DPD ADARADASEEETITITII Ieee reer eeeDefinitions: Nodes: It is important to understand that stopped notes on the fingerboard Progress in a linear fashion, but harmonics are distributed in a mirror image on either side of the octave. The span of a 5th (thumb to 3rd finger from the octave on the G string) is a repeatable distance that allows the division of the fingerboard into equal segments that are in turn divided into progressively larger intervals. From the open G string the “Nodes” are present at the open string (the nut), Bb, D, G, D, and D ascending. These equal distances produce the intervals of a m3, M3, P4, P5, and Bye. The distance between the nodes is the primary layer of muscular memory. The Nodes exercises are designed to Promote awareness of the distance between nodes and to install the foundation of the muscular memory of these distances. These are known as the “Primary” Nodes. “Secondary” Nodes can be derived from the Primary Nodes. The second eve harmonic is 1/4 of the total string length putting it at the mid point between the Primary Nodes Bb and D (on the G string) and D and D in the upper octave. Zones: A Zone is the span between thumb and 3rd finger that encompasses 2 adjacent nodes. The purpose of the Zone exercises is to combine the ‘awareness (muscular memory) of Nodes from previous exercises with the maintenance of a consistent hand shape/size that spans 2 Nodes. This is the first step in training the ability to maintain a consistent hand position independent of arm movements. Expressed as a double stop harmonic, this will produce a unison in each zone. Forms: The Form of a hand position refers to the finger that is directly over a Node regardless of whether or not that note is being played. The terms “Thumb Form”, “1st (finger) Form”, “2nd Form”, and “3rd Form” refer to the number designations of the fingers themselves as opposed to Frames where the number refers to an interval. Form exercises augment and build on muscle memory learned from Node Exercises. The goal is experience arm movement as equidistant between Nodes on fingers other than Thumb. The player begins to relate half and whole steps to Primary and Secondary Nodes building up, around, and down from a given Node. The focus should be on preparing and anticipating the hand shape before moving.Frames: Frames refer to the span between the Thumb and third finger in a given hand position. The most common Frames are M3, m3, P4, and PS. Frames can be reinforced via double stop practice: M3 and m3 with sixths, PA with unisons, and P5 with octaves. Templates: All of the available notes in a given frame are referred to as a Template. As much as possible the player should strive maintain the diatonic context of notes within a template regardless of which note actually being played. Frames of a major or minor third contain chromatic elements while Frames of a perfect 4th will contain a major tetrachord, a minor tetrachord, or a phrygian tetrachord. Flow: The Flow of a template is a distillation of the basic directional movement of the notes within a single template (e.g. forward, reverse, middle down to up, middle up to down) Focus: The individval note being performed at any specific moment can be called the Focus. la It is important to note that this Approach also allows the player to use the fundamental ratios present in the Nodes to discover relationships between different hand settings within a passage. As mentioned previously, the Nodes divide the open string into equal distances that span a m3, M3, P4, P5 and 8ve. Once the thumb is stopped on the fingerboard the distance between the thumb and the bridge essentially functions as a new “open string” and the same ratios will apply. Intervals that occur consecutively in this sequence (m3 to M3, M3 to P4, etc.) will have the same sized Frame. DEREREREEREREERELSTAAAIAAII Aaa gag ga gag gaaaeNODES 2014. NODES- PT.1 DAVID ALLEN MOORE a) a 7 2 * . 5 ca eo COPYRIGHT © 20112 NODES- Pt. 2 I THIRD AND FOURTH BARI SHOULD SOUND THCINMEAS IRI FEECCECECEEC EEE LT TTT TF GGG 4444944 ASNODES- pT. 3STTSSCSSSSSSSESELEGEEEEEDESSSSSIIIIIIIIIIIIT ey | al | ime: ; ; ; | 2 : | | | NOvEes- Pt. 4. zB 4EXPANSION EXERCISE #1 , (HUM REMAINS OW FOR THE ENTIRE EREREIIE 1 THIS EXERCISE DEVELOPS AN AWARENESS OF ALL POSSIBLE SPACINGS BETWEEN THE THUMB AND THE FIRST, SECOND, AND THIRD FINGERS. PLAY ON ALL FOUR STRINGS AND IN 3RD, STH, AND 6TH POSITION AS WELL. WORK FOR CONSISTENT INTONATION THROUGHOUT ALL UNISONS. ALWAYS STRIVE FOR A BEAUTIFUL SOUND AND MUSICAL PRESENTAION, AND NEVER ALLOW THE EXERCISE TO DEVOLVE INTO MERE GYMNASTICS OR FINGER-WIGGLING’.PIII IIIT eee ee Ee EE ESE EY 6 EXPANSION EXERCISE #2 | === a Se — — = lee. Fink = = a % eaaee 22.7 ac. —— are. [PossiBte SEQUENTIAL VARIATIONS]NODES AND FORMS DAVID ALLEN MOORE INTERPOLATION OF ONE NOTE beet abe 4! INTERPOLATION OF TWo NoTES sbpbeh shobe t,t 2 pt INFRAPOLATION OF ONE NOTE COPYRIGHT © 2011 seeeerececeeeeessgaaaqaqaqaaqaqaqqqqqaaaaaas,INFRA-INTERPOLATION INTERCINFRAPOLATION INFRAPOLATION OF TWO NOTESOCTAVE VARIATIONehhh = SS se ts Sa ead =S tee COMPOSITE VARTINTIONEE EE EE EE EI IES VT VST VSTSTSTSTETTVTVTETeTeTee eee ee EE THUMB SCALE PROGRESSION DAVID ALLEN MOORE EXERCISE #1 COPYRIGHT © 2010EXERCISE #4. Co OS) ES at) esa tier tt EXERCISE #5 EXERCISE #6 $999.999999939122222324244484 EXERCISE #7 no nt 7 Seki EXERCISE #8EXERCISE #9 Bet et . . EXERCISE #11 57 7 on et EXERCISE #12 r leet aces moo 7 wo EXERCISE HIB 7 5TEMPLATES DAVID ALLEN MOORE SINGLE STRING TEMPLATES- PATTERN #1 = r MINOR 380 MNOR 3RD. 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