TheFingeringProblem5-preC.pdf

The Fingering Problem

Last Update Date: Wednesday, November 30, 2005

Preface ............................................................................................................................................................ 2

Section I.......................................................................................................................................................... 3

Notation used in this book.......................................................................................................................... 3

First Fingering ............................................................................................................................................ 4

Second Fingering........................................................................................................................................ 5

Third Fingering .......................................................................................................................................... 6

Fourth Fingering......................................................................................................................................... 7

Last Fingering ............................................................................................................................................ 8

Section II ........................................................................................................................................................ 9

Systematic Approaches to scale fingerings using Tetra-Chords ................................................................ 9

Tetra-Chord Approach ........................................................................................................................... 9

The Three Tetra-Chord Fingerings....................................................................................................... 11

The Six Major Scale Fingerings Built from Tetra-Chords ................................................................... 12

Arpeggios ................................................................................................................................................. 13

Six string sets........................................................................................................................................ 13

Major arpeggios................................................................................................................................ 13

Minor arpeggios ............................................................................................................................... 15

Two string sets...................................................................................................................................... 17

Three string sets.................................................................................................................................... 18

Section III ..................................................................................................................................................... 23

Complete list of 12 Major and Minor arpeggios, and the 12 Major Scales for the entire range of the

instrument. ............................................................................................................................................ 23

Major Arpeggios............................................................................................................................... 23

Minor Arpeggios .............................................................................................................................. 27

12 Major Scales for the entire range of the instrument .................................................................... 30

The three very common fingerings for C Major, G Major, and F Major. ........................................ 30

Harmonic Explanation...................................................................................................................... 31

The complete 12 Major Scales encompassing the full range of the guitar fret board ...................... 32

Preface

The information contained in this book is a technical list of Guitar Fingerings. It does not offer insight in

using the fingerings musically; although you may find some. Neither do I offer any approach for

practicing. These are fingerings widely used and should be learned at your own pace. Some practice of

some kind if of course needed to remember/learn them.

I do offer a logical approach to mapping the Guitar fret board with major scale and arpeggio fingerings

related to chord forms used in chord progressions. The chords, scales, and arpeggios equal each other

tonally. Any place you find a chord form for Maj7, m7, 7, m7b5 etc there is a scale fingering that lays

across it.

Each different type of fingering can be thought of as a source of melodic material for improvisation. A

fingering can be enhanced with passing tones and chromatics to develop melodies.

The types of fingerings in this book are as follows

Major Scale – by position (vertical), shifting up and down the neck (horizontal)

Major and Minor Arpeggios - by position (vertical), shifting up and down the neck (horizontal)

Major Arpeggios - by string sets

Major and Minor Arpeggios of the Harmonized Major Scale – by string sets

These fingerings also represent Level One of a consonant tonality. In a later volume I intend to list Level

Two a more dissonant tonality used with altered chords and chord substitutions.

The first section lists five different scale fingerings in five different positions. Each can be moved to any

other position to change the key. The order is a repeating pattern for all keys that circles the fret board. For

each different key you will find a different fingering in a given position, but the order of the next going up

the neck or down the neck will always remain the same.

In this first section, scale fingerings are related to chord forms as positional scale. Each scale fingering

supports all the basic chords in that position in that key.

The second section expands these positional scales into fingerings that can shift up and down the neck

encompassing parts of the other fingerings in the other positions. It is your responsibility to be able to

relate the shifting fingerings that move through the scale and arpeggio shapes to the chord forms in each

position.

The last section lists all 12 scales and arpeggios in fingerings that shift up and down the neck from the

lowest to the highest note. Again it is your responsibility to relate these to the positional fingerings and

chord forms they pass through.

The fingerings presented are not the only possible fingerings nor the best. There are no best fingerings.

These are just a logical method to organize fingerings for ease of use when playing through chord changes

II V I, I VI II V, III VI II V etc.

Hopefully you will use these fingerings and/or design you own. The goal is to incorporate as many

different fingerings in a useful manor that you have time for. To learn all possible fingering combinations

is a life long pursuit.

No best fingerings: Some are easier, some harder. They all get easier with practice either as etudes or

applying them to chord progressions in improvisations. Regardless of how easy or hard they are,

whatever you play the most becomes, in the long run, the easiest.

Section I

I never think in terms of playing a C major scale for a chord progression. Instead I am thinking and hearing

in terms of the chords. A C major scale is both Dorian for the IIm7 and Mixolydian for the V7 in the same

key i.e. Dm7 G7 in the key of C; therefore the context is the progression and a fingering to get that basic

sound in a position. So it is logical to think of playing the scale fingering over the chord fingering. The two

are inseparable.

Notation used in this book

All fingering notation is as follows. There are some exceptions when you reach out of a position for a

note.

A position on guitar is an area of 4 frets, one for each finger. In first position you first finger is on the first

fret and your second on the second etc. In second position your first finger is on the second fret and your

second finger is on the third fret. In fifth position your first finger is on the fifth fret, your third on the

seventh, and fourth finger on the eighth fret.

The number directly under a note is the finger and fret to use within a position. 2 in fifth position is the

second finger on the sixth fret. 2 in second position is the 2 nd finger on the 3 rd fret as in the example below.

The next line is the string to play it on and will not change until you move to the next string up or down

going across the neck.

The third line is a Roman Numeral for the position. Below you see C Major starting on the 5 th string in 2 nd

position. Second position is the second, third, fourth, and fifth frets.

First Fingering

Second Fingering

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