This book is a continuation of Volume I, Modern Method for Guitar. Most of the terms and techniques are directly evolved from material presented there. For example, the entire fingerboard is coveredat once in the five position C Major scale study. This is accomplished by connecting the four basic (types 1, 2, 3, 4) and one derivative (type 1A) fingering patterns that were, hopefully, masteredfrom the first book. (The sequence of fingering types will vary from position to position up the neck, depending upon the key. ) Study all material in sequence as I have tried to relate, as much aspossible, all new techniques (physical and theoretical) to something already learned. All music is again original and has been created especially for the presentation and perfection of the lessonmaterial. Please be advised that the pages devoted to theory are not intended to replace the serious study of this subject with a competent teacher, but only to, perhaps, intrigue the more inquisitivestudent and maybe shed some light into the mysterious workings of music for guitar players in general. As before, good luck and have fun.
William G. Leavitt
ALL SCALES (MAJ. and MIN etc. ) WILL BEDERIVED FROM THESE FOUR BASIC MAJOR SCALE FINGERING PATTERNS. ULTIMATELY 5 MAJOR KEYS WILL BE POSSIBLE IN EACH POSITION WITH TYPE 1 AND ITS' FOUR DERIVATIVE FINGERING PATTERNS - 1A, 1B, 1C, AND 1D.THIS SAME FACT APPLIES TO TYPE 4 WITH ITS' DERIVATIVES 4A, 4B, 4C, AND 4D. FINGERING TYPES 2 AND 3 HAVE NO DERIVATIVE MAJ. FINGERING PATTERNS.
( ( S ) = finger stretch )
(OBSERVE THE FINGERING - NOTE COMMON FINGER(S) BETWEEN MOST FORMS)
Make the upstroke sound as much like the downstroke as possible by favoring the lower strings with the returningupstroke of the pick. There will be a slight natural accent on beats 2 and 4 because of the downstroke hitting the heavy strings first - but this is good, as it is comparable to the drummers use of the...