Barry Galbraith - Fingerboard Workbook.pdf

7/17/2019 Barry Galbraith - Fingerboard Workbook.pdf

http://slidepdf.com/reader/full/barry-galbraith-fingerboard-workbookpdf 1/39

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INTRODUCTION

The Finge rboard Workbook

presents

a

number of basic concepts n log ical ingering

patterns.

Guitarists

generally

visualize

the fingerboard both

in terms of basic scale

patterns

and of arpeggio

relationships

to

various chord

functions. Connecting

these wo visual elements

nto flowing

lines often

produces

erroneous

ingering. Here are some

rules which will help

you

in

forming

the most

economical

ingering concepts

or traversing he neck.

1. The

term

position

means one finger to

each consecu-

tive fret without shifting the hand. Playing from position

offers

a stablebase

o move o

or from

(Example

1).

Position

limitations may be extended

by sliding

either the first or

fourth finger

out

of

posit ion

by one ret

(Example

1a) Slides

with the first finger are

preferable

o

stretching

he fourth,

and offer

the

possibil i ty

of slurring.

2. One way to move to

a

new

posit ion

is

by using

extended fingering, sometimes combined

with a one-fret

sl ide

(Example

2) .

3. Another

way

to move

on

the

neck s by a skip or

jump,

usually of two or

three

rets. The

safest

inger for this is the

first

(Example

3). To skip with the fourth finger is risky.

However, here

are exceptions,usually when

playing

in the

upper posit ionswhere he frets are smaller, and executinga

skip

to the highest

note of

a

phrase

(Example

3a).

4. When Skipping to

an arpeggiated

plrrase,

the

skip

should be

to the

finger which would ordinarily

play

that

particular

note

n the arpeggio

(Example

4) .

5.

For triad

arpeggioswithin a

phrase,

the finger-to-fret

principal

will usually apply

(Example

5).

When

playing

seventh

chords

it is frequently necessary o

use extended

fingering. These

are best

kept

on

three

adjacent strings

to

faci l i tate

icking.

Example

a).

6. For moving long

distances on

the

neck,

the

use of

consecutive irst and fourth fingers

on adj acent strings

is

comfortable

in dealing

with

diminished,

minor eleventh

or

major

ninth

phrases

Example

6).

7. Sequences repeatedphrasesmoving up and down in

pitch)

are

usually best not

played

n

position.

After finding

a

good

ingering for the

first

phrase,

the

sequential

phrases

should use

he

same

ingering

(Example

7) .

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I

\

,

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\ f

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An analysis

of one of

the

exercises

s

given

on

pages

9 10. This shows the components which should be

recognized before attempting

to

play

a

new

exercise,

enabling

he

player

to read

n

groups

of notes ather than

by

consecutive

single

notes. This

recognition will

also aid in

the

placement

of various

phrases

on

the

neck.

The first seven

exercises

on major

chords

are

given

without fingering so

that

the

student

may

devise

his

ow n

fingering

and

shifting.

The

same

exercises

are

then

repeatedwith fingering.

These are

not

exclusive ingerings

since

there

are several

logical ways to finge r

any

of the

exercises.

Fingerings

have been

kept to

a

minimum

since

they tend to distract

rom the notesbeing

read.

When a fingering

is

given,

stay

n

that

posit ion

(finger

o

a fret) unti l the next fingering moves o a new

position.

The exercises,

with the exception

of the

cycle of fifths

section,

have

been

written with continuouseighth

notes

so

that the

shift ing

must be done

on the move.

When

played

against a

gradually

increasedmetronome

speed,

they will

prove

beneficial

as an aid

to

technique,

All studies, except

those in the keys of G and C, are

written in flat keys. To

play

the

studies

in

sharp

keys,

change

the

signature

(four

flats

to

three sharps, etc.).

A sharp on

the

written

music then

becomesa double sharp,

a

natural

becomesa sharp, and a

flat

becomes

a natural. Remember

that a

bar

l ine

cancels

any added accidentals

n the

previous

bar, and

that

an

accidental

on

any

given

note

does

not apply to its octaves.

Another important

point:

The finger

tip

should be rol led,

not lifted, when consecutive notes appear on adjacent

strings of

the

same

ret.

These ew

principles

willprove helpful in visualizing he

neck

while

providing

technicalchallenge

or the

student.

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Ex. l.

Second

osition

one inger

o each

consecutive

ret.

Cmaj9

I

Ex. l.

Third

position

Ebmaj

4 3

Ex. la.

Positions

ay

be

extended

y

a one ret

slidewith either

he

irst

or fourth finger.

Cmaj

Ex . a .

Gm7

I



Ex.2.

Extended type

fingering coupled with one

finger slides.

.LipmaJ

1 2 4

l 2 4 r

I

@

I

@

2

@

@

Ex.3.

Skipswith the

first finger.

Gmaj

o 1 4

I

@

I

@

Dbmajg

I

@

Ex. 3a. Skipswith the

fourth

finger n the higher

positions.

- 4

4

@

I

i - - \ 1 ?

Cmaj

I

q



Ex.

4. SkiPs

o

triad

forms'

(Ft)

I

@

/A

\y

4

3

h

2

I

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-@@o

1nbml

I

r

B

1

I

, h 3 4

T @ @ @ o

3

2 4

@

I

2

@

@ @



Ex.

5a.

Extended

fingering on

seventh

chords.

@

3

@

2

@

4

@

t 4 2 1

@

2

@

, 4

@

. 4 ,

4

2

t :

Z ,

B

Z h i f i

@ @ @

Ex.

5a.

@ @ 6

2 t 4 2 l 2 a

4

2

\ :

@ @

2 4 4 2 1

@ @

@ @

Ex.

6.

Using onsecutive

ne

- -

four fingers.

1 4 1 4 :

I

@

Ex.

6.

Bm7

4 1

1 , 4 b i

6 o

@

I

@

4

i

t

d , - 3

ETbe

3

2 1 4

4 1 4

Ex.

6.

using consecutive

one

- -

four

fingers for

minor ninth

and eleventh,

i

r

i

, 4

:

4

|

: ; ?

I

@

,_

bj

@

@ @

7 r l

4 l

@

I

4 . 3

I

@ @ o

t ? : l

1 l l i

I

@

, Li i

4

@

4 l

@

I

@



,

o : l

z i i z a

1

4 : i i i

L i :

'

I

6 ' o

@

@ @

@

@ o

@ @ @

Ex.

6, Using

he

same

ingering

or

major

ninth.

L i 1 z I

|

4

t

r

I : i

r :

1 8 1

@ @ @

Ex.6.

Major

ninth

using

he

one

-

-

four

fingering.

2

@

Ex.7

.

Sequence.

4

1 2 )

|

2 : i

1 2 : i

t t ? : i

|

2 1 i

@ @

8 x . 6 .

E x . 7 .

2 4 1 2 3 1

@ @

E x . 7 .

e L : e r

1 2 : 1

Lbl-- . r-r

t

? :

r

? :

3

r - r |

2

t ^ l

4

@

t 4

@

z 4 1 2

@



EXERCISE

NALYSIS

Eb

MAJOR

Chromatic

Fm7

Bb

Penta

C m 7

Gm7

---r|--------l[

I

l l

E b a g

appog.

f

ba

]r-----l

Bb Penta

Bo

Cm 7

Gm7

Chromatic

appog.

hromatic

Chromatic

l B o

I r - -

b

4th Pattern



1 0

ANALYSIS

Continued

B

Triad

nb trian

B

Triad

Gm Triad

appog.

rb tr iad

appog.

-D

Triad

go

Chromatic

appog. -D Tr iad

Gm9 0r

Eba9f 11

Bb

Triad

gb

triad

gb

triad

r-------l

__________l

I

4th

Pattern

Eb

Penta



G MAJOR



?

C

MAJOR



F

MAJOR

r?nffT'T

t i +

A

_

A

F ? +

-

-

| |

'

-

l L

I

13



T4

Bb MAJOR

+

- o -

t L

? t ? t L t

f ;

- a 1 ' r t _ , r r t r r l _ r r r

t L - 2 . L - - 2 - - 2

A

= = t L

E E E f L X . = X . = L L

Q)

? 2

A r F F I

A e t ? t €

iffi

C L + ) + - +

, 1 l T - T -

..-.

-

I V | | I

a

I

- - ? - 2 - ^ - o - . . - F

--vrv---T---I--T

-Y--

a ,

-

L - r - r

r -

a t t l -



Eb M JOR



16

Ab MAJOR

-

a-

d

@

L

. +

. e f . 4 ? t ' t a t

F ? t +

fi

-

-

-

-

+

L

+ + 2 = = + 2 =



Db

M JOR



8

G

MAJOR

4

> l



C

MAJOR

9



Bb

MAJOR

L

:



22

Eb

MAJOR

i :

@



Ab MAJOR



Db

M JOR



D7



C



1 4 h

I



Bb7

29

. 8 4 4

g

1

?

f

t



30

Eb7

| 4 1

j

B r - r

4 4

2 1 4



Ab7

31

t \

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r

1 ; a

I

r B



CYCLE

OF

5 S

BY

POSITION

The

following

schematic

s a

simple

way

for

the

inexperiencecl

mprovisor

to

become

acquainted

with

the

cycle

of

5 s, one

of

the

most

used

progressionsln

contemporary

music.

In

this

casewe

relate

to

five

block

chord

formations

in

one

position

which

will

also

contain

the

appropriate

scale

and

arpeggio

or

each

chord.

To

con-

tinue

the

cycle,

you

need

only

to

move

up one

fret

and

follow

thi

same

procedure.

As shown

below,

we

have

A7,

D7,G7,C7,andF7

al l in thef i f thpos i t ion .oneexcept ion:

incetheATanaDTsca lesandarpegg ior in l r tbe twe

4th

and

5th

positions,we

would

observe

his

shift

when

playing

over

the full

register.

Ex.I.)

However.

f the

phrase

being

played

only

covers

he

four

high

strings,

hen

it ii

best

to

remain

in

5thlosition

and stretch

or

slide

the

first

finger

for

B

and f fl.

(Ex

Ia )

It

is

also

mportant

that

after

going

out of position for these wo notes to make surethat the following

note

is

fingered

back

in the

5th

position,

such

as

n the

second

bar

of Ex.

Ia where

the

A is

fin-

gered

with

the third

finger

and

not

the

fourth.

On the

D7

formation, yo_u

will

find

the

fingering

more

comfortable

by visualizing

he

forms

in

pa-

rentheses

rather

than

the regular

Dl3

form

although

both

are

used.

This

is best

demonstrat.i

uy

the

Charlie

Christian

phrase

n

Ex.

Ib.

Ex. 2

is

an

exercise

on

the

cycle

using

he

above

concept.

Ex.

3 is

another

way

of

runnrng

the

fifth

cycle

using

only

two

chord

formations.

A13

<E>

/a

v/

<>

(A

\y

;{>

o

@ @

ict

@

1 3

{>

.4.

10

@

@ o

@ o



3 b 4

{>

@

4

o

{>

@

o @

@ @

3 b 3

@

I

{>

c>

@

4

{>

{>

@

o @

@ o

Ex. .

4th

pos.

1-5th

pos.

Ex. Ia.

D 7

Ex.

b.5th

pos.

G7

I

D 7

1 3 2 1



u

EXAMPLE

A_7

5th

position

7th

position

8th

position

r

s

L :



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EXAMPLE

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SL

Z ,1 sL

B

Gb7

r

s , a , r - T .

9 L b 3

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4

8 7

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E 7

t

* 2 i z Z 1 - l

r - r

B

3

1 2

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G7

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2 2 |

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36

II

V I PROGRESSION

One of the bestways

of

gaining

control of

the

scales

nd

arpeggiosor use n an improvised

ine is to

play

a seriesof successive

ighth notes

through the

II V I

progression

his

practice

may

also be applied

n the

learning of any new tune.

Attention should

be

paid

to a smooth transition

from one chord

to the next

usuall

resolvingby either

a

half

or whole tone. In

due time the

linesshould mprove

melodically

and

gain

musical

sophis

tication.

The

following

five examples re

exercises n

the above using I V I in both major and minor.

and finally

a

line on

a standard

progression.

rom

the fingering

given

you

shouldbe able o take any bar and

pla-v

he relate

scaleor arpeggio rom

which the melody

s taken except

where an occasionalransitionalshift occurs.

t would

be

beneficial o lay down a chord track on atape recorder o play with;however be sure o useonly tonic. seventh

and third in the minor 7th

and dominant 7th

chords o avoid

confl iction with the altered

ifths

and nintirs

n the

melody lines.

II

V

I

MAJOR

Eb7

Pb7

Gb

I

9 : e



II,

V, I MAJOR

3

Eb m?

I

r 4 l 4 l

3 1 3 B l l

:tl l

r

I

r

3

s

a

f

Am?

L O m t



38

II,

V,

I

MINOR

Cm7b5_4

o\

7

FTbe Bbm

4

t - - r

ebmzbs

rf

mzbs

8 7 b 9

I

E M / D D



II,

V, I MINOR

39

BmTbs

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D7-9

2

- t m /p i )

D mzbs



4

STANDARD

PROGRESSION

BbmT

4 1 1

BbmT

DbmT

Bbm?

Barry Galbraith - Fingerboard Workbook.pdf

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