CO} INTRODUCTION | |. THE APPROACH I, MATERIALS VENTS a Rae an on mR Introduction to Fingerboard Methanics Fingerboard Mechanics Playing Up and Down a Single $tring (The Science of the Untar) Modes: Chord-Scales: || Playing on Iwo Adjacent String ‘Movable Mini-positions Study oI Intervals: Melodie and Harmonic (Poor Man’s Guide to Countetpoint) ‘The Open Position Position Playing ‘Combination Playing: “The Realmof the Electric Ied-skating Rink” ‘The Approach: Take 2, Take 3 | What Next? Next What Next? Triads More to do with Triads 7th Chords Intervals, Triads, 7th Chotds, Others + CG Major Scale + C Melodie Minor Seale + C Harmonic Minor Scale Biatonic Four Part Chores: 1, H, Ii, IV Moues: Chord Scales: I Chord iypeiModes Process Triads Over Bags Notes: | Triads ver Bass Notes: {1 Pentatonie Scales Note MatlvFinger Math Fragments (Mosaics) Voicings trom the Symmetrical Difninished Seale A Picture is Wort a Thousand Words— ATaste, a Thousand Pictures | " 16 7 18 24 27 20 a7 38 43 4a 47 47 51 54 57 62, 66 67 74 75 82 85 86 29 30 .OMMENTARIES: * The Guitar's Complexity The Evolution Contemporary Harmony + About Tuning and Tuners Harmonics and Overtone influence Feeling "Stale"? Silence is Golden On Being Sell-Crtical Words— Terms = No One Knows What's Next Improvising Short Pieces (Use of the Tape Recorder) + Time—Rhythm + Tuning into Time Headquarters, Tempo —Movement “Some Thoughts on Technique + Different Playing Situations Playing Versus improvising ~— Selected Short Subjects + Init, What’s In t—No Regrets Conclusion 93 93 94 94 95 95 96 98 98 9 100 101 102, 104 105 107 108 109, 114 115“atroduction to Fingerboard Mechani ‘Your ability to play music on th >iistrument, Most guitar: guitar depends toa large e nave never had a chance to ics fert on how well you know learn the instrumentin an ~eligent, logical and complete manner. The tactis that the vast majonty of guitar Yethod books don t really evciain very much at al and tne: ve the products of nese metneds. AS a general rua, quit 2mselves vith helping you to increase your overall comer euttar methods get you to doa lo of things fwicn certainly) ‘you a method ofhw to do something. But these methods wth of your understanding of how things work on the inst _adito a narrowing of possibilies because you don thave Faursef. You just nave to follow instructions. Vénen you kn ‘ut ofthe method. ifyouteach, youtendio teach the me ‘odiications — afew imarovements). The method can act “wan the musicitis supposed to help facilitate. Thisis not lof the above helps to explain why this present volume is ethods are given. Methods may be implied or hinted at, b hods may be deduced by the reader (in fact, needto be e readers’ pursuing such methods are totally based on rowledge, interest, and creativity, ‘what I'm trying to dois present information and tacts. You’ vaclly what you are able to draw, based on current underst sat you are capable of; what you deserve; what you need, ‘Two glasses of diferent sizes sit ona table. Fromthe stancpoint of their function as glasses, but rather that both are tl Fingerboard Mechanics | List Thing to Learn: Up and Down a String (Single Strit e importantitingis net whether ones arger or smiles, ast majonty of guitar teachers methods don'tconcem nension of the instrument. icanb2usetul). They show dom, it ever, lead io a fumert. Itanything, they {igure out very much by the method, you are the ‘od perhaps with atew luaty become more important good. jot a method book. No only in a very loose way. Jecuced), but the results of vidual inteligence, present draw from this information nding, This way, you get just Playing) “econd Thing to Learn: Across the Neck and Back (Position Playing) ‘Third Thing to Learn: Combine Allot Both Previous Poss! Playing or “The Reaimof the Electric. ~ were a real tough discipiinarian, twoukd have ended this, Gut this “area’ is so crucially important, so misunderstood ax all, that really have to go into a ite bit of depth on this. lties (Combination :e-Skating Rink”) son one sentence ago. 0 seldom mentioned “Any guitar'st who has played at ali serously knows that positon playing is very important. ‘19, position playing is a huge project. Lots of stutf to lean, Years of workinvolved. | nk we an agree on this point (more on position playing fofiows later). The point that I'm trying to make (which may be one of the mpst important points in this 20k; is iat position playing is not even half of t. { Probab! not even a third of it) 2ually as important as position playingiss playing up and ddym one staing. I'd even go so as to say that's more important than positian playing jugt plored. In addition, !might add that standardized methoo} ‘enin existence tor some time, whoreas methods tor playih nae prachcally non-existent, at ieastin the WEST ‘because t's so seldom or position playing have i upand down one string OT ME Se a ee ee