Berklee Guitarra 2

 

This book book is a cont c ontinu inuati ati on of Volume Volu me I, Modern Method Metho d for Guitar Gui tar.. Most of the the terms terms and techniques techni ques are ar e direct di rectly ly evolved from from material presented present ed there. For example, the entire entir e fi finge ngerbo rboard ard is covered at once in the five position positio n C Major scale study. st udy. This This is accomplis ac complished hed by connecting connecti ng the four fo ur basic (types 1, 1, 2, 3, 4) and one deriv der ivat ativ ive e (type 1A) 1A) fi finge ngeri ring ng patt pa tterns erns that tha t were, hopefully, mastered from fro m the first book. (The (The sequence seque nce of fingerfing ering types types will vary va ry from fr om position posit ion to position up the t he neck, neck , depending dependi ng upon the  key.  )

Study all materi mat eri al in sequence as I have tr trie ied d to relate rel ate,, as much as possible, all new techni tec hniques ques (physic (phy sical al and theoretical) to somethin somet hing g already alr eady learned. All music is again agai n ori original ginal and has bee been n crea c reate ted d especiall e specially y for the presen pre sen-tation and perfection of the lesson material. Please be advised that the pages devoted to theory are not intended to replace the serious study stu dy o off this subj s ubject ect with wit h a competent tea t eache che r, but only to, perhaps, perh aps, intrigue intri gue the more inquisi inqu isiti tive ve st stude udent nt and maybe shed some some light into the myste mysteriou riouss workin work ings gs of music musi c for fo r guitar guit ar players playe rs in general. As before bef ore,, good good luck and have fu n.

William Will iam G. Leavitt Leavit t

 

AL L SCALES (MAJ. ALL (MAJ . and MIN etc. ) WIL WILL L BE BE DERIV DER IVED ED FROM THESE THES E FOUR BASIC MAJOR SCALE FINGERI FIN GERING NG PATTERNS. ULTI ULTIMATELY MATELY 5 MAJOR KEYS WILL BE POSSIBLE POSSIBLE IN EACH POSITION WITH WIT H TYPE 1 AND AN D ITS' FOUR DERI DE RIVAVATIVE FINGE FI NGERI RING NG PATTER PAT TERNS NS - 1A, 1A, 1B, 1C, 1C, AND AN D 1D. 1D. THIS SAME FACT APPLIES APPLI ES TO TYPE 4 WITH WIT H ITS' DERIVATI DERI VATIVES VES 4A, 4B, 4C, AND 4D. FI FINGE NGERI RING NG TYPES 2 AND 3 HAVE NO DERIVATIVE DERIVAT IVE MAJ. FINGERING FINGE RING PATTERN PATTERNS. S.

 

( ( S) = finger stretch )

 

(F MAJ. ASCENDING)

 

(OBSERVE THE FINGERING - NOTE COMMON FINGER(S) BETWEEN MOST FORMS)

 

Make the upstrok upst roke e sound as much like the downstr downs troke oke as possible possibl e by fa favor vorin ing g the lower strings stri ngs with the re retur turnin ning g upstroke of the pick. There will be a slight natur nat ural al accent on beats 2 and and 4 because of the downstroke downstr oke hitti hit ting ng the heavy strings str ings firs fi rstt - but this is good good,, as it it is is com comparabl parable e to the t he dr drummer ummers s use of the hi hi-h -hat at cymbal cymbal on these beats. beat s.

 

(G Maj. Ascending)

 

MOST OF THE CHORD FORM PAGES FROM HERE ON ARE HIGHLY CONCENTRATED. I RECOMMEND THAT YOU PRACTICE ONE LI NE AT A TIME

WHILE GOI NG ON WITH THE NOTE S TUD IE S ON THE F OLL OWING PAGES . KEEP COMING BACK PERIODICALLY UNTIL ALL FORMS AND SEQUENCES ARE MASTERED.

 

(D Maj. -Ascending)

 

(A Maj. -Ascending) -Ascendi ng)

 

Note: These strokes strokes are used use d with regular accoustic and amplif amplified ied (high-regist (highregister) er) rhythm playing. playing.

 

DO NOT BE CONCERN CONC ERNED ED WITH THE THEORETICAL THEORE TICAL EXPLANATION EXP LANATION OF THE MORE COMPLEX CO MPLEX CHORDS - THIS WILL BE BE COVERE COV ERED D IN A LATER SECTION. MOST IMPORTANT FOR NOW IS THE PHYSICAL ABILITY TO PERFORM THEM

AND EVEN EV ENTU TUAL AL MEMORIZATI MEMORIZ ATION ON OF ALL FORMS, CHORD TYPES AND  ROOT LOCATIONS.

 

NOTE THAT THA T THESE ARE THE SAME FORMS FORMS AS AS THOSE SHOWN ON THE OPPOSIT OPPOSITE E PAGE. THE ROO ROOTS TS ARE DIFFER DI FFERENT ENT AND THE ORDER OF SEQUENCE SEQUEN CE IS REVERSE REVE RSED. D. CONSIDERABLE TIME WILL BE REQUIRED TO REALLY LEARN THEM.

 

MEMORIZE MEMORI ZE CHORD NAMES AND (DIATONIC) (DI ATONIC) STRUCTURE STRU CTURES S IN ALL MAJOR KEYS.

 

NOTE: WHEN TWO CONSECUTIVE NOTES ARE PLAYED BY THE SAME FINGER ON ADJACE ADJ ACENT NT STRINGS - "ROLL" THE FINGE FI NGERTI RTIP P FROM ONE STRING STRIN G

TO THE NEXT. NE XT. . . DO NOT NOT LIFT THE FINGER FROM THE STRING. STRI NG.

 

All diatonic chords chords (names (names and struc st ructur tures) es) mu must st be memorized memori zed,, in all keys ke ys . . .

 

(G Mel. Min. )

 

(D Melodic Minor)

 

(Practice (Pract ice all preceding preceding dim. dim. forms forms in all possible possible keys.. keys. . )

 

(Memori (M emorize ze the fi finger ngering ing patterns. . .p .prac racti tice ce both W. T. Scales, in all positions)

 

( . . . usi us i ng the preceding forms practice and learn aug. aug. triad tri ad  arp s   from all

notes possible. . )