Download A Modern Method for Guitar - Volume 1 by William Leavitt PDF

By William Leavitt

This useful, finished procedure is used because the uncomplicated textual content for the guitar application on the Berklee university of song. quantity One builds a superior starting place for starting guitarists and lines a finished variety of guitar and tune basics, together with: scales, melodic reviews, chord and arpeggio reports, how you can learn track, targeted workouts for constructing strategy in either fingers, voice top utilizing transportable chord types, and extra.

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Extra resources for A Modern Method for Guitar - Volume 1

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FINGER STRETCH OR F. S. . WHEN THE OUT OF POSITION NOTE IS A SCALE TONE THE F. S. IS DETERMINED BY THE FINGERING TYPE. (FINGERING TYPE I = 1st FINGER STRETCH, TYPE IV = 4th F. S. ) WHEN THE OUT OF POSITION NOTE IS NOT A SCALE TONE AND MOVING UPWARD USE F. S. 1, AND MOVING DOWNWARD F. S. 4. . REGARDLESS OF FINGERING TYPE. (ALL SCALE FINGERINGS INTRODUCED FROM THIS POINT ON WILL NOT USE ANY OPEN STRINGS, AND THEREFORE THEY A R E MOVABLE, IN THE SAME MANNER AS THE CHORD FORMS PRESENTED EARLIER.

The major and relative minor key signatures are the same. There are 3 different scales in each minor key. . A - N A T U R A L MINOR (All notes exactly the same as its relative, C M a j o r ) - We now begin to observe that many chords have more than one fingering. The choice of which one to use generally depends upon the chord fingerings that immediately preceed and/or follow. In the" following exercise use the large diagrams OR the smaller optional fingerings in sequence - DO NOT MIX THEM. . Smooth, melodic rhythm accompaniment depends on the number of chord forms mastered.

1st pos. F and G scales contain two octaves - play all patterns in BOTH octaves) Be sure to observe the tempo changes. Also, vary the "DYNAMICS" (degrees of volume, loud and soft) to make the music more interesting to listen to. REVIEW ALL MATERIAL Of course having only eleven chord forms at your command will cause you to move up and down the fingerboard much more than is desirable for good rhythm playing. The more forms you know - the less distance you have to travel, and the more melodic your rhythm playing can become.

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