Guitar Lesson Six - Left Hand Technique

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Guitar Lesson Six - Technique

Left Hand

In lesson 4, we explored the basis for FINGERBOARD POSITION. In this lesson, we're going to have a look at how this concept applies to two strings at once.

Begin by reviewing the aformentioned section of lesson 4.

Now, when it comes to the major and minor scale, there are seven fingerboard patterns that are very useful.

These seven patterns always occur in the exact same order. In the future, I will refer to each pattern by number, so it's important that you learn them in the order shown:

1.

2.

3.

4.

5.

6.

7.

A few observations:

These patterns overlap each other. Study the diagrams until this point is perfectly clear. Can you see how pattern #1 is also found at the 13th fret?

The order of these patterns will never change.

The root note for the key of C is provided for reference.

The patterns are exactly the same on any two adjacent strings, except for the usual "warp" that happens on the G and B-strings. ( You should know the major scale well enough at this point to verify this for yourself.)

The patterns are the same for any key. They will just re-locate to a different starting spot.

Patterns 1 and 5 are the same shape. Be careful not to confuse the two.

A thorough working knowledge of the rules for position playing is important for smooth execution and increased speed.

You have enough knowledge at this point to start working this stuff out for yourself.

To do:

Work these patterns out on every pair of strings for the key of C major.

Work these patterns out for every other major key on all pairs of strings.

When it comes to the minor scale, the same 7 patterns apply. In fact, you're going to be seeing a these same patterns cropping up a lot for various scale sounds.

The difference between the major and the minor scale is that the minor scale starts with pattern 6 instead of pattern 1:

6.

7.

1.

Etc....

Now, you would be wise to spend a lot of time working the minor scale up and down the individual strings before taking off with these patterns. It's essential that you know the scale well enough that you recognize when you're making mistakes.

As you add more scales to your arsenal, this will become even more critical, as will the ability to distinguish between the different sounds of the various scales.

Go ahead and figure out how the patterns lay out on all the other pairs of strings (be careful on the G and B) for the key of C minor. Then, work the patterns out for every other minor key.

Here's a few of exercises for working these 7 patterns.

The first one uses hammers:

The second exercise uses pulls:

And, the third exercise uses alternate picking:

If you use your imagination, you should be able to come up with a dozen or more variations on the above material.

These seven patterns form the basis for moving around on the fingerboard. You need to know them absolutely well. How well? Suffice it to say, that you must know these patterns forward, backward, upside-down and inside-out!

PRACTICE!!

This lesson is divided into six parts:

Introduction

Theory Part I

Theory Part II

Left Hand Technique

Right Hand Technique

Music

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