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Accounting for unifying horizontal and vertical systems
Ii-V-I major or minor fingering Patterns
ii. V. I. iii. IV. vi. vii
1. 4. 7 2.**. 3. 5**. 6
2. 5** 1. 3. 4 6. 7**
3. 6. 2. 4. 5. 7. 1
4. 7. 3. 5**. 6. 1. 2**
5. ** 1. 4. 6. 7. 2.**. 3
6. 2. 5. 7. 1.*. 3. 4
7. 3. 6 1. 2. 4. 5** asterisk means shift up
Navdeep, thanks for this. I understand most of it.
I get the first part: In the key of G, for example, use the first pattern for the ii chord. Then at the same fret, 5th string, use the 4th pattern for the V chord. Then at the same fret, 4th string, use the 7th pattern for the I chord. Hence, ii, V, I.
But then you do to the iii chord – why? Why iii IV vi vii?
And are you still playing Dom 7th arpeggios and mixolydian modes, or a different mode or major/minor/diminished for each chord of the key?
Are you thinking this pertains to Module 1 or higher?
Rob,
It’s not meant to be played in that sequence, and you can play whatever scale or arpeggio you’d like. It would be better if it was presented in diatonic sequence
Chord degree. Fingerings.
I 1. 2. 3. 4. 5. 6. 7
ii 2. 3. 4. 5. 6. 7. 1
iii. 3. 4. 5. 6. 7. 1. 2
IV. 4 5. 6. 7. 1. 2. 3
V. 5. 6 7. 1. 2. 3. 4
vi. 6. 7 1 2. 3. 4. 5
vii. 7. 1. 2. 3. 4. 5. 6It’s not presented anywhere in module one as far as I know, but can be easily derived from Richie’s basic premises. I believe this is what he means when he said to integrate vertically and horizontally the fingerboard into one big fingerboard. All it means is, if you’re using one particular fingering for the I chord, The remaining fingerings for the diatonic chords will symmetrically follow. The sequences easier to see when the chords are lined up in correct order. You can play them in any sequence, all it is is an overall fingering system derived from Richie’s fundamental principles.
As he says when he plays the F scale and triads in all seven positions, the other diatonic chord fingerings can be easily derived.
The symmetry of the fingerings is wonderful . It’s just a framework to get from one chord to any other Diatonic chord.
Maybe he presents it somewhere else later on in the course when he starts talking about Dorian scales and so forth.
Thanks, Navdeep. That makes more sense to me. So far I’m just doing mixolydian modes and V7 arpeggios, no Dorian or Ionian modes, but I can see how they fit into the system.
Navdeep, what Module are you up to? Like Rob, I’m still in Module 1, with only 3 fingerings, all for Dom7 scales and arps. But it’s good to know where all this is heading. Very exciting! 🙂
James.
I have all of them open to me. So I do a bit here and there/. I’m not saying that’s the ideal way you should do it, and it’s probably not ideal for me either. But I’m pretty comfortable with how I’m working on things in general. This is but one part of it Best, Navdeep
Here’s the quickest short formal I can imagine: whatever fingering one is using under Richie’s system, for a particular chord, The next chord would require the fingering number to be incremented by one. And so on.
Thus, if one is using fingering number one to start the G scale/arpeggio on the sixth string, one would use fingering system to to start the A scale-arpeggio.
Obviously the goal is to make it second nature, so ingrained that you don’t have to think about it. But in order to do that, you have to think about it in the practice room
That’s it Navdeep! Whatever fingering one is using under Richie’s system for a particular chord, the next chord in the sequence would require the fingering number to be increased by one, and the previous chord in the sequence would require the fingering number to be decreased by one. For example: if you use pat. 7 for the V chord, the VI chord will use pat. 1, and the IV chord will use pat. 6.
Well, I haven’t learned all 7 patterns yet, but I expect this to be a little confusing when I get there, because it’s relatively rare to go from, say, G scale/arp to A scale/arp (i.e., up a whole step). More common would be to go from G to C (up a fourth), so are we gonna need a different rule of thumb that says, basically, “when going up a fourth, pick the fingering pattern that is THREE numbers higher than the one you just played”? If I have to do that much calculating in real time, the moment will surely be lost…
Or am I over-complicating this and I should just shut up and wait till Richie teaches it to me anyway? 😉
I’d like to add that both Navdeep and jazzybeatle are on the right track. Go back and look at the chart for II-V-I-VI cadences at the bottom of p.11 of the Scales & Arpeggios pdf for module 1. Here you’ll see a clear picture of the principle you’re discussing.
Yes, for each fingering model the pattern numbers shift up or down incrementally always retaining their cyclic sequence. I only deal with 2 fingering models in Volume One of this series: Pattern 1 and 4 (in the last couple of modules). In the long run we want to use all of them. I will get into the technical meat of this in VOL 2. It’s too much information as it is…
I never really found that I had to think, “when going up a fourth pick the number that is a FOURTH higher than the previous one” or anything like that. Once you practice playing in a specific fingering model, you pretty much learn to see how all the roots of the patterns relate to each other by means of the intervallic design they form in that given position. This becomes second nature after awhile. Once you have this down, then you can start moving horizontally in and out of the 7 different fingering models all throughout the fretboard! This is what all the great players do! Of course most of them are doing it intuitively from experience. It is a wonderful thing though, when you can actually organize all this madness into a system. It saves lots of time in the learning process. Another benefit you’ll derive from it down the road is that you’ll be able to sit down with a video of your favorite guitarist (who has just 1 favorite guitarist?…duh…) and identify the fingering patterns he uses at all times. This is very helpful when you want to transcribe a solo or phrase from a live video and finger it just like it originally was played. This is something I often do with my private students. I’ll play a phrase using a certain fingering pattern and have them identify it. Then I play the same phrase in another pattern and so on. It really works and helps establish a more detailed language to pinpoint and help communicate certain melodic executions very precisely.As for myself, I’ll transcribe a short phrase in intervallic script, notate the pattern and play it in any key. Then I apply it to a different fingering pattern and so on…this way I’m not stuck having to play certain ideas only when I’m on a certain pattern. Of course, some patterns lend themselves to play certain ideas a lot easier than others. This is why we need all of them. So we can eventually have the freedom to choose. When this is the case you will find that at least 4 out of the 7 patterns are preferred for any given idea. Did I go off on a limb there? I think I did. Must be the espresso…
For me it is helpful to see all seven fingerings drawn on fretboard diagrams with their correct relative position. I tried to do this with the seven mixolyidian fingerings from Module 1:
So you can see that each fingering is is overlapping with his neighbours (fingering number +/- 1) by three frets. All together cover the complete fretboard, at the end of fingering #7 (which are the three left frets of #7, we are going right to left by increasing fingering numbers) we have the overlap to #1 the start of #1 again.
Covering the complete fretboard, there are no gaps–compared to approaches with five fingerings, this is an advantage, at least for me.
Robert
(My first post here, I have no idea if the link to my picture is working. I would have preferred to upload a printable PDF, but didn’t find a way to do that…)
Robert, why do you play the 5th on string three instead of string two in the first diagram?
You should remove the 6th on the first string from the arpeggio in the 4th diagram.
Robert, you refer to (and diagram) “the seven mixolydian fingerings from Module 1”. Am I seriously missing something here? I’ve been through all of Module 1 and, as far as I can see, Richie only presents THREE fingerings (#1,4 & 5) in Module 1, not all 7. I have assumed the other 4 are coming in later Modules. Am I mistaken and just missed the other 4 in Module 1?? If so, I have a LOT more work to do before Module 2 arrives…
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