Frank Vignola Course - no Fingerings

[jumapari]

I hope I'm not annoying you with the thousandth question about scales and fingerings. I found a great course by Frank Vignola online that I really like. Especially with regard to playing chord melodies.

He also has a complete course on jazz guitar, which I also like very much. But he says that you have to make up your own fingerings.

What do you think of that?

Now I've returned to jazz guitar after 25 years (job and family break), and I'm looking for the right way to start.


What do you think?


Thanks in advance

[AllanAllen]

I think you’ll waste a lot of time inventing CAGED.

Just learn the system and get on to paying music.

[pauln]

Consensus on the right way has not really caught up to the music being played, nor has it determined whether using three or four fingers is best for blues or jazz, or if both are fine for either, or when position or shifting fingering is best, or when reference or relative fingering is best. Also to some degree the right way has not fully caught up with some fingering mechanics possible on modern semi-hollow/solid instruments with pickups.

I learn by making up my own everything; it takes more work up front (like fishing rather than slipping by the market) and may not be for everyone , but I find for me it makes internalizing new things and recognizing old things have a fast, natural, and effortless feel.

[Mick-7]

I found a great course by Frank Vignola online that I really like ... But he says that you have to make up your own fingerings.

Really? Is that a direct quote? That's unusual, some would say refreshing , because most (almost all) guitar teachers will advise you to use a certain fingering system. But some will keep it simple and just say to have a finger span of 5-6 frets, which allows you to shift up or down 2 frets to play a phrase.

[equenda]

Hi.
In jazz guitar we can have:

1) Traditional notation: notes on the staff
2) Tablature: fret numbers on six horizontal lines
3) Fingerings: left hand fingers (1 to 4) on every notes on the staff or on the tablature

In 99% of books and videos you can find 1 and 2 but rarely 1, 2 and 3.
This is because adding the fingering on EVERY note is a real PITA for the author or for the manuscript editor.
In my method "Melodic Improvisation for Jazz Guitar: Practical Examples and Studies Based on Tension and Resolution" and in the free PDF files for every video on my YouTube channel, I always use 1, 2 and 3.
And I can tell you that writing down all the musical examples and studies with music, tab AND FINGERING is a REAL NIGHTMARE.

Ciao!

Ettore

My Method

[jumapari]

Really? Is that a direct quote? That's unusual, some would say refreshing , because most (almost all) guitar teachers will advise you to use a certain fingering system. But some will keep it simple and just say to have a finger span of 5-6 frets, which allows you to shift up or down 2 frets to play a phrase.

Yes, Frank says: "there are 100 ways to play a c Major Scale. Do it with every fingering you want"

For me it´s maybe a bit to fresh ;-)

[alltunes]

Reminds me of what Robben Ford says in one of his courses when addressing the subject of string dampening (keeping unwanted strings from ringing). Robben says “you just do it”. There is a lot of wisdom in that statement “you know”.

[rlrhett]

I think the point is that if you play long enough you will likely try every fingering system out there. You will end up with your own way of doing it that won’t feel like a system. But you got to start somewhere. Pick one and use it until you start feeling like there has to be more. Then incorporate another one.


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[AllanAllen]

Yes, Frank says: "there are 100 ways to play a c Major Scale. Do it with every fingering you want"

For me it´s maybe a bit to fresh ;-)

This makes more sense to me. Find the one you like and use it. Then, take it around the 12 keys and learn why the other ones are just as good.

[callouscallus]

If you want the basics of fingerings study Leavitt's modern guitar method. Then when you've figured out how he would play it, and realize that all the other players you like play those some notes in different way's and achieve different effects and tones, alter this method till you get what you like. Picking, slurring, position shifting etc all alter how and where notes are played and the possibilities become endless.
As someone else said, at some point you just need to get on with making music or you become a closet case and never develop.