0 ‘Technical Exercises ‘The following 4 combinations i)-m) are synchronization exercises using 3 RH and 4 LH fingers. With 2 patterns of alternating three finger combinations a-m-i (m-i-a) and i-m-a (m-a-i) more different variarions are created. Here an eight note pattern is repeated three times in order to get back to your starting finger. et. Frid oUtUL. Coordination of the Left and Right Hends m [43] Intensive Training of the Chromatic Permutations 1 23 4 and 4321 With various accents: 234 4 u lve vs : 3 nitm bmi = mimimi a 123442340 1432 324 ROOT nasty aN Moguz ‘Technical Exercises 4324 i aes 3 2 Various Coordination Exercises ‘The following exercises, in part with a high degree of difficulty, should serve as a model for you to create self-conceived exercises which are necessary when solving the problems regarding various requirements of LH and RH synchronization [44] | Practice all 24 combinations, see exercise 41 on page 108. 1 1 um Ww v ul 2 1 [45] 12 Basic RH Arpeggio Patterns with 24 LH Permutations (Two-Part) Examples: amin Rieeetea ee ete, cenetyamastateg (TTR)1, Coordination ofthe Left and Right Hands All combinations displayed schematically amim 1243 mima 2343 3412 amim 234 2 imam 3 314 422 amai tg42 2413 iama 4123 1 324 ami 431 a gm 421 aim 213 mai 312 imi 423 mi 32 wea ne we +B UHI any nt 3a Technical Exercises Also practice on strings D-@, D-@ and @-6! pamipamt pamipami O34 @—+—23—_ 44 ahs pamipami Dpamipami pa re 4 PG Pamipamipamipami oo ed [50] | Practice on al strings! iam Smiam tami miami amiam iamia ours e tana aaaaz pasar adaie = fe_ete # ste = = SS ete epeeUL Scales in All Keys us III. Scales in All Keys Studying scales in all keys using various RH patternsisnotonly the most common form of coordination exercise but, beyond that, it also serves asa basi for the study of the most important technical, guitar- based skills: crossing strings, shifting positions, technique for playing runs, independence of the LH, arpeggios and tremolo. ‘The Segovia model, which arose out of the traditions of Térrega and Llobet and is slightly modified here, has proven itself in practice based on the configuration ofthe fingers of the LH and its shape ona single string (see “The Principles of the Four Hand Shapes,” p. 24). The system of alternating Major and (melodic) Minor scales over two and three octaves in the order of the circle of fifths contributes to the fact that the LH has to perform extremely difficult shifts, especially with Minor scales. The individual Major and Minor scales should be practiced separately at frst. Particularly the many necessary shifts demand a critical ear and close observation. The movements in the LH have to be fluent and smooth, is fingers’ movements small and economical. “There are two educational objectives which you have to consistently regard and which can often slip your attention based on your playing experience and practice: 1 The absolute evenness of the notes. Playing real legato unconditionally. Preparatory Studies for Scales and Runs Contrary to the chromatic coordination exercises, scales are based on diatonic material. In order to train your fingers for dietonic runs, they are divided into three groups: Group with 124 Group 2 with13 4 Group 3 with 1234 Short scale formulas (runs) of 8 notes over 2 strings are formed with the individual groups which should be practiced on 2 strings from position I to IX and back again. T] Exercise on 2 Strings with 12.4 ‘Tobe played optionally on strings © / @ or @ / © using i-m, m-i,m-a, a-m, ia, a, p-is ip.‘Technical Exercises 6 ‘To train the independence of the LH fingers more intensively you can vary the exercise by fixing the ard finger on the 3rd string: Example: 434d finger fixed on 2] Exercise on 2 Strings with 13 4 ‘Tobe played optionally on strings / @ or @/ ® with i-m, m-i, m-a, a-m, i-a, a-i, p-i, tp. » O—_++3—1— @-+3-4+—_4—‘The independence of the LH fingers can be more intensively trained by fixing the 2nd finger on the 3rd string: O-——__-3-4+—_J @+34—\_ 43 o——______ and finger fixed on @ Example: Exercise on 2 Strings with 123 4 ‘To be played on strings @ / @ with i-m, m-i, m-a, a ‘pip. o P1302 4213 wrsr247293 7 -f fe oe, — Ghetto iericr =: z 7 et ae Cyan a | Gineeaieree @ @ etc, 3 ®@ 43434 O2+ 4 47‘Technical Exercises 44 emer netatny OTE ab) Q-+4 + i og 4 bh Ue i 4d %d Be 6 2h4 ah)UL Scales in All Keys ug Scales over Two and Three Octaves in the Circle of Fifths and Fourths [E] Please keep in mind: To be able to obtain certain scale practicing models (see No. 3 on page 134 and 1No, 4 0n page 135), all scales listed here are presented in groups of four. To this end, the scales of three octaves have to be extended by two notes. 2 2 ct $e 2435 35-3 @ G Major120 ‘Technical Exercises D Major B Melodic Minor AMajor Ft Melodic Minor EMajorIL Sealesin All Keys 11 , . Minor oot piers oO o i ansat 7 oe o' oe "gt a I. 4 344 s4 3 B Major Gt Melodic Minor Fi Major Dé Melodic Minor12 ‘Technical Exercises Db Major Bb Melodic Minor ‘Ab Major F Melodic Minor Eb Major {© 2016by AMA MaoIIL Scales in All Keys C Melodic Minor Bb Major G Melodic ‘Minor 7 : sry, ppesat rMgjor e-4ll “al y v ph 208.2 D Melodic JN 3412 4 shee fhebe t 4213 1 4 Minor = 7.77 S| oo $?'s 3°124 Technical Exercises Five Short Exercises for Major and Minor Scales ‘These short scale formulas with ordinary yet difficult shifts on the treble strings should be practiced in various positions. They are ideal exercises for practicing shifts. Be mindful of smooth movements in the left arm-hand system. More about shifts can be found on page 30 as well as under “Shift Exercises” on page 173. Bw roy 0 a13 1 2pfuhpe 42 1a 434 5124 £243 3 03 @ ® ® © o2 0 o @ oo Bt upgetabeag sa ot @ @ @ V3.4 bs e 0 osisty ana muvee (ER)IL Seales in All Keys Applied Practicing Methods for Scales 1. RH Patterns 125 ‘The RH patterns for scales are equally as diverse as those for arpeggios. The unlimited possibilities can never be fully exhausted. However, it’s not about testing all the different patterns, but rather ‘mastering the important ones so you can perfect the coordination of your left and right hands. ‘Two Finger Patterns: ‘Three Finger Patterns: Four Finger Patterns: 2, Repetitions 8x, always on one note: 4% always on one note: 22x, always on one note: 3x, always on one note: mi-im pi-tp ami pmi amim mami ITT] ele Je) ma pm amai mim imi am fa-ad mp pa-ap iam aim ipm aimi i mafat mate iama ia For further variations, see “s. Rhythms” below which can also be repeated on a single note. 3. Rhythms "enh mon’ oom Th NOAA Nm (2016 AMA Munbetag126 Tea es 4. Accents "om Pm ern Mm 2m meant Pam hit “an emmtmiim "amtm Amon 5. Articulation Legato: Linking two notes via “legato” demands precise, temporal adjustment of the LH and RH and close, critical listening, Playing legato is one of the most dificult tasks you will encounter on your path to musical guitar playing and isa basic prerequisite for studying scales. Very short staccato: i r jr pnaingevcometioe STS A Qn A n imim 444 124 o Psat gf ¢) a4 & 27244 Pat ot = tras 2 © Ff sito p127 ML Scales in All Keys Examples for Practicing Single Scales and Runs If you concentrate on just one or few scales while practicing, all the practice methods presented ‘up until now are fundamentally applicable. On top of this, a scale or @ run can be practiced more intensively by adopting an analytical perspective, ue. by dividing it into various small scales, into “micro-runs” or by practicing the RH and LH separately. 10] Preparatory Exercises on Open Strings Difficult string crossings are found with scales which have two to three notes per string and conversely “The following exercises are based on this and each change of string is emphasized by accent. z 3 a a 3 oa \y a. Wax [11] |G Major Scale over 3 Octaves in Groups of 4 Eighth Notes All shifts and the RH fingerings while crossing strings have to be performed consciously, here for example with the common pattern m-t or -m. | 1 8 oasene co. a v m es = —= tg EE fE f caver? tl — Ss = Figtte 5 @ ° ul 2 1- i f n m getiil,.4$,$.2 ;