5 3 6 34 3 5 3 6 3

4 3 5 3 6 34 3 5 3 6 3

3 5 3 6 3 43 5 3 6 3 4

3 5 3 6 3 43 5 3 6 3 4

3 5 3 6 3 43 5 3 6 3 4

4 3 6 3 5 34 3 6 3 5 3

4 3 6 3 5 34 3 6 3 5 3

4 3 6 3 5 34 3 6 3 5 3

3 6 3 4 3 53 6 3 4 3 5

3 6 3 4 3 53 6 3 4 3 5

3 6 3 4 3 53 6 3 4 3 5

5 3 4 3 6 35 3 4 3 6 3

5 3 4 3 6 35 3 4 3 6 3

5 3 4 3 6 35 3 4 3 6 3

3 6 3 5 3 43 6 3 5 3 4

3 6 3 5 3 43 6 3 5 3 4

3 6 3 5 3 43 6 3 5 3 4

4 3 5 3 6 34 3 5 3 6 3

4 3 5 3 6 34 3 5 3 6 3

4 3 5 3 6 34 3 5 3 6 3

3 5 3 6 3 43 5 3 6 3 4

3 5 3 6 3 43 5 3 6 3 4

3 5 3 6 3 43 5 3 6 3 4

4 3 6 3 5 34 3 6 3 5 3

4 3 6 3 5 34 3 6 3 5 3

4 3 6 3 5 34 3 6 3 5 3

3 6 3 4 3 53 6 3 4 3 5

3 6 3 4 3 53 6 3 4 3 5

3 6 3 4 3 53 6 3 4 3 5

5 3 4 3 6 35 3 4 3 6 3

5 3 4 3 6 35 3 4 3 6 3

5 3 4 3 6 35 3 4 3 6 3

3 6 3 5 3 43 6 3 5 3 4

3 6 3 5 3 43 6 3 5 3 4

3 6 3 5 3 43 6 3 5 3 4

4 3 5 3 6 34 3 5 3 6 3

4 3 5 3 6 34 3 5 3 6 3

4 3 5 3 6 34 3 5 3 6 3

46

1 3 1 4 1 51 3 1 4 1 5

1 3 1 4 1 51 3 1 4 1 5

1 3 1 4 1 51 3 1 4 1 5

5 1 4 1 3 15 1 4 1 3 1

5 1 4 1 3 15 1 4 1 3 1

5 1 4 1 3 15 1 4 1 3 1

1 3 1 5 1 41 3 1 5 1 4

1 3 1 5 1 41 3 1 5 1 4

1 3 1 5 1 41 3 1 5 1 4

4 1 5 1 3 14 1 5 1 3 1

4 1 5 1 3 14 1 5 1 3 1

4 1 5 1 3 14 1 5 1 3 1

1 4 1 3 1 51 4 1 3 1 5

1 4 1 3 1 51 4 1 3 1 5

1 4 1 3 1 51 4 1 3 1 5

5 1 3 1 4 15 1 3 1 4 1

5 1 3 1 4 15 1 3 1 4 1

5 1 3 1 4 15 1 3 1 4 1



1 4 1 5 1 31 4 1 5 1 3

1 4 1 5 1 31 4 1 5 1 3

1 4 1 5 1 31 4 1 5 1 3

3 1 5 1 4 13 1 5 1 4 1

3 1 5 1 4 13 1 5 1 4 1

3 1 5 1 4 13 1 5 1 4 1

1 5 1 3 1 41 5 1 3 1 4

1 5 1 3 1 41 5 1 3 1 4

1 5 1 3 1 41 5 1 3 1 4

4 1 3 1 5 14 1 3 1 5 1

4 1 3 1 5 14 1 3 1 5 1

4 1 3 1 5 14 1 3 1 5 1

1 5 1 4 1 31 5 1 4 1 3

1 5 1 4 1 31 5 1 4 1 3

1 5 1 4 1 31 5 1 4 1 3

3 1 4 1 5 13 1 4 1 5 1

3 1 4 1 5 13 1 4 1 5 1

3 1 4 1 5 13 1 4 1 5 1

1 4 1 5 1 31 4 1 5 1 3

1 4 1 5 1 31 4 1 5 1 3

1 4 1 5 1 31 4 1 5 1 3

3 1 5 1 4 13 1 5 1 4 1

3 1 5 1 4 13 1 5 1 4 1

3 1 5 1 4 13 1 5 1 4 1

1 5 1 3 1 41 5 1 3 1 4

1 5 1 3 1 41 5 1 3 1 4

1 5 1 3 1 41 5 1 3 1 4

4 1 3 1 5 14 1 3 1 5 1

4 1 3 1 5 14 1 3 1 5 1

4 1 3 1 5 14 1 3 1 5 1

1 5 1 4 1 31 5 1 4 1 3

1 5 1 4 1 31 5 1 4 1 3

1 5 1 4 1 31 5 1 4 1 3

3 1 4 1 5 13 1 4 1 5 1

3 1 4 1 5 13 1 4 1 5 1

3 1 4 1 5 13 1 4 1 5 1

1 4 1 5 1 31 4 1 5 1 3

1 4 1 5 1 31 4 1 5 1 3

1 4 1 5 1 31 4 1 5 1 3

3 1 5 1 4 13 1 5 1 4 1

3 1 5 1 4 13 1 5 1 4 1

3 1 5 1 4 13 1 5 1 4 1

1 5 1 3 1 41 5 1 3 1 4

1 5 1 3 1 41 5 1 3 1 4

1 5 1 3 1 41 5 1 3 1 4

4 1 3 1 5 14 1 3 1 5 1

4 1 3 1 5 14 1 3 1 5 1

4 1 3 1 5 14 1 3 1 5 1

1 5 1 4 1 31 5 1 4 1 3

1 5 1 4 1 31 5 1 4 1 3

1 5 1 4 1 31 5 1 4 1 3

3 1 4 1 5 13 1 4 1 5 1

3 1 4 1 5 13 1 4 1 5 1

3 1 4 1 5 13 1 4 1 5 1

48

2 4 2 5 2 62 4 2 5 2 6

2 4 2 5 2 62 4 2 5 2 6

2 4 2 5 2 62 4 2 5 2 6

6 2 5 2 4 26 2 5 2 4 2

6 2 5 2 4 26 2 5 2 4 2

6 2 5 2 4 26 2 5 2 4 2

2 4 2 6 2 52 4 2 6 2 5

2 4 2 6 2 52 4 2 6 2 5

2 4 2 6 2 52 4 2 6 2 5

5 2 6 2 4 25 2 6 2 4 2

5 2 6 2 4 25 2 6 2 4 2

5 2 6 2 4 25 2 6 2 4 2

2 5 2 4 1 62 5 2 4 2 6

2 5 2 4 2 62 5 2 4 2 6

2 5 2 4 2 62 5 2 4 2 6

6 2 4 2 5 26 2 4 2 5 2

6 2 4 2 5 26 2 4 2 5 2

6 2 4 2 5 26 2 4 2 5 2



2 5 2 6 2 42 5 2 6 2 4

2 5 2 6 2 42 5 2 6 2 4

2 5 2 6 2 42 5 2 6 2 4

4 2 6 2 5 24 2 6 2 5 2

4 2 6 2 5 24 2 6 2 5 2

4 2 6 2 5 24 2 6 2 5 2

2 6 2 4 2 52 6 2 4 2 5

2 6 2 4 2 52 6 2 4 2 5

2 6 2 4 2 52 6 2 4 2 5

5 2 4 2 6 25 2 4 2 6 2

5 2 4 2 6 25 2 4 2 6 2

5 2 4 2 6 25 2 4 2 6 2

2 6 2 5 2 42 6 2 5 2 4

2 6 2 5 2 42 6 2 5 2 4

2 6 2 5 2 42 6 2 5 2 4

4 2 5 2 6 24 2 5 2 6 2

4 2 5 2 6 24 2 5 2 6 2

4 2 5 2 6 24 2 5 2 6 2

2 5 2 6 2 42 5 2 6 2 4

2 5 2 6 2 42 5 2 6 2 4

2 5 2 6 2 42 5 2 6 2 4

4 2 6 2 5 24 2 6 2 5 2

4 2 6 2 5 24 2 6 2 5 2

4 2 6 2 5 24 2 6 2 5 2

2 6 2 4 2 52 6 2 4 2 5

2 6 2 4 2 52 6 2 4 2 5

2 6 2 4 2 52 6 2 4 2 5

5 2 4 2 6 25 2 4 2 6 2

5 2 4 2 6 25 2 4 2 6 2

5 2 4 2 6 25 2 4 2 6 2

2 6 2 5 2 42 6 2 5 2 4

2 6 2 5 2 42 6 2 5 2 4

2 6 2 5 2 42 6 2 5 2 4

4 2 5 2 6 24 2 5 2 6 2

4 2 5 2 6 24 2 5 2 6 2

4 2 5 2 6 24 2 5 2 6 2

2 5 2 6 2 42 5 2 6 2 4

2 5 2 6 2 42 5 2 6 2 4

2 5 2 6 2 42 5 2 6 2 4

4 2 6 2 5 24 2 6 2 5 2

4 2 6 2 5 24 2 6 2 5 2

4 2 6 2 5 24 2 6 2 5 2

2 6 2 4 2 52 6 2 4 2 5

2 6 2 4 2 52 6 2 4 2 5

2 6 2 4 2 52 6 2 4 2 5

5 2 4 2 6 25 2 4 2 6 2

5 2 4 2 6 25 2 4 2 6 2

5 2 4 2 6 25 2 4 2 6 2

2 6 2 5 2 42 6 2 5 2 4

2 6 2 5 2 42 6 2 5 2 4

2 6 2 5 2 42 6 2 5 2 4

4 2 5 2 6 24 2 5 2 6 2

4 2 5 2 6 24 2 5 2 6 2

4 2 5 2 6 24 2 5 2 6 2

50

1 4 1 5 1 61 4 1 5 1 6

1 4 1 5 1 61 4 1 5 1 6

1 4 1 5 1 61 4 1 5 1 6

6 1 5 1 4 16 1 5 1 4 1

6 1 5 1 4 16 1 5 1 4 1

6 1 5 1 4 16 1 5 1 4 1

1 4 1 6 1 51 4 1 6 1 5

1 4 1 6 1 51 4 1 6 1 5

1 4 1 6 1 51 4 1 6 1 5

5 1 6 1 4 15 1 6 1 4 1

5 1 6 1 4 15 1 6 1 4 1

5 1 6 1 4 15 1 6 1 4 1

1 5 1 4 1 61 5 1 4 1 6

1 5 1 4 1 61 5 1 4 1 6

1 5 1 4 1 61 5 1 4 1 6

6 1 4 1 5 16 1 4 1 5 1

6 1 4 1 5 16 1 4 1 5 1

6 1 4 1 5 16 1 4 1 5 1



1 5 1 6 1 41 5 1 6 1 4

1 5 1 6 1 41 5 1 6 1 4

1 5 1 6 1 41 5 1 6 1 4

4 1 6 1 5 14 1 6 1 5 1

4 1 6 1 5 14 1 6 1 5 1

4 1 6 1 5 14 1 6 1 5 1

1 6 1 4 1 51 6 1 4 1 5

1 6 1 4 1 51 6 1 4 1 5

1 6 1 4 1 51 6 1 4 1 5

5 1 4 1 6 15 1 4 1 6 1

5 1 4 1 6 15 1 4 1 6 1

5 1 4 1 6 15 1 4 1 6 1

1 6 1 5 1 41 6 1 5 1 4

1 6 1 5 1 41 6 1 5 1 4

1 6 1 5 1 41 6 1 5 1 4

4 1 5 1 6 14 1 5 1 6 1

4 1 5 1 6 14 1 5 1 6 1

4 1 5 1 6 14 1 5 1 6 1

1 5 1 6 1 41 5 1 6 1 4

1 5 1 6 1 41 5 1 6 1 4

1 5 1 6 1 41 5 1 6 1 4

4 1 6 1 5 14 1 6 1 5 1

4 1 6 1 5 14 1 6 1 5 1

4 1 6 1 5 14 1 6 1 5 1

1 6 1 4 1 51 6 1 4 1 5

1 6 1 4 1 51 6 1 4 1 5

1 6 1 4 1 51 6 1 4 1 5

5 1 4 1 6 15 1 4 1 6 1

5 1 4 1 6 15 1 4 1 6 1

5 1 4 1 6 15 1 4 1 6 1

1 6 1 5 1 41 6 1 5 1 4

1 6 1 5 1 41 6 1 5 1 4

1 6 1 5 1 41 6 1 5 1 4

4 1 5 1 6 14 1 5 1 6 1

4 1 5 1 6 14 1 5 1 6 1

4 1 5 1 6 14 1 5 1 6 1

1 5 1 6 1 41 5 1 6 1 4

1 5 1 6 1 41 5 1 6 1 4

1 5 1 6 1 41 5 1 6 1 4

4 1 6 1 5 14 1 6 1 5 1

4 1 6 1 5 14 1 6 1 5 1

4 1 6 1 5 14 1 6 1 5 1

1 6 1 4 1 51 6 1 4 1 5

1 6 1 4 1 51 6 1 4 1 5

1 6 1 4 1 51 6 1 4 1 5

5 1 4 1 6 15 1 4 1 6 1

5 1 4 1 6 15 1 4 1 6 1

5 1 4 1 6 15 1 4 1 6 1

1 6 1 5 1 41 6 1 5 1 4

1 6 1 5 1 41 6 1 5 1 4

1 6 1 5 1 41 6 1 5 1 4

4 1 5 1 6 14 1 5 1 6 1

4 1 5 1 6 14 1 5 1 6 1

4 1 5 1 6 14 1 5 1 6 1

5252

An Introduction

to

INTERVAL ANALYSIS part II


In Book One, we spent some time analyzing intervals within a one Octave range. Here in the 2nd Book, we’ll look at all of the intervals within a two Octave range. Th ere are 25 intervals total if you count the root note & both octaves. Th e range of 2 octaves exhausts most all possible ‘tensions’. Th is is because aft er that, all the notes basically repeat themselves at higher (or lower) octaves. So no ‘new’ notes are really introduced, therefore no ‘new tensions’ are created. Tension- is when you combine 2 or more notes (pitches) & the eff ect that they create. Basically, the combination of various pitches creates consonance and/or dissonance, leaving the listener with the expectation of some form of resolution.*********************TWO OCTAVE INTERVALS***********************

Root 1st Minor 2nd Major 2nd Minor 3rd Major 3rd Perfect 4th Flat 5th Perfect 5th Minor 6th Major 6th Dominant 7th Major 7th Octave 1 b9th Major 9th #9th Major 10th Perfect 11th #11th Perfect 12th b13th 13th #13th Major 7th Octave 2

- this is a 0 fret interval/ or unison (#1)- this is a 1 fret interval/ or ½ step- this is a 2 fret interval/ or 1 full step- this is a 3 fret interval/ or 1 ½ steps- this is a 4 fret interval/ or 2 steps- this is a 5 fret interval/ or 2 ½ steps- this is a 6 fret interval/ or 3 steps (diminished)- this is a 7 fret interval/ or 3 ½ steps- this is a 8 fret interval/ or 4 steps (augmented)- this is a 9 fret interval/ or 4½ steps- this is a 10 fret interval/ or 5 steps (or fl at 7th)- this is a 11 fret interval/ or 5 ½ steps- this is a 12 fret interval/ or 6 steps (unison #2) - this is a 13 fret interval/ or 6 ½ step (minor 2nd)- this is a 14 fret interval/ or 7 steps (Major 2nd)- this is a 15 fret interval/ or 7 ½ steps (minor 10th)- this is a 16 fret interval/ or 8 steps (Major 3rd)- this is a 17 fret interval/ or 8 ½ steps (Perfect 4th)- this is a 18 fret interval/ or 9 steps (tritone)- this is a 19 fret interval/ or 9 ½ steps (Perfect 5th)- this is a 20 fret interval/ or 10 steps (minor 6th)- this is a 21 fret interval/ or 10 ½ steps (Major 6th)- this is a 22 fret interval/ or 11 steps (Dominant)- this is a 23 fret interval/ or 11 ½ steps (Major 7th)- this is a 24 fret interval/ or 12 steps (unison #3)

54

Intervals & Dyads Intervals are simply the distance from one note to another note. Or thinking in terms of key signatures, chords, & scales: from one starting note to a series of other notes in relation to that same initial note. Th is creates a sort of ‘family’, where all of the members (notes) of the ‘family’ are related to each other in some way, and all of them are based on the same root. All of these relationships are unique. Some of them have a lot in common and “get along” very well, where some totally clash with each other and create “harsh feelings”. Some of them are more neutral by nature. But they all have distinct personalities that can be called on to create any eff ect that you wish to use. ************************************************************************* I’ve outlined the basic steps & the names of all intervals within 1 octave in Book One. We even applied the use of each interval in a ‘round-a-bout’ sort of way through the arpeggio exercises. In this Book, I’ve outlined the rest of the intervals through 2 full octaves. I want to expand your understanding of intervals by giving you a visual representation of how they apply to your fretboard. On the following page you can see each interval in relation to it’s root, or starting note. Which in this case is the A note on the 5th fret of the (E6) string. *All roots are indicated as: (5) on the (E6) string*

Additionally, I want to introduce the idea of playing dyads while you are thinking about intervals. A dyad is when you play 2 notes simultaneously (harmonic or a harmony). Up to this point, all of the notes in these exercises have been played one at a time (melodic or a melody). But with dyads you will be playing 2 notes at once. A dyad can be considered a type of chord, but generally chords are comprised of 3 or more notes.

On the following page, you will see in every measure: the root note, the interval (+ alternate frets to play the interval), and then a dyad at the end.Th is will allow you to see how the interval looks separated from the root & also how it looks conjoined with the root. Following that we will see how dyads can be applied chromatically, as well as diatonically.

Intervals are simply the distance from one note to another note. Or thinking in terms of key signatures, chords, & scales: from one starting note to a series of other notes in relation to that same initial note. Th is creates a sort of ‘family’, where all of the members (notes) of the ‘family’ are related to each other in some way, and all of them are based on the same root. All of these relationships are unique. Some of them have a lot in common and “get along” very well, where some totally clash with each other and create “harsh feelings”. Some of them are more neutral by nature. But they all have distinct personalities that can be called on to create any eff ect that you wish to use. ************************************************************************* I’ve outlined the basic steps & the names of all intervals within 1 octave in Book One. We even applied the use of each interval in a ‘round-a-bout’ sort of way through the arpeggio exercises. In this Book, I’ve outlined the rest of the intervals through 2 full octaves. I want to expand your understanding of intervals by giving you a visual representation of how they apply to your fretboard. On the following page you can see each interval in relation to it’s root, or starting note. Which in this case is the A note on the 5th fret of the (E6) string. *All roots are indicated as: (5) on the (E6) string*

Additionally, I want to introduce the idea of playing dyads while you are thinking about intervals. A dyad is when you play 2 notes simultaneously (harmonic or a harmony). Up to this point, all of the notes in these exercises have been played one at a time (melodic or a melody). But with dyads you will be playing 2 notes at once. A dyad can be considered a type of chord, but generally chords are comprised of 3 or more notes.

On the following page, you will see in every measure: the root note, the interval (+ alternate frets to play the interval), and then a dyad at the end.Th is will allow you to see how the interval looks separated from the root & also how it looks conjoined with the root. Following that we will see how dyads can be applied chromatically, as well as diatonically.

Intervals & DyadsIntervals & DyadsIntervals & DyadsIntervals & Dyads are simply the distance from one note to another note. Or are simply the distance from one note to another note. Or are simply the distance from one note to another note. Or are simply the distance from one note to another note. Or are simply the distance from one note to another note. Or are simply the distance from one note to another note. Or

thinking in terms of key signatures, chords, & scales: from one starting note thinking in terms of key signatures, chords, & scales: from one starting note thinking in terms of key signatures, chords, & scales: from one starting note to a series of other notes in relation to that same initial note. to a series of other notes in relation to that same initial note. to a series of other notes in relation to that same initial note.

Th is creates a sort of ‘ Th is creates a sort of ‘ Th is creates a sort of ‘familyfamilyfamily Th is creates a sort of ‘family Th is creates a sort of ‘ Th is creates a sort of ‘ Th is creates a sort of ‘family Th is creates a sort of ‘family Th is creates a sort of ‘family Th is creates a sort of ‘ Th is creates a sort of ‘ Th is creates a sort of ‘family Th is creates a sort of ‘ ’, where all of the members (notes) of the ’, where all of the members (notes) of the ’, where all of the members (notes) of the ‘‘‘familyfamilyfamily‘family‘‘‘family‘family‘family‘‘‘family‘ ’ are related to each other in some way, and all of them are based on ’ are related to each other in some way, and all of them are based on ’ are related to each other in some way, and all of them are based on the same root. All of these relationships are unique. Some of them have a the same root. All of these relationships are unique. Some of them have a the same root. All of these relationships are unique. Some of them have a lot in common and “lot in common and “lot in common and “get alongget alongget alonglot in common and “get alonglot in common and “lot in common and “lot in common and “get alonglot in common and “get alonglot in common and “get alonglot in common and “lot in common and “lot in common and “get alonglot in common and “ ” very well, where some totally clash with each ” very well, where some totally clash with each ” very well, where some totally clash with each get along” very well, where some totally clash with each get alongget alongget along” very well, where some totally clash with each get along” very well, where some totally clash with each get along” very well, where some totally clash with each get alongget alongget along” very well, where some totally clash with each get alongother and create “other and create “other and create “harsh feelingsharsh feelingsharsh feelings”. Some of them are more neutral by nature. ”. Some of them are more neutral by nature. ”. Some of them are more neutral by nature. But they all have distinct personalities that can be called on to create any But they all have distinct personalities that can be called on to create any But they all have distinct personalities that can be called on to create any eff ect that you wish to use. eff ect that you wish to use. eff ect that you wish to use. ************************************************************************* ************************************************************************* ************************************************************************* I’ve outlined the basic steps & the names of all intervals within 1 octave in I’ve outlined the basic steps & the names of all intervals within 1 octave in I’ve outlined the basic steps & the names of all intervals within 1 octave in Book One. We even applied the use of each interval in a ‘Book One. We even applied the use of each interval in a ‘Book One. We even applied the use of each interval in a ‘of way through the arpeggio exercises. In this Book, I’ve outlined the rest of of way through the arpeggio exercises. In this Book, I’ve outlined the rest of of way through the arpeggio exercises. In this Book, I’ve outlined the rest of the intervals through 2 full octaves. I want to expand your understanding the intervals through 2 full octaves. I want to expand your understanding the intervals through 2 full octaves. I want to expand your understanding of intervals by giving you a visual representation of how they apply to your of intervals by giving you a visual representation of how they apply to your of intervals by giving you a visual representation of how they apply to your fretboard. On the following page you can see each interval in relation to it’s fretboard. On the following page you can see each interval in relation to it’s fretboard. On the following page you can see each interval in relation to it’s root, or starting note. Which in this case is the A note on the 5root, or starting note. Which in this case is the A note on the 5root, or starting note. Which in this case is the A note on the 5(E(E(E666) string. *) string. *) string. *

Additionally, I want to introduce the idea of playing Additionally, I want to introduce the idea of playing Additionally, I want to introduce the idea of playing thinking about intervals. A dyad is when you play 2 notes simultaneously thinking about intervals. A dyad is when you play 2 notes simultaneously thinking about intervals. A dyad is when you play 2 notes simultaneously (harmonic or a harmony). Up to this point, all of the notes in these exercises (harmonic or a harmony). Up to this point, all of the notes in these exercises (harmonic or a harmony). Up to this point, all of the notes in these exercises


(5)0

(5)0

(5) 61

(5)1

(5) 72

(5)2

(5) 83

(5)3

(5) 94

(5)4

(5) 105

(5)5

(5)

16

(5)6

(5)

27

(5)7

(5)

38

(5)8

(5)

49

(5)9

(5)

510

(5)10

(5)

16

(5)

6

(5)

27

(5)

7

(5)

38

(5)

8

(5)

49

(5)

9

(5)

510

(5)

10

(5)

26

(5)

6

(5)

37

(5)

7

(5)

48

(5)

8

(5)

59

(5)

9

(5)

610

(5)

10

(5)

27

(5)

7

(5)

38

(5)

8

(5)

49

(5)

9

(5)

510

(5)

10

25 INTERVALS/ ROOT+INTERVAL = Dyad

56

Music Symbolism I’d just like to point out a few ways to identify more clearly what is being implied by how certain intervals are named. Th is will help you gain a deeper understanding of the ‘what & the why’ of all of the various interval names. It helps to see that there really is a “method to the madness”. ************************************************************************* Notice that in most cases, Major is written with an upper-case M (and sometimes just M ) to signify that it is a Major chord or interval. In the case of minor, the m is generally indicated in lower-case lettering (and sometimes just m ) to signify that it is a minor chord or interval. ************************************************************************* When you see Perfect, this usually indicates a perfect 4th or 5th interval.Named because of their strong harmonious consonance in relation to the root note. It’s also indicated by (P), and generally it’s not notated at all. ************************************************************************* When you see Flat (b) or Sharp (#), this indicates that a note has been lowered (fl at), or raised (sharp) by one fret or semi-tone. ************************************************************************* When you see Diminished or Augmented, they basically have the same function. For example a diminished 5th would mean that the 5th interval is fl at, where if you say augmented 5th that would mean the 5th interval is sharp. Most oft en, you will see that diminished & augmented refers to the Perfect 5th interval. However it can be applied to all other intervals in the same way. Basically, diminished means fl at, and augmented means sharp.Diminished is oft en referred to as: dim or by the symbol o. For example: A diminished could be read as: A dim, or Ao.Augmented is oft en referred to as: aug or by the symbol +. For example: A augmented could be read as: A aug, or A+. ************************************************************************* Th ese 2 alterations are also known as the “TRi-TONE”, or “the diabolus in musica”, named because of the restless, dissonant quality. Th ese intervals were avoided completely in early music because of their ‘creepy’, dissonant, & inharmonious quality. But have been found since to be great for contrast. *************************************************************************


As explained previously, the Root note, or root tone is the 1st note of a given key signature. Th e Octave is just the root note at a higher or lower pitch. Th e frequency, or speed of the root notes wave is twice as fast at the higher octave, and 1/2 as slow at the lower octave. Th is is what is meant by being in-tune. Th e actual waveforms are vibrating in ‘perfect unison’. Unison is just how the word sounds....think unity, or the exact same note. ************************************************************************* If you see Dominant (or Dom) then that is referring to the 5th interval of a given key. Sometimes it can denote a 5th interval to a note other than the root note, but usually this indicates a 5th away from the root note. Th e dominant 5th has the strongest ‘resolution value to the root note of any other interval. Th is makes the Dom/5th a great way to resolve a melody! ************************************************************************* When you look at intervals they have numbers attached to them. For instance a minor 2nd, Major 3rd, Diminished 5th, or Major 7th, etc... Th ese given numbers refer the notes of the Major scale. For example, a Major 3rd

would be the 3rd not of the Major scale in the given key. ************************************************************************* 25 DYAD FINGERING In the next section we will play through some dyad shapes that move chromatically using each interval found within a 2 octave range. Although they don’t sound as harmonious as moving through a diatonic, or Major scale chord sequence; they will get you more familiar with the sound and quality of each interval as they sound on their own. Pay attention to the ‘moveable shape’ of each dyad that you play as you move them up the neck.

And as this Book is dealing with Two Finger exercises, these dyads make a great way explore diff erent fi ngerings for each interval shape. You can (almost) use any Finger Group for any interval shape. Try to fi nd the best possible Finger Group to fret each of the following dyads. And of course, try to experiment with ALL of the Finger Groups, not just the easiest ones to play. And keep all of the stretch fi ngerings in mind as you go through these, because they will all apply as well. *************************************************************************

As explained previously, the Root note, or root tone is the 1st note of a given key signature. Th e Octave is just the root note at a higher or lower pitch. Th e frequency, or speed of the root notes wave is twice as fast at the higher octave, and 1/2 as slow at the lower octave. Th is is what is meant by being in-tune. Th e actual waveforms are vibrating in ‘perfect unison’. Unison is just how the word sounds....think unity, or the exact same note. ************************************************************************* If you see Dominant (or Dom) then that is referring to the 5th interval of a given key. Sometimes it can denote a 5th interval to a note other than the root note, but usually this indicates a 5th away from the root note. Th e dominant 5th has the strongest ‘resolution value to the root note of any other interval. Th is makes the Dom/5th a great way to resolve a melody! ************************************************************************* When you look at intervals they have numbers attached to them. For instance a minor 2nd, Major 3rd, Diminished 5th, or Major 7th, etc... Th ese given numbers refer the notes of the Major scale. For example, a Major 3rd

would be the 3rd not of the Major scale in the given key. ************************************************************************* 25 DYAD FINGERING In the next section we will play through some dyad shapes that move chromatically using each interval found within a 2 octave range. Although they don’t sound as harmonious as moving through a diatonic, or Major scale chord sequence; they will get you more familiar with the sound and quality of each interval as they sound on their own. Pay attention to the ‘moveable shape’ of each dyad that you play as you move them up the neck.

And as this Book is dealing with Two Finger exercises, these dyads make a great way explore diff erent fi ngerings for each interval shape. You can (almost) use any Finger Group for any interval shape. Try to fi nd the best possible Finger Group to fret each of the following dyads. And of course, try to experiment with ALL of the Finger Groups, not just the easiest ones to play. And keep all of the stretch fi ngerings in mind as you go through these, because they will all apply as well. *************************************************************************

As explained previously, the Root note, or root tone is the 1st note of a given key signature. Th e Octave is just the root note at a higher or lower pitch. Th e frequency, or speed of the root notes wave is twice as fast at the higher octave, and 1/2 as slow at the lower octave. Th is is what is meant by being in-tune. Th e actual waveforms are vibrating in ‘perfect unison’. Unison is just how the word sounds....think unity, or the exact same note. *************************************************************************

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94

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283

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384

95

106

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128

139

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74

85

96

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118 7

485

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129

1310

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86

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586

97

108

119

1210

1311

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65

76

87

98

109

1110 7

687

98

109

1110

1211

1312

CHROMATIC DYAD INTERVALS


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710

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Th ese dyad shapes are great to know. You should memorize each one of them. Th ey are the building blocks of triads (or chords), while also being the fundamental basis of any melodic structure. By understanding these intervals you will know the eff ect each melodic step creates, and therefore taking a lot of the ‘guess-work’ out of your phrasing. At that point you can start interchanging & combining them to create more interesting sounds. Th e possibilities are practically unlimited in this regard. Consider that a tritone (chord) is built by 3 or more notes. So a chord is basically taking 2 dyads and putting one on top of the other. Th ere are 25 intervals if you include the root & both octaves. Th is would give you 625 possible ways to re-arrange these dyads. And I would encourage you to try and do just that!

I’ll give you a Major, or Diatonic sequence of dyads that utilize a few of these intervals in more of a melodic & harmonically satisfying way:

54

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1211

1412

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254

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244

66

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1111

1213

1414

In the above Diatonic sequences you should be able to identify the shapes as they change through each passing dyad.

For the example in the 1st measure you see 8 dyads as follows: Maj 3rd - min 3rd - min 3rd - Maj 3rd - Maj 3rd - min 3rd - Maj 3rd

*Th is is the basis of the Major scale & diatonic music*Notice that the 1st Inversion starts a Major 3rd below the 5th fret Root,

and the 2nd Inversion starts a minor 3rd below that. (which is actually a Perfect 5th from the 5th fret Root).

Try to identify all of the remaining intervals in measures 2 & 3 on your own.You should start to recognize any dyads or 2 note intervals that you come across for what they are. For example, you’ll need to know the diff erence between a minor 3rd & a Major 3rd, between a Dominant 7th & Major 7th and so on. Th is is something that will be very useful for you as you get more into learning chords & scales. But it all starts right here with the intervals of two note sequences. So commit them ALL to memory!

In the above Diatonic sequences you should be able to identify the shapes as they change through each passing dyad.

For the example in the 1st measure you see 8 dyads as follows: Maj 3rd - min 3rd - min 3rd - Maj 3rd - Maj 3rd - min 3rd - Maj 3rd

*Th is is the basis of the Major scale & diatonic music*Notice that the 1st Inversion starts a Major 3rd below the 5th fret Root,

and the 2nd Inversion starts a minor 3rd below that. (which is actually a Perfect 5th from the 5th fret Root).

Try to identify all of the remaining intervals in measures 2 & 3 on your own.You should start to recognize any dyads or 2 note intervals that you come across for what they are. For example, you’ll need to know the diff erence between a minor 3rd & a Major 3rd, between a Dominant 7th & Major 7th and so on. Th is is something that will be very useful for you as you get more into learning chords & scales. But it all starts right here with the intervals of two note sequences. So commit them ALL to memory!

64

WALKING ARPEGGIOS Th is section is similar to the arpeggio section from Book One. However this time we have the option of using Two Fingers rather than just one. Again, you can go back to Book One’s arpeggio section and play all of those with Two Fingers in the same “walking” manner that we are about to explore here. You will see that your fi ngers literally walk back & forth. Th ese patterns will exhaust each of 6 Two Finger Groups and also the 12 stretching variations that go along with them. See the 6 Groups below:

Th is section is similar to the arpeggio section from Book One. However this time we have the option of using Two Fingers rather than just one. Again, you can go back to Book One’s arpeggio section and play all of those with Two Fingers in the same “walking” manner that we are about to explore here. You will see that your fi ngers literally walk back & forth. Th ese patterns will exhaust each of 6 Two Finger Groups and also the 12 stretching variations that go along with them. See the 6 Groups below:

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1

WALKING ARPEGGIOSWALKING ARPEGGIOSTh is section is similar to the arpeggio section from Book One. However Th is section is similar to the arpeggio section from Book One. However Th is section is similar to the arpeggio section from Book One. However

this time we have the option of using this time we have the option of using this time we have the option of using Two FingersTwo FingersTwo Fingers rather than just one. rather than just one. rather than just one. Again, you can go back to Book One’s arpeggio section and play all of Again, you can go back to Book One’s arpeggio section and play all of Again, you can go back to Book One’s arpeggio section and play all of those with those with those with Two FingersTwo FingersTwo Fingers in the same “ in the same “ in the same “walkingwalkingwalking” manner that we are about to ” manner that we are about to ” manner that we are about to walking” manner that we are about to walkingwalkingwalking” manner that we are about to walking” manner that we are about to walking” manner that we are about to walkingwalkingwalking” manner that we are about to walkingexplore here. You will see that your fi ngers literally walk back & forth.explore here. You will see that your fi ngers literally walk back & forth.explore here. You will see that your fi ngers literally walk back & forth. Th ese patterns will exhaust each of 6 Th ese patterns will exhaust each of 6 Th ese patterns will exhaust each of 6 Two FingerTwo FingerTwo Finger Groups and also the Groups and also the Groups and also the Two Finger Groups and also the Two FingerTwo FingerTwo Finger Groups and also the Two Finger Groups and also the Two Finger Groups and also the Two FingerTwo FingerTwo Finger Groups and also the Two Finger12 stretching variations that go along with them. 12 stretching variations that go along with them. 12 stretching variations that go along with them. See the 6 Groups belowSee the 6 Groups belowSee the 6 Groups below

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11111112222222 2222222

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1111111 22222221111111

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22222221111111 1111111

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2222222

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22222223333333 3333333

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2222222 33333332222222

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33333334444444 4444444


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3

**************************************************************************Notice that I’ve combined all of the Finger Groups & Stretch Variations

that have the same exact fret combination, so apply those as indicated. Additionally, you can take these forms and move them chromatically (or any intervallic motion) up the fretboard exhausting every single fret as you go. Try to think of ways of combining these Groups & Variations, and make up your own sequences & practice routines with them. *************************************************************************

**************************************************************************Notice that I’ve combined all of the Finger Groups & Stretch Variations

that have the same exact fret combination, so apply those as indicated. Additionally, you can take these forms and move them chromatically (or any intervallic motion) up the fretboard exhausting every single fret as you go. Try to think of ways of combining these Groups & Variations, and make up your own sequences & practice routines with them. *************************************************************************

66

ETUDES Etudes are basically exercises designed to work out specifi c musical “problems” such as techniques, or applying certain applications, using specialized forms, etc... So in short, they are just exercises designed to help you overcome any musical stumbling blocks that you may have.

*THE FiRST STEP iS ADMiTTiNG yOu HAVE A PROBlEM*

Hahaha, I’m joking, but it’s true! If you are able to identify fl aws in your playing, or areas of theory that you just don’t get, then you should create your own Etude to help you work through the problem area. It’s a pretty simple concept. You just need to fi gure out what elements make up the issue that you are trying to improve. Th en try to apply those elements in as many ways as possible, from as many angles as possible. Th is is basically what I am doing with this Four Book Series; designing exercises that will work through most all fretting hand “problems” that you may encounter. *************************************************************************

Playing exercises is a great way to improve your playing on all levels. A lot of people feel that playing exercises is a boring task, or that it’s non-musical so therefore a waste of time. i couldn’t disagree more. it’s the combintion of shaping your physical & mental abilities that

makes the complete whole, not just one or the other. ************************************************************************* Imagine that you are trying to learn a song that you like, but there is a diffi cult section that you can never get right. If you play it 100 times, maybe you’ll start to get it a little better, maybe not. What I would do, is try to fi nd the exact part that is causing the problem, isolate it and dissect it for what it is & how it works. I would want to know WHy it is so hard for me to play it. Maybe the way it shift s position, or maybe its the string skipping motion that messes me up. Once I can Identify WHAT it is that keeps messing me up, I can then devise a “plan of attack”! And then I would make up some exercises or Etudes that help me work through the mechanics of that specifi c issue. With time, I may fi nd that what was once a problem, is now one of my greatest strengths! And that is a sure sign of improvement, not to mention the positive reinforcement gained as a result of doing that.


MIND OVER MATTER & MATTER OVER MIND Of course, if you are not physically capable of playing a certain passage on your instrument, it won’t matter what your mind thinks about it. And the same is true that if you are physically capable of playing anything at all, but your mind doesn’t know what it can play, then it won’t matter how physically able you are. It’s a marriage of those 2 elements that make you a well-rounded player. It’s a codependency, both need one another!• If a player practices only exercises all the time, maybe lots of scales in text format, then chances are when they play in a “real” musical context all they can think of to play is a bunch of exercises & scales. This would likely result in boring music with no imagination or musicality.• If a player practices nothing but songs, maybe reading and writing great sounding melodies and chord progressions, but never does any form of exercise, chances are in a “real” musical context they can think of a lot of things to play, but they would likely hit a lot of sloppy or mis-fretted notes because of their lack of technique. And over-simple may translate as boring. It seems clear to me that the best possible outcome would involve the culmination of hard work, and years of quality time with each of those aspects. You need to learn WHAT to play & HOW to play it! The style & genre that you are striving for will determine the WHAT & the HOW that you need to explore. You need to figure out what makes the music that you like tick, and then formulate ways to learn & be fluent in playing it. Etudes, or exercises can go a very long way in helping you through the entire process. An exercise can be very simple & generic, or it can be very musical & real sounding. It is important to think about what it is that you want to get out of the exercise, otherwise why would you be playing it at all in the 1st place? It would be a waste of your time. But if you KNOW what it is that you are trying to improve, then you will know if the exercise is helpful for that particular element of the playing, or not. I believe you can create an exercise for ANY musical problems that you may encounter. And I think that just playing a difficult passage over & over is a SLOW way to overcome the problem. Of course you have muscle memory- where if you do something enough times it becomes like second nature. But even that can be developed more thoroughly through a regimen of specific exercises designed to maximize any given musical motion!

68

26 Two Finger Etudes

In the following pages I will give you some Etudes designed to work on the specifi c Two Finger motions that we’ve been exploring in this Book. Th ere are 8 for each of the 3 Two Finger Sub-Groups A, B, & C, plus 2 more stretch shape etudes. So there are 26 total 4 bar Etudes. I’ve randomly applied the various string skipping, chromatic, and other elements to the Etude set.

************************************************************************* Of the 8 per Finger Group: 4 are played one note at a time, and the other 4 apply dyads, or a two notes at a time. I’ve indicated the basic Finger Group that would fi t each Etude, but experiment as much as you can with alternate fi ngerings as well as your own variations of all of these. For example, try to work-in all 25 of the dyads/intervals in similar ways as shown in these dyad Etudes. Your imagination is your best friend in regards to being creative & making your own patterns & routines. Th ese exercises/etudes are merely tools to help you create your own music. It is completely up to you to give all of these notes that needed breath of life. Without that, all you are doing is playing a bunch of patterns. Of course, these are not the most musical passages to play, but like I said, they are merely tools. It’s up to you to make the most of them, and to bring them all to life! *************************************************************************

Th ese are all separated by similar group shapes. For example:Etudes (1)-(8) could be played with the 1-2, 2-3, & 3-4 fi nger groups.

Etudes (9)-(16) could use either the 1-3 or 2-4 fi nger groups, as well as the 1-2, 2-3, & 3-4 stretch patterns.

Etudes (17)-(24) could use the 1-4 fi nger group, or the 1-3, 2-3, 2-4, or 3-4 stretch patterns.

Etudes (25)-(26) could make use of the 1-3 & 1-4 stretches, etc...


These Etudes are designed to help you use each of the motions that we have been exploring. They are all mostly symmetrical in form, and are at least interesting despite the lack of any diatonic application present. You should be able to see the Finger Groups & Variations that we have been working on within these following pages. And I am willing to bet that yOu Will see some drastic improvements in your use of each of the Groups after spending some time with these Etudes.

These following Etudes are admittedly ridiculous to play through; some more so than others. But keep in mind that you need to retain the spirit of improving your playing. Sometimes drastic measures, or pushing ideas to extremes can yield great results. You want to look at the big picture, to see as much of the whole as possible. If you never venture outside of your comfort zone, then you likely won’t be pushing your boundaries either. The best way to get yourself out of that ‘box’ is to jump out with both feet (or hands in this case) as far as you can. You can always jump back in to that comfort zone when things get too ‘far out’. Just try to push the envelope as much as you can! You might be surprised at the results you get from it.

*************************************************************************

Excellence can be attained if you: Care more than others think is wise, Risk more than others think is safe, Dream more than others think is practical, and Expect more than others think is possible.

- Cadet Maxim

70

1-2, 2-3, & 3-4 Groups

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1-2, 2-3, & 3-4 Groups1-2, 2-3, & 3-4 Groups1-2, 2-3, & 3-4 Groups

111111111 222222222 222222222 333333333222222222 333333333 111111111 222222222

111111111 222222222 333333333 444444444333333333 444444444 111111111 222222222

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111111111 222222222 555555555 666666666555555555 666666666 111111111 222222222


1 2 12 3 2

3 4 34 5 4

5 6 56 7 6

7 8 78 9 8

9 10 910 11 10

11 12 1111 12 11

11 12 1111 12 11

11 12 1111 12 11

11 12 1111 12 11

11 12 1111 12 11

11 12 1111 12 11

10 11 109 10 9

8 9 87 8 7

6 7 65 6 5

4 5 43 4 3

2 3 21 2 1

1 2 12 3 2

3 4 34 5 4

5 6 56 7 6

7 8 78 9 8

9 10 910 11 10

11 12 1111 12 11

11 12 1111 12 11

11 12 1111 12 11

11 12 1111 12 11

11 12 1111 12 11

11 12 1111 12 11

10 11 109 10 9

8 9 87 8 7

6 7 65 6 5

4 5 43 4 3

2 3 21 2 1

72

1 2

1 2 3 2

3 23 4

3 4 5 4

5 45 6

5 6 7 67 6

7 87 8 9 8

9 89 10

9 10 11 10

11 1011 12

11 12 13 12

13 12

12 13

12 13 12 11

12 1110 11

10 11 10 9

10 98 9

8 9 8 78 7

6 77 6 6 5

6 54 5

4 5 4 3

4 32 3

2 3 2 1

2 1

1-2, 2-3, & 3-4 Groups


1 23 2

3 45 4

5 67 6 1 2

3 23 4

5 45 6

7 6

3 45 4

5 67 6

7 89 8 3 4

5 45 6

7 67 8

9 8

6 78 7

8 910 9

10 1112 11 6 7

8 78 9

10 910 11

12 11

9 1011 10

11 1213 12

13 1415 14 9 10

11 1011 12

13 1213 14

15 14

74

11 2

2

11 2

2

11 2

2 55 6

655

66

55 6

622 3

3

22 3

3

22 3

366 7

7

66

77

66

77

33 4

4

33 4

4

33 4

477

88

77

88

77

88 4

4 55

44 5

5

44 5

588

99

88

99

88

99

1212

1111

1212 11

11

1212 11

1188

77

88

77

88 7

71111 10

10

1111 10

10

1111 10

1077

66

77

66

77 6

6

1010

99

1010

99

1010

99 6

6 55

66

55

66 5

599 8

8

99 8

8

99 8

855

44

55

44

55 4

4

1-2, 2-3, & 3-4 Groups


21 2

1 21 2

1 21 3

223

23

32 3

2 43 4

3 43 4

3 43 5

4 54 5

4 54 5

4 65 6

5 65 6

5

65 7

6 76 7

6 76 7

6 87 8

7 87 8

7 87 9

8 98 9

8 98 9

8 109 10

9 109 10

9 109

1011

1112

1011

1011 12

111110

1011 12

111110 11

101211

1110

1011

1112

1011

1110 11

121011

1110

1211

1110 11

101211

1110 11

101211

1110

1110

1211

1110 9

1089

78 9

10 1110

109

98

87

76

910

1011

910

89

78

67

98

109

98

87

76 5

6

76

1

13

35

57

7 5

5

3

3

3

35

57

79

9 7

7

5

5

5

57

79

911

11 9

9

7

7

7

79

911

1113

13 11

11 9

9

7

7 9

9 11

117

7 9

9 11

117

7

9

9 11

117

7 9

9 11

11 13

13 11

11 9

913

13 11

11 9

913

13 11

11 9

913

13 11

11 9

9

7

75

53

31

1 3

3 5

5

9

97

75

53

3 5

5 7

7

11

119

97

75

5 7

7 9

9

13

1311

119

97

7 9

9 11

11

13

13 11

11 9

913

13 11

11 9

913

13 11

11 9

913

13 11

11 9

9 7

7

9

9 11

115

5

7

7

9

93

3 5

5 7

71

1 3

3 5

5

1-2, 2-3, & 3-4 Groups


1

2

1

2 2

11

2

2

1

2

1

5

66

5

6

5

6

5

5

6 6

5

1

22

1

2

11

2

2

1

2

1

7

88

7

8

77

8

8

7

8

7

2

11

2

1

2

1

2

1

2

1

2

6

5

6

5

6

5

6

56

5

6

5

2

1

2

1

2

1

2

12

1

2

1

8

7

8

7

8

7

8

78

7

8

7

12

11

12

11

12

11

12

1112

11

12

11

8

7

8

7

8

7

8

78

7

8

7

12

11

12

11

12

11

12

1112

11

12

11

6

5

6

5

6

5

6

56

5

6

5

11

12

11

12

11

12

11

1211

12

11

12

7

8

7

8

7

8

7

87

8

7

8

11

12

11

12

11

12

11

1211

12

11

12

5

6

5

6

5

6

5

65

6

5

6

78

1 3

1 31 3

1 31 3

1 31 3

1 31 3

1 31 3

1 3

5 3

5 35 3

5 35 3

5 35 3

5 35 3

5 35 3

5 3

5 7

5 75 7

5 75 7

5 75 7

5 75 7

5 75 7

5 7

9 7

9 79 7

9 79 7

9 79 7

9 79 7

9 79 7

9 7

1-3 & 2-4 Groups


1 32 4

3 54 6

5 76 8 1 3

2 43 5

4 65 7

6 8

3 54 6

5 76 8

7 98 10 3 5

4 65 7

6 87 9

8 10

5 76 8

7 98 10

9 1110 12 5 7

6 87 9

8 109 11

10 12

7 98 10

9 1110 12

11 1312 14 7 9

8 109 11

10 1211 13

12 14

80

0 2 4 0 4 6 0 6 80 2 4 0 4 6 0 6 8

0 2 4 0 4 6

8 6 0 6 4 0 4 2 08 6 0 6 4 0 4 2 0

8 6 0 6 4 0

0 4 6 0 6 8 0 8 100 4 6 0 6 8 0 8 10

0 4 6 0 6 8

10 8 0 8 6 0 6 4 010 8 0 8 6 0 6 4 0

10 8 0 8 6 0

1-3 & 2-4 Groups


3 1 0

3 1 0

3 1 0

3 1 0

4 2 0

4 2 0

4 2 0

4 2 0

5 3 0

5 3 0

5 3 0

5 3 0

6 4 0

6 4 0

6 4 0

6 4 0

7 5 0

7 5 0

7 5 0

7 5 0

8 6 0

8 6 0

8 6 0

8 6 0

9 7 0

9 7 0

9 7 0

9 7 0

10 8 0

10 8 0

10 8 0

10 8 0

82

13

24

35

46

57

68

79

810

911

1012

1113

1214

119

1210

1311

1412

911

1012

1113

1214

911

1012

1113

1214

1214

1113

1012

911

810

79

68

57

46

35

24

13

46

35

24

13

64

53

42

31 6

453

42

31

31

42

53

64

57

68

79

810

119 10

121113

1214 9

111012

1113

1214 9

111012

1113

1214 9

111012

1113

1214

1412

1311

1210

119

108 7

968

57

64

53

42

31

46

35

24

13 4

635

24

13 4

635

24

13

1-3 & 2-4 Groups


13 3

1 13 3

1 13 1

3 31 1

3 31 1

3 13

31

24 4

2 24 4

2 24 2

4 42 2

4 42 2

4 24 2

4

35 5

3 35 5

3 35 3

5 53 3

5 53 3

5 35 3

5 46 6

4 46 6

4 46 4

6 64 4

6 64 4

6 46

64

57 7

5 57 7

5 57 5

7 75 5

7 75 5

7 75 5

7 68 8

6 68 8

6 68 6

8 86 6

8 86 6

8 86 6

8

79 9

7 79 9

7 79 7

9 97 7

9 97 7

9 79 7

9 810 10

8 810 10

8 810 8

10 108 8

10 108 8

10 810

108

84

1

3

5

72

4

6

83

5

7

94

6

8

10 9

7

8

6

7

5

6

4

5

3

4

2

3

15

3

4

2

3

15

3

4

2

3

15

3

4

2

3

1

3

1 5

7

2

4

6

8

3

5

7

9

4

6

8

10 9

7

8

6

7

5

6

4

5

3

4

2

3

1

5

3

4

2

3

1

5

3

4

2

3

1

5

3

4

2

3

1

3

1 5

7

2

4

6

8

3

5

7

9

4

6

8

10 9

7

8

6

7

5

6

4

5

3

4

2 1

33

5

2

4

1

33

5

2

4

1

33

5

2

4

1

3

1

3

5

72

4

6

83

5

7

94

6

8

10 9

7

8

6

7

5

6

4

5

3

4

2

3

15

3

4

2

3

15

3

4

2

3

15

3

4

2

3

1

1-3 & 2-4 Groups


1

33

1

3

1

5

3

5

3

5

3

7

5

7

5

7

5 7

9

7

9

7

9

9

11

9

11

9

11

11

13

11

13

11

13

13

15

13

15

13

15 14

12

13

11

12

10

14

12

13

11

12

10

11

9

13

11

12

10

11

9

10

8

12

10

11

9

10

8

9

7

11

9

10

8

9

7

8

6

10

8

9

7

8

6

7

5

9

7

8

6

7

5

6

4

3

1 1

3

1

3

3

5

3

5

3

5

5

7

5

7

5

7

7

9

7

9

7

9

9

11

9

11

9

11

11

13

11

13

11

13

13

15

13

15

13

15

12

14

11

13

10

12

12

14 13

11

12

10

11

9

13

11

12

10

11

9

10

8

12

10

11

9

10

8

9

7

11

9

10

8

9

7

8

6

10

8

9

7

8

6

7

5

9

7

8

6

7

5

6

4

86

1 4

14 1 4

14 1 4

14 1 4

14 1 4

14

14

14

7 10

710 7 10

710 7 10

710 7 10

710 7 10

710

710

710

4 7

47 4 7

47 4 7

47 4 7

47 4 7

47

47

47

10 13

1013 10 13

1013 10 13

1013 10 13

1013 10 13

1013

1013

1013

1-4 Group


1 42 5

3 64 7

4 75 8

6 97 10

7 108 11

9 1210 13

7 10 4 7 1 4 10 13 7 10 4 7 1 4

1 4 4 7

4 7 7 10

7 10

10 13

10 13 7 10 4 7 1 4

7 10

7 10 4 7 1 43 6

1 4

1 4

1 4

1 4

1 4

1 4 4 7

4 7

4 7

4 7

4 7 7 10

7 10

7 10

88

4 1

4 1

4 1

4 1

7 4

7 4

7 4

7 4

10 7

10 7

10 7

10 7

10 13 109 12 9

7 10 76 9 6

5 8 54 7 4 1 4 1 4 1 4

2 5 2 5 2 5 2 5 2 5 2 53 6 3 6 3 6 3 6 3 6 3 6

4 7 4 7 4 7 4 7 4 7 4 76 9 6 9 6 9 6 9 6 9 6 9

1-4 Group


12 15 12 11 14 11 10 13 10 9 12 9 0 12 15 0 9 12 0 6 9 0 3 6

12 15 12 11 14 11 10 13 10 9 12 9 0 12 15 0 9 12 0 6 9 0 3 6

0 3 6

0 3 60 5 8 0 2 5

0 6 9

0 6 90 8 11 0 5 8

0 9 12

0 9 120 11 14 0 8 11

0 12 15

0 12 150 14 17 0 11 14

90

14 5

2 710

811 1

4 52 7

10811 1

425

710

811 1

425

710

811 1

425

710

811 12

91310

1411

1512

1215

1215

1215

1215

1114 11

141411

1411

1411

96 9

6 96 9

6 96 5

8 58 5

8 58 5

8 74

63

52

41

52

14

14

14 4

1

4

1

4

1

4

1

4

1

4

1

4

1

4

1

4

1

4

1 1

4

1

4 4

11

4

1

4

1

4

1

4

1

4

1

4

1

414

1

4

1

4

1

4

1

4

1

4

1

4

1

4

1

4

1

4

1

4

1

4

1

4

14

14

14

14

1

4

1

4

1

4

1

4

1

4

1

4

1

4

1

4

1-4 Group


1

4 1

4 1

41

4 1

4

4

11

4

4

1

1

41

4

4

1

1

4 4

1 1

4

1

4 1

4

1

4

1

4

4

1

4

1

4

1

1

4

1

4

1

4

4

1

1

4

4

14

1

1

4

4

14

1

1

4

4

14

1

1

4

4

1 4

1

4

1

4

1

1

4

1

4

1

4

4

1

4

1

4

1

1

4

1

4

1

4

4

1

1

4

4

14

1

1

4

4

14

1

1

4

4

14

1

1

4

4

1 4

1

4

1

4

1

1

4

1

4

1

4

4

1

4

1

4

1

1

4

1

4

1

4

1

4

4

1

1

41

4

4

1

1

41

4

4

1

1

41

4

4

1

1

4 1

4

1

4

1

4

4

1

4

1

4

1

1

4

1

4

1

4

4

1

4

1

4

1

92

912

710

912 9

674

96 6

947

69 6

3

14

36

63

41

63 6

947

69 9

674

96 9

12710

912

9 128 11

7 107 10

8 119 12 6 9

5 84 7

4 75 8

6 9

912

710

912 9

674

96 6

947

69 6

3

14

36

63

41

63 6

947

69 9

674

96 9

12710

912

12 911 8

10 710 7

11 812 9 9 6

8 57 4

7 48 5

9 6

1-4 Group


0 3 6 0 6 9 0 9 12 0 12 1512

1511

1410

139

128

117

10

0 3 6 0 6 9 0 9 12 0 12 15 12

15

11

14

10

13

9

12

8

11

7

10

0 3 6 0 6 9 12

9

11

8

10

7

9

6

8

5

7

4

6

3

5

2

4

1 2

5

3

6

4

7

5

8

6

9 10

7

11

8

12

9

10

7

7 10 10

7 8

11

6

9 6 9 9

6 7

10

5

8 5 8 8

5 6

9 7

4

4 7

94

15

1

51

51

51

51

55

15

15

1

51

51

51

5 9

5 95 9

5 95 9

5 95 9

5 9 4 8 3 7 2 6 1 5

59

5

95

95

95

95

99

59

59

5

95

95

95

9 13

9 139 13

9 139 13

9 139 13

9 13 8 12 7 11 6 10 5 9

1-3, & 1-4 Stretch Groups


16

1

6

1

6

1

6

1

6

1 6 11 610 5

9 48 3

7 26 1

61

6

1

6

1

6

1

6

1

6 1 6 115 10

4 93 8

2 71 6

611

6

11

6

11

6

11

6

11

6 11 16 1115 10

14 913 8

12 711 6

116

11

6

11

6

11

6

11

6

11 6 11 1610 15

9 148 13

7 126 11

96


98

BONUS MATERIAL I can’t really stress enough that you should apply ALL of the Parallel, Reverse, Alternating Motions, string skipping, hammers/pulls, pedal points, intervals, etc... etc... etc... to as many possible musical contexts as you can! Th ese motions, techniques, fi ngerings, and ideas are all interchangeable on so many levels. By experimenting and trying to exhaust all the possible ways you can use these ‘devices’, you are just opening your mind to further musical ideas. One idea feeds another idea, 100 ideas feed 100’s more, and so on. In the realm of art & music, the more ideas and perspectives you have, the more you will ultimately be capable of achieving. At this point you should be able to shift your focus towards all of the above applications and see them when they occur along your musical travels. And you should know where you can apply them in the ‘real world’. Th en it’s just a matter of taste & possibly restraint; knowing the best way to compliment the musical situations you fi nd yourself involved in. Keep your mind open to all of these options that are readily available to you at your beck and call! If you have explored all of these roads a few times, you will fi nd that you get ‘lost’ much less in your musical travels. You will start to realize that no matter where you travel to, you are still in familiar territory. And as a musician who wishes to improve, you should always be trying to fi nd new unexplored roads; looking under every rock, and scouring every nook & cranny in search of the prospect of learning something new. While exploring the outer range of your ability, you should also continue to refi ne what is comfortable and familiar to you. It’s the process of claiming new territory along your quest to achieve goals & fulfi ll your dreams that enables you to keep moving forward. If you never start the journey, you’ll never get there, of course! But if you take the initiative and give an honest eff ort, you’ll fi nd that there isn’t much that you can’t achieve. Again, to reiterate- APPly All OF THE MOTiONS, TECHNiQuES, & FiNGERiNGS in as many ways as possible. Th at alone will give you enough “Bonus Material” to last you the rest of your life! It is one of those things where you get out of it as much (maybe more) than you put in to it.

I can’t really stress enough that you should apply ALL of the Parallel, Reverse, Alternating Motions, string skipping, hammers/pulls, pedal points, intervals, etc... etc... etc... to as many possible musical contexts as you can! Th ese motions, techniques, fi ngerings, and ideas are all interchangeable on so many levels. By experimenting and trying to exhaust all the possible ways you can use these ‘devices’, you are just opening your mind to further musical ideas. One idea feeds another idea, 100 ideas feed 100’s more, and so on. In the realm of art & music, the more ideas and perspectives you have, the more you will ultimately be capable of achieving. At this point you should be able to shift your focus towards all of the above applications and see them when they occur along your musical travels. And you should know where you can apply them in the ‘real world’. Th en it’s just a matter of taste & possibly restraint; knowing the best way to compliment the musical situations you fi nd yourself involved in. Keep your mind open to all of these options that are readily available to you at your beck and call! If you have explored all of these roads a few times, you will fi nd that you get ‘lost’ much less in your musical travels. You will start to realize that no matter where you travel to, you are still in familiar territory. And as a musician who wishes to improve, you should always be trying to fi nd new unexplored roads; looking under every rock, and scouring every nook & cranny in search of the prospect of learning something new. While exploring the outer range of your ability, you should also continue to refi ne what is comfortable and familiar to you. It’s the process of claiming new territory along your quest to achieve goals & fulfi ll your dreams that enables you to keep moving forward. If you never start the journey, you’ll never get there, of course! But if you take the initiative and give an honest eff ort, you’ll fi nd that there isn’t much that you can’t achieve. Again, to reiterate- APPly All OF THE MOTiONS, TECHNiQuES, & FiNGERiNGS in as many ways as possible. Th at alone will give you enough “Bonus Material” to last you the rest of your life! It is one of those things where you get out of it as much (maybe more) than you put in to it.

BONUS MATERIALBONUS MATERIAL I can’t really stress enough that you should apply I can’t really stress enough that you should apply I can’t really stress enough that you should apply ALLALLALL of the Parallel, of the Parallel, of the Parallel, Reverse, Alternating Motions, string skipping, hammers/pulls, pedal points, Reverse, Alternating Motions, string skipping, hammers/pulls, pedal points, Reverse, Alternating Motions, string skipping, hammers/pulls, pedal points, intervals, etc... etc... etc... to as many possible musical contexts as you can!intervals, etc... etc... etc... to as many possible musical contexts as you can!intervals, etc... etc... etc... to as many possible musical contexts as you can! Th ese motions, techniques, fi ngerings, and ideas are all interchangeable Th ese motions, techniques, fi ngerings, and ideas are all interchangeable Th ese motions, techniques, fi ngerings, and ideas are all interchangeable on so many levels. By experimenting and trying to exhaust all the possible on so many levels. By experimenting and trying to exhaust all the possible on so many levels. By experimenting and trying to exhaust all the possible ways you can use these ‘ways you can use these ‘ways you can use these ‘devicesdevicesdevices’, you are just opening your mind to further ’, you are just opening your mind to further ’, you are just opening your mind to further musical ideas. One idea feeds another idea, 100 ideas feed 100’s more, and musical ideas. One idea feeds another idea, 100 ideas feed 100’s more, and musical ideas. One idea feeds another idea, 100 ideas feed 100’s more, and so on. In the realm of art & music, the more ideas and perspectives you so on. In the realm of art & music, the more ideas and perspectives you so on. In the realm of art & music, the more ideas and perspectives you have, the more you will ultimately be capable of achieving. have, the more you will ultimately be capable of achieving. have, the more you will ultimately be capable of achieving. At this point you should be able to shift your focus towards all of the above At this point you should be able to shift your focus towards all of the above At this point you should be able to shift your focus towards all of the above applications and see them when they occur along your musical travels. And applications and see them when they occur along your musical travels. And applications and see them when they occur along your musical travels. And you should know where you can apply them in the you should know where you can apply them in the you should know where you can apply them in the a matter of taste & possibly restraint; knowing the best way to compliment a matter of taste & possibly restraint; knowing the best way to compliment a matter of taste & possibly restraint; knowing the best way to compliment the musical situations you fi nd yourself involved in.the musical situations you fi nd yourself involved in.the musical situations you fi nd yourself involved in. Keep your mind open to all of these options that are readily available to you Keep your mind open to all of these options that are readily available to you Keep your mind open to all of these options that are readily available to you at your beck and call! If you have explored all of these roads a few times, at your beck and call! If you have explored all of these roads a few times, at your beck and call! If you have explored all of these roads a few times, you will fi nd that you get ‘you will fi nd that you get ‘you will fi nd that you get ‘start to realize that no matter where you travel to, you are still in familiar start to realize that no matter where you travel to, you are still in familiar start to realize that no matter where you travel to, you are still in familiar territory. And as a musician who wishes to improve, you should always territory. And as a musician who wishes to improve, you should always territory. And as a musician who wishes to improve, you should always be trying to fi nd new unexplored roads; looking under every rock, and be trying to fi nd new unexplored roads; looking under every rock, and be trying to fi nd new unexplored roads; looking under every rock, and scouring every nook & cranny in search of the prospect of learning scouring every nook & cranny in search of the prospect of learning scouring every nook & cranny in search of the prospect of learning something new. While exploring the outer range of your ability, you should something new. While exploring the outer range of your ability, you should something new. While exploring the outer range of your ability, you should also continue to refi ne what is comfortable and familiar to you. It’s the also continue to refi ne what is comfortable and familiar to you. It’s the also continue to refi ne what is comfortable and familiar to you. It’s the


8 107 10

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10 8

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8 57 5

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8 5

I’ll leave you with a few more ways to apply Two Finger Groups. Check out this set of scales. It’s the C Major (and also an A minor) Pentatonic scale through each of the modes. Whenever you see Pentatonic, it means that there are 5 notes that make up the scale; hence the prefi x “Pent”. In short, modes are a set of scales that are all made up of the same exact notes, only they start at diff erent points within the scale. For example, the pentatonic scale has 5 notes in it, therefore there are 5 modes to that scale. Each mode starts on a diff erent note of the scale. Take the C Major Pentatonic scale we are about to look at; the actually notes that make up this scale are: C-D-E-G-A. Th e 1st mode would start in C, the 2nd mode in D, the 3rd in E, the 4th in G, and the 5th in A.

A good thing to know is that this scale is the same as a C Major scale, only you omit the 4th note (F) & the 7th note (B) of the Major scale.

As far as the Two Finger application, the pentatonic scale is great for that, because it has a simple 2 note per string pattern throughout all of the modes. So it’s a perfect way to try out some of your Two Finger Groups with a scale that is more musical, and not so chromatic & pattern-based like the majority of these exercises have been. Th is form of the pentatonic scale is the most widely used in modern music. It will be easy to recognize the ‘bluesy’ feel of these scales. It is oft en referred to as “the blues scale” actually.

Here is the Major mode & the minor mode of this scale, see below:

100

0 30 3

0 20 2

1 30 3 3 0

3 12 0

2 03 0

3 0

3 53 5

2 52 5

3 53 5 5 3

5 35 2

5 25 3

5 3

5 85 7

5 75 7

5 85 8 8 5

8 57 5

7 57 5

8 5

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8 108 10 10 8

10 89 7

10 710 7

10 8

Now try to run through all of these modes of the Pentatonic Scale. Notice that Mode #1 is the Major Pentatonic, and Mode #5 is the minor Pentatonic Scale. Although these are all made up of the same 5 notes through the different modes, they all have different feels when you start on each new note of the scale. Try to find the best Two Finger Group to play these:


10 1210 12

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12 10

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20

TERTIAN EXAMPLE #1

Here’s some really cool “Tertian Progressions”. Tertian means that you move in intervals of 3rds. Try to identify each interval. As you go through these, you will fi nd that they are either a Major 3rd, or minor 3rd interval. Both examples are made from the same exact notes, however the fi ngerings are diff erent. Apply your Major & minor 3rd Dyad shapes to the 1st example. And you will also apply either your 1-4 Finger Group or it’s 1-5 Stretch Variation for the 2nd example. Consider that the 1-4 Finger Group is the same interval as the minor 3rd

Dyad, and that the 1-5 Stretch Variation is the same interval as a Major 3rd

Dyad. It’s important to be able to identify these interval steps, so do your best to remember them! *Remember use 2 fi ngers only for both examples* Th ese 2 examples are a C Major, Diatonic Sequence. It will serve you well to remember these. As you get further into studying chord & scale theory, you will fi nd that “Add-Chords” & Extended Chords” can be found in these examples. Take note that the 1-3-5-7-9-11-13- intervals are all present through one full octave. And they appear in proper “Tertian form”.

Here’s some really cool “Tertian Progressions”. Tertian means that you move in intervals of 3rds. Try to identify each interval. As you go through these, you will fi nd that they are either a Major 3rd, or minor 3rd interval. Both examples are made from the same exact notes, however the fi ngerings are diff erent. Apply your Major & minor 3rd Dyad shapes to the 1st example. And you will also apply either your 1-4 Finger Group or it’s 1-5 Stretch Variation for the 2nd example. Consider that the 1-4 Finger Group is the same interval as the minor 3rd

Dyad, and that the 1-5 Stretch Variation is the same interval as a Major 3rd

Dyad. It’s important to be able to identify these interval steps, so do your best to remember them! *Remember use 2 fi ngers only for both examples* Th ese 2 examples are a C Major, Diatonic Sequence. It will serve you well to remember these. As you get further into studying chord & scale theory, you will fi nd that “Add-Chords” & Extended Chords” can be found in these examples. Take note that the 1-3-5-7-9-11-13- intervals are all present through one full octave. And they appear in proper “Tertian form”.


3 75 9

7 1010 13

5 87 10

9 1212 15

7 109 12

10 1413 17

8 1210 14

12 1615 18

10 1412 15

14 1717 20

12 1514 17

16 1918 22

14 1715 19

17 2120 24

15 1917 21

19 2222

20(24)

TERTIAN EXAMPLE #2

DYAD SHAPES = FINGER GROUP SHAPES *the same interval*

32

3 7 53

5 8 75

7 10 87

8 12

109

10 14 1210

12 15 1412

14 17 1514

15 19

*************************************************************************

(2 - 1) (1 - 4) (3 - 1) (1 - 4) (3 - 1) (1 - 4) (2 - 1) (1 - 4)

(2 - 1) (1 - 4) (3 - 1) (1 - 4) (3 - 1) (1 - 4) (2 - 1) (1 - 4)

104

Check out these next 3 Pedal Licks. All 3 are in A minor and they use a pedal point & a stretch type motion. Try to decide the best Two Finger Group

to play each of these following Licks.

17 1213 12

15 1213 12

13 1213 12

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13 1012 10

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12 810 8

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5 13 1

3 13 1


17 12 15 12 13 1213 12

15 10 13 10 12 1012 10

13 8 12 8 10 810 8

12 7 10 7 8 78 6

10 5 8 5 7 56 5

8 3 7 3 5 35 3

7 1 5 1 3 13 1

5 0 3 0 1 01 0

12 1312 13 12 15 12 17 12 13 12 15 12 17

13 12 10 1210 12 10 13 10 15 10 12 10 13 10 15

12 10

8 108 10 8 12 8 13 8 10 8 12 8 13

10 8 6 87 8 7 10 7 12 7 8 7 10 7 12

8 6

5 65 7 5 8 5 10 5 7 5 8 5 10

6 5 3 53 5 3 7 3 8 3 5 3 7 3 8

5 3

1 31 3 1 5 1 7 1 3 1 5 1 7

3 1

106

14 17

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17 14 9 14

8 12 8

14 9 5 9

5 8 5

9 5 2 55

55

5 2

14 18

13 17 13

18 14 10 14

9 13 9

14 10 6 10

5 9 5

10 6 2 6

1 5 1

6 2

14 17

11 14 11

17 14 11 14

8 11 8

14 11 8 11

5 8 5

11 8 5 8

2 5 2

8 5

14 16

12 17 12

16 14 9 14

7 12 7

14 9 4 9

5 7 5

9 4 2 45

55

4 2

14 19

12 17 12

17 14 9 14

10 12 10

14 9 7 9

5 10 5

9 7 2 75

55

7 2

Th ese next ones use string skipping and various strteches. Th ey are all triads, Major/minor, Augmented, Diminished, Sus2, Sus4 with the octave. Th ey are to be played with the Two Finger stretch groups as they apply. ******************************************************************************

Take note that the Sus2 & Sus4 Triads interchange as they move through their inversions.

******************************************************************************


Here is one of my favorite E Dimished Runs. It can also be considered to be a G, A#, or C# Diminished Lick because of its symmetrical pattern. It moves very easily with a minor 3rd shape/ 1-4 Finger Grouping. Try playing this one at a fast tempo if you can do it cleanly.

0 3

0 3

0 3 3 0

3 0

3 0 3 6

3 6

3 6 6 3

6 3

6 3

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6 9

6 9 9 6

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12 9

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108

“Music gives a soul to the universe, wings to the mind,

fl ight to the imaginationand life to everything.”

-Plato


110

REAL MUSIC In Book One, I had given a few examples of actual music taken from J.S.Bach, Beethoven, & Mozart. In this book I want to give you a few excerpts that you can apply the Two Finger approach in the same way. Th ese J.S. BACH, Fernando Sor, Bela Bartok Francisco Tarrega, & Fredric’ Chopin examples all use 2 note, or 2 note groupings for the majority of the excerpt. Do your best to follow along with the most appropriate Two Finger Groupings. And make sure you look these pieces up and listen to them. It’s infi nitely important to develop your hearing skills!

Johann Sebastian Bach- Bouree Lute Suite BWV 996, the 5th movement from Suite in E minor for Lute. “Aufs Lautenwerk”

(written around the year 1707-1717 and possibly earlier.)

Th is is possibly one of the most popular classical pieces played on the guitar today. Th e intstrument that it was actually intended to be played on is unknown. But it is thought that ‘Lautenwerk’, (a kind of harpsichord type of device that was designed to sound similar to the lute) was what it was initially written for. But great music translates very well to many various instruments. Th e notes & melodies are all the same regardless, but the timbre of the instrument used will give a diff erent overall feel to the music. Th is piece is a great example of using dyads. Except for a few passing notes this entire example is made up of dyads. Try and decide the best Two Finger Group to use. And try to decipher which intervals are being used as you play through this classic piece of music dated at about 300 years old!

Fernando Sor- Op. 35, No. 17 allegro grazioso, from 24 exercises. (written in the year 1828.)

Fernando Sor was responsible for bringing advanced guitar music into the world from the late 18th through the 19th century. At that time guitar music was mostly known in common folk or tavern music. Sor had arranged music from greats like Mozart for the guitar, as well as writing a wealth of material for the studying, advancing guitarist. Th is piece is a great example of moving a melody in 2 note groupings. Th ere is a total of 31 Two Note Groupings (62 single notes) in this excerpt that come together to form a very nice sounding melody line. And although this makes use of a lot of open strings, the intervals, and Two note passages give you the feel of Two Finger Groupings.

In Book One, I had given a few examples of actual music taken from J.S.Bach, Beethoven, & Mozart. In this book I want to give you a few excerpts that you can apply the Two Finger approach in the same way. Th ese J.S. BACH, Fernando Sor, Bela Bartok Francisco Tarrega, & Fredric’ Chopin examples all use 2 note, or 2 note groupings for the majority of the excerpt. Do your best to follow along with the most appropriate Two Finger Groupings. And make sure you look these pieces up and listen to them. It’s infi nitely important to develop your hearing skills!

REAL MUSICREAL MUSIC

Johann Sebastian Bachmovement from Suite in E minor for Lute. “

Fernando Sor24 exercises. (

In Book One, I had given a few examples of actual music taken from J.S.Bach, In Book One, I had given a few examples of actual music taken from J.S.Bach, In Book One, I had given a few examples of actual music taken from J.S.Bach, Beethoven, & Mozart. In this book I want to give you a few excerpts that Beethoven, & Mozart. In this book I want to give you a few excerpts that Beethoven, & Mozart. In this book I want to give you a few excerpts that you can apply the you can apply the you can apply the Two FingerTwo FingerTwo Finger approach in the same way. approach in the same way. approach in the same way. Two Finger approach in the same way. Two FingerTwo FingerTwo Finger approach in the same way. Two Finger approach in the same way. Two Finger approach in the same way. Two FingerTwo FingerTwo Finger approach in the same way. Two Finger Th ese J.S. BACH, Fernando Sor, Bela Bartok Francisco Tarrega, & Th ese J.S. BACH, Fernando Sor, Bela Bartok Francisco Tarrega, & Th ese J.S. BACH, Fernando Sor, Bela Bartok Francisco Tarrega, & Fredric’ Chopin examples all use 2 note, or 2 note groupings for the Fredric’ Chopin examples all use 2 note, or 2 note groupings for the Fredric’ Chopin examples all use 2 note, or 2 note groupings for the majority of the excerpt. Do your best to follow along with the most majority of the excerpt. Do your best to follow along with the most majority of the excerpt. Do your best to follow along with the most appropriate appropriate appropriate Two FingerTwo FingerTwo Finger Groupings. And make sure you look these pieces up Groupings. And make sure you look these pieces up Groupings. And make sure you look these pieces up Two Finger Groupings. And make sure you look these pieces up Two FingerTwo FingerTwo Finger Groupings. And make sure you look these pieces up Two Finger Groupings. And make sure you look these pieces up Two Finger Groupings. And make sure you look these pieces up Two FingerTwo FingerTwo Finger Groupings. And make sure you look these pieces up Two Fingerand listen to them. It’s infi nitely important to develop your hearing skills!and listen to them. It’s infi nitely important to develop your hearing skills!and listen to them. It’s infi nitely important to develop your hearing skills!


Bela Bartok- Two Portraits Op. 10, No. 1, “In Bloom” For Orchestra and violin (written during the years 1907-1911.)

Th is amazing Hungarian composer of the 20th century is one of my favorite composers. His ‘Music for Strings, Percussion, & Celesta’ & ‘Bluebeard’s Castle’ were what introduced me to his music, and had defi nitely gained my interest immediately. His music has a lot of eerie & dissonant characteristics, the use of Hungarian folk music, and a blend of the classic diatonic writing mixed with the 20th century’s 12-tone writing styles. Th is piece is inspired by his introduction to the music of theFrench composer Claude Debussy. In this excerpt of ‘In Bloom’ you will see 2 parts, both the ‘rhythm & the melody’. Th e lower staff moves through changing time signatures using mostly octave dyads. And the upper staff shows the melody, which you should be able to see this can also be followed in 2 note groupings as well. Try to play both parts separately, and if you can, try to record each part so you can hear it all together.

Francisco Tarrega- Gran Vals. (written around the year 1902.)

Tarrega was a composer during the Romantic Period. He had transcribed the piano works of Beethoven, Chopin, and more. Tarrega was to the 19th century what Andres Segovia was to the 20th century. Although Segovia had some harsh words towards Tarrega’s use of fl esh rather than nails for his right hand picking technique. Th e use of nails is thought to add to thecolor, timbre, & volume of the guitar. But in modern music with the use of electronic devices and as most player’s today prefer to use a ‘plectrum’ or ‘guitar pick’ to compensate, it would seem that the fl esh picking works just fi ne. Th is one is in 3/4 time and has a sort of waltz-feel to it. It moves along with dyads for the most part. You can see a few notes I’ve placed in ( ) that are triads. And you will notice a few 2 note melody groupings. And also a few grace notes as indicated by the slur symbols that give that Spanish fl avor to this piece.

Fredric’ Chopin- Etude Opus 10, #2. (written around the year 1831.)

Chopin was a Polish composer, a child prodigy, and one of the greatest pianist of the Romantic Period; and of all time no doubt. His music is elegeant, passionate, and has an amazing balance of technique and emotion within it. Chopin has many Etudes & studies, designed to work through specifi c piano fi ngerings. Th is particular one was to strengthen the 3rd & 4th fi ngers of the right hand as he indicated in his notations. So i saw it fi tting to apply them in the same manner, but for the guitarist’s fretting hand. You could work on this by playing the main chromatic melody line with any of the Two Finger Groups. And you could also follow the dyads that are shown in ( ) that occur on the downbeats as a Two Finger study.

112

“Music is an agreeable harmony for the honor of God and the permissible delights of the soul”

“i was obliges to be industrious. Whoever is equally industrious will succeed…equally well.”

-J.S.Bach



-J.S.Bach



-J.S.Bach



-J.S.Bach

J.S.BACH112

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“i was obliges to be industrious. Whoever is equally “i was obliges to be industrious. Whoever is equally “i was obliges to be industrious. Whoever is equally “i was obliges to be industrious. Whoever is equally “i was obliges to be industrious. Whoever is equally “i was obliges to be industrious. Whoever is equally “i was obliges to be industrious. Whoever is equally “i was obliges to be industrious. Whoever is equally “i was obliges to be industrious. Whoever is equally “i was obliges to be industrious. Whoever is equally “i was obliges to be industrious. Whoever is equally “i was obliges to be industrious. Whoever is equally “i was obliges to be industrious. Whoever is equally “i was obliges to be industrious. Whoever is equally “i was obliges to be industrious. Whoever is equally “i was obliges to be industrious. Whoever is equally “i was obliges to be industrious. Whoever is equally “i was obliges to be industrious. Whoever is equally “i was obliges to be industrious. Whoever is equally “i was obliges to be industrious. Whoever is equally “i was obliges to be industrious. Whoever is equally “i was obliges to be industrious. Whoever is equally “i was obliges to be industrious. Whoever is equally “i was obliges to be industrious. Whoever is equally “i was obliges to be industrious. Whoever is equally “i was obliges to be industrious. Whoever is equally “i was obliges to be industrious. Whoever is equally “i was obliges to be industrious. Whoever is equally “i was obliges to be industrious. Whoever is equally “i was obliges to be industrious. Whoever is equally industrious will succeed…equally well.” industrious will succeed…equally well.” industrious will succeed…equally well.” industrious will succeed…equally well.” industrious will succeed…equally well.” industrious will succeed…equally well.” industrious will succeed…equally well.” industrious will succeed…equally well.” industrious will succeed…equally well.” industrious will succeed…equally well.” industrious will succeed…equally well.” industrious will succeed…equally well.” industrious will succeed…equally well.” industrious will succeed…equally well.” industrious will succeed…equally well.” industrious will succeed…equally well.” industrious will succeed…equally well.” industrious will succeed…equally well.” industrious will succeed…equally well.” industrious will succeed…equally well.” industrious will succeed…equally well.” industrious will succeed…equally well.” industrious will succeed…equally well.” industrious will succeed…equally well.” industrious will succeed…equally well.” industrious will succeed…equally well.” industrious will succeed…equally well.” industrious will succeed…equally well.” industrious will succeed…equally well.” industrious will succeed…equally well.”

-J.S.Bach-J.S.Bach-J.S.Bach-J.S.Bach-J.S.Bach-J.S.Bach-J.S.Bach-J.S.Bach-J.S.Bach-J.S.Bach-J.S.Bach-J.S.Bach-J.S.Bach-J.S.Bach-J.S.Bach

J.S.BACHJ.S.BACH


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114114

F.SOR

“One must make of one’s fi ngers well drilled soldiers” -Fernando Sor


F.SOR

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116116BARTOK

“Our peasant music, naturally, is invariably tonal, if not always in the sense that the infl exible major and minor system is tonal.” -Bela Bartok


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118118

TARREGA

“Study...” -Francisco Tarrega (Quiquet)


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120120

CHOPIN

“Aft er playing Chopin, i feel as if i had been weeping over sins that i had never committed, and mourning over tragedies that were not my own.” -Oscar Wilde, 1891


CHOPIN

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122

*Also available*

• 1 FINGER EXERCISES FOR THE FRETTING HAND• 3 FINGER EXERCISES FOR THE FRETTING HAND• 4 FINGER EXERCISES FOR THE FRETTING HAND• THE ‘1-2-3-4’ GUITAR SYSTEM COMPLETE SERIES• J.S.BACH’s DOUBLE CONCERTO FOR 4 GUITARS

*with many more titles available soon*

*Also available*

• 1 FINGER EXERCISES FOR THE FRETTING HAND• 3 FINGER EXERCISES FOR THE FRETTING HAND• 4 FINGER EXERCISES FOR THE FRETTING HAND• THE ‘1-2-3-4’ GUITAR SYSTEM COMPLETE SERIES• J.S.BACH’s DOUBLE CONCERTO FOR 4 GUITARS


124

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TWO FINGER EXERCISES FOR THE FRETTING HAND, Part 2 of "THE 1-2-3-4 GUITAR SYSTEM" 4-part SERIES

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