Dokumen - Tips - Barry Galbraith Fingerboard Workbookpdf

7/17/2019 Barry Galbraith - Fingerboard Workbook.
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7/17/2019 Barry Galbraith - Fingerboard Workbook.pdf
INTRODUCTION
The Finge rboard Workbook presentsa number of basic concepts n log ical ingering patterns. Guitaristsgenerally visualize
the fingerboard both in terms of basic scale patterns and of arpeggio relationships to various chord functions. Connecting
these wo visual elements nto flowing lines often produces erroneous ingering. Here are some rules which will help you in
forming the most economical ingering concepts or traversing he neck.
1. The term position means one finger to each consecu- An analysis of one of the exercises s given on pages
tive fret without shifting the hand. Playing from position 9 10. This shows the components which should be
offers a stablebase o move o or from (Example 1). Position recognized before attempting to play a new exercise,
limitations may be extended by sliding either the first or enabling he player to read n groups of notes ather than by
fourth finger out of positionby one ret (Example 1a) Slides consecutivesingle notes. This recognition will also aid in
with the first finger are preferable o stretching he fourth, the placementof various phraseson the neck.
and offer the possibilityof slurring. The first seven exercises on major chords are given
2. One way to move to a new position is by using without fingering so that the student may devise his ow n
extended fingering, sometimes combined with a one-fret fingering and shifting. The same exercises are then
slide (Example 2) . repeatedwith fingering. These are not exclusive ingerings
3. Another way to move on the neck s by a skip or jump, since there are several logical ways to finge r any of the
usually of two or three rets. The safest inger for this is the exercises.Fingerings have been kept to a minimum since
first (Example 3). To skip with the fourth finger is risky. they tend to distract rom the notesbeing read.
However, here are exceptions,usually when playing in the When a fingering is given, stay n that position (finger o
position.
upper
skip topositionswhere
the highest notehe
of afrets are (Example
phrase smaller, and
3a).executinga a fret)
The until the next
exercises, fingering
with moves oofa the
the exception new cycle of fifths
4. When Skipping to an arpeggiated plrrase, the skip section,have been written with continuouseighth notes so
should be to the finger which would ordinarily play that that the shifting must be done on the move. When played
particular note n the arpeggio (Example 4) . against a gradually increasedmetronome speed, they will
5. For triad arpeggioswithin a phrase, the finger-to-fret prove beneficialas an aid to technique,All studies, except
principal will usually apply (Example 5). When playing those in the keys of G and C, are written in flat keys. To play
seventh chords it is frequently necessary o use extended the studies in sharp keys, change the signature (four flats to
fingering. These are best kept on three adjacent strings to three sharps, etc.). A sharp on the written music then
facilitate icking. Example a). becomesa double sharp, a natural becomesa sharp, and a
6. For moving long distances on the neck, the use of flat becomesa natural. Remember that a bar line cancels
consecutive irst and fourth fingers on adj acent strings is any added accidentals n the previous bar, and that an
comfortable in dealing with diminished, minor eleventh or accidentalon any given note does not apply to its octaves.
major ninth phrases Example6). Another important point: The finger tip should be rolled,
7. Sequences repeatedphrases moving up and down in not lifted, when consecutive notes appear on adjacent
pitch) are usually best not played n position. After finding strings of the same ret.
a good ingering for the first phrase, the sequential phrases These ew principles willprove helpful in visualizing he
should use he same ingering (Example 7) . neckwhile providing technicalchallenge or the student.
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Ex. l. Second osition one inger o eachconsecutiveret.

Cmaj9
I
Ex. l. Third position

Ebmaj
4 3
Ex. la. Positions ay be extended y a one ret slidewith either he irst or f ourth finger.
Cmaj
Ex. a.
Gm7
I
Ex.2. Extended type fingering coupled with one finger slides.

.LipmaJ
l 2 4 r 1 2 4
I
2
@ @ @
Ex.3. Skipswith the first finger.

Gmaj
o 1 4
I I
@ @
D b ma j g
4 I
@ @
Ex. 3a. Skipswith the fourth finger

- n4 the higherpositions.
q
I i--\1 ?
Cmaj I
Ex. 4. SkiPs o triad forms'

(Ft)
I 2
h
3 4 /A @
I
\y
@
1nbml I
r B 1 I , h34
-@@o
T@@@o
2 4 3
2 I
@ @
@
@
Ex. 5a. Extended fingering on seventhchords.

. 4 ,
4 2 t : Z , B Z h i f i
t 4 2 1 2
, 4 2 4 3
@@ @ @@ @@ @@@
E x .5 a .
2 t 4 2 l 2 a 4 2 \ : 2 4 4 2 1
@@6 @@ @@ @ @
Ex. 6. Using onsecutivene - - four fingers.
1 4 1 4 : 4 1 1,4 bi
i t d ,-3
@
I 4
@
I
@ 6 o
E x .6 .
Bm7 ETbe
3 2 1 4 4 1 4
Ex. 6. using consecutiveone - - four fingers for minor ninth and eleventh, i
r i , 4 : 4 | : ; ?
,_bj
7 r l I 4 l
@ @ @
@ @
I 4 . 3 I 1 l l i t ? : l , Lii
4
I 4 l @ @ o I
@
@ @ @
8x.6.
ziiz a Li: ' I
, o:l 14 : i i i
6'o @ @ @ @ @ o @@@
Ex. 6, Using he same ingering or majorninth.

Li 1 z I r :
| 4 t r I : i 1 8 1
@ @ @
Ex.6.Majorninth using he one - - four fingering.
Ex.7 . Sequence.
4
1 2 ) | 2 : i 1 2 : i t t ? : i | 2 1 i
@ @
Ex.7.
2 4 1 2 3 1 t 4 4 z 4 1 2
@ @ @ @ @
Ex.7.
eL: e r 1 2 : 1
Lbl-- . r-r t ? : r ? : 3 r-r | 2 t^l
EXERCISE NALYSIS EbMAJOR
Chromatic F m7 Bb Penta
I l l
Cm7
Ebag
---r|--------l[ Gm7 ba appog. f
]r-----l
Bb Penta Cm7 Gm7
Bo hromatic Chromatic appog.

Chromatic l B o Ir--
4th Pattern
10
ANALYSISContinued
rb triad
B Triad nb trian B Triad Gm Triad appog.
appog. -D Triad go Chromatic
appog.-D Triad Gm9 0r Eba9f 11 Bb Triad gb triad gb triad

__________l I r-------l
4th Pattern
Eb Penta
G MAJOR
C MAJOR
?
F MAJOR 13
r?nffT'T
t i +
A
_
F ? +
| | ' - -
l L -
T4 7/17/2019 Barry Galbraith - Fingerboard Workbook.pdf
Bb MAJOR
+
- o -
- a 1t 'Lr t ?_ t, ?r rt tLr tr l _ rf r; r
t L - 2 . L - - 2 - - 2
A = = t L E E E f L X . = X . = L L
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A r F F I
A e t ? t €
iffi
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CT
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- - ?
--vrv---T---I--T - 2 - ^ - o - . . - F
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a t t l -
Eb M JOR
16
Ab MAJOR
d
-
a-
@
L
fi .+ .ef.4?t' tat F?t+

-
- - - L + + 2 = = + 2 =
+
Db M JOR
8
G MAJOR
4
> l
C MAJOR 9
Bb MAJOR
L :
22 7/17/2019 Barry Galbraith - Fingerboard Workbook.pdf
EbMAJOR
i :
Ab MAJOR

Db M JOR
D7
C
1 4 h I
Bb7 29
. 8 4 4
g 1 ? f t
30
Eb7
| 4 1 j B r-r 4 4
2 1 4
Ab7 31
t \ VI 1 r
r 1;a I rB
CYCLE OF 5 SBY POSITION

The following schematic s a simple way for the inexperiencecl mprovisor to become
acquainted
with the cycle of 5 s, one of the most usedprogressionslncontemporary music. In this
casewe relate to five block
chord formations in one position which will also contain the appropriate scaleand arpeggio or
each chord. To con-
tinue the cycle, you need only to move up one fret and follow thi sameprocedure. As shown
below, we have A7,
D7,G7,C7,andF7 allinthefifthposition.oneexception: incetheATanaDTscalesandarpeggiorinlrtbetwe
4th and 5th positions,we would observe his shift when playing over the full register. Ex.I.)
However. f the phrase
being played only covers he four high strings, hen it ii best to remain in 5thlosition and stretch
or slide the first
finger for B and f fl. (Ex Ia ) It is also mportant that going
that the following note is fingered back in the 5th position,
after such out
as nofthe
position
secondfor
barthese
of Ex.woIa notes
wheretothemake sure
gered with the third finger and not the fourth. A is fin-
On the D7 formation, yo_uwill find the fingering more comfortable by visualizing he

forms in pa-
renthesesrather than the regular Dl3 form although both are used. This is best demonstrat.i
uy the Charlie
Christianphrase n Ex. Ib.
Ex. 2 is an exerciseon the cycle using he aboveconcept. Ex. 3 is another way of runnrng
the fifth
cycle usingonly two chord formations.
A13
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3 b 4
{>
@
4
o
{>
o @ @ @
@
3 b 3
c>
@ @
4
I {>
{>
{>
@ o @ @ o
Ex. .
4th pos. 1-5th pos.
Ex. Ia.
D7
Ex. b.5thpos. G7
I
D7
1 3 2 1
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EXAMPLE
A_7 5th position
7th position
8th position
r s L :
35
b13 Eb 1 s Ab13 Db13 GbLS 813

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a rfi rS -o.
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r$ ; f* f= GIxb,ht
EXAMPLE3
4 , e 3 ,
nbt 1 > h , z 3 ) 2 2
','
,q * SL Z ,1 sL B
Gb 7 87 g
l I
r s,a,r-T. 9 Lb3 il'l , 4
E7 t
g z I L ,,r L2 r-r B
*2 izZ 1-l 3 12 t 'r.ll 1 4
l 2
G7
i 2 2 | zz*2,LbL: 2 z 4 | l-s r )
C7
e l o 4 2 r 2 l t t 4 4
FI7 : > 3 2 r 3 1 e b z
36
II V I PROGRESSION
One of the bestways of gainingcontrol of the scales nd arpeggiosor use n an improvised ine is to
play a seriesof successiveighth notes through the II V I progression his practice may also be applied n the
learning of any new tune. Attention should be paid to a smooth transition from one chord to the next usuall
resolvingby either a half or whole tone. In due time the linesshould mprove melodicallyand gain musicalsophis
tication. The following five examples reexercises n the above using I V I in both major and minor. and finally
a line on a standardprogression. rom the fingeringgiven you shouldbe able o take any bar and pla-v he relate
scaleor arpeggio rom which the melody s taken except where an occasionalransitionalshift occurs. t would be
beneficial
and third ino the down a7th
lay minor chord
and track on atape
dominant recorder
7th chords o play
o avoid with;however
confliction be sure
with the o useonly
altered tonic.
ifths and seventh
nintirs n the
melody lines.
II V I MAJOR
Eb7
Pb7 GI b
9:e
II, V, I MAJOR 3
Ebm?
I
r 4 l 4 l
:tl l r I
3 1 3 B l l
r 3 s a f
Am?
LOm t
38
II, V, I MINOR
Cm7b5_4
o\
7
FTbe Bbm
t--r 4
ebmzbs
rf mzbs
87b9
I
EM /DD
II, V, I MINOR 39
B mT b s
ETbe
D7-9
2
-t m /pi)
D mzbs
4
STANDARD PROGRESSION
BbmT
4 1 1
BbmT
DbmT
Bbm?

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7/17/2019 Barry Galbraith - Fingerboard Workbook.

Ex. l. Second osition one inger o eachconsecutiveret.

Ex. l. Third position

Ex.2. Extended type fingering coupled with one finger slides.

Ex.3. Skipswith the first finger.

Ex. 3a. Skipswith the fourth finger

Ex. 4. SkiPs o triad forms'

Ex. 5a. Extended fingering on seventhchords.

Ex. 6. Using onsecutivene - - four fingers.

Ex. 6, Using he same ingering or majorninth.

Ex.6.Majorninth using he one - - four fingering.

Bb Penta Cm7 Gm7

Bo hromatic Chromatic appog.

appog. -D Triad go Chromatic

appog.-D Triad Gm9 0r Eba9f 11 Bb Triad gb triad gb triad

fi .+ .ef.4?t' tat F?t+

CYCLE OF 5 SBY POSITION

On the D7 formation, yo_uwill find the fingering more comfortable by visualizing he

b13 Eb 1 s Ab13 Db13 GbLS 813

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