FDNE Luckily, N{ltch Holder has only four fingers and a thumb on his left hand o r w e m i g h t h a r , ' ee n d e d u p w i t h a like r e a 1 1 y u n p r o n o u n c a b l et i t l e F i n g e r i n g o r n a y be Sexilateral p e rsonal M y F i n g e r i n g . Septahedral t l v l i t c h \ i a s H o l d e r s pr-"f"ren.e Finger Folder, but I grudgingly withdrew the suggesti.on when Howard and N{itch threatened to put a capo on m)' head and tune it to high C. Actuallr', the title QUADRAPH0NIC FINGERING is probably the most accurate rie could have found to describe the total system of lefthand fingering explained in this book. The system is so complete and selfsufficient that i-t does not depend on the ability to read-musicldr a high d e g r e e ' o f t h e o r e t i c a l k n o w l e d g eo r a n y
UDN[ of the other facets of standard guitar education. It is so powerful that it can help the professional overcome the problems tlrat develop because of "finger pattern education". And yet, so simple to understand that even a beginner can use it to speed his development. Mitch first s h o w e dm e t h e s y s t e m d u r i n g a h u r r i e d neeting between record dates (Mitch is yet another of the fine studio guitarists we hear all the time but who remain publiclv a n o n ) ' r n o u s) . T h e v a l u e o f t h e s y s t e m was apparent even on quick examination. Based entirely on mathematics, it can be used r,vith any style of guitar p l a y i n g . . . e v e n r a n d o mn o t e s . I t s capaci,ty is unlimited. im Even norA v a ' r 'nv n r Lr .rror Ln' r it
works.
Just
add practice.
INTRODUCTION
Left hand technique for the guitar has been a neglected subject for some time on the fingerboard have never been thoroughly Total fingering possibilities This has been mainly because no systematic way of covering the explored. fingerboard has been devised. Quadraphonic Fingering is designed of finger order, all possibilities this knowledge you will be able to fingerboard regardless of the area
to cover the entire fingerboard by uti-lizing referred to as Quadraphonic Equations. With build a more cornplete mastery of the of music in which you are involved.
The study of Quadraphonic Fingering w i l l technique as wel1. They are: 1. 2. 3.
onen uo other areas of left
Finger independence Muscle tone and independence Developmentof new musical patterns not readily
hand
at hand before
The right hand will not be neglected in the book. Different techniques of using the pick will be used in order to develop a solid balance between both the right and the left hands. With this i.n mind you are probably eager to learn what Quadraphonic Fingering is In both personal experience and teaching over the last few years, I have found it to be an invaluable tool for fingerboard exploratron which has been an aid both to myself and rny students. In writing this book I have come to realize ttr-e endless sounds that are possible on the guitar and will be exploring them for many years to come. Good luck to you in your explorations and I hope this book opens new doors to your music.
r I
I
TABLE OF CONTENTS
CHAPTERI
FTNGERING ON ONE STRING QUADRAPHONIC T h e 2 4 Q u a d r a p h o n i ec q u a t i o n s Example 1 2 3
........g
10
A
CHAPTERII
FINGERINGON TWOOR MORESTRINGS QUADRAPHONIC Fvamn
l a
(
6 7 8 9 i0 CHAPTER TI]
15 I7 19 19
20
FINGER]NGON ALTERNATE QUADRAPHONIC STRINGS Examp1e11
I2 13 'tA
15
21 22 23 )A
IO
L7 t8 CHAPTERIV
2S
FINGERING U T I L I Z I N G E X T E N D ER QUADRAPHONIC DE A C H E S Examp1e19 20 2I 22 23 aA
25 26 27 CHAPTERV
a e
27 z6
29 JU
;....31 32 33 J+
FINGERINGMUSICALEXMPLES QUADRAPHONIC Blues Two Progressions. Easy Jazz Tune Discovering new sounds with Quadraphonic Fingering
36 37 38 .39
WHATIS QUADRAPHONIC IINGERING? Quadraphonic Fingering is a term used to describe the complete and total function i,vith the four fingers of the It deals specifically of fingering for guitar. t o t h e i r m a x i m u m i n d e p e n d e nce. The term quadraphonic, r e l a t e s left hand and broken down. yields this: QUAD= Four (fingers
of the left
hand)
PHONIC= Sound (sound they produce) Quadraphonic Fingering is to the guitar what permutation is t o m a t h e m a t i c s . A permutation is all the possible orders of a given number of elements. In the case of Quadraphonic Fingering, the four fi-ngers of the left hand are the elernents and there are twenty-four possible orders. Each order will be referred to as a quadraphonic equation. Each of the twenty-four quadraphonic e q u a t i o n s w i 1 1 b e used on single strings, adjacent strings, alternate strings, e t c . , a n d a l l combinations of these.
READTNG THE DIAGRAMS The horizontal lines in the diagrams represent gui-tar strings. The top horizontal line represents the first string (the string highest in pitch). The second horizontal line from the top represents the second string and so on. The vertical lines in the diagrams represent frets. In some cases the nut of the guitar will be shown, so that the space between it and the next vertical line to the right will be the first fret. The second fret wiLl be next to the right and so forth. I n o t h e r c a s e s , a R o m a nn u m e r a l will appear above the diagram. This indicates the number of the fret farthest to the 1eft. Each fret to the right wj-11then fol1ow in numerical order, counting up frorn the numeral given. Study the sample diagrams be1ow. nut frets fret -seventh f r e-,t etc. . A -eighth string 2nd s t r i n g 2 t 3rd s t r i n g a I s t r i n g 4th , o 2 L 5th string , s t r i n g 6th
'/TNI
- a
1 ^ I 5 L
the circled note
fl
Finger numbers will appear at the appropriate places in the diagrans. A circled number indicates the note that is being sounded. Uncircled numbers must be held down while the circled number is being played. Circled numbers in the diagrams correspond to the numbers given below the wri-tten music. Diagrams with no circled numbers indicate that you must pick the finger order, either by applying a Quadraphonic Equation or by following the finger numbers below the acconpanying written music.
CHAPTERI.
FINGERINGON ONE STRING QUADRAPHON]C
Note: To nake sure you have a complete understanding of the techniques involved in Quadraphonic Fingering, chapter I. will fresent a step by step approach to, mastering these principles. It is suggested that you go through the chapter carefully and understand all maieriat presented before going on.
I. The four fingers of the left hand are the e l e m e n t s o n w h i c h the quadraphonic equations are based. The four fingers are nunbered thuslv:
PALM UP
DfuoTioo re6a+.
Mathematically, the four elements can be arranged in twenty-four different (1x2x3x4 = 24). Therefore, there are twenty-four ways of changing finger Here are the equations:
ways patterns.
EQUATIONS QUADRAPHONIC
1.
r - 2 - 3 - 4
2.
r - 2 - 4 - 3
1 A
3 - 1 - 4 - 2
3.
1 - 3 - 2 - 4
t \
3 - 2 - 1 - 4
A
1 - 3 - 4 - 2
1 6
3 - 2 - 4 - I
r - 4 - 3 - 2
17.
3 - 4 - r - 2
6.
r - 4 - 2 - 3
18.
3 - 4 - 2 - r
7.
2 - t - 3 - 4
19.
+
R
2 - r - 4 - 3
.A
4 - t - 3 - 2
o
2 - 3 - r - 4
2r.
4 - 2 - 1 - 3
10.
2 - 3 - 4 - 1
)')
4 - 2 - 3 - 1
11.
2 - 4 - 1 - 3
t2.
2 - 4 - 3 - 1
Get used to these equations as they will
'
5 - 1 . - 2 - 4
,
-
1
J . -
4
Z -
,
J
4 - 3 - I - 2 )A
be referred
4 - 3 - 2 - r
to throughout the book.
II.
F I R S T P O S I T I O NO F F I N G E R B O A RUDS I N G
RAPHONIC
TIONS
T h e f o l l o w i n g e x a m p l e s w i l l c o v e r a l 1 t w e n t y _ f o u r quadraphonic equations first positi.on of the guitar. A 1 1 e x a m p l e sw i l l h a v e t h e l e f t in lh9. hand fingers on consecutive fiets;the first finger on the first fret, second finger on the second fret. etc. Example #1 For the first example, place your fingers on the sixth string (E) first position:
consecutively one to a fret,
The written
notes are:
-
+I Fingering Notes The left hand fingers should work like hammers. when t h e fourth finger is down, all other fingers should be down as well. lvhen the third finger is down, the first and second fingers should be down as well. The fingers that must remain above the fingerboard should not tre kept too high, so that they may be used quickly and smoothly. The fingers should Le placed" squarely and firmly onto the strings (not at an angle).
Example #2 Using the position of Exanple #1, letrs apply a quadraphonic e q u a t i o n . L e t r s u s e t h e s i m p l e s t , t h a t i s N u m b e rO n e .
r.
(l-
z - 3 - 4
\7
Here is the step by step method of Quadraphonic Fingering: Place finger No. 1 on the 6th str.i nft €.i rc* €raf (F)
-
+I r -@- 3 - 4 Keeping the first second fret fF#)
finger
down, place the second finger
*T
t
1Ifoan-i
on the
-(Av/
) na
fin-arrrr2;vr
lrnf nn
d, h fho
the first and second fingers third fret (G)
down, place the third
, , t
r - 2 - 3 -@ Keeping three fingers fourth fret (G#)
down now, place the fourth
*T
2
10
finger
on the
After having done Exampre#2, play it the sameway, both across the strings and up the neck as far as your instrument will permit. This i s n e c e s s a r y t o a 1 l o w y o u r f i n g e r s t o b e c o r n ea c c u s t o m e d t o t h e different hand positions and finger pressures arising from di-fferent areas of the finqerboard.
Picking Notes The right hand is to be utilized in a systematic way. The goal here is to achieve a uniform picking stroke 6y playing each exerlise riith all picking combinations. The ultirnate piLting is alternate. That is: u p - d o w n - u p - d o w no r , d o w n - u p - d o w n - u o . Here is the sequence of picking
to be practiced:
= Down Stroke
1
7
3
= Up Stroke
4
-
1
Practice s1ow1y to obtain even sound.
2. 3.
Practice a bit faster and gradually increase tempo.
A
V
Note:
U s e a metronome if
it
will
he1p.
11
.
Exanple #3 Letrs tTy a more difficult quadraphonic equation in the sameposition and go slowly through the steps. Quadraphonic Equation Nunber 18:
@- a - 2 - | Place fingers 1, 2 and 3 consecutively on frets 1, 2 and 3 (F, F# and G). It is irnportant to put all three fingers down!
t
2
i -@- 2 - 1 Now just add the fourth others down.
, -
finger
on t h e f o u r t h
fret,
holding the
W
t
o- @ - , In order to play Number 2, lift
up the third
fingers
*4
a,
3 - 4- 2-o To play Number1, simply lift
and fourth
up the second finger.
-
+I
-}
Note: Play the equation above on different sets of strings, moving freely up and down the fingerboard. Be aware of what notes are being played.
I2
Example #4 use all twenty-four quadraphonic equations in the first position and_practice then as was shown previously. play them ,r"iy rlowly at first until you get used to tne airrerent finger parterns. Gradually increase the tenpo. After you are familiar with all may try this exercise:
the quadraphonic equations, you
Play each equation in sequence. That is, start wi-th practice at an even N u m b e r1 , t h e n 2 , t h e n J , e t c . tempo. Another is to turn around and comeback. Start lvith Numbet24, then 23, etc. Develop a systematic way of working around the fi-ngerboard, adjusting to different pressures and f::et distances.
II. CHAPTER
FINGERINGoN fl{O 0R IvlORE STRINGS QUADRAPHONIC This chapter introduces the use of Quadraphonic Fingering on more than The method used will be the one string at a time, up to four strings. sameas in Chapter I, so go back if necessary. Different situations will arise in playing on mole than one string. You must be more aware of what you are piaying in order to play the patterns. N o t o n l y s h o u l d y o u r e m e r n b e rl v h i c h e q u a t i o n y o u a r e p l a y i n g I t i s r e c o m m e n d e dt h a t but on which strings and in which position. you spend time away from the instrument and visualize all of these points in your mind to the extent of actually'hearing the pattern before J w u
'I a.r y L @ J
-i + r L .
As in Chapter I., the sequence for the use of the pick renains the same. You will find it more difficult to stay with strict picking, whether it be all down, all up, or alternate, so practice slow1y until you gain good control.
T4
Example #5 - QUADRAPHONIC FINGERING0N TWOSTRINGS F o r t h i s e x a m p l e , q u a d r a p h o n i c e q u a t i o n N u m b e r2 w t l l . b e u s e d : I - 2 - 4 - 3. The fifth and fourth strings rvi1l be used and it will be played in the secondposition.
@- z - 4 - 3
Note:
Keep fingers
down as described in Chapter I
r -@- 4 - 3
I L - 2 - @ - s
a
2
t
a
Note:
Third finger
goes down with the fourth.
| - 2 - 4 -@
a
Note:
Rememberto
play
each equation
on different
nncifinnc
15
strings
and in
different
I
Example #5 - Continued: Ilere i-s the same equation on the s a m e s t r i n g s , i n t h e s a m e p o s i t i o n but changing the finger placernent f n n- nr nro-q -i f.A- - , .c-f T- ' r n g s .
@ - z-
4 - 3
1 -@- 4 - 3
, a €t
r - 2 -@- s
t
2
^ J
r - 2 - 4 -@
16
,i.;,lti
Example #6
- OTHERFTNGERTNG COMBINATIONS
H e r e a r e o t h e r s t T i n g c o m b i n a t i o n s u s i n g t h e same area of the fingerboard and same strings:
t
2
4
I
A
A I
3+
I
^
I
,
A
a
I
Note: W a t c h v^ u, ,L + ,w.r. Li +l l t - +L rt rr 4^L* -y ;r l C k I -P -l a v T t S l o w l v . strokes iet the pick arc past the next scring after On alternate -^,,^l i *)uurrurrrt<
i + ! L.
I o
O
r Note:
Play Example #6 l,ith NumberI t7
on the D string
(E)
Example #7
- QUADRAPHONIC FINGERING0N THREESTRiNGS
Now we are ready to move on to quadraphonic equations on three strings. The following utilizes a quadraphonicequation of ( N u m b e r1 1 ) , 2 - 4 - 1 - 3 . E x a m p l e # 7 w 1 1 1 b e nore difficulty played in the first position on the 6th,Sth and 4th strings. (ls/
t - t - <
l -
rT2 2 -@- 1 - 3
at
2 - 4 -@- s
6
a.
t - @
18
Exanple #8
- A L L P O S S I B L EF I N G E R I N G O S F EXAMPLE #7
Aft-er having practiced Exanple #7, work out more string combinations. A11 possibilities a r e s h o r v ni n t h e f o l l o w i n g f i g u r e :
Note:
a
t-
I
4
a
a-
t
o
2
a,
The previous examples have been with one quadraphonlc equation in one positionl I you may well imagine the many other combinations available, both with the other uqrrution, and played all over the finserboard.
Example #9 The^final example of chapter IT deals with quadraphonic equations on four adjacent strings. By this time you shouli b" h"uring things that yourve never-heard or played before. If you haven't, bJgin listening carefully as you pray the manypossititities of finferings a n d t a k e n o t e o f t h e o n e s t h a t s o u n d g o o d -t o y o u . R e m e n b e r , as you mature musically, it will reflect on the kinds of finser narrtrTn
workout andthlrefore your use of Quadraphori. ii,lg'Jii;rt;i;;'ll.lll
well.
Quadraphonic equation Nunber 17 (s - 4 - 1 - 2) will example and will again be in the fifth position.
@- + - I - 2
19
be used in this
",
3 -@- t - 2 ^ g
7
_
A
-@-z
v A I
!/
s - 4 - r -@
u A I
Fvamnla
I
ha
ff
- O T H E RC O M B T N A T i O U N S l N G F O I J i tS T R I \ G S
#lO
hfi atl
and frets
nfi
are
n r "o" s. -s' i h i I i f i e s cf onaari
na
o € F v r m n l p #9 using the sameposition t16-e
aTe
the
possibilities:
Y t 6
q
I t
.) .)
t
a
t
A
t
t
Note :
Experirnent ! You wi 11 arnazey o u r s e l f nil1 hit you in the ears ! !
at all
the new sounds that
20
llt!,{il
C I I I \ P T E RI I I .
FINGELINGON AI,T.ERNATI QU;\pR,ApHONIC S.tRTNGS Chapter III covcrs a nolr dimension of QuilclrapftoniF c ingeri ng, tliat o f s k i p p i n g s t r i n g s a n p i a y ' i n g t h e e q i - r a t i o n i . ' f h e r . r r i l l s o r _ r n .al s Varied as )'ou can imal i ne and new musical patterns can be createci q u i t e r a p i d l y ' a f t e r l e a r - r r i n gt h e b a s i c i c l e i . 'l'he
f i r s t e x a m p l el v i l l s k i p o n e s t r i n s a n d s h o r , a' l l p o s s i 5 i l i t i e s o f f j n g c r i n g s . ' f h e n a x i r n u mo f s t r i n g s ' o l r c l r r . rs k i p i s t r i o . l l e V e r t . c a r e f r r l a b o u t p i c k i n g . t i s e t h e s i l m e s t r o k c a s d i 3 g r a n r n e di n Chapter II on Page 77. I - x a m n l er i l l
-
S K I p p I N Go N I l s T . R I N G Q U A D R A P I I 0 NFIICN G i i R I N G
I r o r t h i s e x a m p l e , t h e 6 t h a n d 4 t h s t r i n q s r , , , i i lb e u t i l i z e d , skipping the sth strins. A n c a s i c - r e c l L r a t i o n ,\ u n b e r , 1 l l - . i - I - : l r r i l l l r c r r s c . t sl o v o r r c l r n a d _r ir s t t o t h e skippinq t c c r l . r n i r l u e . T h e e . , a m p 1 . ei s t o b c p l a l c d i n t i t c t h i r : c l p o s i t i o n .
O
s - . i - l
r -C)- 4 - 2
+
3
21
Exanple # 11
- Continued:
1- 3 -@- z
t
I
@
\= t
2
E x a m p l e# 1 2
P O S S I B L EC O M B I N A T I O NOSF E X , $ I P L E4 1 ]
T h e f o l l o w i n g d i a g r a m s h o r v sa l l p o s s i b l e f i n g e r i n g s o f t h e p r e v i o u s e x a m p l e . U s e i t f o r a I I q u a d r a l ) h o nci e q u a t i o n s . You may work in as many positions as you desire.
t a
t
a
I
a
a
22
t
- SKIPPINGONESTRING
Exanple #13
Tn this exarnple, the main difficulty is to stay on the proper strings. Play only the fourth and second strinss . skipping the third. Quadraphonic equation Numberg (2 - I _ 4 - 3 ) will be used in the fourth position.
@- r - 4 - 3
2 -O - 4 - 3
,!./
2 - r -@- s t
,
)
3
2- I - 4 -o
+
Fvrmnlo
#1A
- P O S S I B L EC O M B I N A T I O NOSF E X A M P L E #13
The followi-ng diagrarn again shows all possible fingerings for the previous example. Work out as many as possible, using the quadraphonic equations.
z.'t
I
Example #15
- QUADRAPFION F IIN CG E R I N GS K I P P I N GT h r OS T R I N G S
N o r ut h a t y o u r r e f a m i l i a r w i t h f i n g e r i n g r , ' i t h o n e s t r i n g s k i p , you are ready for trvo string skips. Strings to be plal'cd mav F i r s t , l e t r s e x a m i n e1 , 3 , 5 u s i n g be 1, 3,5 or 2,4,6. e q u a t i o n N u m b e r3 ( 1 - 3 - 2 - 4 ) i - n t h e f i f t h p o s i t i o n .
@- s - 2- 4 a
r - @- z - 4
1- 3 -@- +
1 - 3 - 2 - @
:r
z
o Exanple #16
_ P O S S i B L EC O M B I N A T I O N #15 OSF E X A M P L E
H e r e a r o f h o €. - -i ,n. 6- o-- i ^ ' I t g p o s s i b i l i t i e - s f o r t h r . n r e r : i n r r q owenn io Work t h e m o u t r v i t h a l l t h e e q u a t i o n s 'ri ^n a s r n a n y p- . ^o^s r: I+ t' o n s a s you
]Z t
t
a
t
^ ,
t
,
t
a
)A
Example #17
- FINGERING 0N THE 2nd, 4th and 6th STRING
Hglg an exanple similar to the preceding one, except that it it will be played on the 2nd, 4th and 6th rtritrgr and in-the other direction. For this example, quadraphonic e{uation Number1J (3 - 1 - 2 - 4) will be uied in the iecond position.
@
7 - 2 - 4
+T 3 -(D - 2 - 4
3 - t -@- q
a
)
3 - r - 2 -@
3
2 t
t
Example #18
- POSSIBLECOMBINATIONS OF EXAI4PLE #17
Here, as in Example #16, are the fingerings for the previous example. Work out as many varied fingerings as you tan. 2
t
A
t
I
a
t
,
2
)
lL
a
,
25
I
IV. CHAPTER
U T I L I Z I N G E X T E \ D E DR E A C H E S Q U A D R A P H O IF I IICN G E R I N G U p u n t i l t h i s t i m e , a l l t h e fingerings used have been i ith a finger per fret. Chapter IV openr up the fingering to incltrde ertended r e a c h e s . T h e e x a m p l e sw i l l i n c l u d e m u c h o f t h e s a m e t v p e s o f e x a r n p l e s found in preceding chapters so, i.f you skipped anv examplesand find yourself stumped, go back to the appropriate chapter and learn the basic fingerin$s.
26
Example#19 - QtJADRApt-toNIC FINGERTNG oN oNE srRrNGWITH EXTENSION OF ONEFRET For this exanple, an extended reach of one frct rvi 1 l b e u t i l i z e d. Here is the area of the finserboard t h a t r v i11 b e u se d:
2
Here is the rvay t o p l a y i t
(r - 2 - 4 - 3):
2
,
using quadraphonic equation Number2
@- z - 4 - 3
t - @ - q
t
r - 2 -@- s
Note:
3 goes down also.
t - 2 - 4 -@
I
o
Work out others in the samemanner.
27
Exanple #20
- ONE STRINGEXTENSIONS
Here is Example #19 with the extension at the other end of the hand. It utilizes the first nosition with the extension occurring between the lst and 2nd fingers.
o .7
I -@- 4 - 3
,
e
| - 2 -@- s
t
o
+4
2
Note: 3 goes down with 4.
r - 2 - 4 -@
*7
o
Note:
The 4th finser
is
lifted
28
off
the board.
Example #21
COMB INATION EXTENS IONS
This - e x a m p l e c o r n b i n e se x t e n s i o n s o f b o t h s i d e s o f t h e h a n d . The first and fourth fingers are extended one fret. If you find it difficult t o e x e c u t e t h i s e x a m p l e, t r y i t i n a h i g h e r position and gradually work down the nick. tiris will givJ your hand a chance to adjust to the stretch. Example #2r ii ptayed i,1 the first position. Quadraphonic equation Number 11 C 2 - 4 - 1 - 3 ) w i t l b e u s e d .
@ - q - 1 - j
2 -@- 1 - s
at
a
2
\,
Note: 3 goes down as wel1.
2 - 4 -O- s
2 - 4 - I -@
t I
Note:
I t n a y s e e m t o b e wasteful to lift up and put down fingers not being used. The reason is thai keeping the fingers down forces the hand to work in a uniform manner and nuscle p u l l i s e l i m i n a t e d . t
29
I
Example #22
- EXTENSIONS ON TIfO STRINGS
E x a m p l e# 2 2 t s s i m i l a r t o E x a m p l e# 1 9 in that the extension It will be played on the sth occurs at the fourth finger. a n d 4 t h s t r i n g s a t t h e t h i r d p o s i t i o n , using quadraphonic equation Number7 (2 - I - 4 - 3).
@
r - 4 - 3
t
a
2-e - 4 - s
t
,
2 - r - 4 -@
Note:
Play on ali
combinations of fingerings :
Use all quadraphonic equations on different strings finger as Then, extend your first and positions. follows:
,
30
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A
a)
a
I A I
Example #23
- EXTENSIONS 0N THREESTRINGS
Example #23 works in much the same way as the previous example except that three s t r i n g s w i l l b e u s e d . F o r t h i s e x e r c i s e , the fifth position wi1 1 be utilized along with quadraphonic equaticrr Number 10 (2 - 3 - 4 - 1 ) . T h e e x t e n s i o n w i l l o c c u r a t t h e first finger.
@ - s - 4 - 1 g
2 -@- 4 - I
a
s,
2- s -@- r
2
J
.s
Note:
Fingers remain down.
2 - 3 - 4 -@ =
I
4'
o
Note:
A g a i n , u s e a l l e q u a t i o n s o n a s r n a n ys e t s o f s t r i n g s as nany positions as you can.
31
and
Example #24
- EXTENSION ON THREESTRINGS
Here is the same exercise as Examole #23 with the extension ^^^,,*,i , , , n^^ E a t the fourth finger. (^rs/
7 - tr -
1
g
2 -
3 - @ - 1
g
.v
t
2 - 3
-4-o
:g
(r
2
Note:
As before, play all equations on different strings in different positions.
sets of
32
d
Example #25
- EXTENSIONSON FOUR STRINGS
This exanple uses an extension at the first finger, using four strings. rt wir. be played in the third potiiiln using quadraphonic equation Nunber 23 (4-- 3 - i tl. Experinent,! Many unique chords can be """"iud fron this prii""r, so keep your ears open.
@- s - | - 2
+-@- r - 2 A. I
4 - 3 -@- z t I
2
4 - 3 - r -@ a -l I
2
I
Example #26
- E X T E N S I O NSSK I P P I N GO N ES T R I N G
This exainple uses the same extensions as previously. Here, however, the exercise is played on alternate rather than adjacent strings. (For a refresher in picking, go back to Exanple #6 and check the diagram on alternate string picking.) Example #26 will be played in the fifth position and will use quadraphonic equation Nunber 6 (1 - 4 - 2 - s). The first finger will extend.
@- + - 2 - 3
+I I -@ - 2 - 3
I
r - 4 -@- s
t
t
| - 4 - 2 -@ :5r
a,
t
t
work out all quadraphonic equations and use them ar1 over the fingerboard. Then extend the fourth finger. Example: For Exanple #26, the fingering would look like this: g
ct
t
t
t
zA
'l
Exanple #27
- EXTENSIONS SKIPPINGTWOSTRINGS
rnvolved in this example are extensions with a skipping of two strings rather than one as in the previous example. Be careful here not to allow your hand to becomesloppy. you should be striving for a good, solid positioning. equation Qurat"prronic Number17 (3 - 4 - I - Z) "itt Ue used in the tirira position. The fourth finger is extended.
@ - + - r
3 -@- \ - 2
)
3- 4 -o
2
4 - 1
@
*b+ a
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Conplete mastery of the guitar fingerboard is a never-ending process. Quadraphonic Fingering is a far-reaching step toward that goal. As always, the real key to its successful use depends strictly on the arnount of tinre and effort you are willing to put forth. I intend to continue expanding its potential and I hope now that you can do the sane. Good Luck.
40
