WITH MAJOR CHORDS See before EX. 48 1 {The fest exercise is a harmonized major scale in triads using six different fingerings. The first form is bn the second and first sets of three strings.(See notations below the staff.) The second form of Ex. 1 is played entirely on the second set of three strings. The third form is played on the second and first sets of three strings but varies from the first form because the cross-over is on a different note of the scale. The Fourth form is on the third, second and first sets of three strings. The notation in all the forms of the first exercise is the same but the fingerings are differenc in each one, and should be practiced as separate prercises.. You will notice that the first four forms of Ex. 1 are long forms which cover quite a bit of the fingecboard. The fifth form is more condensed and the sixth form is the most condensed form of this harmo- nized scale. This first exercise is written in whole notes with no division of bars because the notes are of equal ‘value and should be practiced very slowly. Ex. 1 and all its forms should be played in all the keys, made posible by the six different fingerings, as follows: Ist form—from C up to F 2nd form—from C up to C sharp (D if possible) 3rd form—from C up to F 4th form—from A flat up to D flat (D if possible) Sth form—from A flat up to E 6th form—from F sharp up to C sharp Ie is necessary to become familiar with all these forms as they will be referred to often.EX.2 Ex. No. 2 is a preparatory exercise. This form of picking is termed arpeggio picking. To get ac- quainted with this form for the right hand, it is used on open strings so that you have to concentrate only con the pick and wrist action. It should be developed to sound even dynamically and steady rhythmically. To explain the pick and wrist action in Ex. 2 is difficult as we do not actually pick each string individually. ‘The pick passes over exch string and accents it with a slight kick, which is more of a pulsation. ‘The reason -for this is chat using the pulsation principle you will be able to maintain a steady tempo and you will not strike two strings at once, as you might do if you were just forcibly pushing the pick across the strings. In other words it should have a smooch but deliberate effect. If and when you do strike two strings to- ether, you will know that you're not “pulsating” properly, if at all. In the down strokes, use the next highest string as 2 pick stop. In the up strokes, you will not need a stop as the pick returns in in upward ¥—A__n 8. yo. ele == = =] F oe + reee Aa sb b MAJOR Scale in first inversion triads taken thru the descending cycle of fifths - 12 keys - full range - triads named for one octave - then they repeat-Upper voice is the tonic of each triadNumbers above notation denote steps of scale us Baim ie 8/3 2/3 20s MA oue asm e a Oui eiire tala Sa = : = aos —— SS SS 2 Edim 2/3 1/3 Gn G,, vmere a eere Deeciee sm we sy ie Perera es: iaaye— pa tie 1 tS = se 3 ise faster 1 £_tF + £ + = SS = mos a Gm FT ere. 3 e/a Te 1 zs a 2 eee ¥ bb 2/3 1/3 4 cam i¥s be SR {8 ee Fn $ 6 Paverrer ae = soi 4 Spas ase * xz 1 £333 " an ial 4y msScale in first inversion triads - Cycle of fifths - Dh Bbm V3, 2/3 Y/8 pees 1/3 28 recat te rey wm om 3/0 YY Se ak aw ale fe pb + iS < 2 E 3 # pb bea . 1/3 5 tm pain ch 3/3 Bom ce 2/9 FR gg 3 Gh Gho Ag dim vin on FE 4/3 3/3 7 i - = i SSS tm a im Didim EB Fim 4/3 AB ae a ie 3 E Fim ciéim yyy 8m Che> : 1/3 sg ph po te ge eg ss = Ff ‘These Examples explain the reason for using 9 fingers on triads (open or closed voicing) that can be played with Lor 2 fingers - this type mechanism 1a a very necessary part of good harmonic technique ~ A moving voice can not go below barred sustained notes a4 ei 3/3 = a ae - ‘The voice can move lower when the barre is not employed - as in bars = A-B- ia v3 3 she an 1 ies ‘The moving voice in bar "C" cant go below "G" because the Ist finger is barring it - in "D" and the voices can continue down because of not using the small barre ~ (double stop) HARMONIC MINOR Scale in first inversion triads taken thru the descending cycle of fifths-12 keys - fall range - only the ascension 16 shown:descend using same notation Chaim ys Ey An 2/3 5 87 Sy tain Care Prete ie eet De EOF th Chaim Dm eve, 2/3 3: Dim Ebaux ete ys Braue fm gig Ab Stim Cm 4/9 2/8 ao sae ia 1¢ 4g Cm ie hae qs out té ple 1S LE 4 Ban re ode Wir ahs cl 3 fee eer td Fm = rater: we ee NE BSS ss ie i , a ae ca sh aaa oe oo Bm ob “Yh tea OH 5 nom Bi =f Sy ig ip lz ata oes racy pass 4 i re Fhm Fain Grave “37% Uh Cb 2 Ebm a 1g all pst eT Df ot Ae Dyk Paeaim ws Mawnan he YO, xs _ 7 a fe : 6 ayo te to 2p fe ANF. pitt re pale as Double? wig 3 ise aH sa ql ot chm ofan cha Diain Rane Fhe fy 4 Sham oa gg og yh 1/3 aod > = Ssh ug 12 3 au Bs Js: (Sa p19 le $8 3% ips oa j ie xy, A D fain Fim g/s Aaug 37g CED ete Ce Fim seg td 3 oe d NS 5 + 4 ie pee te is fee es ¥ Daag ote : Dave Em FE yg Addin Bm CBdin aa. Seer a i 3 é jm 2 if te ie je: pris eT og Pg ek bk oe sores ij Daim ec s Dfdim Em Padi ow cus aero mn a iad ares ee an pd ae paras it me ‘ 1MELODIC MINOR : on thust tie desivending eyele of fifths-12 keys-full range-descensions Ure tn relauve unyur heysecuuploy major seate fingering | ota cae 2 ys : a DB Fain “jg Am Bm 9/3 2 4k wig CE Ft = = abies G ¥ Hs i Pe ee = - 2 a oe Se Returns in © major soe = Chaim 1/3 De Be Fee gg A Ban aa Og 2/8 6 at wd td 1¥ 3 1 aes Returns in F major Cm c D Edim Ffdim 473 Am Bhaug 3/3 D Returns in BY major es A sin 2/3 va . pm ebdia F Gy adm “3/3 om Fer eae o PR Se ew i Papas cae Bb bee ¢ 5 ——— aye 5 Returns tn Eb major cm ” ae 2 s vam re haan Sh ote OEP TE gag ge , fe : qs ee E = i ts es = be be 8 £2995 bb SSE =} Returns in AY major 2 ae = 2Scale in first inversion triads - cycle of fifths 7 MELODIC MINOR: 1/3 5 4 Adin Om haus Eb 2/3 oe 2 BF Sam 4/3 Bm 3/3 ne ge Oe 4 {3 13 Ue Js Bhm a a 1 J eee me iE 3 5 SSS a IF s7 Returns in D? major = Daim 1 a whe eis chane Seay GR 2/8 em 2 ok od WS te Te 1S . 7} 2% a3 oe Fs a Dy ty ie oe se * See ee : ce SS eS —~- Saas Returns in Ge major oe te 1/3 poke Df Efaim Frotim Afm Baug cf 2/3 see 4 tn m4 ¢ sotto pee ts. ub oe fe of wig . 1 Nig. Returns in B major kb rE Sh Afain Che ia Dim Eau FE Byam 3/3 Fa eos en i 4/3 3/3 sis 3 oh 38 4 ihe es 1 at eis te ey ie iS z uh 1 e ¢ se 1 t- ae a 2S SF Fie, Retuens in Bmajor : creas lm by Dfiin 2/3, ya ca ergs Daim fim Fim 475 Aan Bs 2 i ma 3 4 the Fim Sagat Silene Returns in A majorMELODIC MINOR Scale in first inversion triads - cycle of fifths Haim aan bate 2/3 “ 2 43.4 par ert Sm Ale on che 2 aol 2k oe bn to eg og ahh 1 u (aa ct Te ie ce VF fst = 1 Pa ct eee 4 a: = = == >=—. iE etre i D aor ¥ 28 1/3 ‘i Diam am Fim Sis gis Ches ets re sh yd He anes oO D ch we ph ct Returns in G major aes To descend in the relative major key merely cancel the accidentals but not the key signature NOTE Every 7th step is a diminished chord - they are also dominant Tths of the keys VARIATION . A-very interesting "Mixed" minor scale is: ascend using the melodic notation - descend using the harmonic notation - example below a ee ge 2 be Melodic minor. } Ll Harmonle minor Also, ascend using harmonic notation - descend using ascending melodic minor notation ~ just reverse the above ‘The examples below show various plucking orders for all 3 note chords - empltfy each one separately full range - apply them to the 2nd inversion and root position triads also ~ apply to open votcings also Ist inversion = Ist station Cy) AvvoP Bb Rb Ab Db a Not using Ath Finger p= B Not using Ist Finger MAJOR, Scale in Second Inversion Triads - Cycle of fifths key by key --12 keys - full range-middle votce ts tonte of each triad 1/3MAJOR Scale in Second Inversion Triads FE “4 - 5 ch ofan fi, Him cle ays 8 + HS > i ha ee 6 42 ws c ea fees 3 S18 ip ue is if iF a —— Le : Ear aa SS 4] tats HARMONIC MINOR Scale in Second Inversion Triads ~ Cycle of fifths - 12 keys ~ full rangesmiddte voice ts tonle : Chain 23 Baim came tm hy F “ysl Am Balm : 74 gy # Bb Chaim Fam pane Gm 3/3 OF chain om I Pane Gn 8 ; 5 hae Pe! vs Bho Cm tain 3/3 sain Bho ae 7 . 1/3 Adin Bisex i ie ik Ted, Cm ByHanMonte ‘Scale in Second Inversion Triads ae Fa Abang we © bb dim im bbe ts : 4/3 Stim v/a 6 2 yh gk ie 3 7 SSS Sepa se ie ne Caim Dhaug ebm niin 3 ct F - ” Brn pe 3 ern j =i aes + B= Ne~ [hie 5 ie - , 23 mes ch dim ebm vy chaug i Bh eeaipesriaye i S96 a? 12 32 oe 1 1s is Ebm Has ee a j Be + = = gute te Se TAteaannge 2 G = es sarees fear fee sat 5 es Pete 2/3 7 BHain Chm Df ms Fm 4 an ae ee war fe 1 : js is is f= ts carve s(l 1S 18 i S| Baas es =j Nie- Na te. iw lan fe = ; 1 wae ee ee Pa _v f H Sas apd batt finn : mF 1s ° ee Bm chain Dare 4/3 3/9 Mam Bm LY gas kage la is Mt re Pe fe a a ve etait rtm ome se 8 ys Ee dE OF 7 Pore ot et ae be se m7MELODIC: MINOR Scale in Second Inversion Triads - cycle of fifths - 12 keys - {ull range-middle volce is tonleDescend in relative major keys Bm cae oD Adin dial 2/3 i 6 7 aa 2 Am — g1 festa 8 joni, i a a the D oF smtsgtin Abe nave nan ch Ug ehtimFotin ayy MF =MELODIC MINOR Scale in Second Inversion Triads - Rave Gh Again BE in V3 2/3 1/3 2/3 vw Bain che be 2/3 ws as 7 yi ys sa 2 1 at pee pa gidsipe tbat uy te if et 3 5 is CT Te ts Ath finger ts omitted the scales - It Is very of verso by omitting tho first finger = this 1s good practiae-apply tt to all of cesarry for voice motion, as in the super & sub serles aim Bim Yaad pe es ee! i" c « tm Cheon Pt $ 4/3 - 4 cee a ¥ q === 7 23 fe 3 chain phan P® efe Gane ‘faim phe a fh te ome ys Poe at al a ag te ofgs Be | SSeS eee d PEE is oe First finger is omittedSeale In Root triads MAJOR Vs ys eae 5 18 2 1 ig ff Fm ch ab 2s vs theo ya tim as 8 Ua YY D Le ig 1g 4 ait ' SS panes jist ie ie) =] Abe Bbw ch uA tim 33 a et i it a pHs i itt Py Tee Tees Sees eet pig: On Rata: j “3 : ae aoe ot hm chm ‘i Fim 3/3/33 Pes 2, 2 ys V8 Be a 4/3. e oe 3/3 ya sseney tess yaniaiai jetit 428 i a