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I’m pretty sure it has already posted, but I can’t find it.
what are the main fingerings for scales and arpeggios using the three fingers technique (a la wes)?
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09-27-2024 07:56 PM
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This one is for the common fingering that puts the tonic on the same fret for strings 1 and 6. Each of the three fingers has six places (representing the strings where parentheses indicate two possibilities pending what another finger is doing).
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Can't understand.
If I want to play a C major scale from the C on the 6th string, what is the fingering?
(even if I believe I have to think in a more diagonal way and not vertical....)
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Originally Posted by gianluca
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Originally Posted by charlieparker
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Three finger technique can also be better biomechanically. Your fingers move faster when flatter and with motion from the big knuckles. Curved fingers are slower.
Try sticking your hand out in front of you in a relaxed state and wiggle your fingers then try curving them like you want to play the high e string with the tips of your fingers and see the difference.
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As for fingerings, for the record, the 4th finger is used sometimes. I dont think this would be codified but probs 1st finger stretches and slides and playing more from a CAGED shapes as opposed to 3NPS would be the ticket
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A better system is to learn the scales and arpeggios using your pinky, but don’t force it when playing.
You don’t want to learn someone else’s handicap, reminds me of those guys who tape their pinky and ring finger to be more like Django.
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Originally Posted by MarkRhodes
and he teachs how to go forward but not backward, which is the less intuitive way to me…
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Originally Posted by AllanAllen
I think to it as a plus, not an handicap…
it’s just a guessLast edited by gianluca; 09-29-2024 at 07:58 PM.
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Originally Posted by gianluca
Any way, I don’t think it’s anything set in stone or a system. Wes most likely learned the arpeggios the same way we did and just played them on the fly. I’ve never heard that Wes was a shapes player, like Charlie Christian, you learn his lines and you can see the arpeggio he’s outlining.
I haven’t learned much Wes… maybe none actually. So maybe I’m wrong.
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Originally Posted by gianluca
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Not a jazz book but this might be helpful Amazon.com
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Originally Posted by gianluca
I’m not really someone who has ever studied fingerings from books, so it doesn’t always occur to me to do that sort of stuff.
However - I do provide some specifics of fingering well known bebop heads and I have tabbed out examples in the pdf handout (paywalled)
Sent from my iPhone using TapatalkLast edited by Christian Miller; 09-29-2024 at 03:10 PM.
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Originally Posted by AllanAllen
(It’s same sort of stuff in a different way working on Holdsworth. Except with him there’s no other way than his fingerings quite a lot of the time so it’s process of elimination.)
And when it comes to non guitar stuff you have more options on how to approach stuff.
You have endless people obsessing about variations on right hand technique but as soon as you make a suggestion about exploring other left hand approaches everyone turns into a classical guitar teacher from 1964 or something…
(I mean I’m like that when teaching seven year olds, but we are presumably adults now? Do we really think George Benson would have been better had he had classical left hand? He would, I’d argue, have played different.)
I feel I’ve learned a lot by looking carefully at the way my favourite players play. But I understand if people feel overwhelmed about learning things different ways when it’s hard enough to do it one way.
I was half joking the other day with a student that I should just play with three fingers and downstrokes…. But the thing is when I play that way it does sound better haha. It is vibey and I feel it swings more even if it’s a little more limited.
But I’ve been ruined!
We all want to do the fancy stuff…
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Here you go.
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I also think people on the forum focus too much on scales in position. I’m not saying don’t do it - but more that jazz lines don’t much resemble scales in position.
Also - you may want to explore using different fingerings going up and down scales.
Sent from my iPhone using Tapatalk
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I sort of feel the same way on right hand technique. Figure out a few things, then when you play just play and don’t force it.
I’m also 41 years old with an hour to practice on good days. So purposely making things harder is the opposite I want to go.
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Originally Posted by setemupjoe
but, when I see wes ore george live playing I think they have a different mental approach to fingerings, not vertical but orizontal.
and
if i try to play my usual routine (sequences of 4 or 6 notes gabc abcd bcde and so on) I have to do a lot of innatural move that I never see wes or george do…
?
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Yes, these fingerings don’t answer your question of how players like Wes and Benson move around the neck. It’s not explained by simply using a three finger approach. The answers are not easily condensed down to a few sentences. If you’re looking for information Peter Farrell’s videos on YouTube will point you in the right direction.
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Originally Posted by Christian Miller
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Originally Posted by Christian Miller
What I'm saying is that 3 finger/thumb over technique is just as biomechanically advantageous with the neck positioned parallel to the ground as classical position for low tension fast playing. Just another approach, maybe even a more advantageous approach (Benson, Martino, Bernstein, Cecil Alexander, Lucian Gray)
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Originally Posted by pamosmusic
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Originally Posted by bediles
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Originally Posted by pamosmusic
You going to learn melodies on string pairs? Or technical stuff?... 2 note per string 7th arps? Triad pairs? Scales?
Bebop Scales — Barry Harris half-steps
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