Ivor Mairants - Daily Excercises

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TI.IE

e

BOOK

OF

DAILY

XERCI

Jhe

f

irsfof

its kind

o

he

wrif

en

or

fhe

PLECTR

M

GUITAR

PART ONE

Chromatic

Scales

and

Ererciscs

and

all

maior

e

minor

Scales

with

many

ftngerings

n

ell positiom.

Incorporatint

the

full range

of

thc flngcrboard.

PART

TWO

Studies,

A.rpeggios-ind

Exerc.ises

n

single

rtring

ru

and..chords

in

major

and

minor

kcys

-to

help

iqc

facility

and

ertemporisation.

Incorporating

the full

range

of the f,ngcrboard.

Chords

of the

dominant including

seventh,

ninth,

au

fifth,

f,attened

flfth,

aug. ninth,

fiittened

ninth,

cic-

Special

scales

on diminished

chords

and

augmcntc

chords.

Whole

Tone

Sceles

FRANCIS.

DAY

HUNTER.

LTD..

t38-140.

CHAR|NG

CROSS

ROAD,

LONDON.

W.C.2.

lrAot Na

t{Gr

r'D



THE

IVOR MAIRANTS'

B O O K

O F

D A I L Y E X E R C I S E S

Thc

rsr

rf rs

kind

ro ht

zt'rirtot

or

thc

PLECTRLJM

LJITAR

[ .RANCIS,

AY

HUNTER,

TD.

I18-I . IO

CHARING

CROSS

ROAT)

I_ONDON.

W.C.2



FOREw.ORD

The

object

of this

book

is

to provide

the

plectrum

guitarist

with a

set

of progressive

xercises

hich may

be

Practised

at

any

time and

which wil l

rbsult

n giving

the

player complete

ingerboard

nowledge

and f inger

f lex ib i l i ty .

The present

day

plectrum

guitar has

been

n

general

se

n this coun-

try

sinceabout

1930

although

EddieLang

played t

in the

early 1920's.

Although

great

players

ike Eddie

Lang,

charl ie

christian

and

Django

Rheinhardt

eachhad

or have

heir own

\4'ay

f

playing which

served

heir

own genius,

t

is necessary

or the present

day

player

to

haveat hand

a

collectionof scalesand exerciseso helphim improvehis

technique.

The method

u'ritten

by George

an Epps

some

yearsago

was

he

most

logical and

served

he

more advanced

layer.

With

the help of

this

method

and after many

discussions

ith some

of

our own

and

American

eading

gui tar is ts wrote

the

lvor

Mai rants

Gui tar

Method

and

in

genera l

helped

o establ ish

he down

and

up

stroke

plectrum

method

which is

being

usedby

al l the eading

gui tar is ts .

Since

his method

was

published

have

had

he

good

ortune

o

study

with Andri

Segovia,

Abel

carlevaros

and

other

great

spanish

guitar

players

and

coupled

with my

experience

nteaching

t

the

CentralSchool

of

Dance

Music

have

been

able o

discover

which

are

the most

effective

scalesand exerciseso produce peedy nddefinite results.

The

contents

f this book,

herefore,

ave

come

as

the result

of much

practise

and

book,research,and

re

a collection

f

studies

nd

exercises

also

adaptations

or plectrum

of what s

bestand

most effective

n

guitar

f inger ing.

I

practice

hese

exercises

yself

and

although

Ex.1

s

one

which

give

to

beginners,

t is

also

one which

should

e

part of

the

guitarist's

daily

opening

or

l imbering

up

practice

or

synchronizing

oth

hands.

steady

pract ice

at

a

speed

wi th in

your

capabi l i t ies

i l l improve

our

technique

eyond

ecognition.

n fact,

regular

practise

of these

scales

and exerc ises i l l makeYoua br i l l iant technic ian.

fztor

Mairants

F.&

D.

22668



t

THE

..IVOR

MAIRANTS''

BOOK OF

DAILY

EXERCISES

OR GUITAR

PART I

Play

with al ternate down and up strokes.

The f inger ing

is

the

same

on al l

st r ings. 4P-_l denotes { l . i

posi t ion.

i .e.

When

lst f inger

is

on 4th f ret , Znd f inger is on 5th

fret , Srd f inger

on 6th f ret

and { th fLns, . r

on ?th f ret .

Ex.1

6th String

N

V N

V N V

N V N V N V N V

N V N

V N V

N

V N V

lrll*lt*?+

?n#r*r

r"l

fif,t

wt

t

1

iir

.\

,

q

ttr|'\

t

i

i'

;

+

7

int

1i,l

7Y:3

?q?

"orl

1fi1."7

\lb1

jt"lll\lb1

5th

String. Fingering

as above

t

?P------r 8P-----r

gP---l

fl

gP-------l8P------l

?p----]6p-------.1

5p--14p------l 3p------2p--------l

1p-------t

4th Str ing Fingering

as above

'D--_-- ]

'L,

- ,i

zp-------r

3P----------"14P------1

P-----16P----l

?p------t

gp--..-,

t t v

l t

v

- r _

9P------1, tOP---

r

eP-__lsp------l

''-.-i"l '

5P--:=4P

--r

3P-:-l2P------''

lP---r

3rd

String.

Fingering

and

posit ions

as

above

N V

N V

;l

l

C o p y r i g h t

1 9 5 2

b y

F r a n c i s , D a y& H u n t e r ,

L t d . ,

8 8 - 1 4 O C h a r i n g C r o s s R o a d , - o n d o n , W . C . 2 .

F.& D.

22s68



4

2nd S t r ing

Finger ing and

pos i t ions

as before

N

V N

V

1st

String

Finger ing and

pos i t ions

as before

| 1 v f l

When fami l i a r w i th f i nge r ing p lay on a l l s i x s t r i ngs a t one tempo w i thou t Pause , commenc ing on_ s ix th

lstr ing.

Ex.2a

Chromatic

Scales.

Three

ways

of

playing

Chromat ic

Scales

? u 2 . ,

N V

N V

t 2

t

a g

r u

ror

23

4

oLt?Z*zl f3i ihi i

T

il

^,.r.

il

Ex.2b

means repeat

sectionbetween

he

double

bars marked

thus

' ^ ' g ^ g q l z g 4

|

2

3

4 l 2

3

4 l

2 3

O

'

r @ t @ t

@---)

@

iTLLLL;

3 r 2

) V t

L

'.;'

4

g t

2

>

n D n

1 t 4

a

s b e

Z

@

iti

z , s

4

r re

F

| . , 2

2i l f

L i l i

hi

1 4

0t 2 t

I

t b t

@---------J

@,]-.,

@-*------J

@-----------J

@

N.B. A numb er n a r ing under a note or notes hus @ means hat the note or notes must be played on

the

str ing

numbered n the r ing.

n & D. 22568



Ex.2c

o

t

2 3

4

|

1 2

3 4 1

4

|

2

3

2 3

; t

2

+

i i l

1 4 3 2 1

2 1 4

@ -- r@ :

@

' @

Next

in order

of the dai lv

routine

exercises

comes

he scales.

The

player

should

ry to

be

famii iar

rvi th

al l

the scales

and

I thereforegive

the

major, melodic

minor and

haimbnic

minor

s?ales.

Thc sequeirce

s major

scale,

relat ive melodic

minor,

relat ive

harmonic

minor.

That

is, c, A minor

melodic,

A minor

harmonic.

Therefole we

have

the Keys

of :

c G D A E B 6T'

--

G'. Db Ai Eb

Ami Emi

Bmi

Ff lmi

Cf lmi Gf lmi

Df lmi Ebmi

Bbmi F mi

C m i

B b F

G m i

D m i

_o_,_3

?

1 2 4 -

3 t

?

6 - l o

' @

t @

t o

r s a L # 3 r .

6 @

' @

t ' @

r O

4 1 2 4 l 3 l

I r a r

' + i

? '

4

2 - .

@----r-@------,

@

-,

6:J

2 z

s

1

|

3

! Z :

@---G;:r

@

r @ -

- '

@-J

? 1 r e

ksssssss J_t

4

z 1

6-1

0-----'

@

'

@

r @ J O r @ _ : @ _ _ _ r

b

'@

-,

6:_1

4 r z 4 : - U

3 ? 2 ) i f i f i l : ? ' 3

I

1 l o r t 4 2

6 - - , O

' @

r @ ' O

@--.1-

@----J6j

c o D A ' t

r " , r - L - #

r

3 1 2

\ 1s,"

g ' 1 s ' :

L l :

?

r

, 1

6---r

@

'

? : L ? t 4

@ r

2 4

g

r . - )

- , 7

C

r

v----------J

(6)_

|

Enharmonic

@

r

@---.r

rar

r

\9,/_-l

@

- r

R

& D. 226s8

@

r @

t



A

melodic

minor

A o r z 4 4

2

4

r , r 1

+ i l

I

i

\ 7 3 i l i i l

@

r @ t @

1 , . 1 3 r

o * t

, 1 z | l t z r o 2 |

= t

?

r @

o P

? \ ? q i i : t r

r

6

6:-,

@

I

5I-=,

o

h i q i F i

L i t z I s ,

4 . q r

f - - ; 4

2

|

4

2 | 4

z

I

@

r @

r

@

@

-,

@::6

6:

6

A

harmonic

minor

. r 3

4

I

z ^ U ) i .

r i l i

L L i

r u o r z 4 2 s

@

r @

r @

i l i l L L 2 3 ,

t - r y

|

4

t J 2 r

@

t @

r @

r

@ - _

t @

r

@

- ' @

1 3 3 4 1 2 4 2 9 2 -

L L i r e i l i i i i

r @

t

I

'J

@

r s 4 r g + 2 1 s 4 t s t

t

- r

6

,

@

- ' @

'

: o i E i

L L l t * r

4

s ,

o g _ 3

4 g r 4 3 t 4 g

@

r @ - r @

r

@

- 6

Scale of G major

in four

positions

l l j

B

o

z

s

o

z

+

9

2

o

r

s

o

? 2 ?

l ^

!

z

o

r

' -Y

'

o

s 4 - 2

2 0 s 2

t r z 4 r z 4 r s !

r s

4 z n y 3 5

3 t 4 z

o J t +

B - I

2 r 4 z r

dia=@

ffia '@------------r

---r@----r@'@-6J3

F. & D. 22568



, 6 - : ' 6 -

' Q

:

= i L L :

L r

z

2 4 1 2 4 1 3 4

t s

r

s

r ' 1

)

e

: )

@

r @

r @ O

a

|

4

f1-3

1 4 2 1

4 2 | / t

@

@-i4

,@

"

r

J,€l=3

| 2 2

4

|

?

4

|

z

l t

r

L 2

_, ._--_---_J

E m

ic

minor

n o 2 o , 2 . t o 2 -

2 Z

o

s

t 2 1 1 4 r 2 4

. 2 1

:

;

ir i l"?

i

elod

tr

3 0

2

4

l 2

I t t t , 6 n - "

'

@

; @ . -

'

,

@

' \

2 \ i \ i i i z \

s

I

4 a , 4

s r

d

@

r

O----------,

O-

- , t

-

-

* t ,

d

o

@----

i - \ * n i i l z , 3 , 1

4 B r 1 8 1 4

, , o ,

I

a

s

+ t _

Z i i # l L L i J

@

I @

-

' @

r @ - - _ _ _ . r

@

r @ O

F.

& D.

p2b68

2 1 o 2 1



I

E harmonic

minor

0 2 3 0

2 3

| 2

1 o 2 o

+ o 2

o

t+

I

o

2-9.-+

z

1 3 2 0 3 2 0 2

4 3 t

4 3 l s 2 o J z

@

r@

,o__-___,]l __,@

r',

6

D

maj

In six

al ternate

f ingerings,

he sixth going

up to A

at the

l?th fret

z / +

]

4

|

g

t

,'

,t

3 , ? t ' L L L I

or

tr

o - r o r o z o , Z l i i i i f t i i Z y r , ' ? k B , ,3

@

-

@---r@---164

? t i i z

t

3

1

B J

a

?

,

4

z

,

@-.r

@-_il@---r

4

|

3 4

t

g

z

@

' @

B melodic

minor

@

r

@-r@

r@_r@__lO

r@

,@:_1

r '

3 i i L ? L f l i r . z

t s ,

o * ,

r

B

4

B

1 9 . - , @ - J @

@

- ' 6 4

= E F t i i i t z I r 4 s

o-,o- i64,

@

'@-r@

4 3 r

4 z r z 4

2 4 t z ; l $

t

3

2 , 3 i L

t @

' @

t

@ _ t @

t @

r @ _ t @

r

4 r 2 4

3

? 1 , 2 4 ? t f f , f r r i i L L i * n 2 ' " ,

t

i

- J

|

+ z r

66-- -

@

r

@l---r@

t@

t

@

r@

-: @'

'@-

@

r @

r @ O

R&

D.

2P508



B

harmon

a

3 l :

2 : i $ i f i i f i

t 3 4 l

r 3

J € )

O - - -

t @

n f n l l : L

r

r

t - 4 2 r : t r

4

t

|

4

g

t

4 3

r @

lC mlnor

, , \ 2 : l

_ r _ _ : r

r

o - ; r - q . , 4

r

Z : 2 i l i ? ) - f i l ? ) 3 1 ,

" ,

' - - t

' l t - - t - ' t

: t

o

l \ t ) -

, >

4

t

' l

) L [ i - 5 l i

tr

t1 ,1-

t

4

- - . r ' *

| - , ,

tL1 :

: ) ; ) - i , j 2

z

r s

1-

" - l

) . , ' ,

: t 1

4

: l

#a-

-

@'

6a - l@- - - - - l

@-e tb

_ ,@

-

:_ ,61L

z 4 2 4 t , 4

r

3 1

3

\ 2 3 i i i l Z t r , i 1 n

,

I t 2

, t

, 1 3

t .

B

4

z

4

I

2

4

|

2

4

I Z 3 ? ?

t

3

t 4

i n t

1 4 2 t 4 2 1 4

@ - -

r @ r @ - - - r @

r G ) - = - _ - - - - : 6

- { T ' a h , @ - _ r @ r O - - - r @ - -

0 . 9

: i l E E i i

L i l r : 2 . 1

, ,

B

,

z

4 - t

1 4 : ,

r , : ,

l

o

2

4 o

2 , t

|

2

o

2

g

o

1 Z [ : l Z '

o

" "

o ,

- ' - t - o? J t - 1 - , - - ? - - - 9 -

F.

& D.

22588



to

Ffl

melodic

minor

1 : l / t l 3 l g 4

r:,-#

3 ,r

r

2

+ l

i i l i $ i i

t

r

-,

iil

'

7 ' . J

i l g h i * i i , r ,

a

r 6 t

- i

o r

l 3 r a - - - r 4

Ffl

har

mo

E

nic

minor

2 * O 2 . 1 O B t r

, #

, u ,

? ' : ? , , r B 2

o J _ _ r

4

3 o 4 2 O 4

2

I

3

2

3 4 l

i l

z g

g 4 l

s 4

iili

i

@

r @

O

9--t

t 2

3 1

3 2 :

1 - , 1

2

4 s

r

4-l

E major

@

r @

' @ _

' @

A o

L

3

4 3 r

4

1 2

4 0 \ -

:

z \ t 2

2

@

L t

2

1 t + -

t

I t + g l z

+ r s t r

O-.t@--li-O_----r

@

t

+

r

s

1

I

B

4

|

? L 3 i

2 A 2 r

o_J@ff

f - 3 : z t

4 s t a u



2 1 r ? 4 r 3 4

- ' ) 7

,

1 L i l i t

2 i+ i

t :

1

3 t t ! 1 1 : t l

@ - @

'

J

, @ -

1

q.

A

1

:l

o 1 3 4 2

2 4 t 2 1

r

r

r

I L i ;

. f t \ 1 6 \,-) \l/- \l,r

',

i@tt e

r

\

z

r

3 r ' t

3 . 1

7

s

@__Gi].b_,

@_l

Cil

met ic

minor

' t l z ' t l

od

tr

# t r ? ' r l t t i l i l i

i

B

-major

tr

i;

,

";2-fi

r

z

\zliliit

il*llz

,:

,.

'-u-,

l?;

! 4

s

r i

g

@

@---.1

@-b

F.

& D.22568

l _ , r

2 1

4 2

|

7



t2

Gil melodic

minor

r t z r r

3

i i

2 , , 1 . . L : , 3 f l L r u t , "

s r

' ' z t + z t

l i l t * l : l

1 3 1

2 t t t

3

t

\ 2

't

),

Lili.i

t L

i

hfr€hc

), t :

r

1 , t

B

r

4 g

2 1 4 4 3 t ' + 3

@_-j

@

|

@

--

@

|

@_::_J6

Gil har

mon

n

lc

mlnor

r

g

1

1

g

I

? _ i l

B 4

r s

r , . 2 2 , i l : . . 1

| t | +

B J - - 2 , , 3

4 r 2 4 r 2 1 2

l 2 ' r l 2

,

?L L L L L . i + i i

6

6

-

- , @

5o--r

@

t@

" i L 2 t \ s

r ^ - z t 1

4 3 l 4 g l

v

@

|

@_________J

119

r@__=_=___:_il

The

keys

of Cb and

Ffl are omitted

but only

the ei-harmonic B

and Gbur"

,.""i@

Gb

major

z 4

|

3 4

|

s 4

2 4

L Z l 2 l 4

z o * t ' l

9 1 4 2 t 4 2

6%=@-)

65o--,@

@--,@

@

-'6:idil

. o 4 l

2

4

|

z

4 7

s

4

r

s

4

|

c

1 2 i i A ? t

2 L

r

1

{---t

@-r@

1 \

s

:

r

,t

2

tJ--t

t

4 2 2 1 4 2 t 4

O

r @ r @

- F

r @

@ - r

_-L

15

z

l

?

€)_J@

r@ _

r@ r@

,

, L iLL |LL

i i

i i i l t

1 r

4 2 r J - z r

F.& D .22668

r@

I@___JG;__J@

|



tr

2 4 1 2 / + 1 3 4

1 3

1

3

1 1 2 ]

3

2

1

7 f , . -

- , @

r

I

Q_,,|

'

I t ,

= t i l l z

e

r

@-=r

o

@ l

3 _ l , t

4

3 1 q z

I t t ? l

r I

2 1 4 2

|

7 J

I r r l [ a l I f , \

\ r

r r l t

|

\ : /J\3,/J

\9

-

'\2

-

t t t

%

@

ro-rP

o

r@---:

d=ie=_.,o':

1

]r

1: ,

1

3

+-\23i \2\ i11ibfui i i : l r@-r

n

-

--€F - i

-J--

K--,rnZ-: C----iO _-1O- - - -=1e-l@-Errt

r'r

(t r \3/ JJ \7

J

,

u

(E) r* '

E b h a r m o n i c m i n o r

'

2 ' ) '

A , n

r

: , {

3

1

r r

\ : ; i i - i r t l | - _ F ; F P i ? Z \ r

. s ' ,

r t '

I

q i i l ) , : 1 r

2 , , 3 * a

3

@_-16=r@:

,@r? , / - - - - - - - . i r : z - - -

.

: r , f : f

\ S t .

2

r 1

2

r

|

3

r

i

\ Z l l i t i

E t l j j

r

r

r

3 * j

r - r

r

r

l

lejor "

6

6-----,

lio-----,o

s ' \

3

,f.l\ | f.l\ l/i\ t

-^

t

O

rr : /

r

\ l /

,q/J

( _

i i : j t r , .

' F * i , , , i

1

ffi

a * t

1 j . i

r

. 1

r

z

\ )

i

l 3 ' t

t

3

7

|

3 l

;- z\ |

tr--

( l ) \ l /

' z r

I

\1./

'

t l . . i

1 |

3

1

@-r@

-l

z a l ? 4 r 3 t r

-,

^ffi?-oet'

\ : / J \ Z J r l )

l \ j / J { r l )

_---l@__rO--J

@

|

@___.r

t6l

-,

e

-

, 1 z 2

r

3

^ 13 7 i i 1 r _

t c 7 : :

l

r

o

3 * 1

. a

1

' , : '

,

6-1e

--fs-----t

@

r@ro

o

r@-

t r

- 2 "

2

a

3 ,

r

r 3 L i l + i i i i i Z :

-i

F.& D.22668

1€)---r@r@



t4

Bb

melodic

minor

Bb

harmonic

minor

l

l 2 t t l

r

3 1

,

2

4

th2hl2 Li i ; l r , : l

a

r

l r + .

1 3 7 r 3 - )

r

I L t i ' i i ' , i i i i

4 : t l

3 1 4 : l

O

r g -

+ 1 3 4

) 1 1

: l ' L )

. o r l ?

) L L 2 4 t l

t 1

@--__J

@

l 2

1 - 3

1

4

g

I

O . -

@

r @

r

t r

, t t 2 t t , r

7 o ,

z t t ) ) h L i L i

= . - l

@

1 6 . - - - ,

\ ) ) "

" , n

3 - _ 2 t 4 z l r r

; J

Ah major

66___,o @ r@-ro---r :o:5 6:dry

. t t ' 2 4

j | 1 , , r + \ ) l i i , L t , ^ t r , r

:

/ r 2 | 1 p l

66::@

@_F6_:@

^ . .

I

E ,

' ,

2

, + -

l i i l t f

t \ s

{ a - l @

t @

r @

t @

r @

r @ _ _ r

@

I

1 Z t t t 3 4

r

B

r

I i )

t 4

,

L

t i

+

f

i

i

- B ) $ -

@

'

5 - e

o

l l t 4 r r - l - 1 - B

t 4 z r 4 z 1 4

r@ r@____ . r

@

r@

G ) '

€ >

F.&

D.22688

---------------=

@



F

melodic

minor

t 5

|

3 4 1

3

0

a

o-*i

,

o r ^ 3

: t t 4 , 2

r

r

r

o

B

I

1 i ]

1 4

3

1 3 4

r

z--LJ

B , l

1 ^ 3

- - l ; \

.

@

' ' g '

iv iv : t r

1 1 r

4-s

I

2 1 4 ! t : 1 1 1 * : l

I

O

----J

O-

- =

F ha rmon

lC mlnor

n

l l l l l ' . l r * 2 3

: t 4 1 3

.'t

7 L

1 , "

r : | r

, t

: t _ 1

656----'a

t z 4 r

r 2 )

z

t l :

1 3 4 l \ t t

- @

, o

l O

r C e _

"

6 " '

6 -

@ -

1 q i

i i z : : , , z

1

l t 3 1 4 3 1 4 3

Eb maj

or

tr

g l l 2

: ]

. i

L i L i

L i i i : , t ; , 1

4

2

|

1 2 1

@-l@--:il--_----lO

rO

4 r s , !

1 B

t P

' t L L i )

l 1 i

r i i i i : v , r

j ,

4 : , ,

, i r

@@

rdft

r@

@-s:b

,@a

2 4 t 2 , 1

B 4 l ^ 3 : i i i f f

2 1 ' . ^

= ? i i i Z y -

s

r 4

2

, 4

!

r

g-.l@--JF-6______1

4

|

3

j

t

B

zr

I

1 ) i i i i t i i L ; L 3 : r

,

4 , 4

: ,

, +

4

go ,ff@

r@

io--=r@ r@r

@_r-.b

,@

l

F . & D

P z b 6 8



t8

C melo

dic

tr

Bh

maior

^ '

- E

ry, -\:::hikiir,i. ibibi

,

,

,

,,

,#

,,

,

;r

,

: ' r - r

r , ' # ,

\

:

) , l i h i F i . E € i + ; ; : : r

: r ,

1

, ,

r ,

1 , ,

: , - * 1

, , ' :

^

: i , i i i - i i : ,

, ,

r

; ' - , : ,

o

J

0

'

'

' l - . l

t

2 l ( t

2 l

.

6j6 r@ | o--___,o____Lo

' = - F r r r t i i

t ,

\ , *

4

,

t O

, @

' O _ _ = r r -

G

melodic

minor

R&

D.

zzioa



12

4 2 \

r

J 4

r 2 1 r t 1 * \ 3 i

7 i , ) t t t z t t t - 2 - q 3

t o i t r ( ) , - - - ;

O

- - , - - - - - - r @

r

@

r @ - - l ' @

- 1 6 r a

dtt,6:

- l"@-

t# ---. l

@ro

Ic

_l6-a---

l F ; t - J i

6

-

-16-----:

@

r @

= r i i i i i : t

u 2

/ O

, € ) l @ _ _ J @

@ - -

? t r ^ l i r J

=

lFJ

_

__

:

l - i

l

F. &

D. 22568

t r-\

l \ ] / -



18

l ; J l 2

, r : t 1 ; J

, r

: ; a c l p

4 : t

? t i t i L l

z

--ar;ts

--

t -

E

J 1 - ) : i t t i

F-_ . -_ : ___

_- - -

_______

I

_ -_ -

___T=r___r* - t_

v z ^ r C E - - : O - _ _ J

@

r C _ _ J O _

r o , _ t O _ _ l O - =

:v

1 1 ) : )

' = L L i t r

r

1 : t t 1

5 ; r )

, b -_ - ,@

r@ - - - - - : o

6 r 1 6 \ r ^ $

-

^ ' t -

\ 7

J \ r - r

( 9

, 6 )

J t D .

r

6

6

:,-:

.

'

@

('-

i i * i i l : z , 3

1 I , J

, : l

r 1 6 r ; . - _

l 3 r O i l l o 3

D m e

lod

tr

ic minor

' * l z ' t l s : l ' t

onlc

mlnor

l : l 4 l : t 4 2 3

'

T2iainii€ tiqqiviLt,

, . . , . \

I

:

3

r

L ) ) I i E i

! r

I

l{

n

il

@

, . l

. J

1

r : f

i r

r 3 4

t l : i A i f i t f t

i a j s ; l L < , ,

6

, o | g t @

r @ - '

O

i

7

a.

D h a

r m

tr

f r 2 7 : t - 1 1 : t

@

r @

_ t

'

, @

r O _ _ _ r O _

e

- C

t f f i

7 | . : ' | 2 ; t , t

r . ; r l 1 , L j j

e

@

r @

r @

r

t . &

D

2 2 5 6 S

@



1 9

PART II

The fo l l ow ing

se t o f s tud ies a re based

on the ma jo r sca le

and cons is t o f ma jo r

and m ino r

t r i ads p lus

m a j o r

o r m i n or s e v e n t h s .

M a j o r

s e v e n t hc h o r d s

m a y

a l s o

h a v e

t h e

f

o l l o w i n g

s y m b o l

: - C

( + z )

Hereare the

chords n

the key o f C major .

* ^

C m a i ?

D m ? E m ?

FnrajT A m ? B m ? - 5

C m a j T

Key

C

To be p layed

in p o s i t i o n .

i .

e . F i r s t F i n g e r

a t t h e ? h F r e t .

h e

? t h

7

P

. " ' "

|

*

i-t

2 1 :

3

t - o

.

, 4

z t ' l

t

-

2

,

' ,

l 4

Key C

Learn

above

tho rough ly

be fo re go ing

on

The

same pattern

fol lows when

playing

in the

other

keys. Therefore

only the

f i rst four

bars

are given.

Key G

2 1 4 3 1 4 2 1

2 t 4 3 r 4 2 r 4 s - : 4 - g r 4

z r

o t ,

J r r

D ma.j7

Key D

e c.

GmajT

G m a j T

Gmaj?

Cfim

-5

2

r E

t J z

t

xMay

be

written

C

(+z)

F.

& D .22568



20

Key

A

Key

E

Key

B

Key

Ffl

Key

Gl ,

8

P ': :

z t ' t t 1

BmajT

E ma j?

Af im?-5

B m a j ?

Eflm?-5

Gbmaj

?

1 P '

GbmajT

Key

Dl ,

F.

&

D.

225S8



Key

Ab

Key

Eb

Key

Bb

Key

F

FmajT

Bbma j?

Key F

ln

lst

posit ion

u.i th

open

strings.

t

t

o

l'

'-.o

3

2

O

B

2 1 , 3 _ 3

O

3

e

o

3,

t,

l-

:

o

3 2 1

t - . s 2

o

o 3 2 l , g

? o g

s 2 o : l

2 _ s

3 2

l o 3 2 o i r

t'

. 3 2 0 3 1

U

=

D b m a j ?

Ab

maj

7

Eb

maj

?

Ab

maj

?

; "

s,

| '

'3';' ,

Bbmaj? Bbnraj?

1 0

3

0 3

P o . g 2 o g

I

0 3 2 0

F .

&

D . 2 z b 6 8

3 l o 3 2 0 : ] l

J



, ,

Key E

2 r + ? r

4 2 t

O , I 2 t . r Z L 1 . t

2 0 4 2

--+

e

Alternat ive

posi t ions

and

f inger ing

of

same

studies

commencing

on

f i f th

str ing.

2P

""""" '

2

|

4

3 r l 4

P

, r 2 l 4 t 3 J r t B t 4 3 , 2 l

4 J

2 4

2-'t

g

I

3P

"""""""

t ; - 3 1 , :

i . : . 3 r 3 t t z t L ' : t r r

D

O

t

@--=r

t L L l , , , ' 4 p s j

s

t

s s z

r ' l

3

7

s

e

4 / t 2 4 s l

2

2 - 1

1

a

2

--f

-r-1

r

- . - + +

e t e d

J:

Key C

Key G

9th

and

10th

Positions

Key

D

4th

and

bth

Positions

Key

A

Special

Fingering

given

below

Key

E

6th

and

?th Positions

Key

B,

lst

and

2nd Posit ions

Key

Ff,

8th and

gth

positions

2

Special

Fingerings

in Keys

A

and

Bb

Key

A

Key

Gb

8th

and 9th Posit ions

Key

Db

3rd and

4th Posit ions

Key

Ab

10thand

11thPosit ions

Key

Eb

5th and 6th

Posit ions

Key

Bb

Special

Fingering

g.iven

below

Key

F

?th

and 8th

Posit ions

C

4 2 1

The

above

fingering

may also

be used

in

the

following

keys

and

positions:

z 7 q 2 0 4

4 2 0 4 0

F.

&

D .22568



,

L L l L t ,

o

i i L L t t

Key

A

Key

Bb

-E;:

P

.

12

D

t

t

o

:J

!1

?

1

o r C

:

( l P

3

; ; :

? + ;

I

; t

l - _ e

P

1

t ( )

l !

,

Key

B i'

r 1

' : i L ' :

?

1

- . ' - - . '_

s

r

I

s

1

1

B

| 4 l 3 ^ l I

r

1 1

I

o : t

2 0

g

r o

g

l

o

3 ,

2

o g

I

o s 2 \ 3 j _ o s

, o E

r - i

p

o

3 2 l 4 i J t 3 2

o s l 4

t 3

2

r

r t 2 l

t + 3 1

z r \ 3 2 \ + J

P 7 n 2 \ s

o s s 1 4

g

,

o

t ,

'

t _ 3

2

o

o s z j S _ . g o g

s r o S , P o g t

r o s ? o g t o

s r o 3 , 2 o B t

o

3 o

7

10P

"""-" '

, ^ - 2 . , 4 e ; I " ' ; ' ; " " " " " "

o

" '

i l l l l l l l l l l l l l l l l j . a s

4

2 i L 2 \ n

r

r l i i l Z '

o

T i f e i l l

^ ' : i i i i : : - L L -2 ! i t ' : ' i += i i i i LL - , i== :_

i :

\

2

, 2 1 .

'

l i E e + i . t

l .

r.

L Fei;.t

*e*:r - l f

r

+:r i - lJ+#-1j ) : , ,

,

. r

, : - :?,1,) ,

! . ' , ,

, ,

,n

The

above

inger ing

may

also be

used

in keys

Db,D,

b ,p ,

R

Ch,G

ana

ab.

F.&

D .

22568

"

.

t

i -

l



24

In order

to be able

o

extemporise

reely, he

requircd

notesmust be

found easily

anywhereon

the guitar.

Here

therefore

s still another

ingering

which enables

ou

to

play

chords

as

chords and

as

arpeggios

employing

he

first four

str ings. For

convenience ake he example

s in G, but i t

may

be

transposed.

o '

n *

\ 2

4

2

' - f f i z B 1 B

, 3

L z

r

g

2 4 3

@--,G1

, +-J

z 9

L z t ,

n

L z r a

, 3

D

4-_ 2

4

! s

4

Besides

earning

the chordsbasedon the

Major Scale t is also necessary or the

purpose

of extemporisation

o

learn

the arpeggios

and runs based on the two

Minor Scales .e. the Melodic

and Harmonic. It

is here

mport-

ant to

po in t

out tha t

the Melod icminor

Sca le s modi f ied ,and ins tead o f acend ing and desend ing n the

usual manner

hus:-

it

ascends nd

descends n the same

way,

therefore

having

a

minor

third,

major sixth and a leading'

note

both

ascending

and descending:

We

now

proceed

to

build a four note

chord on each degree of this Scale:

Gfim?-5

iAm(majz)

f.Lm1ma5z)

Bm?

**Cmaj

z*5

Ff,m7-5

A

minor

(Melodic)

In First

Position.

With

open

Strings. Practise

slowty

and smoothly.

3

2

0

4 2

1 4 2

0

3

2 ,

4

2

t B

I

4

)

2

3

@

4

I

1

e

3

@

4

I

1

_4.

t

1

e

f

Mu" also be

written

* . r

C

(+z)+o

F.& D. 22688



? 5

With

No

Open Str ings.

5P------t

|

4 3

2

7P

a

1 4

3

|

9 P

l r r

9P

---r

3 1 4 2

3 l

+

g

I

4

A

minor

(Melodic)

9P

4 3

1 4

?P-----__--lgP--__---l

2

l , 4 t

2 - l

4

2

4

g l

g l 4 2

Fm(maj7)

Gm7

AbmajT+5

nbz

D m

? _ 5

E m

7 - 5

F m

( m a i

r

- [ '

h*

h*

@-J

1 r

4 2

6P

3

5P

-----------l

I t * S 2

?P---_-r 5P

3 1 4 2 3

I t

i s

prac t i ca l

o p lay

he

aboveexerc ise

n the

keys

of

Fm.

F$m.

Gm.

Abm.

Am.

(as

above)

Bbm.

Bm.

Cm.

Do

not g 'o

on

unti l you are thoroughly famil iar with above study.

Herewith

the

scale n

chords

of these

keys

with

the

first four

bars

of

the exercise

in

each

case.

C 7

F

minor

( l l felodic)

F$minor

(Me lod ic )

Gminor

(Melodic)

lP----r

3P

o

3 1 4 3

t 4

4

Z t

4

g

Ff ,m(maj?)

c$m?

Amaj

7+5

D $ m

- 5

f

2{--14P

1 6 P

Gm(maj?)

Bbmaj

Z+S

3P----l

5p--------r

?P

q

s 7

s l

E$m -5

F$n1(majz )

r 4 3

2

g t 4

3 t

2

1 4

3 1

z l q 2 t 4 s 1

Ff,m

?- 5

Gm(ma.,1?

F .&

D .

22568

1 4 3

2

g t 4 2

1 4 3 7 1 + S 1 , / l

z

l a 2 , t

I



26

Abm(maj?)

Bbm?

CbmajZ+5

nbz

Fm7-5

Gm

7-5

Ab,m

maj?)

4p-----t

6p

------.l

8P

1 4 3

2 , 3 1 4

3 r -

3 1

4 z

1 + 3 4 + s

r 4

2

9 r J - s r

A

minor,

as

wri t ten

at

the

beginningof

he

series.

Bb.m(majZ)

Bbm(maj?)

Cm?

DbmaiZ+S

Sb Z

Ab

minor

(I\telodic)

Bbminor

(NIelodic)

B

minor

(Me lod ic )

Cminor

(Melodic)

Cf,minor

{N Ie lod ic )

6P---------r

8

4 s

?

s

1 4 2 l 4

Bm(maj7)

Cfm7

DmajT+5

?P-----r

9P

1 4 s 2 3

2

1 4

3 l

cfm(majz)

Dfim?

Cm

maj

7)

Ebmaj

7+ 5

t i E t f , , o " , 1

rf

i:i

t j

4 2

r q ' j

a-3

t r ,

z

41J

'3

t

@--.r

Ff,7

G f , m ? - 5

A f m ? - 5

B m ( m a j ? )

4

2

|

4

B

r t 4 - s

t

r ,

z

1

a , 7 l $ s - r

Bm7-5

Cm(ma j7 )

4 - 3

t

4

z

1 4 , 2 1

4 3 r

@r

Gfi7

l 1 0 P

; 3 r

11P

3 t

/;\

\z

4P

@@

EmajT+5

rfz

Af rn?-5

B$m

7-5

C [m

(ma j? )

3 - r t t 2

r t E

r - t 4

z r l z J

?P;l

----------r

4P.-

3

4 2

J P r z t s z

i l t ,

, ,

t l l , ,

F . &

D . P 2 5 6 8



Dm

maj7)

Fmaj

7+5

C#m

-5

B m 7 - 5

D

minor

(Me lod ic )

Eb

minor

(Melodic)

Ebm

maj

7) Fm?

Gh

maj 7+5

rbz

Bbz

C m 7 - 5

( r na l

m

hr

D m ? - 5

E

3P

, t 3 2 1

g

r

t t 3

I

etc.

Eminor

(Melodic)

elc .

On

first

4

str ings

G

minor

4 . 3 2 1 2 3

? +

;J

Tf

g ( r

The above arpeggios may also be played in F and Ff, minor on the f i rst four str ings. Hold the notes of t i .e

chord

throughout

each

bar.

6P

3

,

1 g

3 t

4

)

3 2

l-'l

e . )

Em(maj7)

GmajT+5

9

F.

&

D.

22568



28

Next

in

sequence

i t

is

necessary

to learn

the

Harmonic

minot scale

and the chords,

runs

anc l

arpeg-gios

based

on

the

sca les

i n

a l l keys .

F i r s t he re i s

the

sca le

o f A

minor .

Harmon ic .

We aga in

bu i ld

a

fou r no te

chord

on

each

no te

o f

the

* *

Bm 7-5

'

C

maj 7+5

Am{maj

z )

s c a l e .

E 7

m i

z

I n f i r s t P o s i t i o n

prac t i se

as

be fo re

s low ly

and

smooth ly .

s 2 |

3 - z o a

z o s j

7 _ s i

2

* 2 J s

3

D

( t t

1 g

z

4 " +

"

r

No open Strings

7 P

a

L 4 .

2- 4

s

*

;

4 " - r ;

4 2

* r - l - 3 .

r

1 * i . . o *

A m

Harmonic

s r l g l

t 4 3

l s r

B |

4 -

1

4

g

1 4 3

@

5 P

+ ' z

4 g

! + z

z

|

4 : 1 J 2

|

s

1 4

2

+ s

I t is pract ical

to

play

the above

exercises with

exactly

the

same

fingering in

the keys

of

:

Fm. Ff lm.

Gm.

Abm.

Am.

Bbm.

cm. bu t f i rs t

be

qu i te

sure

of the f inger ing

Herewith

the

scales

n chords

of these

keys

and the

first

four bars

of arpeggios and

runs

as above.

These

should

be played

with exactly

the same

fingering

throughout as

the exercise above.

x.May

also

be

wri t ten

en

(+z)

**"a;r

also

be written C

(+z)

+r

F . & D .

2 2 5 6 8



BbmT

Db

maj 7

Fmi(maj 7)

Gmi

? -5

Ab

ma j 7+5

F m

Harmon ic

F f l m

Harmonic

t 4 3

2 4

g

z o

a

z

z

t

j z - r

L

2

3 P

4 3

4

e l c

@@@________.

__,

F'flm(maj

?t

Gflm -5

Amaj

7+ 5

B m 7

c l z

D m a j T

Ef ,o

l ' f lm{maj7

2 P

t

Gm

maj

?) Am

?-5 Bbmaj ?+ 5

C m 7

Ebmaj? Ff iO

Gm

(ma j

7 )

G m i

Harmonic

Ab

mi

Harmon ic

B b m

Harmonic

Abm(maj ) BbmT-5

C b m a j

7 + 5

D b m T nbz Fb maj

7 G o

Abm

{m:r , .y

)

6 P

t + 2

A minor as

at

beg inn ing o f ser ies .

Bbm

maj

?) Cm7-

5

Dbmaj

+S

Ebm7

F 7

Gbmaj ?

( m a l

7

I

8 P

g l

2

r - o " "

I

4

2 1

4 9

F . & D . 2 2 5 6 8

3 - i o

s



so

Bm(maj

)

Cflm

Z-b

Dmaj

?+g

E m 7

Gmaj

7

AflO

Bm

(maj

?)

B m i

H a r m o n i c

( ) m i

Harmon ic

C m

Harmon ic

Cfl

minor

Harmon ic

in

, l t h

Pos i t i on

+

s

1 4 - s

4

2 - 4 3 t

3i-a

s

9P_

=

4 P g * c { r z

Cm(ma j

Z)

m

(ma j

? )

Dm

Z-5

Ebma j

?+g

F m 7

F.&

D.

pps6g

Ab

majT

etc.

e/c.

10

P.

I- lere

s

an

alternatrve

ingering

for

the

harmonic

minor

series

commencing

o'

c

minor

in

Brd

posit ion.

3 P

r_4

1 1B- ,

s

r,

131

#'1

4jL#3*l

,

n

2 7

3

2

z t 4 ^ z

Cf,m

maj

7)

Dflm

Z-5

Emaj

Z+5

Fflm

z

ofrz

Amaj

7

BflO

Cf

m

(maj

Z)

Cf,

minor

Harmonic

descending

n

the

same

way as C minor.



3

D

minor

Harmonic

5th

Posit ion

Eb

minor

Harmonic

6 th

Pos i t i on

E

minor

Harmonrc

Drn

maj

7)

Em

?- 5

F

nraj

?+ 5

Grn

Ebm(maj

7) Fm

?- S

Gbmaj

+5

Abm?

Em

maj

)

Fflm

?-b

G

maj

?+5

Am7

Bb naj

?

C't

majT

C m a j T

D f l O

c r o

Drn

ma j

? )

etc.

descendin

Ebm(ma j

? )

etc.

descendin

etc

desoend i

g

t

,

6P

l o * e

7 th

Posr t ron

F .

D.

zpb68



32

Be- lou, s the

same

sequenceas before,

but in

two

octaves.

a rpegg ios and runs a l l ove r

the ins t rumen t .

1 P

7 4 3

2 4 3 1 4

3 5 . 4 3 4 3 L

F

minor

H a r m o n i c

7 P

The purpose

is

to be

ab le

to ex tend

the

2 P

3 2

7 4 2 t 3 2

6P........-.--_7P

7 4 3 1 r , 1

2

r B

e:@@

@___i_,6_

z

l 4

5 P ' ,

2 J

B

8 P

z 7 4 :

1_11

3

I

7 P_10P--

8

P

r

4

2 y 7 3 2

r ,

n ,

3 o

e1 /;\ / '\

, ; . ' azr@

\q---- _-_r

8 P

a

8 P

4

6 P _

g , r 4 1 J - z

r '

3 P

2 4 3

2 4 3

c . 7

I t

is also

possible

o

play

this sequence

n

two octaves

n

the keys of Ff, minor and G

rninor,

therefore

prac t i se

h is

exerc ise in

a l l

th ree

keys

of Fm.

F lm

and Gmi .

I t i s fu r ther

poss ib le

o

p lay

these chords(a l though

omewi thd i f f i cu l ty ) n the

6th ,5 th ,4 th

&

Brds t r ings ;

and on

the

4th , 3rd ,

2nd and 1s t s t r ings .

Here they

are

as

arpeggios

on one

set

of str ings

at a t ime.

Am

(maj

7

)

4 3 2 1 2 3

B m

7 - 5

4 3 2 1 2 , A

l ' 2 9

2 3

D m 7

4 3 2 7 2 3

C m a j 7 + 5

4 3 2

A minor

6 . . 4 . 3 .

C

minor

5 . 4 . 3 . 2 .

Fmaj

7

4 3 2 '

Go

2 3 4 3 2 7 2 3

C m

( m a j

7 )

Z

g

4

Z

t I

B o

4 3 2 1 .

Ab maj?

9 4 3 1

Ami

3 { >

* @ @ @ @ @ @

T h e l a s t t w o c h o r d s a r e n o t

p r a c t i c a l

o n

6 .

5 .

4 . 3 . s o

p l a y

t h e m

o n

5 .

4 .

3 . 2 .

Cmi

maj

7)

3 1 0 0 0

Dm

7 - 5

4 2 1

Eb maj ?+5

4 3 2 7

l

F m 7

4 3 2 7 2 3

G 7

4 3 2

Cm

3 G

F.& D. 22b68

l 7 J

, . 2



F

minor

1 . 3 . 2 . 1 .

Fm

(ma i

? )

4

2 S

r

7

4 3 2 7 2

maj

7

3 2 1

Db

4

Eo

4 3 2 7 2 3

These

chords may

they

are

played.

f nger ings .

Chord

Extensions

I t

i s

poss ib le

o

make major chords

sound

much more

rn teres t ing

by the add i t ion

of

the S ix th ,

Major

seventh ,

n in th

and

augmented

e leventh ,and

y invers ions

as

fo l lows. Note :

The root o f

the chord i s

ca l led

1

and

so

on. The th i rd ,3 ,

f i f th ,5 ,

major seventh ,? ,

in th ,g

and aug 'mented

leventh ,+

11.

Key C

b e

I t

used n a l l

keys ,and

the

f inger ing

wi l l cor respond

o the

set

o f s t r ings

in

which

is usefu l

prac t i ce

o

invent

your

own

exerc ises based on

the

chords

and the i r

Here

are

as

many o f

b u t

p r a c t i s e

i n

o t h e r

these chords

as i s p rac t i ca l

w r i t t en

as an exe rc i sc fo r gu i ta r

i n

the key

o f

C,

kevs .

Key C

2 a

The same

extensions

can be

obtained

with

minor

chords

as fol lows,

n

the key

of

C minor.

Ex tended

chords

C minor

F .

& D . 2 2 5 6 8



34

Chords

based

on

the p rev ious

inve rs ions

in

tnco rpo ra t tng

the

chords .

P rac t i se

in

a l i

?

@

wr i t ten

for

gu i ta r .

An

e x e r c r s e

r n

w a l t z

t i m e

@ ' @

I n

d e a l i n g

Y i . t h . e x t e n s i o n s

o n

m a j o r

t r i a d s

i t h a s

b e e n

f o u n d

t h a t

t h e

s e v e n t h

s

a

m a j o r i n t e r v a l

,

a n d

w i th

rn ino r t r i ads the

seven th

i s a

mino r . i n te rva l ;uu t

w i t t r

dominan t

chords

the

seven th

i s

a lways

mrnor .

F o r

e x a m p l e

t h e

d o m i n a n t

c h o r d

o f

c

i s

G a n d

t h e

s e v e n t h

n o t e

b u i l t

o n G

i s F w h i c h

i s

a m r n o r

s e -

ven th

f rom

G.

We

now

tabu la te

the

ex tens ions .

?

/:\

\,

C

minor

keys .

r

@

G 7+ 5 + 9

G

7-

5+9

G 7 + 5 -

G 7 - 5 - 9

G 7 + 5 - 9 + 1 1

e 1 3

4l i

2 P B

7 P B

<>

(trsl

2

13

11

I

Bt*g

1 1P B

bfslS'

A b9

4 P B

G

D 9

4 P B

3

Ab 9

11PB

{}

6 P B

B n 9

1 3

3

l,

J P B

G 9

in

al l

keys

same

fo rmat ion .

(a )

3 P B

G 9

i n

a l l

keys

fo rmat ion

/b )

o

C 9

PB

1 P B

{>

Ff l9

<>

B 9

8 PB

b

2 P B

{>

F 9

roi

E z 9

8 P B

G h 9

G 9

4 P B

o

E 9

7 P B

ba

A 9

1 2P B

ba

E p 9

6 P B

C 9

4 P B

{>

F 9

, , 8

P B

f,e

G

Ffl9

io'

E 9

B 9

D .

z P b 6 8

10

PB

bE

G h 9



35

? PB

a'

2 P B

fi=

F

l9+5

2 P B

=

Ffl9+5

7 P B

C9+5

8 P B

b

3 P B

c 9 - 5

4 P B

- 5

2 P B

8 9 - 5

o

Bb9+5

O P R

Eb9+5

12PB

( )

5 P B

.T

PB

b o

l -

p t O

Ab9+ -r

lOPB

€>

D 9 + 5

10 PB

A b 9 + b

r D p

1 P B

G 9 + 5

( a )

G 9+ 5

( b )

G 9 +

5

( c )

G 9 -

5

( a )

G 9 - 5

( b )

&-

-n

a_31

--: i l

e

F9+b

Db9+5

Db9+5

o

E9+5

12

PB

ilo

b ' 8

€>

A9+5

9 P B

o $ o

3

r'

{F>

G9 + 5

2 P B

l s

G9+5

5 P B

G 9 - 5

4 P B

e

is___

F9+5

1 P B

Bb9+5

6 P B

9+l-r

11PB

#*

Gb9+5

o.

E9+5

A9+5

8 9 + 5

etc. Through

the cycle

of keys as

before.

1 P B

€>

D 9 + 5

PB

g

o .

F 9 -5

P B

B b 9 - 5

2 P B

E b 9 - 5

7PB

Ab9-5

12PR

bg

Eb9

5

Db9-5

T h i s c h , r r d

m a y b e

f i n g c l p d

i n t h r e e

ways on

1,2,3

&

-1th

st r ings.

Pract ise

e a c h r {

h e s e

i n -

g e r i n g s

a n d

r i n

2 ,

3 , 4

& 5 t h

s l r i r r g s .

3 P B

q

*

fi

-

o ,

b

G b g

5

A 9

5

D 9

5

9 P B

'b o.

4 € >

4 < >

G 9 - 5

G13-5 9 -5

cb9-5

nnilg-r

i s

obta inab le

on both

the

Bb9-5

1 , 2 , 3 , 4

5 t h

s t r i n g s

a n d 2 , 3 , 4 , 5

F .

&

D.22568

= F i l

3 P B

E9

5

7PB

F 9 - 5

ba

Ab9-5

The

same

chord

above

Agth-b(b)

A

6i l

a

9 - 5

t s t r i n g s

a s

D9- -r

f i n

s e

e d

1 0P B

G 9 - 5



86

There

re

4

in

6

ways:

G ? + 9

G7+5+9

G7-5+9

G 7 - 9

"f)

G?+5-9

G7-5-9

G7+5-9+11

o r

G7+5 9-5

formations

of

the

Dominant

seventh

chord

with

th e

c)

augmented

ninth G ?+9

and they

can

be

played

d r )

the

previous

chords,

going

through

the

cycle

e)

4

r

u @

d)

T^he hords

ca_n

e

played

n

al l

keys

so

practise

o f f i f t h s

i . e .

G 7

+ 9 ,

C 7 + g ,

l r 7

+ g , - e l c .

b)

4

them

as with

d)

)

t

o)

4

c)

4

s)

4

ft

4

b)

t

4

c)

7

c > @

somet imes

r i t ten

r

o t

@

p

O @

d)

e)

I

b

l'

9PB

h

/l

I

2

@

s)

4

t ,

t 5

I

b-q

G13-9

o,@

€)Tl

1 0 '

3 B

bo

a

l s @

ll ':-"lotl

js

sil1ira1

o the

chord

."{

Pb?

F)

but.which

"i"

tnl

_c

."i'D

Therefore

when

unable

o

reach

9.t

"ny

of

the.inversions,quickly

supisTitute

he

chord

of

the Dominant

seventh

based

on

the

flat-

tened

5th.

e.g.substi tute

for

Eb?'5' i

=

Bbbl

or A?.

The special

discordant

effect, rowe"ei,

is tost.

@

F.

&

D.225a8



3 7

Dimin ished

Cho:ds . In

o rder

to

ex tend the scope

o f d im in ished

chords ,he re

are a se r ies o f s tud iescons is t i ng

o f

d im in ished

chords

tv i th suspens ions nd

runs based on these

suspens lons .

Ao,

co,

Ebo,

F$o

3

J

J

J i ,

1 ,

3

t i

v1>

#

@

Bo,Fo,

Gf

1Do

:* '1

#1

i

; b i

Dlo, E4o,

olBbo4

b

' r

@

Etude

on

1st,2nd

and 3rd

strings. Based

on D im in ished Chords

' l

I

e

4

.t

3

b)

I imaj ?

rp

-

--;l

h-

2

. L

I B t

4

1 u i + t l i

7 v \

<

g

4 ,

s ' : L b 3 b L '

6P-----_--__l

, t )-bLi

f L

I

t | | .

I ? a - b i b j - 2 \ q r

.1

r 3 P

o

P

co

P

b

? r

b L ; ^ '

I

' ,

2

r l

- -

,

c i r

Ebo

?

lai Lbl

iri#i

l1P

i

Lbz

' .bLU

\ b2

12P

L 2

Abo

b*

i$

I

2

F.

; a ?

iriili

ili

hE

F . & D . 2 2 5 6 8



38

Etude

on

Znd,3rd

and

4th

str ings

Based

n

Dimin ished

hords

Ebo"

o

,

r -74

rT ,

r

4

2

r_4

B

r

\o r_ - !

2 4 t

3

l r l

4

F$o

, l J - "

--J

@

re-------.,

Gf,O

4 r , 2 t 4

t f h : , l ^ 1 ,

1 l

r @ -

- '

z

r R l

t s 4 t t 2 l i L b l

+

! 2 u 2 t 2

l l 3 r :

t t . r , a t z

4

l 4 3 r

Etude

on

al l

str ings

Based

on

Diminished

Chords

2

4

a ,

z

+ t r

1 u \ i l . L

2 r Z ,

o 2

4 4 _ 2 1 4 4

a - -

Z 1 6 )

t ( 9

'

\ v -

-----.r

@

t

O

O@------r

@-:

Bbo,C#o

r

Dho,Eo,

Ao,Co,Ebo,Ff io

r

Gbo

+ 4 r

2

4

4

l 4

4

2 t

l"l:j:

Tlt:lnltiuXos*"n"ins

at

the

owest

note

of

the

suitar.

These

uns

may

be

used

with

any

or

he

chords

B

r

B

o $ 2 * i l l l S i f i S Z ^

2 r

,

4 _ 3

|

4

1 4 2

@-r

@E

@

-,6:11

Gb9-5orAg+5

or

CZ+b+11

2

. 4 !

i z

\ 1 2 , 3

3 t 4

o

J

@ - ,

@

' - b

-

@-:

Cf

+orDb+

3 T T

l { >

Bb9-5

or

C9+5

or

E?+b+11

B9-5

or

Cfg+f

or

F7+b+ll

F.&

D.225a8

t_

PSCg-S

or

A9+5

or

Dbz+b+U



3 9

1 3

4 l 4 t 3

4

|

s

r

t H 2

- . i@

'

a € r

t

3

t

O - - - r

@

- r

@

r O : - :

3 u b $ n o g - s o r B b g * b o r D ? + 5 + 1 1

th l

( f j t _ J

-bD*

aJ*1

-..- r'rVr

€5*l

r=j

r

f,.+

l 3

+ 7 3

,

\ 2 I

_U-

i t

r , r

a - 3

t

a

3 l

z r

3

I

D 9 - 5

D e

o r

ai.-

___-)

f

@

[:-o--=6:@-r

o-------jt6rp

------J

----,

"36i

iFB

"'il$

G7+5+11

l .

orDb-b

,^

G+

j,fl*

:ft

bft

^:;'.F;*?i,'

il$'3i-ot.

t c

Whole tone sca leson 5th ,4 th ,3rd ,2nd and 1s t

u o

?

Y

I

I

Y

t , l

:

@'

'

@- - - - t

@

,

O

Whole one scales n 3rd,2nd and

1st str ings

4

2

. 4 2 L : 4 1 2 , 4 . 2

Etude

n Thi rds

Based

on

AugmentedChords

r ? L

/ : ] \ , r a \ -

\:/'

.J

\?

-l

/t\ /;\

\ r

, t

s t r ings

n Y

f ' * : l

b

n

7

3

n

t

b

n

v

4 3

n v n

2 4 3

7

, b t

LLri,L,z

4

3 1

1 Z

1

2 rt4

t 3

1

3 1

g 2

i+

il

b

+

fi

3 1

1 3 t

3 lun,rL,,LSi*

3 t

4 2

L2

t " t

@ '

D+,Ff,+or

Gb+,

b+

or

Ail+

All the foregoing

hords

and

runs are of

greatest alue

n extemporising.

amil iar i ty

with the exercisesn this

book wi l l provide he student withgreatest aci l i ty and freedom n inventionon any givenchords. omeof these

runs

havenever

before

beenwri t terrdown for

plectrumguitar

and dai ly

pract ice s essential .

F . & D . 2 ? 5 6 8

I



40

Inva luab le

Chord

Prac t iee :

The

fol lowing

four

4 - 3 - 2 . t

t r i n g s .

a r e

e o n s i s t e n t

n

notation

n'hen

layed

on

o-b-4-

tr

1 a

s E r g

C,r

gA

I

e_4

n o t e

tr

eho

ds

tr

s t r l n g s ,

5 - 4 - 3 - g

t r i n g s

o r

G6

Em7r .

r .n

b

@

ry

f x a m p l e

o f

s a m e

e x e r c i s e

tr r-r

u s i n g

C 6

tr

o r

A m 7 .

tr

.E tr

flT+31

'

2t

ta

I

eT5-2-l

r l

€)T2t-1

I

Prac t ice

rcund

he

cyc le

of

keys

F,

Bb,

Et,

Ai,

Db,

Ob, ,

E,A

D.

G m 6 / C t i

n o

r o o t l

rir l

E

,bE

o.z

r

g t r

,ry

, E

2 0 D

I

And here

s the

chord

of

07.

z

@ _

ete. ,

n

al l

s t r ings.

I

o m i t t i n g

o o t

G

( e a n

a l o - o

e D m 6 ) .

Alsopract iee

m6

wiJh

{sharp

instead

f

F natura l ,a l ter ing it to

6. Exeel lent

or

ehangin '

rommajor to

minor '

Pract ice

l l

chords, scending

y semi tones- then

i rough

hecycle

of keys.

a o

G9-5omi t t ing

oot

G,

a lso

equals

Dbz+b,

a lso

Ag+b

omi t t ing

th.

? D

4

4

* z a l

, i I

G9+5

oni t t ing

root , or

B7-5,

or

F7-b.

t d 3

( ) l

G

;t

2

4

E

3 , , Q

@

tr

r

r

r

1

I

-

;1 ,

|

|

|

Example

of

Ai7 eommenci lg

t

lowest

point.

^ t?l tr

a

,l-3-}

F-

D.

:,lc;rirj



'

3. How

o find the chords

f

ony

populor

tune

with

o chord

onolysis-of

200

fomous

Stondords.

Hcw o recognisehords nd ntervols.

4. Theoriginol

substitutes

chords ond modern

of

rnony

populor

:m$

TN

{E --

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Ivor Mairants - Daily Excercises