et
TI.IE
B O O KO F
D A I L YE X E R C I S Jhe f irsfof its kind to hewrif fenfor fhe PLECTU RM GUITAR
PART ONE Chromatic Scales and Ererciscs and all maior err minor Scaleswith many ftngerings in ell positiom. Incorporatint the full range of thc flngcrboard.
PART TWO Studies, A.rpeggios-ind Exerc.isesin single -to rtring run and..chords in major and minor kcys help iqc facility and ertemporisation. Incorporating the full range of the f,ngcrboard. Chords of the dominant including seventh, ninth, au1 ' fifth, f,attened flfth, aug. ninth, fiittened ninth, cicSpecial scales on diminished chords and augmcntcr chords. Whole Tone Sceles
FRANCIS. DAY & HUNTER. LTD.. t38-140. CHAR|NG
CROSS ROAD,
LONDON. W.C.2. lrAot Nart{Gr r'D
THE
IVOR MAIRANTS' BOOK OF
DAILY EXERCISES Thcf rsrrrf irs kind ro ht zt'rirtotfor thc
PLECTRLJM GLJITAR
[ . R A N C I SD, A Y & H U N T E R L , TD. I 1 8 - I . I OC H A R I N G C R O S S R O A T ) I _ O N D O N .W . C . 2
FOREw.ORD The object of this book is to provide the plectrum guitarist with a set of progressiveexerciseswhich may be Practisedat any time and which will rbsult in giving the player completefingerboardknowledge and finger flexibility. The presentday plectrumguitar has beenin generaluse in this country sinceabout1930althoughEddie Lang playedit in the early 1920's. Althoughgreat playerslike Eddie Lang,charlie christianand Django Rheinhardteach had or havetheir own \4'ayof playing which servedtheir own genius,it is necessaryfor the presentday player to haveat hand a collectionof scalesand exercisesto help him improvehis technique. The methodu'ritten by Georgevan Epps someyearsago was the most logical and servedthe more advancedplayer.With the help of this method with someof our own and American leading and after manydiscussions "lvor M a i r a n t sG u i t a r M e t h o d " a n d i n g e n e r a l g u i t a r i s t sI w r o t e t h e h e l p e dt o e s t a b l i s ht h e d o w n a n d u p s t r o k ep l e c t r u mm e t h o dw h i c h i s b e i n g u s e db y a l l t h e l e a d i n gg u i t a r i s t s . Sincethis methodwas publishedI havehad the good fortuneto study with Andri Segovia,Abel carlevarosand other great spanish guitar inteachingat the CentralSchool playersand coupledwith my experience of DanceMusic havebeen able to discoverwhich are the most effective scalesand exercisesto producespeedyand definite results. The contentsof this book, therefore,have comeas the result of much are a collectionof studiesand exercises practiseand book,research,and alsoadaptationsfor plectrumof what is bestand most effective in guitar fingering. I practicetheseexercisesmyselfand althoughEx.1 is onewhichI give to beginners,it is also one which shouldbe part of the guitarist's daily opening or limbering up practice for synchronizingboth hands. s t e a d y p r a c t i c ea t a s p e e dw i t h i n y o u r c a p a b i l i t i e sw i l l i m p r o v ey o u r techniquebeyondrecognition. In fact, regular practise of these scales a n d e x e r c i s e sw i l l m a k eY o u a b r i l l i a n t t e c h n i c i a n . fztor Mairants
F.& D. 22668
,]
t
THE
..IVOR MAIRANTS'' BOOK OF
FOR GUITAR DAILY EXERCISES PART I Play with alternate down and up strokes. The fingering is the same on all strings. 4P-_l denotes {l.i position. i.e. When lst finger is on 4th fret, Znd finger is on 5th fret, Srd finger on 6th fret and {th fLns,.r on ?th fret.
Ex.1 6th String N V N V N V N V
N
V N V N V N V
N V N V N V N V
#r"llfif,ttwt t 1 iir lrll*lt*?+?n#r*r ; ?q?-"orl1fi1."7 i i' ; +7lint 1i,l 7Y:3 l!\lb1
.\', q ttr|'\
t
t
jt"lll\lb1
5th String. Fingering as above ?P------r 8P-----r
gP---l
fl gP-------l8P------l
?p----]6p-------.1
5p--14p------l
3p------2p--------l
4th String Fingering as above ''L, D--_--] 5P-----16P----l ,iv zp-------r 3P----------"14P------1 l- t t t v - r _
?p------t
gp--..-,
1p-------t
9P------1,
tOP---
r
;l l
eP-__lsp------l
''-.-i"l
' 5P--:=4P
--r
3P-:-l2P------''
lP---r
3rd String. Fingering and positionsas above N V N V
C o p y r i g h t 1 9 5 2 b y F r a n c i s , D a y & H u n t e r , L t d . , t 8 8 - 1 4 O C h a r i n g C r o s s R o a d ,I - o n d o n , W . C . 2 .
F. & D. 22s68
4 2nd String Fingering and positions as before N V N V
1st String F i n g e r i n g a n d p o s i t i o n s a s b e f o r e |1 vfl
T il
When familiar with fingering play on all six strings at one tempo without Pause, commencing on_ sixth lstring.
ChromaticScales. T h r e e ways of playing C h r o m a t i c S c a l e s
Ex.2a
NV NV
^,.r.Fil
t 2
ror23 4 oLt?Z*zlf3iihii
ru
t ag
? u 2 . ,t
means repeat sectionbetween the double bars marked thus
Ex.2b
'
^
'
g
^
g
q
l
z
g
' O
4
|
2
3
r @
4
t @
t
l
2
4
3
l
2
3
@
@---)
@
iti
z , s 4
| . , 2
r$reF
@---------J
2ilf
@,]-.,
hi L i l i iTLLLL;
@-*------J
1 4 3 r 2
0t
@-----------J
)Vt
L l'.;' t b t
2 t I
4
g t 2
1 t 4 a > nDn s be Z
@
N.B. A number in a ring under a note or notes thus @ means that the note or notes must be played on the string numbered in the ring. n & D. 22568
Ex.2c
;t
o
2
t
|
4
3
1
3
2
4
1
2
3
2
|
4
3
2
+
iil
1
4
3
2
2
1
@--r@:
1
4
' @
@
Next in order of the dailv routine exercisescomes the scales.The player should try to be famiiiar rvith all the scales and I therefore give the major, melodic minor and haimbnic minor s?ales. Thc sequeirce is major scale, relative melodic minor, relative harmonic minor. That is, c, A minor melodic, A minor harmonic. Therefole we have the Keys of : --
c
G
D
Ami
Emi
Bmi
A
E
B
6T'
G'.
Db
Ai
Eb
Fflmi Cflmi Gflmi Dflmi
Ebmi Bbmi F mi Enharmonic
C mi
B b F Gmi Dmi
_o_,_3 ?
3 t ?
1 2 4 -
t@
'@
6-lo
I r a r
4
t
'@ 1
2
4
l
3
@----r-@------, @ 2 zr s ' 1
rO
@---G;:r
'@
| 3 ! Z :
l
' 6-1 0-----'@ 4 r z 4 : - U
6--,O
I
r@
'@
c o D A ' tr " , r - L - # 6---r @ ? : L ? t @
'@ 4 2
'O
\ 1s,"
r @---.rrar \9,/_-l
@
- r
rv----------J .-)
-,7 (6)_
R & D. 226s8
C
r |
@
1
6:_1
@----J6j g ' 1 s ' :
Ll:
g r
z
1 l o r t 4 2
r 4
4
-,
'@
@--.1-
r 312
6:J
@-J
ksssssss-J_t
r@_:@___r
b 3' ? 2 ) i f i f i l : ? ' 3
-,
r@- -'
@
? 1 r r e
r@JO
@
?' 4 2-. -
to
r s a L # 3 r .
6@
'+i
r @
t
? r ,1
A melodic minor A
o
r
=
o
z
4 2 4 r,r1 +il I
4
?
t
r
P
?\?qii:t r r t@
@-_
1
3
3
o*t
z
lt z
|
4
1
2
4
2
9
2
r
4
o
2
|
.
q
r @ r 2
f - - ; 4
2
4
|
4
I
z
6
r i l iL L i
. r 3 z ^ U ) i .
I
4
|
-, @::6 6:
@
@
st I
2
r
LLireiliiii
-
I 5I-=, o
r @
A harmonic minor r u o r z 4
,1
r
h i q i F iL i t z I s , @
t @
- ' @
@
@
6 6:-,
3
1,.1
r
r @
@
@
\ 7 3iliil
i
'J
ililLL23,
r
s
t
4
-r
r
+
2
:oiEi LLlt @
1
s
4
t
s
t
-'@
, @
6
4 r
r @
g
t J 2 r
t-ry |
t @
@
r @
r @
@
@
s 4 - 2
'
*r4s, og_3 r @ - r @
r
4
B o z s o z + 9
2 o r s o ?2
t r
z 4 r z 4 r s !
r s
dia=@
?
r
! z o r
4 z n y 3 5 3 t 4 z
4
3
t
4
g
- 6
@
Scale of G major in four positions llj
g
'-Y
l
^
'
o
o J t +
2 0 s 2
B - I4 2 r 4 z r
@---r@----r@'@-6J3 ffia'@------------r F. & D. 22568
2
4
1
2
4
1
3
,6-:'6= i L L : L r z
!
@ 2
4
2
r
a |
4
f1- 3
@-i4 |
e
r ' 1 2 )
s
l
:
)
:
'Q
|
s
t
4
4
?
|
1
"
,@ z
l t r
!
4
2
1
4
2
|
/
t
r J,€l=3
L 2
_,
._--_---_J
E m e l o dic minor
tr
3 0 2
4
l 2
n o 2 o , 2 . t o 2 2- Z o
s
.
t
,
I t t t , 6 'n\ - " @
'
2 \ i \ i i i z \ s
1
1
I
4
r
2
2
1
: ; iril"? i
4
;@.- '
@
r @
@
!
r @ O
4 a , 4 s r d
r O----------, O-
@
2
- -
-,t
*t,
d
,,o,I a s+t_ Zii#lLLiJ @ o
I@
-
'@
r @ - - _ _@ _.r r@O
@----
i - \ * n i i l z , 3 , 1
4 B r 1 8 1 4
F. & D. p2b68
2
1
o
2
1
I
E harmonic minor 0
2
3
0
2
3
|
1 o 2 o t
2
+ o 2
o
t+ I
o
2-9.-+
z
1
3
2
r @
@ 4
D maj or
tr
t
4
-r', ,o__-___,]l!!__,@
r@
@
3
3
l
s
0
2
o
J
2
0
2
r @ O
z
6
In six alternate fingerings,the sixth going up to A at the l?th fret
o - r3 o r o r z o , Z l i i i i ,'
z / + t ]
4
|
g
4
|
3
4
t
g
I
ftiiZ
@
y r ,2 ' @
,t
3, ?t'LLLI ?tiiz
t
@-.r @-_il@---r
r @-r@
-
@---r@---164 BJ a t 31 ?, 4z,
r@_r@__lO
r' 3iiL?L flir.z ts,
z
B | , ,3
?k
r@
o*,
,@:_1
r Br 4 B
19.-,@-J@ @
=EFtii @
o-,o-!i64,
4 3 r
@
3
4 z r z 4
2
t@
B melodic minor 4 r 2 4r
66---
@
3 ? 1
itz I r 4sI
'@-r@
t 32 , 3 i L i
4 t z ; l $
'@
-'64
'@
t @_t@
t@
r@_t@
,24?tff,frriiLLi*n2'",t
r @l---r@ t@ R& D. 2P508
t@
r@
i -J -: @'
r
| +z r '@-
t
3
4
r
l
l
2:i$ifiifi
:
t@
O---
J € )
nfnll:L r r
3
3
4
! t - 4 2 r : t r
t
g
4
|
t
4
3
r @
B har mon lC mlnor , , \ 2 : l _ r _ _1: rr o - ; r - q . , 4i r Z : 2 i l i ? ) - f i l ? ) 3 ! 1 ,
a
",
l\t)-
o
'!l
, >4 t
-{T'ah
-_r@
,@
' - - t ' l t - - t - ' t' : t
)L[i-5
li
rO---r@--
0 . 9
o 2 4 o 2,t
tr
| 2
t 1 , 1 -i t 4 ! - - . r ' *
#a-
z 4 t 2 4 t , 4
z
o 2 g o 1 Z[:
| -,, tL1:
- @'
t. B 4
4
r@
:
o " " o,
lZ'
);)
-i,j
!
l
- ' - t - o? J t - 1 - , - - ? - - - 9 - _
r s 12 z
"-l
).,',
:t 1 4 :l
@ e t b :_,61L _ , @ 6a-l@-----l r , r 3 13 \ 2 3 i
2
I
t
@--
4 - t 1 4 : ,r r , : ,
r : 2 . 1r , , B , z
:ilEEii Lil
3 t
i i l Z t r , i
,
|
2
4
I
4 i
i
n
t
4
r@---r@
1
Z 3
1
?
2
rG)-=-_----:6
F. & D. 22588
3
?
4
I t 2t , t
1 n
t
4
2
1
4
to Ffl melodic minor
1
:
l
/
r -,
t
t
l
3
l
g
r:,-#
4
'
iil
7 ' . J
ilghi*ii,r,
a
+
3 ,r r 2 r6t
-i
iili$i i
l
or
l 3 r a - ! - - r 4
Ffl harm o n ic mi n o r
E
,#
2 ! * O 2 . 1 O B t r
t
3
9--t
t 2
4
l
i
r@
A
o
z
g
g
4
?,,r B 2 oJ__r4
?':
l
s
3 o 4 2 O 4 2
3 1
3
2 -
,
: 1
'@_
2
4
s
4-l
r
3
L
r
4
3
r
4
' @
E major 1
2
z \ t 2
g 2
4 0 \ -
:
@ L t
2
1 t + -
t
I
t
+
g
l
z
+ r s t r
O-.t@--li-O_----r + r s 1 I B4 |
@ ? L 3i
t
2 A 2 r
o_J@ff f - 3 : z t
I
iili i
3
2
4 t
@ 1
@
l 4
,u,
4 s t a u r
r @O
- '
2
1
r
?
1
r
3
4
, 1- Ll i l i t
2 i + i t : 1t
t
t
3
4
i@tt e r
!
J 2
2
4
t
2
1
r
r
r
I ,-)
',
3
'
@-@ o
4
) 7
\
z
r
3
r ' t
3 . 1 7
@__Gi].b_,
1
1
:
t
l
,@- 1 q. A 1 :l
L i ; .
ft\ \l/-
16\ \l,r
s
@_l
Cil metod ic minor
tr
' t l z ' t l
#tr?'rlttilili
i tr i; , ";2-fi r z'\zliliit il*llz ,:, ,. '-u-, l?; B -major
!
@
4
s
r
i
@---.1 @-b F .& D . 2 2 5 6 8
g
l_,r
2
1
4
2
|
7
t2
Gil melodic minor r t z r r
l
i
l
t
*
l
3
i i
l
1
:
3
hfr€hci ), t :! r @_-j
Gil harmon lc
n
2
t
t
3
t
't ), Lili.i t L i
\ 2
4 g
B r
--
@
t
2
1
4
4
3
t
'
+
3
_-L
| @_::_J6
@
15
mlnor g
r
4
g I
1 1
r
2
66
4
B4 rs r,.22,il:..1
?_il
r
2
1
2
l
2
- -,@
"iL2t\s v
1
1 , t
|
@
' ' ! z t + z t
2 , , 1 . . L : , 3 f l L r u t , "r s r
'
r
r
^
-
z
t
, ?L L L L L . i + i i
2
t@
@
5o--r
| @_________J 6119
@
l
BJ--2,,3
|t|+
1
4
3
l
4
g
l
r@__=_=___:_il
The keys of Cb and Ffl are omitted but only the ei-harmonic B and Gbur" ,.""i@
Gb major
z 4 | 3 4
| s 4 2 4 L Z l
2 l 4
z o * t ' l
.
2 4 |
r s 4 | c 1 2 i
O
r @ z l l
€)_J@
?
s
:!
,t
r
2
tJ--t
- F
r @
r@
2
t
4
2
o
4
2 L r 1
l
i A ? t
t
4
r@ F.& D.22668
2
2
1
4
2
t
4
r @
, , ! L i L L | L Lg i i i i i l t r@_
4
@-r@
{---t 1 \
1
@--,@@ -'6:idil
6%=@-) 65o--,@ z 4 7 s 4
9
r@
@
1r
-
r
4 2 r J - z r
I@___JG;__J@
|
1
tr
3
2
) 2
4
1
2
/
+
1
3
-,@
7f,.-
1
4
1
1
3
@
1
2
]
@-=r o
r
'
I Q_,,|
3
l
I t , 3 _ l , t
! e r
= t i l l z
3
4
1
q
z
I
t
t
?
l
r I
@ ro-rP
%
|
2 1 4 2
7
J
r@---: d=ie=_.,o':
o
1 : ] r1 : , 1 3+ - \ 2 3 i \ 2 \ i 1 1 i b f u i i i : l r @ - r u - -=1e-l@-Errt J_-1O- C----iO JJ\7 ) ' ' 2 ',
K--,rnZ-: r\3/ (t Ebharmonicminor -
A,
n
! t t t
\r
:r,f:f
.
2 r 12 r | 3 r
\S
t.
r| f.l\ \l/
i
tr
t
7
|' z rtr-\1./
;z\ (l)\l/
!
3
t l . . i
1
|
3
,
1
@
1
z
r 3 ^ 13 7 i i 1 r _
6-1e - 2 " --fs-----t @
2
!
r
tc7::
r@ro
o
2 ar 3, r r3 Lil+i
@-r@
t
-^
t
O
(!_
'F*i,,,i
1
s ' \ 3
z \ )
_---l@__rO--J
'I
|
3 l
r'\2r l t -
,@r r-r r r
,l/i\ q/J
ii:jtr,.
6 6-----, Slio-----,o
-
3*j
r r r
Etljj
i \Zlliti
,f.l\ rr:/
l 3 ' t
I
2 , , 3 * a3
@_-16=r@:
(?,/-------.ir:z---
lejor "
r'r
If,\ \9
qiil),:1r
-
r*'
(E)
\ : ; i i - i r t l | - _ F ; F P i ? Z \ r . s ' ,t r t '
r : , {r 3 1 r r
Irrl [al | \:/J\3,/J
ol
n
---€F
-J--
t6l -, e | @___.r @ 3*1 l r o . a1 ' , : ' ,
r@-
iiiiZ :
ffi a*t 1j.i
z a l ? 4 r 3 t r
^ffi?-oet'
| \:/J\ZJrl)
1€)---r@r@ F .& D . 2 2 6 6 8
.1 r
-i
-l
-,
r
l\j/J{rl)
i
t4
Bb m e l o d i c m i n o r l
l 2 t t l
1
3
7
r
3
r
3
-
1
, 2 4 th2hli2 Lii;lr,:l
ar
rI
)
4
:
t
l r + .
Lti'ii',iiii
l
3
1
4
:
l
rg-
O Bb h a r m o n i c mi n o r
.
+
1
3
4
)
1
t
1
: l ' L )
1
o
r
l
?
) L L 24tl
@--__J@
l
O.tr Ah major
r@
@
r
1-3
2
= . - l
, t t 2 t t , r 7 o ,r z t t ) ) h L i L i
1
I
1 6 . - - - ,
@
\ ) ) "
g
4
3 - _ 2 t 4 z l r r
" , n
@ r@-ro---r!:o:5 66___,o j | 1 , , r + ! \ ) l i i , L t , ^ t r , r
; J
6:dry
. t t ' ! 2 4r
: !
/ r 2 | 1 p l
@_F6_:@
66::@
^ . .
I
t \ s
!
E , ' , | 2 , +r -2 l i i l t f t@
{a-l@
r@
r@
t@
r@__r @ t
1
Z
t
t
t
@
-B)$-
3
B r
r
4
o
r @ _ _ _@_ . r
t
4
r @---------------=
F.& D.22688
I
, Lt i +f i i
i )
' 5-e llt4rr-l-1-B
r@
I
4
z
r
4
@
z
G ) '
1
4
€ >
t5
F melodic minor 3
|
1
-
l
a o-*i
0
3
1
3
-
.
4
, or^3 i:tt4,2
r z--LJ
4
;
B , l
o B I
r r r
3
1 i ] 1 4
1 ^ 3
'\ ' g '
@
iviv: t r
4-s
1 1 r
I O ----J
I
2
1
4
!
t
:
1
1
1
*
:
l
- =
O-
F h a r m o nl C m l n o r
n
l
l
l
l
l
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.
l
r
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t
t
t
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g
l
l
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r
- @
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Eb major
tr
z
r
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)
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1
rO
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r C e _
l O
r j ,, 4 : , , ! , i r
l1i riiii:v,
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= ? i i i Z y -
s r 4 2 , 4 ! r
g-.l@--JF-6______1 4
go
|
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t
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,ff@
1)iiiiti r@
i L ; L 3 : r , 4 r , 4 : ,, , +r
io--=r@ F.& D Pzb68
r@r @_r-.b
,@
4 l
t8
C melod i c
tr
: ' r - r- r , ' # , \ : ) , l i h i F i . E € i + ; ; : : B h m a-i oE r
^ '
,#
-\:::hikiir,i.ibibi ) , , , ,,
ry,
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r :r, 1;,,i r,
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r@
|
o--___,o____Lo
'=-Frrrtii t , \ , *s , 4: , tO
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'O__=rr-
G me l o d i c m i n o r
R & D. zzioa
,,:,,;r ,
"
' l - . l ' t
2 l ( t
2 l
12
4 2 \
r
J 4
O --,------r@
dtt,6:
r 2 1 r t 1 * \ 3 i
r
-l"@-
@
t# ---.l
7 i , ) t t t z t t t - 2 - q 3
-16ra
r@--l'@
@ro
t o i t r ( ) , - - - ;
Ic _l6-a---
lF;t-Ji
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6 =riiiii:t /O
r @
u 2\
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lirJ @ - - ? t r ^_ __
=
lFJ
:
t
F. & D. 22568
l - i
r-\ l\]/-
l
18 4 : t
, r : t 1 ; J
l
;
J
l
2
, rt : ; a c l p
?titiLl
z ----ar;ts t -
E
e
J 1 - ) : i t t i
_---
F-_.-_:___
_______
vz^rCE--:O-__J @
I
rC__JO_
___T=r___r*-t_
_-_-
ro,_tO__lO-= :v
'=LLitr 1
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5;r)
1
)
:
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i i * i i l : z , 3 1 6 r
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2256S
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19
PART II The following set of studies are based on the major scale and consist of major and minor triads plus major or minor sevenths.Major seventhchords may also have the f ollowing symbol :-C (+z)
H e r ea r e t h e c h o r d s i n t h e k e y o f C m a j o r . *' C ^ mai? Dm? Em?
FnrajT
Am?
Bm?-5
CmajT
Key C T o b e p l a y e d i n t h e ? t h p o s i t i o n . i .e . F i r s t F i n g e r a t t h e ? t h F r e t . ."'" 7P ', 2
1
3 t-o . ,
:
4 zt'l
t - 2
,
|
!*
i-t
l
4
Key C
Learn above thoroughly before going on The same pattern follows when playing in the other keys. Therefore only the first four bars are given. GmajT
GmajT
Key G 2
1
4
3
1
4
2
2 t 4 3 r 4 2
1
r 4 s - : 4 - g r 4
z r
o t , t J r r
etc.
Gmaj?
Key D 2 rE
xMay
be written C (+z)
tJz
t
F. & D.22568
Cfim?-5
D ma.j7
20
Key A
Key E
BmajT
E maj?
Afim?-5
Key B
Bmaj?
Eflm?-5
Key Ffl
G b m a j?
Key Gl,
1 P"""""'
GbmajT
Key Dl,
8 P""""':: z t ' t t 1
F.& D. 225S8
Dbmaj?
Ab maj 7
Key Ab
Eb maj ?
;"
E|'
s,
Ab maj ?
'3';'!,
Key Eb
B bm a j ?
B b n r a j?
Key Bb
FmajT
Bbmaj?
Key F
ln lst position u.ith open strings. 1
0 3
t
0
3
Key F t
t
o
l' '-.o
3 2
O
B
2 1 , 3 _ 3
o
o
3
2
t-.s2
l
,
g
?
O
o
3
g
e
o
s
2
3, t,
o
:
l
l-!
:
o
3
2
2_s
3
2
l
o
1
3
2
o
i
t' P o . g 2 o g
I
0 3 2 0
. 3 2 0 3 1
3 l
o 3 2 0 : ] l
J
F .& D . 2 z b 6 8
J=
U
r
,,
Key E C
2
2-1
!1
2 r + ? r
4 2 1
4
2
t
O , I 2 t . r Z L 1 . t
2 0 4 2 --f -r-1
--+ e
r
-.-++
eted
Alternative positions and fingering of same studies commencing on fifth string.
2P""""""' 2
|
4
3 r l 4
P
24
, r 2 l 4 t 3 J r t B t 4 3 , 2 l 4 J
g
2-'t
I
Key C t
"""""""" 3P ;
-
3
1
,
:
i . : . 3 r 3 t t z t L ' ! : t r r
I
a
2
J: t @--=r
DO
t L L l , , , ' 4 p s j
!
s t
s
s
z
r ' l
3 7 s
e
4
/
t
2
4
s
The above fingering may also be used in the following keys and positions:
Key G Key D Key A Key E Key B, Key Ff,
9th and 10th Positions 4th and bth Positions Special Fingering given below 6th and ?th Positions lst and 2nd Positions 8th and gth positions
Key Key Key Key Key Key
Gb Db Ab Eb Bb F
8th and 9th Positions 3rd and 4th Positions 10thand 11thPositions 5th and 6th Positions Special Fingering g.ivenbelow ?th and 8th Positions
2 Special Fingerings in Keys A and Bb
Key A
z 7 q 2 0 4
F .& D . 2 2 5 6 8
4 2 0 4 0
l
, LLlLt, oriiLLtt Key A
-E;: o
t
o
r
. . 1 2P
4
7
tt
:J
t() l !
P
;t
1
,
;
I
;
: (lP
:
?+;
: l - _ e
D
1
C
3
':iL':
!1
? 1
r 1
?
-.'--.'_
s 1 1 B | 4 l3^l
s r I
I r 11
T h e a b o v e f i n g e r i n g m a y a l s o b e u s e d i n k e y s D b , D ,n b , p , R C h , G a n a a b . o : t 2 0
I
g
r o
g
l
o
3 ,
2
o g
t
3
r-i p o
,oE
o s 2 \ 3 j _ o s
I
Key Bb 3
2
l
4
i
J
t
P 7 n 2 \ s
o s z j S _ . g o g
3
2
o
s e
l
4
o
s s
1 4 g
s r o S , P o g t
2
r t 2 l
r
t + 3 1
z r \ 3 2 \ + J
,
r o s ? o g t o
""""-"' , ^ - 2 . o "' i l l l l l l l l l l l l l 7l l 4l j .2ai L s2\n
10P
t, '
s r o 3 , 2 o B t
, 4 e rliilZ'
r
o
t_3
2
o
o 3 t o 7
; I " ' ; ' ; " " " " " " ' o Tifeill
Key B i'
^':i
i i i : : - L L - 2 ! ii t ' : ' i + = i i i i L L - , i = =i: _ i :
*e*:r-lf
\ 2
,
2
1
.
' liEe+i.t
r +:ri-lJ+#-1j ):,,
l
, . r , : - : ? , 1 , )!,. ' , , , ,, ,n "
F.& D. 22568
.
r.L i Fei;.t
.
t
i-
l
24 In order to be able to extemporisefreely, the requircd notes must be found easily anywhere on the guitar. Here thereforeis still another fingering which enablesyou to play chords as chords and as arpeggios employingthe first four strings. For conveniencesake the example is in G, but it may be transposed. o
'
4
, +-J
2
4
n *
3
@--,G1
Lzt,
n
t
1 e
2
4
2
'-ffizB1B
,
3
L z r g
z 9
,
Lz r a
\
3
@
I
1 _4.
! s
4
4
3
D
I
4-_ 2
1 e
4
@ 3
4
)
I
3 2
4
2
t
B
Besideslearning the chordsbased on the Major Scale it is also necessaryfor the purposeof extemporisationto learn the arpeggios and runs based on the two Minor Scales i.e. the Melodic and Harmonic. It is here importa n t t o p o i n t o u t t h a t t h e M e l o d i cm i n o r S c a l e i s m o d i f i e d ,a n d i n s t e a d o f a c e n d i n g a n d d e s e n d i n g i n t h e usual manner thus:-
it ascendsand descendsin the same way, thereforehaving a minor third, major sixth and a leading' note both ascendingand descending:
We now proceed to build a four note chord on each degree of this Scale:
A minor
f.Lm1ma5z) Bm?
**Cmaj z*5
Gfim?-5
Ff,m7-5
(Melodic)
In First Position. With open Strings. Practise slowty and smoothly. 3
f Mu" also be written *' . r C (+z)+o
2
0
4
2
1
4
2
0
3
F.& D. 22688
2 ,1 4
2
iAm(majz)
?5
With No Open Strings.
A minor
9P
7P
5P------t | 4 3 2
a
1
4
|
3
3
---r 1
9P
4
3 l
l r r
2
g
+
I
4
(Melodic) 9P 4
6P 3
3
2
1
@-J
4
1
l , 4 t
?P-----__--lgP--__---l 2 - l
2
4
g
4
l
g
l
4
2
5P I
-----------l t
*
S
4
r
2
?P---_-r 2
3
1
4
5P 2
3
I t i s p r a c t i c a lt o p l a y t h e a b o v ee x e r c i s ei n t h e k e y s o f F m . F $ m . G m . A b m . A m . ( a s a b o v e )B b m . Bm. Cm. Do not g'o on until you are thoroughly familiar with above study. Herewith the scale in chords of these keys with the first four bars of the exercise in each case. Fm(maj7)
Gm7
lP----r
3P
-D m" [? _' 5
C7
AbmajT+5 nbz
Em 7-5
"
F m ( m a i? r
h*
h*
F minor (llfelodic)
o
3 1 4 3 t 4
Ff,m(maj?) c$m?
F$minor (Melodic)
2{--14P r 4 3
2
Gm(maj?)
Amaj 7+5
D $ m7 - 5
4 Z t 4
E$m?-5 F $ n 1 ( m a j z )
f
16P
g t 4
3
t
2
1
4
3
1
Bbmaj Z+S
z l q 2 t 4 s 1
Ff,m?-5
G m ( m a . , 1) ?
Gminor (Melodic)
3P----l 1 4 3
5p--------r 2
g
g t 4 2
?P
q s 7 s l
F.& D. 22568
1 4 3 7 1 + S 1 , / l
z
l a 2 , t
I
26 Abm(maj?) Bbm?
CbmajZ+5
Abminor (I\telodic)
------.l
6p
4p-----t
2 , 3 1 4
1 4 3
nbz
8P
3 r - 3 1 4 z
A minor, as written at the beginningofthe series. Bbm(maj?) Cm? DbmaiZ+S
Gm7-5
Fm7-5
1 + 3 4 + s
Ab,m(maj?)
2 ! 9 r J - s r
r 4
Bb.m(majZ)
SbZ
Bbminor 6P---------r 8 4 s ? s
(NIelodic)
1 4 2
l10P ; 3 r 42
l 4
a-3 t r,
rq'j
'3 t
z 41J
@--.r B m ( m a j 7 ) C fm 7
Ff,7
DmajT+5
Gf,m?-5
Bm(maj?)
Afm?-5
B minor (Melodic)
?P-----r 1
4
s
2
9P 3
Cm(maj7)
Cminor
1
2
l
11P 3 t 4 2
| 4
B rt4-s t r, z 1 a,7l$s-r
Bm7-5
Ebmaj 7+5
tiEtf,,o",1
(Melodic)
3
4
rf i:i
tj
4-3
t
4
z
Cm(maj7)
14,21
4
3 r
@r cfm(majz) Dfim?
EmajT+5
rfz
Gfi7
B $ m7 - 5
Af rn?-5
C[m (maj?)
Cf,minor {NIelodic)
3-rtt2 rtE /;\ @ @ \z 4P
r-!t4
?P;l
zrlzJ
ilt,
F.& D.P2568
t.
, , tll
----------r 3 t
4 2
! ! , ,
4P.-
J P r ! z t s z
Dm (maj7)
Bm7-5
Fmaj 7+5
C # m? - 5
D minor (Melodic)
Ebm(maj7)
Fm?
rbz
Ghmaj 7+5
Bbz
Cm7-5
Dm?-5
E b m ( r n a l)
hr
Eb minor (Melodic)
3P
6P 3
, t321 g r
! ! ,
t t 3
1
g
2
I
4
3 t
)
etc.
Em(maj7)
GmajT+5
Eminor (Melodic)
9
elc.
On first 4 strings
G minor 4
.
3
2
1
2
3
3
2
l-'l e.)
The above arpeggios may also be played in F and Ff, minor on the first four strings. chord throughout each bar. F .& D . 2 2 5 6 8
? + ;J Tf g(r
Hold the notes of ti.e
28 Next in sequence it is necessary to learn the Harmonic minot scale and the chords, runs based on the scales in all keys. First here is the scale of A minor. Harmonic.
ancl arpeg-gios
We again build a four note chord on each note of the s c a l e .
+Am{maj z)
Bm 7-5
* *'
Cm a j 7 + 5
Dmiz
E7
In first Position practise as before slowly and smoothly. s 2 | 3-zoa zosj
7_si
2
*2Js
3
( t t
D
1
z 4"+
g
No open Strings 7P a L4.
Am
2-4 s
* ; 4"-r;
4 2
r 1*i..o*
*r-l-3.
Harmonic
s r l g l
t 4 3
l s r
B
|
4 -9 1
4
g
1 4 3
@ + ' zj
4 g
5P
! + z
z |
4:1J2
|
s 1 4j
2 + s
It is practical to play the above exercises with exactly the same fingering in the keys of : Fm. Fflm. Gm. Abm. Am. Bbm. cm. but first be quite sure of the fingering Herewith the scales in chords of these keys and the first four bars of arpeggios and runs as above. These should be played with exactly the same fingering throughout as the exercise above. x.May alsobe written en (+z) **"a;r also be written C (+z)+r
F.& D. 22568
"r
Fmi(maj 7) Gmi ?-5
Dbmaj 7
BbmT
A bm a j 7 + 5
Fm
3P
Harmonic t 4 3
g
2 4
z o a z
4
3
z t jz-r
4
L 2 elc.
o__, @@@________._ F'flm(maj?t Gflm7-5
Bm7
Amaj 7+5
clz
DmajT
Ef,o
l ' f l m { m a j7
E b m a j?
FfiO
Gm (maj 7)
Fflm Harmonic
2P t
Gm (maj?) Am ?-5
Bbmaj ?+ 5
Cm7
Gmi Harmonic
Abm(maj?) BbmT-5
C b m a j7 + 5 D b m T
nbz
Fb maj 7
Go
A b m { m : r ,?. y)
Abmi 6P
Harmonic
t + 2
A minor as at beginning of series. Bbm(maj?) Cm 7- 5 Dbmaj?+S
Ebm7
F7
(mal 7 I
Gbmaj ?
Bbm Harmonic 2 4 9
g l
2 r- o""
F.& D.22568
3-io
s
I
8P 4
2 1
so Bm(maj?) CflmZ-b
Dmaj ?+g
Em7
Gmaj 7
AflO
Bm (maj ?)
Bmi Harmonic
+ s
1 4 - sl 4
9P_
3i-a
2 - 4 3 t
= 4Pg*c{rz
s
etc.
Cm (maj ?)
Dm Z-5
Ebmaj ?+g
Cm(maj Z)
Ab majT
Fm7
()mi Harmonic
10 P. e/c.
I-lerets an alternatrvefingering for the harmonic minor seriescommencingo' c minor in Brd position. 3P
r_41 1B-
Cm
,#'1 , s r,131
4jL#3*l
, n
2 7 3
2
zt4^z
Harmonic
Cf,m(maj 7) Dflm Z-5 Emaj Z+5 Fflmz
Cf, minor
ofrz
Amaj 7
BflO
Cf m (maj Z)
Harmonic
Cfl minor Harmonic in ,lth Position
descendingin the same way as C minor. F.& D. pps6g
',"'
31 Drn (maj 7)
Em ?- 5
F nraj ?+5
Bb naj ?
G r n7
cro
D r n{ m a j ? )
D minor Harmonic
5th Position
etc. descending
Ebm(maj 7) Fm ?-S
Ebm(maj?)
C't majT
Gbmaj?+5 Abm?
Eb minor Harmonic
6P
lo*
e
6th Position
etc. descending
Em(maj?) Fflm?-b G maj ?+5
CmajT
Am7
DflO
E minor Harmonrc
7th Posrtron
t , etc d e s o e n dni g
F .& D . z p b 6 8
32 B e - l o u ,i s t h e s a m e s e q u e n c e a s b e f o r e , b u t i n t w o o c t a v e s . arpeggios and runs all over the instrument.
1P
7 4 3
2 4 3 1 4
The purpose is to be able to extend the 2P
3 5 . 4 3 2 4 3 L
3 2
F minor
6P........-.--_7P
7 4 2 t 3 2
7
4
3 1 r , 1
2
r
B
Harmonic 7 P
5 P 2 J "
l 4
z
e1
/;\
,;.'
' ,8 P B z 7 4 :
1_11 3
7 P_10P-r 4 2y 732
I
e : @ @@___i_,6_
8P r, n,
3
o
/'\ azr@
\q---- _-_r
8P
a
8P 4
3P
6P_ g,r41J-z
2 4 3
2 4 3
r'
c . 7
It is also possible to play this sequencein two octaves in the keys of Ff, minor and G rninor, therefore p r a c t i s et h i s e x e r c i s e i n a l l t h r e e k e y s o f F m . F l m a n d G m i . I t i s f u r t h e r p o s s i b l et o p l a y t h e s e c h o r d s ( a l t h o u g hs o m e w i t h d i f f i c u l t y )o n t h e 6 t h , 5 t h , 4 t h& B r d s t r i n g s ; and on the 4th, 3rd, 2nd and 1st strings. Here they are as arpeggios on one set of strings at a time. Am (maj 7 ) 4 3 2 1
Cmaj 7+5 4 3 2
Bm 7-5 2
3
4
3
2
1
2
,
A
l
'
2
Dm7 4 3
9
2
7
2
3
A minor 6 .5 . 4 . 3 . Fmaj 7 4 3 2
2
'
Go 4 3
3
2
7
2
Ami 3{>
3
* @ @ @ @ @ @ The last two chords are not practical on 6. 5. 4.3.so play them on 5. 4. 3.2.
Cmi (maj 7) 3
1
0
9
4
Dm 7-5
0
4
0
2
Eb maj ?+5 1
1
l
4
3
Z
g
2
7
2
3
Fm7 4 3
2
7
C minor 5.4.3.2. G7 4
Bo
Ab maj? 3
2
3
1
l
7
J
4
3
2
1
.
Cm (maj7) 4 Z t I
, . 2
Cm 3 G
F .& D . 2 2 b 6 8
T
2
3
F minor 1.3.2.1.
c7 4
Eo
Db maj 7 3
2
7
2
4
3
2
1
4
3
2
7
2
3
Fm (mai?) 4 2 S" r
These chords may b e u s e d i n a l l k e y s , a n d t h e f i n g e r i n g w i l l c o r r e s p o n dt o t h e s e t o f s t r i n g s i n w h i c h they are played. I t i s u s e f u l p r a c t i c e t o i n v e n t y o u r o w n e x e r c i s e s b a s e d o n t h e c h o r d s a n d t h e i r f ingerings.
Chord Extensions It is possibleto make major chords sound much more rnterestingby the addition of the Sixth, Major s e v e n t h , n i n t h a n d a u g m e n t e d e l e v e n t h , a n db y i n v e r s i o n s a s f o l l o w s . N o t e : T h e r o o t o f t h e c h o r d i s c a l l e d 1 a n d s o o n . T h e t h i r d , 3 , f i f t h , 5 , m a j o r s e v e n t h , ? ,n i n t h , g a n d a u g ' m e n t e de l e v e n t h , + 1 1 .
Key C
Here are as many of these chords as is practical written b u t p r a c t i s e i n o t h e r kevs .
as an exercisc for guitar
in
the key of C,
Key C
2a
The same extensionscan be obtained with minor chords as follows, in the key of C minor. Extended chords
C minor
F .& D . 2 2 5 6 8
34 C h o r d s b a s e do n t h e p r e v i o u s i n v e r s i o n s i n C m i n o r w r i t t e n f o r guitar. tncorporattng the chords. Practise in ali keys.
r@
An exercrse rn waltz time
?
?/:\
@
\,
@
'
@
In dealing Yi.th.extensions on major triads it has been found that the seventh is a major interval , and with rninor triadsthe seventh is a minor.interval;uut wittr dominant chords the seventh is always mrnor. For example the dominant chord of c is G and the seventh note built on G is F which is a mrnor seventh from G. We now tabulate the extensions.
G 7+ 5 + 9
G 7 -5 + 9
bfslS' G7+5-
G7-5-9 13 11 I
G7+5-9+11 e13
2PB
G9
2 (trsl
8PB
Gh9
{> Ffl9
1PB
<> B9
8PB
G9 in all keys formation /b)
10PB
bE
G9 4PB
Gh9
b&
2PB
C9
{> F9
4PB
G
Ffl9
l,
JPB
{> F9
o
3PB
13 3
7PB
in all keys same formation. (a)
C9 PB
<>
I
4li
Bt*g 6PB
o E9 7PB
ba
Bn9
, , 8P B
f,e
B9 R & D. zPb68
io'
E9
roi Ez9 1 1P B
A9
Ab9 4PB
G
D9
1 2P B
ba
4PB 3
Ep9
Ab9
6PB
11PB {}
35
.TPB
?PB !a'
1PB
bo
G9+5 (a)
o Bb9+5
e F9+b 2PB
OPR
fi= F
Db9+5
12PB ()
Ab9+!-r lOPB €>
5PB
-n &a_31 --:il €>
o E9+5
fl9+5
l ptO
Eb9+5
D9+5
A9+5
12PB
9PB
o$o
10 PB
ilo b'8
2PB
3 r' {F>
!e
is___
G 9+ 5 (b)
G9 + 5
F9+5
Bb9+5
= Ffl9+5
Gb9+5
o.
#*
E9+5
A9+5
6PB
1PB
Db9+5
9+l-r 11PB
89+5
Ab9+b rDp
€>
D9+5
7PB
2PB
G 9 +5
etc. Through the cycle of keys as before.
(c)
lG9s+5
C9+5 PB
8PB
5PB
3PB
b
1o.!
g
1PB
G9- 5 (a)
c9-5
G9-5
q
4PB
b- o,
F 9 -5
4PB
b
= F i l-5
G b g- 5
PB
3PB
Eb9-5
* fi
2PB
7PB
89-5
E9-5
A9-5
9PB
'b o. 4 € >
Bb9-5
2PB
Ab9-5
12PR
bg D 9- 5
Db9-5 T h i s c h , r r dm a y b e fingclpd in three ways on 1,2,3& -1th strings. Practise e a c hr r { t h e s e f i n gerings and rin 2, 3,4 & 5th slrirrgs.
1 0P B
G9-5
7PB
3PB
4<>
G9-5 (b)
G9-5
G 1 3 - 5C 9 - 5
cb9-5
F9-5
Bb9-5
E b 9- 5
a
nnilg-r
A9-5
ba
Ab9-5
D9-!-r
T h e s a m e c h o r d i s o b t a i n a b l eo n b o t h t h e 1 , 2 , 3 , 4 & 5 t h s t r i n g s a n d 2 , 3 , 4 , 5& 6il t s t r i n g s a s f i n s e r e d above Agth-b(b)
F .& D . 2 2 5 6 8
86 Thereare 4 formations of the Dominant seventhchord with the augmented ninth G ?+9 and theycan be played in 6 ways: c)
d
d)
r
)
G?+9 T^hechords ca_nbe played in all keys so practise them as with the previous chords, going through the cycle of fifths i.e. G 7+9, C7+g, lr 7+g,-elc. a) t
b)
c)
d)
4
4
4
e) 4
s)
ft 4
4
G7+5+9 r u@
G7-5+9
o)
b) t
4
c)
d)
e)
tb
7
I
G7-9 l'
"f)
@
s)
9PB
h
o,@
4
t
,
t 5
€)Tl
c>@
/l
I 2
I b-q
3 B
G1 3 -9
G?+5-9
bo G7-5-9 1 0 '
r ot
@
js sil1ira1to the chord."{ Pb?(F) but.whichr"i" ll':-"lotl reach "ny of the.inversions,quickly supisTitute !9.t tened 5th. e.g. substitute for Eb?'5'i
or
a ls@
the chord of the Dominant seventh based on the flat= Bbbl or A?. The special discordant effect, trowe"ei, is tost.
G 7+5 - 9 + 1 1 s o m e t i m e sw r i t t e n
G 7 + 5- 9 - 5
p O@
tnl _ct."i'D Thereforewhen unable to
@ F. & D.225a8
37 D i m i n i s h e d C h o : d s . I n o r d e r t o e x t e n d t h e s c o p e o f d i m i n i s h e d c h o r d s , h e r e a r e a s e r i e s o f s t u d i e sc o n s i s t i n g o f d i m i n i s h e d c h o r d s t v i t h s u s p e n s i o n sa n d r u n s b a s e d o n t h e s e s u s p e n s l o n s . 4
3 J
J
. 1) , J i ,
3
t i v1>
Ao, co, Ebo,F$o
# @ Bo,Fo,Gf1Do
:*'1 #1i
;bi 4
.t b)
GolBbo4 Dlo, E4o,
' r
b
3
'l
e
I
Iimaj ?
@
Etudeon 1st,2ndand 3rd strings. B a s e d o n D i m i n i s h e d C h o r d s rp 2 .L I
--;l Bt 4 1ui+tl
hi
r 3 P g
<
7v\
4, s':Lb3bL' co
o 6P-----_--__l
, t )-bLi
fL I
t
|
|
.1
.
b
P
I?a-bibj-2\qr
P
I
? r
bL;^'
'!, 2
r- -l| ,1
Ebo
cir
? ilai Lbl F. I
;a? 2
|
l1P
\ b 2iri#i i$
12P L 2
Abo
iriili iili hE
b*
F.& D.22568
i Lbz'.bLUl
38 E t u d eo n Z n d , 3 r d a n d 4 t h s t r i n g s B a s e do n D i m i n i s h e dc h o r d s
Ebo"
o , r-74
--J
re-------.,
@
Etude on all strings
-----.r @
A o , C o , E b o , F f io r G b o
l"l:j:
l
3
t
, l J - "
4
l r l
l
2
4
Tlt:lnltiuXos*"n"ins
t
o 2
4
3
r
4
4
_
2
1
4
4
O O@------r@-:
B b o , C # oo r D h o , E o ,
+ ! 2u2t2 ll3r:
t t . r , a t z1 4
4
l
4
4
2
t
at the lowestnoteof thesuitar.Theserunsmaybeusedwith anyorthechords
B r B o$2*illlSifiSZ^
!
2r ,
@-r@E Bb9-5 or C9+5or E?+b+11
4 _ 3
|
4
1
4
2
-,6:11
@
G b 9 - 5o r A g + 5 o r C Z + b + 1 1
i z
2 .4 !
o
\ 1 2 , 3r
3
t
4
J @-, '-b @ t_ PSCg-Sor A9+5 or Dbz+b+U
B9-5 or Cfg+f or F7+b+ll 3 T T
l{>
F.& D.225a8
;">-
4
ts4tt2liLbl
a , r z + t r 1 u \ i l . Ll 2 r Z , '
t(9 + 4 r
2
Based on Diminished Chords
2 4 a - -
rR
t f h : , l ^ 1 I, 1 l z
F$o
\or_-!
-'
r@-
Gf,O
4 r,2t4
Z 16) \v-
rT, r 4 2 r_4 B r
@-: Cf+orDb+
39 1
4
3
4
l
t
a€r
4 | s r t!H2
3
'
-.i@
-r
O - - - r@
t
3 t
rO:-:
@
thl
(fjt_J
-bD* u b $ n o g - s o r B b g * b o r D ? + 5 aJ*1 +11 -..-!r'rVr _€5*l r=j _U-
3
r f,.+ l
, \ 2I
+ 7 3
3
a-3 t a
it r,r
3
I D9-5 !De or
l zr3
iFB "'il$ o-------jt6rp ------Je ----, ""36i [:-o--=6:@-r l. G7+5+11 j,fl* :ft bft ^:;'.F;*?i,' il$'3i-ot. orDb e-b , ^ G+
f ai.-
@ ___-)
t c W h o l e t o n e s c a l e so n 5 t h , 4 t h , 3 r d , 2 n d a n d 1 s t s t r i n g s
nf '
u o? Y I I ! Y t , l '
@'
:
,
@----t @
Y
*:l
n7
n
n v n
b3 bt
2
4
n
3
/ : .J] \ , r\? a \ -
O
\:/'
v
4
3
\r
Whole tone scaleson 3rd,2nd and 1st strings 4
2 . 4\
2
7
, t/;\
/t\
-l
n
,bt
L : 4 1 2 , 4 . 2
I
E t u d ei n T h i r d s B a s e d o n Augmented Chords 1 1
3 3
1 t
r2 r t 4? L
LLri,L,z zt t
1 3 g
3 i
3 t 4 2
4
1
i+ i+ fi tb il
3 1
1 Z
L2 t " t
3,lun,,rL,,LSi* D+,Ff,+or Gb+,Bb+or Ail+
1 2
@
'
All the foregoingchordsand runs are of greatestvalue in extemporising.Familiarity with the exercisesin this book will providethe student-withgreatestfacility and freedomin inventionon any given chords.Someof these runs haveneverbeforebeen writterr down for plectrumguitar and daily practiceis essential. F.& D.2?568
40
I n v a l u a b l e C h o r dP r a c t i e e : The following four n o t ee h or d s a r e e o n s i s t e n t i n notation n'henplayedon o-b-4-g s t r l n g s , 5 - 4 - 3 - gs t r i n g s o r 4 - 3 - 2 . ts t r i n g s . G 6rE m 7 r . r.n
tr
@ ry
b
sErg
tr
tr
1 a
I
C , r+ g A
e_4
f x a m p l e o f s a m ee x e r c i s eu s i n g C 6 o r A m 7 .
tr
r-r
tr
tr
' ta 2t I flT+31 eT5-2-l r P r a c t i c e r c u n d t h e c y c l e o f k e y s F , B b , Et, Ai, Db, Ob,B,E,A G m 6 / C t in o r o o t l
tr
g t r
tr
.E
,ry
E
l
I
€)T2t-1
& D.
rir l ,bE o.z
,E
20D
I
And here is the chordof 07.
z
@_ Example of Ai7 eommencilgat lowest point.
^
t?l
a
tr
,l-3-} e t e . ,o n a l l s t r i n g s .
GI o m i t t i n g r o o t G ( e a na l o - ob e D m 6 ) .
n
Alsopractiee D m 6w i J h o 6 . E x e e l l e nfto r e h a n g i n 'f r o m m a j o r t o r p i n s t e a do f F n a t u r a l , a l t e r i n g i t tD m i n o r ' P r a c t i c ea l l c h o{rsdhsa a, s c e n d i nbgy s e m i t o n e s - t h e tni r o u g ht h e c y c l eo f k e y s . a o G 9 - 5o m i t t i n gr o o t G , a l s o e q u a l sD b z + b ,a l s o A g + b o m i t t i n g7 t h . ?D
4
*
z
,i
a
l
4
I
G 9 + 5o n i t t i n g r o o t , o r B 7 - 5 , o r F 7 - b .
t
(
d
3
)
tr -
l
tr
@
tr
tr I
;1 ,
1
|
F-& D. :,lc;rirj
b..-
l
|
|
E
3,,Q
4
;t 2
r
:m$ TN {E
--
Hcwto recognise chordsond intervols.
'
3. Howto find the chordsof ony populor tune with o chordonolysis-of 200 fomous Stondords. 4. Theoriginolchords ond modern substitutes of rnony populor
c K'"i l v
.
"
Lq_
I
3
; o .
E g f*r -**-.r-_-+t
5
?
i517
.\ 'w.Y* CTbs
