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Scale sequence fingering (B and G string)

PosterBoy

Member
Messages
3,216
It's always given me a little trouble going from the g to b string and b to g string when doing sequences so I decided to focus on them today.

Which do you think is the best way to drill it into my fingers, with slides or altering fingering to change position. I know there isn't a right or wrong way but wondering what others opinions are.

 

leighianson

Member
Messages
1,884
I don't think you can really have one way for all scenarios, as it really depends on the song. For the example above i would use the slide as it happens on the last semi quaver of beat 2 which would make me emphasise beat 3 and probably keep me in time better.
 

Neer

Silver Supporting Member
Messages
12,733
This is hard for me to describe, so I'll give it my best shot:

In your first example, the block you have highlighted, I might play those notes this way:

------------------------------------
------------------------------------
---11---9---7--------9---7---------
----------------11-----------11---9
------------------------------------
------------------------------------
 

buddastrat

Member
Messages
14,689
Do it all ways you can think of, and don't get locked into one way. Try to even play the whole thing Django style (two fingers) and you can hear how different it sounds. It's cool and in a way, it simplifies things and you can go mighty quick and get a new sound from that plain old sequence.

or maybe purposely leave out the pinky, plenty of guys do and it sounds good. Things like this add up to one's approach and phrasing.
 

stevel

Member
Messages
15,177
I actually won't do the double 3rd finger across the bar as your examples 1 and 4 have. I would use my 4th finger on the first note of the 2nd measure in both cases.

I have no problems with your first example, but personally I'd position shift somewhere else to put myself into a more comfortable scale position (though maybe I need to force myself to do things that are less comfortable too!).

In your second example I'd never do that position shift unless I specifically wanted to move positions. I'd play the D (3/7) on the 12th fret of the 4th string and stay in position instead.

Third example is the same.

4th example, I do actually do this, which is a type of "piano fingering" (compressing the distance) but again, usually I don't play in a position like this.

If I HAD to start on the D, I'd more likely do something like this (in your pattern):

Code:
-10-9-7-----------------------------------------------------------
----------10-9-7--------------------------------------------------
-------------------9-7------------------------------------------
------------------------11-9-7------------------------------------
---------------------------------11-9-7---------------------------
------------------------------------------10-(9-7)------------------
But it would be far more comfortable as:

Code:
-10-9------------------------------------------------------------
-------12-10-9-----------------------------------------------------
-----------------11-9--------------------------------------------
-----------------------12-11-9-------------------------------------
---------------------------------12-11-9---------------------------
-------------------------------------------12-10-(9)-----------------
But I agree with Buddastrat - do all the ways you can think of!

Steve
 

PosterBoy

Member
Messages
3,216
I'm focusing on the 7 positions and moving between them and joining them up, so I will find other fingerings, I just want to get them drilled into my fingers and muscle memory.

Thanks for all the comments, they've been helpful.
 

dustinblatnik

Member
Messages
58
I'm focusing on the 7 positions and moving between them and joining them up, so I will find other fingerings, I just want to get them drilled into my fingers and muscle memory.

Thanks for all the comments, they've been helpful.


A lot of the positions seem difficult at first, but they get much easier after a couple thousand hours of practice :)
 






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