Improve your Fingerboard Knowledge and Sight-Reading Technique

Classical Guitar technique: studies, scales, arpeggios, theory
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castro743
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Re: Improve your Fingerboard Knowledge and Sight-Reading Technique

Post by castro743 » Tue Jul 16, 2019 2:54 am

Thanks for the awesome tips!

Fretful
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Re: Improve your Fingerboard Knowledge and Sight-Reading Technique

Post by Fretful » Sat Jul 20, 2019 11:12 am

(Stretching material in preparation for “Harmony” is available in “Exercises Given To Me …” on the Classical Guitar Technique Forum)

DCGillrich
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Re: Improve your Fingerboard Knowledge and Sight-Reading Technique

Post by DCGillrich » Sun Jul 21, 2019 9:02 pm

Thank you, Fretful, for this very helpful guidance. I have subscribed to this thread, but have only just starting out. It looks great and is making the little grey cells work hard. Some people may find several of the compositions by Reginald Smith Brindle also useful to help memorize notes on the fret board, or to reinforce what is being learned here. In particular, "Melody on Sixth String Only" (which requires knowledge up to the 14th fret) and a couple of the atonal pieces of repeated melodies in different resisters from RSB's “Guitarcosmos I” may be useful.

Cheers... Richard
2005 Thomas Dauge (No. 21)
1990 Raimundo Model 128
1976 Yamaha G-55

Fretful
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Re: Improve your Fingerboard Knowledge and Sight-Reading Technique

Post by Fretful » Sat Jul 27, 2019 10:51 am

(Stretching material in preparation for “Harmony” is available in “Exercises Given To Me …” on the Classical Guitar Technique Forum)

THE DIMINISHED SEVENTH:
(See Preface to the diminished Seventh on Public Space)
This interval has nine semitones; very frequently used to enhance the resolution between the Dominant and Tonic chords, especially in minor keys (Chords of the Diminished Seventh will be covered later). Fingered on the same fret between ③ and ①, ④ and ②, and one fret apart between ⑥ and ④, ⑤ and ③, and involving a considerable stretch on adjacent strings:
diminished SEVENTHS - Patterns for adjacent and non-adjacent strings.jpg
Diminished Sevenths – exercise (Strictly adhere to the indicated strings):
diminished SEVENTHS - exercise.jpg


Next: The Octave
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Fretful
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Re: Improve your Fingerboard Knowledge and Sight-Reading Technique

Post by Fretful » Sat Aug 03, 2019 11:22 am

(Stretching material is available in "Excercises Given To Me ..." on the Classical Guitar Technique Forum)
THE OCTAVE
(See Preface to “Octave” on Public Space)

An octave is an interval of 12 semitones; there are many fingering patterns:
OCTAVE PATTERNS - with Open Strings.jpg
When NO open strings are involved, you will find that the same patterns will occur all over the fingerboard:
OCTAVE PATTERNS - across the strings - No Open Strings.jpg
OCTAVE SCALES, using the patterns from the two previous exercises:

No fingering is offered: they must be deduced from the given positions.

Strictly adhere to the positions given, even when a chord needs to be played with 2 & 4, when it would seem easier to play it with 1 & 3:
OCTAVES - Scales.jpg
OCTAVES - Applying the previously absorbed patterns; this time, no positions are given; deduce them from the given strings and fingerings:
OCTAVES - Applying the Patterns.jpg
Next: The Major Tenth
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Fretful
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Re: Improve your Fingerboard Knowledge and Sight-Reading Technique

Post by Fretful » Sat Aug 10, 2019 11:47 am

Stretching material is available on the "Exercises Given To Me ..." on the Classical Guitar Technique Forum.

THE MAJOR TENTH:
The tenth is really none other than an “Octave Third”, an interval particularly useful in the construction of chords across all six strings where the third of the basic Triad is often replicated on higher strings, exploiting the combined logistics of the guitar’s fingerboard and tuning (this will subsequently be covered in greater depth in Part Three “Harmony”).

A Major Tenth is an Octave plus a Major Third and therefore comprises 16 semitones, BUT…

… BUT 16 semitones between two notes DOES NOT always mean that the interval is a MAJOR TENTH … because the NAMES of the respective notes determine what the interval is called, so counting from E to G# (inclusive) makes TEN, whether counting from E to A flat makes ELEVEN (even though it is the same sound as G sharp).

As all other intervals, successive TENTHS will, in any score, constantly alternate between being Major or minor intervals, as they follow the harmonic meanders imposed by a given key, but we’ll first consider the Tenth in its raw Major form, i.e.: for the time being, ALL Tenths in the following scale and subsequent exercises will be Major:
TENTH - (All Major).jpg
Moving into higher positions - as soon as they become available - immediately offers main patterns which will create Major Tenths all over the fingerboard (observe that the SAME pattern can be fingered differently – three patterns are present: (*), (**), (**)):
TENTHS -( All Major - Patterns in Higher Positions).jpg
Exercise on MAJOR TENTHS using Pattern (*) with four alternative fingerings (one fingering at a time, i.e. sliding all the way up:

1) with fingers 2 and 1 :
TENTHS - MAJOR - Patt.1 - fing. 2 & 1.jpg
The same pattern can be achieved but, for the third alternative, the fingering has to alter:

2) with fingers 3 and 2:
TENTHS - MAJOR - Patt.1 - fing. 3 & 2.jpg
4) the fourth alternative fingering for Pattern *, concerns bars 5 and 6; it strikes at the crux of the complexities associated with anticipation in sight-reading: the decision to forgo the slides and opt for the fingerings shown below really depends on the context which follows bars 5 and 6, and which could be very tricky to negotiate, depending on the difficulties involved and how far the eyes are “ahead” of the fingers. The advantage of using these fingerings, though, is that they avoid yet another slide, and that they are more sophisticated and will become particularly useful when Major Tenths will constantly be mixed with minor Tenths:
MAJOR TENTH - Pat. 1 - Alt. fing. 3-1 & 4-2 .jpg
Exercise on Major Tenths using Pattern (**) (only one fingering is possible):
MAJOR TENTH - Pattern two stars.jpg
Exercise on Major Tenth using Pattern (***):
MAJOR TENTH - diff. fing. for patern 3 stars.jpg
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Fretful
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Re: Improve your Fingerboard Knowledge and Sight-Reading Technique

Post by Fretful » Sat Aug 10, 2019 11:49 am

For the next exercise, make your own choices based on the above alternatives:
MAJOR TENTH - Pattern three.jpg
Next: TENTHS – MAJOR & minor COMBINED – PART ONE & Stretching excerpt “Segovia – Oración”
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Eliseo
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Re: Improve your Fingerboard Knowledge and Sight-Reading Technique

Post by Eliseo » Sun Aug 11, 2019 11:33 am

In my humble opinion things must have an order. That is, all in due time. The order in every way and especially chronological. That is why when the student begins his studies he is already following a program that fits all the needs.
And most important of all: one thing is to help :D and the other is arogance. :mrgreen:

With all my respect :bye:

Eliseo Fresquet-Serret

Fretful
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Re: Improve your Fingerboard Knowledge and Sight-Reading Technique

Post by Fretful » Wed Aug 14, 2019 10:39 am

Eliseo wrote:
Sun Aug 11, 2019 11:33 am
In my humble opinion things must have an order. That is, all in due time. The order in every way and especially chronological. That is why when the student begins his studies he is already following a program that fits all the needs.
And most important of all: one thing is to help :D and the other is arogance. :mrgreen:

With all my respect :bye:

Eliseo Fresquet-Serret
Many thanks for flagging this up. Food for thought. I shall address your salient comments and will try to do so soon.

Eliseo
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Location: Lloret de Mar, Girona, España

Re: Improve your Fingerboard Knowledge and Sight-Reading Technique

Post by Eliseo » Sat Aug 17, 2019 11:59 am

Displicente,
The word arrogance is not exactly what I expected from the Google translator.
If you have felt offended, I ask you humbly to accept my apologies. :desole: :desole:

Cordially

Eliseo Fresquet-Serret
 
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Eliseo
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Location: Lloret de Mar, Girona, España

Re: Improve your Fingerboard Knowledge and Sight-Reading Technique

Post by Eliseo » Sat Aug 17, 2019 12:15 pm

..
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Fretful
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Re: Improve your Fingerboard Knowledge and Sight-Reading Technique

Post by Fretful » Sat Aug 17, 2019 12:22 pm

(Stretching material in preparation for “Harmony” is available in “Exercises Given To Me …” on the Classical Guitar Technique Forum)

THE minor TENTH:
The minor TENTH contains an octave plus a minor THIRD, i.e.: 15 semitones.

It is really none other than an “Octave minor Third”;

The minor Tenth is particularly easy to produce with the various combinations of strings: ⑥ and ③; ⑤ and ②; ④ and ①.

minor TENTH SCALE on ④ and ①:
minor TENTH - on 4 and 1.jpg
The suggested fingerings are the most obvious but you may enjoy exploring the alternatives: i.e.: 3 and 2 - or 3 and 4 - instead of 2 and 1.

minor TENTH SCALE on ⑤ and ② (here again, explore alternative fingerings):
minor TENTH - on 5 and 2.jpg
minor TENTH SCALE on ⑥ and ③ (ditto alternative fingerings):
minor TENTH - on 6 and 3.jpg
Combining the three previous configurations:
minor TENTH - All 3 fing. combinations.jpg
Next: MAJOR and minor TENTHS combined
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Fretful
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Re: Improve your Fingerboard Knowledge and Sight-Reading Technique

Post by Fretful » Sat Aug 24, 2019 11:36 am

(Stretching material in preparation for “Part Three – Harmony” is prefaced on Public Space and available in “Exercises Given To Me …” on the Classical Guitar Technique Forum).

MAJOR AND minor TENTHS COMBINED – PART ONE:

A reminder of the PATTERNS:
TENTHS - M & m - Pattern Reminder.jpg
The next exercise is not easy because the chords constantly alternate between Major and minor intervals, therefore the patterns are less regular and require particular vigilance until reflex reactions become reliable:

TENTHS – M & m – Combining Patterns:
TENTHS - Major and minor - Combined.jpg
The following exercises are provocatively ambiguous and brain-stretching inasmuch as they impose either positions in which the string choices and fingerings have to be decided accordingly or, when string choices are imposed, fingerings and positions must be inferred:

TENTHS - M & m - Giuliani C MAJOR - G MAJOR - D MAJOR:
(Note that when two sharps appear consecutively, they are not “double sharps”, but respectively refer to the separate voices)
TENTHS - M & m - GIULIANI - CM - GM - DM.jpg
For the next exercise, follow indications as above for a couple of run-throughs, then play ad lib, always providing, in subsequent readings, alternatives to the given indications:
TENTHS - M & m - Giuliani - A MAJOR:
TENTHS - M & m - GIULIANI - AM.jpg
Next: MAJOR AND minor TENTHS combined – Part Two
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