\

cr..,......::rCD

Introduction

The main obstacle facing every guitarist is the overwhelming number of fingering

possibilities. After thirty some years of playing professionally I have found these six

fingerings for the major scales to be the most efficient. From these six fmgerings all

other scales are derived. As guitarists we face too many choices as to where to playa

given note or phrase. It is this phenomenon of the instrument that hinders one's ability to

make sound and hand associations. In other words, IIWhat sound will I get if I put my 1st

finger down on the 3rd string, 5th fret, and how does it relate to the note that comes

before it or after it; how does it sound against a given chord?

A saxophone player does not have this problem. The fingerings are fixed. After

years of using fingering x, y, z, he is used to hearing the same sound. After years of this

~epe1itiveprocess the average saxophone player develops a fairly decent ear and a

remarkable technique. It is this limitless choice facing the guitarist that hinders his

development as a musician. The purpose of this book is to eliminate all unnecessary

fingerings. Just because it is possible to playa given scale or phrase with fingering "A",

<"8", or "c" does not make it practical.I have compiled what I believe to be a standard set of fmgerings for the

instrument. Furthermore, the fingerings are as symmetrical as possible. For instance, the~'-_#~

"mOllS d~-;,;;,r tIlescale are~n th,,_~~rp.roughout eachpair of

fingering;.

The guitar is a very visual in&trument 1believe it is imperative to visualize each

fingering until it can be mentally practiced without your instrument. After a few months,

you should be able to associate the sounds with the mental pictures. A pianist, for

example, can see each scale and all of its notes. The picture never changes for him; it is

repeated approximately 7 times. Below each scale I have included what I call a "mental

picture". This is what I see when I look at the fingerboard if improvising from a major

scale. It is not a chord grid. It is the fingerboard laid out in the following manner:

lrtS'tring

2ndm-hg3M st:r.ing4th st:r.ing

Sth~

6th string

----..J

..-----

I have named the six fingerings as follows:

The 1st pair - 6V2, SV2

The 2ndpair - 6V 4, SV4

The 3m pair - 6H2, 5H2

Translation:

6 = starts on the 6th string

v = crosses the neck in a vertical direction2 = starts with the 2nd finger

H = crosses the neck horizontally

For example: 582 means the fingering starts on the 5th string, crosses the neck

1::mizontally and starts with the 2nd finger. The horizontal pairs are perfectly symmetrical

o;;;;{"!ijethe other pairs are symmetrical except for the last few notes. Once the six basic

fm.gerings are mastered all this becomes quite obvious. I cannot stress enough the

huportance of thoroughly mastering the six basic fingerings before proceeding to the

other fingerings. A complete mental picture is necessary before you try to connect the

mental pictures. I have purposely illustrated only two examples (see page 7). To fully

~-p this concept it is necessary for you to explore this aspect on your own. Spelling it

rr:rtdefeats the purpose. The same is true if you skip ahead to the other fingerings. Ifyou

n:!:d yourself not understanding where the scales are derived from, STOP! Go back ...

!"'Oll need more practice.

-fmgerl~-&"_string 28

.-,-,----=--=-.-

---

--

The Major Scales

6= starting stringV= vertical2= starting finger

6V2fI

Vertical Fingerings2nd finger

0 0 -& .n. &

., 4 22

4 1I

9--10a:--tO

7- d<

~ 04t 2 I 3 4 1

5 4 3

7''7 9 10.., 8 10

l&mmg~~~~,--r-r--2nd stringl-44I~-HItt--l-r--3rd string t..J-"'~M-;--r-4thmmg laJ-.... H-;--r-5ilistrmg~~~-+~r-t--r--6ili~gl--J4aL~"~~----

mental pictureIt is imperative that you visualize the scale

5V2fI

-& .n.

.~ -I ~-T" I :~

I&Tt> 2

5

A- IV'I IIF

._ "CI <> ,v- IIF

[Copyright]1999 by Jimmy Bruno

1

Practice Tip

It is important to practice these fmgerings in all twelve keys.Below is the recommended procedure.

Key Fingering starting fret.

C 6V2 8F 5~ 8Bb 6V2 6Eb SV2 6----Ab------- ---------.--6V2 4--J)1;t __c __ .,_~._'- _ " ~V_2_-~~"--~~--- ----4 _Ob 6V2 2B ,'_---.,-_'.---.-------.---,·~---S¥2---.-~..--',~---,'-'~»'.'.".---.--._",_" 2,.. __

-{-------------- ' ---'---~~}-'-' - ~---D ~ , , , 5V2_~ .~,_'"~ ~ __o 6V2 3C 5~ 3

.......Practice this until all fmgerings create a mental picture.Make sure you practice the scales descending as well as ascending ...Try using the fingerings to solo over n - V - I progressions in all keys.Example: Dm7 07 CMa7 use fingering 6V2

Om7 C7 FMa7 use fingering SV2em7 F7 BbMa7 use fingering 6V2 etc.

----I•

2

.......\:-.

4

J Vertical Fingerings

4th. finger

......6V4 -& .0."....

6

• J ....•

~ 1.1

-A.,

.J -&0 ""

" t 3 " 1 3 1 ~ 4 2"x 4 i os

6 53 "

- -0' 7 _'"

4 5~ 6 8

...

5 77

~. 7 8-

11l1111

1\~

.,..,.r, r... -=.. 4 1 os 4 a5 -I

3~

X 4 1

-

1x 4 1 os -!

6.

- 1~ "0' 8 ~ 8 10--12--1':--

8~. 7 8

...,

..0. -&5V4

ll

3

Here's the same thing with the 6V4 and 5V4

Key Fingering starting fret

C 6V4 8

F 5W 8~--------.---- .---------------- ------Bb 6V4 6

Eb 5V4 6c-N)------------------ --6V4 - --- -4------'_I)~ ------.. -' 5Y4__~~__~___ __-,,_4:---Gb 5V4. ' L-B 6V4 7 -

E SV4 7--A------------ ,- --6\74---------· .. ---------5'---D SV4 S(1'--- ..-- -5V4 --"io"-C .... -- 6V4 g---

solo over II - V - I progressions in all keys.

Example: Dm7 G7 CMa7 use fmgering 6V4

Gm7 C7 FMa7 use fingering SV4

Cm7 F7 BbMa7 use fmgering 6V4 etc.

~ ..,

Horizontal Fingerings

6H2

"LI-~

" '",,'-

~

..l e-- - -...:.T

U

'-"'

2 4 1 2 ;G 4 -r

6 5;G 4 1

.t;G

34 1 a

24

Ea 7 89

- 10---12

110---12-

1Q--1Z~ 10---12-

13

-I I J J 1,-.1-

5H2

5

Here's the same thing with the 6H2 and SID

Key Fingering starting fret

C 6H2 8----£ im..-------.--.---8-_ -

Bb 6H2 6. E."... .__._._ ... _. _5H2 ._ _____ _ __" 6__Ab 6H2 4

,.._J)b ..__~.. h ~~ "'- 4..Gb 6H2 2_It 5H2 ...4 "_E 5H2 7---'X---- ------------6H2--- ..-- -5D 5H2 5G 6H2 3C 5H2 3

solo over II - V - I progressions in all keys.Example: Dm7 G7 CMa7 use fingering 6H2

Gm7 C7 FMa7 use fmgering 5H2Cm7 F7 BbMa7 use fingering 6h4 etc.

.:leT these six fmgerings have been mastered you are ready to connect from one picture to the next.'::henext section of this book does not make any sense, STOP !!!! Go back! You need more practice.::e next part should be easy; this is not brain surgery.

Connections

Here's a few examples using fmgerings SV2 and 6V4.If you have practiced the previous fingerings, this is easy .I point out these connections because when improvising you mayfmd the need to access different parts of the fmgerboard.These examples are not meant to be practiced as a scale fmgeringbut may be used when improvising from the scale.

Here's a descending example that uses three fingerings.

6V2-&

6V4

~5V2

J - - ~ ~ ~ .. .".. - -c_.'...... -~ 4 T 4 " 4 T 4 4 1 1 4 2 T ~ .a-t 2 3 .t 4 2

5

8 7 10--8 6 57 5 4 , -5 3 , -5 ..,

The number of possibilities is endless. The point is to know the six basic fmgeringsas well as you know how to spell your name. Since the remaining scale fingerings arederived from these six. this type of connection is possible with any scale.If you want to see these connections in action refer to my Hotlicks video'"No Nonsense Jazz Guitar. tt

The Dorian Scales

from6V2 .0. -e .0..

" - 0 -9-0 iI\

e .:.,~

;>0 n 3 4 1 3 4 2 4 1 2 -40 1 2.t 4 3 2 16 5

To create a Dorian scale start a Major scale on the second note and keep the fmgering the same.The example below is taken from major scale fingering 6V2 ("e" Major in this example)but the fIrst note is omitted. This produces a Dorian or minor 7th scale.

;,---10 7 8--10 7----.r---10 7----.r---10 8 10 7-~--8~··--1=1

from 5V2

!Ef &;-9- ~.o.

;) Ii 7 ; ~;-

-e .0. -9- .0. .a-

5 4 33 4

21 11

3 4 4

-10 7-8 10 7----.r---10 8-1a---.-11 8-1Q----12--13 15 I

If I take fingering 6V4 and start onthe 2nd note I get the following fingering(see example 1).

example 1f\

."-~J ~'-~ v =

~

"~ u"-"

1 3 .\ 1 ~ a,

5 .t"- " -1

2"- 4 1

1t:S ~ 4

10--12--9--10--12

S---1o--1210--12--13

-1"

10--12--13

eliample 24}

In order to keep the pattern of 6th string-5th string intact, take thefingering from example 1 and start it on the 6th string (see example 2). Thefingerings are identical except for the last note.On the next page the pattern is restored starting with fmgering example 2.

0 n 0 ,....... ., 0 ~ -e ..0. .a- n

.{ 1 3 15

2 'I 1.t

23

'I 1 32

'I 1t

tQ, 0~ t

G

11>--12---13 1{)---12 9--11>--12 9 10---12 10---12-13 'g

from 6V4 but starting on the 6th string -e- .ll

1*0 0 n r ': i i ~ r ; ~ ~ ~ ~ ~1 345 4 3 2 t

I 6I u

I . ftE "9

~

~

'~ .. -"

'_.'. i~,from 5V4

10---12

Horizontal Dorians

These are derived from the Horizontal Major Scale fmgerings.

[ ~LI....u:. ""

~

~ V

-..::T

..;0oJ

4 1 2 " 4 I

6 54

.t4 a ~ 4 2 t:S 4 1

t

11'\. 7 8-10--1 .....-;:,- 10--12-

10---1210---12

-10-

Q

13-

fI_I

~

.,....~ I

,"'

-."-'"

l ~1 5 I " ~~ .. 4 i' " 4 2q

3 "t

4 1

,

t:S

~:

t4 4

t:

L:--10--12 13

10--12-9--10--12

10--11 1310--12 13 15-

The Mixo-Lydian Scales

The easiest way to create a Mixo-Lydian scale is to add the three diatonic tonesbelow the root of the parent Major scale. In this case I want to create "C"Mixo-Lydian. "C" Mixo-Lydian is the 5th mode of an "F" Major scale; therefore, Iwill add the three notes "E", "D", and "c" below the "F" Major scale. When I get tothe note "F" I use fmgering 5V2 ("F" Major) and stop on the note "c."

"5f~

~...II ~

pn

-~ \7

L..

...,. -&-e-

I-~!•

'-J

-v

" 1 2 -4 I " 4 a5

j;i -4 1 ;i 4 1

2 t

E 7 --a-tn- 7---8~-1o-7-9--10

8 10--11-8-

~~-11v -

6H2

" .,J

I

~- ~

~ '"

'tP' y

.~ v II: .... -@5 2 4 1 ": 5 j

<I I " 4

I3

1 ;-s ..2

T T

it " -4

( -j~

!

,q I' !-r I, /

,,8

8---10--11

r----8-- 1C-7 ·---8 10

7---8·· ---1010---11

13-

,....I •~

l...L r'\~ ~

n

~

= - ~

e- u.. , '-'"

v~

-1 1 3 -1 I 3 4

-,

6 5 4.I ~

~

31 ~2

4 I

~

t~ 4'

-

L=- 5

-

87 --8

-5 7 85 7 " 6 8

5- 6 8-

- - -I~I~I 1:1 T ----;

...".., . .-. ...... -

6V2

Horizontal Mixo-Lydians

6H2-~e-

pobn

0 '-'"0 0

n '"" n 0 ~ e- e-

2 " 1 2 4 1 2

G 5 "2 4 1 2 4

31 ~2 '"

8-10 7 8-10 7 8-10--12 9---10--12 1(}--11-13 I

This fIngering is derived from the above fingering but starting on the 5th string.The fingerings are identical. b -&

" -loa.. 0 0 e- .n.

4 1t

4lin ~) bi 7~Ii

I 2,5 " 3

!

;,j~8-10 7-8-10 7-8-10---12 10--11 13 10--11-13 I

The Pure Minor ScalesTo create a Pure Minor scale add the two diatonic tones below the rootof the relative Major scale. In this case I want to create "A" Pure Minor.This is the 6th mode of "C" Major; therefore, I will add the two notesliB" and "A" below the "c" Major scale. When I get to the note "C" Iuse fmgering 6V4 ("C" Major) and stop on the note "A"

,..,L...IJ1"~. ~~l.l

~

=

e- u e- ?• ~

...,

1 3 " 3 " T

-

;j 36

5 .t~ 4 ! ~

-4 1

L -s- 75 7 -8- 5

-4 S --·7-5- 8_-5-

R-7

·6'

l

6V4

5V4,.., ••~~v

n -e- I

I" l', .,

~ '-"

3 " 1 ;j 4 3I 5 .t

OJ 1 ;G

24 i ~

I

4 4

jI

'ir------S·--7 -- ·8

-5--7-.---8 5 75 -.6 8

5 -6 8 10---

l

..~.

Pure Minors-- \ I ,\ I" ,", "

"~, • .....1.. eli' '''-1- /~~~g}lF4J. '-0 c.... '.-

These fingerings use scalefragments from two differentvertical major scale fingerings.

"I --" '"'-'-. I.. '~

~

-& U -& u'-'"

" 1 2 4 1 2 "'4~

;s

6 5 "4 1 if

24 1 "3'

I-I 2--3 -- '5 2--3 52--4 5

3 5 63 -- '5-

----'

5V2

5

6H2~ •r,~

- .,.'-'-.

" '"

t, U

I'

"-'"

" 1 2 " 3 ~

5 "4 1 if "2

1 ;j 41 " 4

i

I 2--3--53 5

3,--5

2--3

66 8--1:

r----55

The Harmonic Minor ScalesRaise the 7th tone of the Pure Minor scale one half step

f\L ..~l' '"'. ,",- IT

f.

-.:::::~....,.

.a- U .a- u

.a-

t 3 4 1 3 4 ;G a 1

-

65 .t 3

~ 4 ~

I-

a 124

L-C=::.:; 7 --A 5 7--6-. -~7 4 5

-5- 4

8

-7- 65-

",....,"

tlrio

~ ~ ~

-e-

f. u.. v'-'

"-"

"'"

t 3 4 1 a 4

5 .t4 a 13 2

~ 4 T ;.;:t

a --1;

1---5

5 '6'-5- -S-9--1G

7 --u85..---7-----8

'1)- --7- 8 -

-I-i

V-. f

I i;- --i --

!

~:po?Sc(~r~->

.~

/>

Harmonic Minors

4th Finger

.\ 1.t

2e- U -&4 1 26 5

1 ,~,,-----------2-4--5 '.8 5 6 4 5==---1

2-3-s ,'2-3

rei -I

5

,i ....

1.t

2

!

Horizontal Harmonic Minors

1\I.

'\.'-

~ 6-

- fI'_ ~

U 6- r "

1 3 .t 3 .t T I .,.t

4 I ;-j

6 53

4 2 4

-57 _0-

7 8'1)- 7--g---1:

7----9--10-~ 10-

--I

1'1

'" L..

- -~

~ -..::T

.. u 3- " I1

., 4 35

.t1 ;J" 4

-

2 ;-j 4 " -:ft

-5 7"5" 7--8

"6' 7----9--1(}8 10--11

:3 1:

8

20

The Melodic Minor Scales

For the Melodic Minor raise the 7th tone of the Dorian one half step.For me this is easier than making the adjustment from the Pure or the Harmonic Minor.

'"•• '"~ \J

t

~ ~-& U & 0

...... ~

t 3 " t "3 TTl ;i 4 1

65 .. 3

:G -I ;t

L....

2-I 1 :G

-5' 7 -"'-

4- - "64

'1)'4 5-

7-5

7-7

7

"

~ .',- . - " ~

u. - ,.

•• l"'- .,, --'-' I = .,. "" - -

@. u " " 1 ;i1 3 1 ., 4 2 :G 4.. 3 i 1 ;i -4

5, - 7--9--1~

.' 4,....'-/ 6Q

6 7~ Q

- 5--7 - 5 T· /Q

-' / ' -

.0.#& .0.

Melodic Minors

4th Finger

f\,'\..,

t.

~Jl, ~~

-~

-& U -& u - rr 3

'I'r

" t 2 " 1 a-

1 3

6 5 .t4 ;G

-4 i

-

2OJ <I

L--S 2---3 52---4

- 1 2---43 S

2---4- 55

- -- -I 1"'1 1"."'1 T

5'2---3-

1 2.t

Melodoc Minors Horizontal

-~y,",

~ .a- u-=

~ ~""

-& '-J. .:

~

1 3 4 t 2 11 4 • 1 1

~

65

.t;s 4 1

3oJ 1

2., 4

-0' 7 _0--0 7

-6'w

7--1}---1"-7 <:I

7--1}---10- ----'

"~I(IT, ... - "" ~

~1"" '11

3 4 I ~ ~

-

5 .t1 I

-

3~ 4 :G

24 1 ., 4

t

L

-0' 7 85 7

1)' 7- 9 10-8--10-

7--1}---10

Conclusion

""-- ... I hQpe this small reference text helps to improve your understanding of the

fingerboard. Unfortunately, space did not pennit the inclusion of some of the altered

scales. However, all the modes of the Harmonic and melodic scales are easily derived.

For example, the dimlwholetone scale is the Sthmode of the Melodic minor. For a

Pentatonic remove the 2nd and 4th degree of any Major. The use of such scales is

somewhat involved and would probably require a separate book. IF you have questions

email meatjimmy@jimmybruno.com