Post on 10-Oct-2014
Position Playingfor
Guitar
Unlocking the Fingerboard
Peter R. Taschuk
Preface
What’s the definition of counterpoint? Two guitarists playing the same line. An old joke, but firmly rooted in reality; guitarists just don’t read as well as pianists, saxophonists, or violinists. There are, of course, good reasons for this. The guitar fingerboard is very complex: it doesn’t have the visual simplicity of the piano keyboard or the equal intervals between strings of the violin. Also, the guitar is used in most styles of music, some of which have no tradition of written music.
In the last few years there has been an explosion in the publication of guitar music, in print, and on the Internet. The nonreading guitarist misses out on a wealth of great stuff in all styles.
Tablature is a poor solution for guitarists who don’t read notation; you don’t really readtablature – you figure out the music as you go along, usually while listening to the recording. A particularly bizarre phenomenon is the publication of classical guitar pieces in tablature, for instance Barrios in tab. A reading guitarist finds it extremely slow and painful to learn a piece from tab.
Most contemporary guitarists have a wide range of musical interests, and accomplished guitarists are expected to have good overall musical skills: harmonic knowledge, reading and improvising ability, and hearing skills.
Having said all of this, it’s just a lot of fun to be able to open a fake book or piece of sheet music, and explore some new sounds, ideas, or styles of music. If done systematically, learning to read is easy, fun, and exciting.
I’ve been playing and teaching different guitar styles for several decades, and have used a number of different published methods that introduce students to reading notation. There are numerous books that teach reading in the first position, but I haven’t been able to find a good method that takes the student into the higher positions. So, for my own students, and anyone who wants to explore the exciting and dangerous wilderness of the higher positions, I offer this book.
Peter R. Taschuk, Salt Spring Island BC, September 2004.
Copyright 2004, FirstThought Music. All Rights Reserved. Made in Canada.
ptaschuk@saltspring.comguitarideas.ca
About the Book
1. This book is intended for the guitarist who knows the notes in the first position, understands sharps, flats, and key signatures, knows the basic chords, and is able to read simple rhythms in quarter and eighth notes. Also, the more advanced player will be able to strengthen his reading skills and fingerboard knowledge using this method. The book starts in the second position, in the key of C Major. The music is based on five moveable scale patterns, each one defined and then learned through a series of exercises and pieces.
2. Most of the pieces consist of singlenote melodies, bass lines, or accompaniment patterns. They are therefore perfect for pickstyle players, but are also great for classical guitarists, who often don’t play melodies very convincingly, because they are also required to play accompaniment or contrapuntal parts. As well, classical guitarists are overly dependent on the Segoviastyle scales, and are not very good at position playing.
3. One guitar sounds great, but two guitars sound even better – all of the music here is written for two guitars. The student is encouraged to find a good teacher or playing partner, since the music only comes into complete focus when both parts are played together. It’s so much more fun to make music with other people, and duo playing is a skill that takes time to develop. Make sure you learn both parts.
4. All of the music was written specifically for this book – no Twinkle, Twinkle or Aura Lee. Some of it, though, might sound somewhat familiar. As Stravinsky said: “A good composer does not imitate: he steals.” Hopefully, the music is fresh and interesting for both student and teacher.
5. The exercises and pieces represent several different musical styles. Through my career I have studied and performed a wide variety of music: Classical, Jazz, Rock, Folk, and Latin, and these influences are reflected in my music, although often not in a very formal way.
6. All of the exercises are short – 4 to 16 bars. The music becomes progressively more difficult rhythmically, and the key signatures go from C Major up to 4 sharps and to 3 flats. The pieces are longer and more challenging than the exercises. Fingering indications have been kept to a minimum, so that the student learns the notes thoroughly, and doesn’t become dependent on fingerings. There is little text, just music, 63 exercises and 15 pieces.
7. Spend some time every day working on absolute purity of sound – nice tone quality, no extraneous sounds such as buzzes or clicks, and playing perfectly legato. This is highly technical work and involves things like finger preparation, coordination between the hands, and an even attack. Play at an extremely slow tempo, and work on shorter and shorter sections, even as short as two notes. This kind of work takes great focus or concentration. This book is not a technical manual, but some of the music has specific technical goals, and takes longer to master.
8. Read all kinds of music. When I was first developing my reading skills, I looked for clarinet, violin, and saxophone methods in used book stores, garage sales, and flea markets. Some of these books have duos, exercises, and pieces that sound great on guitar.
2
4
1
2
4
1
3 4
1
3 4
Am
2
E
Am
4 1
Am
3
E
Am E
Am
4 3
C
3 4
G7
1
C
Part One
1
C Major ScaleMemorize this scale, and use these fingerings for the following exercises.
Play using single notes, then each note two times.
3
Always play slowly. Strive for rhythmic accuracy get in the habit of counting.
It's more fun and more beneficial to play these exercises and pieces with anotherguitarist: a friend or your teacher.
Exercises
3
1 4
C
3 1
Am
4
2
G7
C
4 1
Am
4
2
G
1
C
Am
4
Palm Mute (P.M.)
C5
2
1
A5
1
4
G5
2
C5
2
1
4
C
2
1
4 F
4
3
G
4
C
4
5
6
7
The above is a rhythm used very often in rock and pop music.
Practise it with other chord progressions in 4/4 time, until it becomes automatic.
When you see the chords written above the staff like this, find an accompanimentrhythm that suits the melody.
See Appendix 2 for some accompaniment ideas.
4
2
4
1
2
4
1
3 4 1 3 4 1 3
1
2
4
1
2
4
1
2
3
4
4
1
4 1 3
1 4
1
3 4
4 1 3 3
Dm 1
Em
1 4Dm
3Em
1
F
4
G7
2
Dm G7
1
4
2
C
4 2 4 2 4 A5
1 G5
4
E5
D5 A5
C ScaleHere we've added some notes. Follow fingering exactly.Play using single notes, each note 2 times, and triplets.
Always start and end on the tonic.
8
9
10
Work on playing legato: smoothly, with no spaces between notes.
A Minor Pentatonic, or A Rock Scale
5
2
4
1
2
4
1
2
4
1
3 4 1 3 4 1 3
3
2
1
4
1
1
4
2
3
4
2
1
1
2
4
2
4
3 3
4
1
2
1
4
Am
1
4
2
G
2
1
4
F
C
4 3 3 Em
Dm
2 C
4 3 4
B7 Em
3 4 1
C
3 4 2 1
Am
1 4 3
Dm
4 1 2
4
2
4
G
1
2
C
Complete C Major Scale
This scale is the first of five moveable position scales which you will learn.As with all of these scales, memorize, and always start and end on the tonic.
11
After you have it well memorized, play it starting on different frets.If you start on the fifth fret, it will be a D Major Scale.
12
13
14
T
6
CII3
1 3
4
1
2
4
2 4 3
4 3 1
1 3 4
1
0
4
2
0
1
1 3
1 3 4
1
2
4
3
4
1
2
1 2
4
1
00
2
3
3 1 3
3
2
3
3
3
3
3
3
15
16
17
Slurs: Hammeron and pulloff
Thirds
Triplets
7
1 4
1 3
1 2
0 2
4 2 4
4
1
2
3 1
0 4
5 3 3
1
4
2
4
4 2 4
4
2
0
3 1
4
2
4
1
4
4 3
2
0 1
9 4 3
4
1
2
1
1 3
1
2
4
3
1 3 1 1 4 3
2
2 4
1
13
17
2
0 1
P. Taschuk
Coastal Canyons8
2
4
1
2
4
1
3
4
1
3 4 2 4 1 2
2
1
4
2
4
1
4
1
3
4
4
3
1
4
1
3
1
3 4 2
1 4 3 2 4 1
4 1 2 4
2 4
4
4 4
P.M.
1
3
4
4
2
1
3 4 2
4
2 1 4
1
2
3
1
4
Part Two
G Major ScaleThis is the second of the five moveable scale patterns which you will learn.
Memorize it, then try it in different positions.
18
19
Scale in Thirds
9
Do some review every day.
2 4 4 2
G
3
4
Cadd9
Dsus
4
1
1
G
Cadd9
Dsus
0
2
4
0
1
4
0
1
4
0
1
3
0 2
4
0 2 4
4 2
0
4 2
0
4 1
2
4 2 4
4
4
20
Here's a neat little E Rock (E minor Pentatonic) exercise.Practise each bar separately, repeating slowly until all the notes are clear.
21
22
10
Try this exercise with both Straighteighth and Swing feels.
2 1
4 3
1
3
4
2
4
2
2
1
23
24
25
Canon
Suspensions
11
4
2
0
3 4 3
3
2
2
3
1
4 1 4 1 4 2
3
2
1 4Em
D
G
C
Em
Am
D C
G
3 2
2
1
1
4
2
1
1
2
4 3 1
4
2
26
27
28
12
CIII2
4 1
2
4
1
4
01
2
1
4
1
2
1
1
2
4
2
5
To Coda
4 3 1
To Coda
1
3
4
2
4
1
3
9
0 1
2
2
01
2
D.C. al Coda
D.C. al Coda
13
3 4 1 3 4 1
2
0
1
2 1
3 1 3 2
3
1
4
1
17
P. Taschuk
Idee Mecanique13
1 3 1 2 4 1 3 4
4 3 1
p
3
i
2
m
0
a
0
m
i
3
1
0
0
4
3
1
0
0
2
11 2
1
3 1
2
4
2.
2.
3
4
Part ThreeC Major Scale
Here we move up into the fifth position.
29
14
1 4
4
0
4
2
1
3 1
4
0 4
2
1
1
4
3 1
4 1 4 1
0 3
0
Am
1 4 3 1
Dm
Am
Em
Dm
Am
30
Blues in A Minor31
15
1
3
4
1
4
1
2
4
1
2 4 1 3 4 1 3 4
3 4 1 4 3
1 4
2 1 4
2
1
4
1
4
3
1
1
4
02
2
1
4
4
3
0
1 3 4
1 4
3
F Major ScaleThis is the third of the five scale patterns.
Memorize!Always start and end on the tonic.
T
32
33
16
Milonga Argentina
4 1
3 3
4 2
1
3 20
1
4 2
1
4
2
1
4
1
4
3
1
2
ritard
1
3
0
1
3
0
2
1
0
34
35
FiveFour Piece17
Chromatic Study
4
1 3 4 3 1
4
2
3
2
4
1
2
2
3
2
1
5
To Coda
To Coda
9 414 3
1
1
13 2
2
D.S. al Coda 1 4
D.S. al Coda
15
1 2 4
P. TaschukA Southern Sketch
18
CV3
CII 4
3
5
9
13 1
1
17 2.
2.
P. Taschuk
A Northern Notion19
CIII 2
12
4
3
2
1
4 3
4
4
3
2
4
1 4
1
7 1 2
1
3
1
2
1
4
2
2 1
2. 2
2.
1
3
11 2 4 3
1
4
3
4
2 3 1 4
P. Taschuk
Stainless
CIII 3
CIII 2
20
15 4 1 4 3
4
2 1 4 2 4
ritard
a tempo
19
23
ritard e decrescendo...
27
1
1 2 3
V 21
1
2
4
1
3
4
1
3
4
1
3 1 2 4 1 2 4
4
3
1
3
4
1
0
1
2
4
1
1
3
1
3
4
1
2 4 1 2
3
4
1
3
4
1
4
3
4
2
4 2 1
4
3
1
4 2
4
3
1
3
2
3
3 1
4 3 2
Part FourD Major Scale
This is the fourth of our five major scale patterns.Memorize; always start and end on the tonic.
T
37
36
Tango
22
CII5
1 2 4
03
0
1
4
2
2 1 3
1
4
3
1
2 4
1 4
1 34
2
000
2 3 1
1
3
1
3 4 2
4 4 2
2
1
4
3
1 2
31 2
3
2
38
39
23
CII
CII
4
1
3
4
1
4
1 2 4 1 2 4 1 3 4
4 1 1 2
4
3
1
2
1 3
1
3
3
1
4
4
4
4
1
2 4 1 3 4
2
1
4
3
1
4 2 1 2
4
2
3 4 3 1 1
C Major ScaleThis is the fifth and last of our major scale patterns
40
24
Swing
Choro41
3 1 3 4
13
A5
1
3
G5
A5
1
C5
D5
C5
A5
G5
C5
3
2
D5
1
E5
1 4
A5
4
3
3 1 4
43
1 3 4 3
1
3
2
3
3
3
3
1
13
3
3
3
3
3
3
3
3
3
4 2
3
1 3
2 4 1
1 3 4
25
42
43
P.M.
1 4
4
3
1
4
2 1
5
1
1
9 2.
2.
11
4
3
1
1
P. Taschuk
Rhythm in D26
Swing
15
4 1 4
4 3 2 4
1 4
19
23 3 4 1 3
1
4
4
2
1 1
3
27
1 4
2 0 0
1
5
02
0 1
9
1 1 3 3 1 1 3 3
1
1
1
1 1 3 3 1 1 3 1 3 1
3
2
1
13
1
1
1
4
4
2
2
1
P. Taschuk
The Minimum28
17
21
25
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
29
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
P.M.
29
Nat.
4
1
3
4
1
4
1
2 4 1 2 4 1 3 4
4 2 1 3 4
4
2
3
1
1
4
1
3
3 1
3 4 1
1
1
4
3 2
4
1
4
1
1
0
1
4
1
2
23
1 4 23
2
4 3
1
34
3
33
3
Part FiveBb Major Scale
This is the same scale fingering as the C major on Page 24.
44
30
45 CVI 3 CV3 CIII 3 CI 3
2 1
4
1
3
4
1 4 2
1
3 2
1
2
4
1
4
1
1
4
1
2
4 2 3 1
3
3 4
1
1 4
3
1
4
1
0
1
3 4 1
3
1
1
3
3
3146
47G Blues Scale
P.M.
1
3
4
1
4
1
2
4
1 2 4 1 3 4 1
3 4
2
4
1 2
3
4
1
4
4 1 3 4
1
2
4
1
1 3
2 4
4 2 1
4
2
1
4 1 3
4
34 1
1
3 4
34 2
4 2 1
2
4 1
23 1
4 1 2
32 G Major ScaleThis is the same scale fingerng as the F Major on Page 16
48
49
T
P.M.
1 4 3
2
1
3
1
1
0
3
2
3
3
2
30
3
2
2
0
3
2
1
0
2
1
0
1
4
3
1
2
1
2
1
1
0
5
4 1
2
3 2
1
3
1
3
1
1
2
0
3
1
3
2 3
1
9 2 1 4
1
0
3
1
3
1
1
0
4
3
1
3
2
1
0
3
1
3
2
3
2
1
0 3
1
3 4 3
3
1
3
1
1
0
3
1
13
2
1
3
1
1
0
3
2
3
2
30
3
2
2
0
3
2
1
0
2
1
0
1
3
1
2
1
2
1
1
0
17
2
3 2
1
3
1
3
1
P. Taschuk
The Lake
Quite Slowly
33
2 1
1
3
4
5
4
4
9 4
3
4
3
13 4 4
P. Taschuk
A Trip to the Interior34
17 4 3 1 1
1
21
26
35
ritard...
a tempo
1 2 1
2
4
1
2
1
Am7
3 4 1
4
1
D7
1
2
Gma7
1 2 3
Cma7
5
4
1
2
4
2
Fm7b5
1
B7
Em
9
21
4
2
1
Am7
D7
Gma7
Cma7
13
32 4 1
Fm7b5
3 1
4
2
B7
4
Em
E7
17 1 4 1 2 3 3 2
Am7
D7
4 3 3 4
Gma7
1
Cma7
P. TaschukWinter Comes
Swing
36
21
Fm7b5
B7
Em
E7
25
Am7
D7
Bm7
E7
29
Am7
3 4 1 4
D7
1
Gma7 B7
E7
33
Am7
D7
Gma7
Cma7
37
Fm7b5
B7
Em
37
1
2
4
1
3
4
1
3
4
1 3 1 2 4 1 2 4
4
3
1
1
4
3
1
4
2
1
2
4
3
1
4
4
1
3 1
3
2
1
4
3
3
1
4
2
1
3
4
4
3
1
1
1
4
3
3
4
2
1
3
1
Part Six
Eb Major ScaleThis is the same scale fingering as the D Major on Page 22
Isomelody
50
51
38
T
CIII3
4 1 2 1
4
1
3
1
4
1 2
2
3 3
4
3
4 4
2 4 2 1 2
2 1 1
4
1 3
4
3
4
1
4
3
1
3
4
2
3952
53
1
2
4
1
3
4
1
3
4 1 3 1 2 4 1 2
4
4 2 1 4 2 1 3 2
4
1
3
1 4 3
3
4
3
3
3
1 3
3
1
1
4
3
3 3
3
4
3
1
1 2 1 3
4
1
2
1
4 1
2
4
3
4
1 4
3
3
2
4
40 F Major ScaleThis is the same scale fingering as the previous Eb Major Scale
54
T
55Isorhythm
4
14 2
4
3
1
22 1
3
4
2
3
1
4
3
3
1
4
4 4
3 1 2 4
1 1 4
3
4
2
1 4 2
2
56
A Spanish Idea57
41
1
5
9 4
4 2 2
13
4
3
1
3
1
1
P. Taschuk
Into the Mist
Slowly
42
CIII3
17 4 2
4
3
1
3
2
3 2
4
31
1 4 2 2
21
25
29
repeat and fade...
43
3
1
4
1
3
5
9
1 3
13
2
4
P. Taschuk
The Stream44
CV3
17
21
25
29
ritard...
45
4
1
3
4
1
4
1
2
4 1 2 4 1 3 4
4 3
4
3
1
3
4
1
4 2
1
3
4
4
3
4 4 1 3
4
4 1 3
1
3
4
1
2
1
3
4
Part Seven
A Major Scale
58
59
46
P.M.
CII3
1 2
4
1
2
4
1
1
3
1 4 3 2
1
0 3
0 2 0 1
0 4
0
1
0
3 4 0 4 0
6047
Second guitar repeats this pattern throughout
CII 3
...
0 1
3
4
1
4
1
2
4
1
2
4 1 3 4 1 3 4
4 3 1 3
03
1
3
4
0
3
1
3
4
2
1
4
1
3
4
32 13
1
3
1
21
4
3
1
4
3
3 1 3
4 3 1 1 2 4
4
3
1
4
E Major Scale
61
48
62
4
3 1 4 3 1 3
1
2
1
3
4
4
2
2 4
3 4
2 4
1
2
6349Zamba
0
531
93
133
173
P. Taschuk
So Sue Me50
21
0 2
4
3
4 1
25
4
1
2
3
2
1
3
4
2
1
4
293
333
51
2 4
1
3
4
1
3 2
6
2
10
4
2
1
3
14 3 4 1
2
18
P. Taschuk
Shufflin' the Deck52
22
3
26
3
30
34
53
2
4
1
2
4
1
3 4 1 3 4 2 4 1 2
1
2
4
1
3
4
1
3 4 1 3 1 2 4 1
2 4
Part EightThe Seventh PositionC Major Scale
G Major Scale
Play some of the earlier exercises and pieces in C Major using this fingering.
Play exercises and pieces in G Major using this fingering.
Next, figure out the scales in other keys in this position, andplay music in those keys.
T
54
The developing guitarist should continually be studying all aspects of music.You should know the basic chords in the most common keys, the principles of chord consruction
and progression, and the cycle of fifths.
Learn the intervals and be able to recognize them, starting with major and minor thirds.
When you are working on a piece, examine the melody, analyzing its intervallic structure and rhythm.Observe where each phrase begins and ends, and how the phrases relate to each other.The point of this, of course, is to make the phrases clear to yourself and the listener.
Always play rhythmically, looking for ways to make the meter clear,through articulation and emphasis.
Play musically! Develop your expressive skills; dynamics, vibrato, rubato,tone color, articulation. Even technical exercises can be interpreted in a myriad of ways.
Above all, have fun, approach all music openly and with a sense of humor,and try to develop flexibility in your thinking and playing.
2 4 1
3 1 4 2 4
2
1
1
1 2 4
4
2
4
4
2
5
1
9 3 2 4
3
1
4
4
1 3 4
13
1 4 2
1
4
1 2 4 1 2
4
17 3 1 2 4 4
1 2
4
21
1
4
2
2
4 4 3
1
Taschuk Sor
Fernando
55
4 1 2
2
4
p
m
p
3i
p
mp
4
1
2 2 1
3
5
9 1 4 2 1
4
2
4 1
2
13
P. Taschuk
No More Blues56
17
21
4 4
ritard...
57
4
1
3
4
52 4 5
1
4
1
2
2 41 2
4 1 2 4
42 3 5
1 3 4
2 4 5
1
2
4
1
2 3 52
3
4
1
3
4 52 4
4
1
3 1
52 4
2
2 4 1 2
3 52 3
4
5
2
4
1
2
3 52 3
4
1
3
4
52 4 5
1
3 4 2
2 4 53
4 1 2
52 3
2
4
1
2
3 52 3
4
1
2
4
52 3 5
1
3 4 1
2 4 53
3 4 1 3
5 63 5
1
3
4
1
3 5 63
4
1
2
4
52 3 5
1 2 4 1
2 3 53
3 4 1 3
5 63 5
4
6
Appendix One
Scale Pattern 1
T
Scale Pattern 2
T
T
Scale Pattern 3
The Five Scale Patterns
T
T
Scale Pattern 4
Scale Pattern 5
58
p
m
p
i
p
m
p
Appendix TwoAccompaniment Patterns
Strummed Patterns
Fingerpicking Patterns
59
CD Contents
01 Exercise 102 Exercise 1103 Exercise 1604 Coastal Canyons05 Exercise 2506 Exercise 2607 Idee Mecanique08 Exercise 2909 Exercise 3010 Exercise 3311 Exercise 3412 Southern Sketch13 A Northern Notion14 Exercise 3815 Exercise 3916 Exercise 4117 Rhythm in D18 The Minimum19 Exercise 4620 Exercise 4921 The Lake22 A Trip to the Interior23 Winter Comes24 Exercise 5125 Exercise 5226 Exercise 5527 Exercise 5628 Into the Mist29 The Stream30 Exercise 6031 Exercise 6232 Exercise 6333 So Sue Me34 Shufflin’ the Deck35 Fernando36 No More Blues
Many of the tracks are embellished with sections of improvisation,and some have extra repeats.