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INTRODUCTION The Fingerboard Workbook presents a number of basic conceptsin logical fingering patterns. Guitarists generally visualize the fingerboard both in terms of basic scale patterns and of arpeggio relationships to various chord functions. Connecting these two visual elements into flowing lines often produceserroneousfingering. Here are some rules which will help you in forming the most economicalfingering conceptsfor traversing the neck. 1. The term position means one finger to each consecutive fret without shifting the hand. Playing from position offers a stable base to move to or from (Example 1). Position limitations may be extended by sliding either the first or fourth finger out of position by one fret (Example 1a). Slides with the first finger are preferable to stretching the fourth, and offer the possibility of slurring. 2. One way to move to a new position is by using extended fingering, sometimes combined with a one-fret slide (Example2). 3. Another way to move on the neck is by a skip or jump, usually of two or three frets. The safest finger for this is the first (Example 3). To skip with the fourth finger is risky. However, there are exceptions,usually when playing in the upper positionswhere the frets are smaller, and executinga skip to the highest note of a phrase (Example3a). 4. When Skipping to an arpeggiated plrrase, the skip should be to the finger which would ordinarily play that particular note in the arpeggio (Example4). 5. For triad arpeggios within a phrase, the finger-to-fret principal will usually apply (Example 5). When playing seventh chords it is frequently necessaryto use extended fingering. These are best kept on three adjacent strings to f a c i l i t a t ep i c k i n g . ( E x a m p l e5 a ) . 6. For moving long distances on the neck, the use of consecutivefirst and fourth fingers on adjacent strings is comfortable in dealing with diminished, minor eleventh or major ninth phrases (Example6). 7. Sequences(repeatedphrases moving up and down in pitch) are usually best not played in position. After finding a good fingering for the first phrase, the sequentialphrases should use the same fingering (Example 7).

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An analysis of one of the exercises is given on pages 9 & 10. This shows the components which should be recognized before attempting to play a new exercise, enabling the player to read in groups of notes rather than by consecutivesingle notes. This recognition will also aid in the placementof various phraseson the neck. The first seven exercises on major chords are given without fingering so that the student may devise his own fingering and shifting. The same exercises are then repeatedwith fingering. These are not exclusivefingerings since there are several logical ways to finger any of the exercises.Fingerings have been kept to a minimum since they tend to distract from the notes being read. When a fingering is given, stay in that position (finger to a fret) until the next fingering moves to a new position. The exercises, with the exception of the cycle of fifths section, have been written with continuous eighth notes so that the shifting must be done on the move. When played against a gradually increased metronome speed, they will prove beneficial as an aid to technique, All studies, except those in the keys of G and C, are written in flat keys. To play the studies in sharp keys, change the signature (four flats to three sharps, etc.). A sharp on the written music then becomesa double sharp, a natural becomes a sharp, and a flat becomes a natural. Remember that a bar line cancels any added accidentals in the previous bar, and that an accidentalon any given note does not apply to its octaves. Another important point: The finger tip should be rolled, not lifted, when consecutive notes appear on adjacent strings of the same fret. These few principles willprove helpful in visualizing the neck while providing technicalchallengefor the student.

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II, V, I PROGRESSION

One of the best ways of gainingcontrol of the scalesand arpeggiosfor usein an improvisedline is to play a seriesof successive eighth notes through the II, V, I progression,This practice may also be applied in the learning of any new tune. Attention should be paid to a smooth transition from one chord to the next, usually resolvingby either a half or whole tone. In due time the lines should improve melodicallyand gain musicalsophistication. The following five examplesare exerciseson the above,using II, V, I in both major and minor. and finally a line on a standardprogression.From the fingeringgiven,you should be able to take any bar and pla-vthe related scaleor arpeggiofrom which the melody is taken,except where an occasionaltransitionalshift occurs.It would be beneficial to lay down a chord track on atape recorder to play with;however, be sureto use only tonic. seventh, and third in the minor 7th and dominant 7th chords to avoid confliction with the altered fifths and nintirs in the melody lines.

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