Improve your Fingerboard Knowledge and Sight-Reading Technique

Classical Guitar technique: studies, scales, arpeggios, theory
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Fretful
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Re: Improve your Fingerboard Knowledge and Sight-Reading Technique

Post by Fretful » Sat Nov 17, 2018 12:17 pm

PINNING THE MIDDLE “C” TO THE BOARD:

Remember that, as in all other sets, only three notes in only three positions need to be memorised, but memorised they must be.
In the following, carefully consider the positions and string choices, paying particular attention to the Middle C’s relations to the open strings ②, ③, and ④ (Ⓑ, Ⓖ, and Ⓓ).
Pinning Middle C.jpg
And further:
PINNING MIDDLE C - 2-4, 3-4, 4-4, 3-8,6-8, 9-8.jpg
POSITIONAL REACHING:
Play through the next exercise and then decide:
in which other positions could phrase (A) be played
which (of all possible positions) would be the best position for phrase (B)
which would be the best position for phrase (C)

PINNING MIDDLE C - Positional Reaching.jpg
Some positionings at (A), (B), and (C) are obvious, each being determined by the requirements of the notes marked with an *

At (D), however, the player (or transcriber, or editor) may have chosen - for whatever reason - to split the phrase between two positions, using the opportunity of an open string to make the shift

At (E), three positions have been chosen; this might be regarded as perverse but this is where the joy of combining instinct and artistic choices come into their own once fingerboard knowledge has been absorbed; at this stage, the player’s thinking will be “conscious” - and that’s as it should be - but a time will come (when enough work has been done) when these decisions become the result of sheer musical reactions and technical reflexes; that is when sight-reading becomes a real thrill

At (F), the markings are deliberately far-fetched but give an indication of just how versatile the fingerboard is, and how nearly infinite one’s choices can be (see the “note” re: Bream/Williams on Public Space).

Occasionally practice the following as a reminder of fingering similarities across the board, with the one exception of the G and B strings pairing:

SAME PHRASE - diff. pos. - same fing. exc. 2&3.jpg
Next: Pinning the Middle “D” to the Board
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Fretful
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Re: Improve your Fingerboard Knowledge and Sight-Reading Technique

Post by Fretful » Sat Nov 24, 2018 2:43 pm

RELATING MIDDLE “D” TO THE OPEN STRINGS (B - G - D):
Only strings indications and a few positions have been given; without looking BEYOND the next exercise, see how you would finger it so as to be as legato as possible while using a minimum amount of hand moves:

PINNING MIDDLE “D” (relating to open strings):
PINNING MIDDLE D - relating to open strings.jpg
Next, the above exercise has been reprinted with fingering and positional suggestions (be aware that there are many other possibilities for you to explore!); the priority here has been given to sonority, i.e., keeping each phrase either on the same string, or using a combination of two strings in positions where they share a texture; this is something which would not be expected to be the result of sight-reading per se until an advanced stage is achieved, but is nevertheless a useful discipline to aspire to, even at this stage (observe the change in notation values in Bar 17 and adjust accordingly!):

PINNING MIDDLE “D” (fingerings suggestions):
PINNING MIDDLE D - fingerings suggestions.jpg
PINNING MIDDLE “D” – further:
Pinning Middle D.jpg
PINNING MIDDLE “D” (minor) NO OPEN STRINGS:
PINNING MIDDLE D - minor (no open strings).jpg
PINNING MIDDLE “D” – Bach:
PINNING MIDDLE D - Bach.jpg
If the alternative fingering given for the final dominant chord of A Major (below the stave), using finger 3 for the bass “A” on ⑥, is too much of a stretch, use the fingering above the stave with an open Bass “A”. It is for you to judge where you are in terms of general technique and worth considering stretching exercises (see note on stretching in the Preface to Pinning Middle “D” on Public Space).

Next: Pinning the Open “E” at 0 on ①, V on ②, and IX on ③, TO THE BOARD
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Fretful
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Re: Improve your Fingerboard Knowledge and Sight-Reading Technique

Post by Fretful » Sat Dec 01, 2018 12:01 pm

PINNING OPEN “E” at 0 ①, V②, and IX③, TO THE BOARD:
PINNING OPEN E - @0 on 1, etc..jpg
Next, explore how a melody can easily be played in different positions; when reading new material, always explore different avenues; an instinct for making choices will develop:
PINNING E - (chanterelle).jpg
“Nurses run” presents difficulties as, in the second half (for obvious reasons), the phrases are unpredictable, requiring even more concentration; the change to position VI for bar 51 will be disconcerting, take some time to analyse position VI (B, G, and D strings):
PINNING CHANTERELLE (Nurses run).jpg
This haunting Paganini melody takes us back to making different choices for the same phrases;

making choices in advance (*) requires a great deal of experience; not too much of a problem for bar 6, or for the penultimate bar, but where the others are concerned, it is something to be aimed at and hoped for rather than taken for granted:
PINNING E - (Paganini).jpg
Next : PINNING THE “F” at I on ①, at VI on ②, and at X on ③, TO THE BOARD
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Fretful
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Re: Improve your Fingerboard Knowledge and Sight-Reading Technique

Post by Fretful » Sat Dec 08, 2018 11:53 am

PINNING “F” at I on ①, at VI on ②, and at X on ③, TO THE BOARD:
Pinning F @ I on 1, @ VI on 2, @ X on 3.jpg
PINNING “F” on ① ② and ③:

"For the Lost Soul of Segovia’s Hauser"

Positions VI and VIII will feel unfamiliar to some; you may find the exercise which follows “Lost Soul” useful (and wish to extend on it); it is reproduced here (for interest only) from one of the appendixes to the course (see note on Public Space):
PINNING F - For the Lost Soul.jpg
PINNNG “F” on ① ② and ③ (Appendix):
PINNING F - on 2 and 3 - Appendix.jpg
Next: PINNING THE “G” at III on ①, at VIII on ②, and at XII on ③, to the board
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Fretful
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Re: Improve your Fingerboard Knowledge and Sight-Reading Technique

Post by Fretful » Sat Dec 15, 2018 11:47 am

PINNING THE “G” at III on ①, at VIII on ②, and at XII on ③, TO THE BOARD:
Pinning G at III on 1, atVIII on 2, at XII on 3.jpg
PINNING THE “G” at III on ①, at VIII on ②, and at XII on ③ further:
PINNING G - on 1,2,3 - further.jpg
If ever in doubt about the whereabouts of a note, it is always a good idea (at this juncture) to relate the note to the open string:
PINNING THE “G” at III on ①, at VIII on ②, and at XII on ③ Relating to the open strings:
PINNING G - on 1,2,3 - relating to open strings.jpg
PINNING THE “G” at III on ①, at VIII on ②, and at XII on ③ Exercise:
PINNING G - on 1,2,3 - exercise.jpg
Next: Pinning the Soprano "A" on 1,2,3
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Fretful
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Re: Improve your Fingerboard Knowledge and Sight-Reading Technique

Post by Fretful » Sat Dec 22, 2018 12:13 pm

PINNING “A” at V on 1, X on 2, XII on ③TO THE BOARD:
PINNING A - on 1, 2, 3.jpg
PINNING “A” on ①, ②, ③ - further:
PINNING A - on 1, 2, 3 - further.jpg
Next: PINNING “B” at II on ①, at XII on ②, and at XIV on ③ TO THE BOARD
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Tim22
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Re: Improve your Fingerboard Knowledge and Sight-Reading Technique

Post by Tim22 » Sat Dec 22, 2018 6:34 pm

I think this is going to be useful for me. I can see that there are differences of opinion about the best way to learn the position of all the notes on the fretboard, but I'm sure everyone would agree that, whatever method you choose, it is a worthwhile exercise, otherwise we all have to spend life in the first position. My own fretboard knowledge is gradually improving, through playing pieces that neccessitate moving to higher positions, but I think a few dedicated exercises might speed the process up. I'm going to give it a try.
Tim, in the UK, playing an Almansa 434.

Fretful
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Re: Improve your Fingerboard Knowledge and Sight-Reading Technique

Post by Fretful » Sat Dec 29, 2018 12:14 pm

PINNING THE SOPRANO “B” at VII on ①, at XII on ② TO THE BOARD :
Pinning B at VII on 1, at XII on 2.jpg
PINNING SOPRANO “B” on ① ② further (Play first in the given positions, thereafter use positions ad lib (every time the Soprano “B” is about to be played, anticipate it by singing and naming the note):
PINNING SOPRANO B on 1 & 2.jpg
PINNING SOPRANO “B” at XIV on ③:
PINNING B @ XIV on 3.jpg
Next: Revision from ① to ⑥ and from I to XIV
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Fretful
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Re: Improve your Fingerboard Knowledge and Sight-Reading Technique

Post by Fretful » Sat Jan 05, 2019 11:59 am

REVISION FROM ① to ⑥ (Introduction):

Start playing the following at Position II:
REVISION - 1 to 6 - INTRODUCTION.jpg
Taking the introduction as example, work on the following so as to locate the best places to shift from one Position to another; look for “extremes” on the stave and practice how best to anticipate shifts while remaining - in terms of movements - as economical as possible;

three definite areas (bass - alto - treble) are easily detectable in the exercises and their anticipation will also help in deciding on the most suitable moments for position shifts:

REVISION FROM ① to ⑥ and from I to XIV:
REVISION - 1 to 6 - I to XIV - page 1.jpg
REVISION - 1 to 6 - I to XIV - page 2.jpg
REVISION FROM ① to ⑥ and from I to XIV – further:
REVISION - 1 to 6 - I to XIV - further.jpg
Next: as above, but with suggested “best”(*) fingerings, Positions, and Shifts
(*)”best” being, of course, somewhat arbitrary … the best fingerings, etc., always being the ones you like best, provided they work!
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Fretful
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Re: Improve your Fingerboard Knowledge and Sight-Reading Technique

Post by Fretful » Sat Jan 12, 2019 11:50 am

REVISION FROM ① to ⑥ and from I to XIV – with fingerings and positions:
REVISION - 1 to 6 - I to XIV - fingered - page 1.jpg
REVISION - 1 to 6 - I to XIV - fingered - page 2.jpg
REVISION FROM ① to ⑥ and from I to XIV – further:
REVISION - 1 to 6 - I to XIV - further.jpg
END OF PART ONE

Next: Part Two: Intervals
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Fretful
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Re: Improve your Fingerboard Knowledge and Sight-Reading Technique

Post by Fretful » Sat Jan 19, 2019 12:12 pm

PART TWO

THE INTERVALS

(See PREFACE TO CHAPTER ON INTERVALS on “Public Space”) before starting on this part of the course)

An understanding, as well as an aural perception of intervals, considerably helps sight-reading.

The most natural interval on the guitar is the Perfect Fourth; it is the way the ascending strings are tuned (except for the interval between the G and B strings which is a Major Third). Since the frets automatically produce Perfect Fourths, we can deduce that any barré, anywhere on the fingerboard, and across any combination of two adjacent strings (other than the G and B strings) will produce Perfect Fourths.

Study and memorize the graphic shape of a Perfect Fourth on the stave, variously fingering and playing each interval in at least TWO positions (except for the Perfect Fourth formed by ⑥ and ⑤ which only exists in one position - four of the other Perfect Fourths can be played in FOUR different positions):
PERFECT FOURTHS - Graphic Representation on Stave.jpg
and familiarise with its sound (the third movement of the Aranjuez Concerto starts with a Perfect Fourth!):
ARANJUEZ - Perfect Fourth Opening.jpg
Note: the discrepancy between the Perfect Fourths as illustrated respectively in the “Graphic Representation” and in the “Aranjuez” examples above results from the fact that the former is in C Major (therefore F-Bb) whilst the latter in in D Major (therefore F#-B)

Next: Exercises in Perfect Fourths
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Last edited by Fretful on Sat Feb 02, 2019 11:42 am, edited 1 time in total.

Solista
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Re: Improve your Fingerboard Knowledge and Sight-Reading Technique

Post by Solista » Sun Jan 20, 2019 2:00 pm

Thank you for your sharing

edward_z
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Joined: Sat Jan 26, 2019 12:45 am

Re: Improve your Fingerboard Knowledge and Sight-Reading Technique

Post by edward_z » Sat Jan 26, 2019 6:23 am

Thanks for you great work. I will try to follow your approach and see how it works.

Fretful
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Re: Improve your Fingerboard Knowledge and Sight-Reading Technique

Post by Fretful » Sat Jan 26, 2019 8:26 am

EXERCISES IN PERFECT FOURTHS :

Recognising an interval’s pattern on the stave, as well as being able instantaneously to recognise its sound, are extremely useful skills which, combined, trigger reflex actions which (eventually) automatically guide the fingers to configure themselves appropriately (in the same way that reading a text will trigger the thousand and one muscular movements activating and co-ordinating vocal folds, larynx, epiglottis, tongue, soft palate, cheeks, and lips) ; the slightest deviation will produce an immediately detectable accent which, translated into music sight-reading, would be the equivalent of a fluff or a mistake.

Play these Perfect Fourths at the indicated positions, using either a partial barré or any combination of two fingers; occasionally slightly arpeggiate the chords to hear the interval more easily and take the opportunity to sing the interval so as to recognise its sound:

PERFECT FOURTHS – Positions Marked:
PERFECT FOURTHS - Positions Marked.jpg
Play them again, making your own choices of positions, barrés, or finger-combinations (if any note of a chord is not familiar, locate the note which IS familiar in the knowledge that the other note will be at the same fret on a higher, or lower, adjacent string (except where the G and B strings are involved; do not use the combination of those two strings at this stage):
PERFECT - FOURTHS - Positions NOT marked.jpg
PERFECT FOURTHS – exercise (see Preface on the Public Space Forum):
Some imaginative fingerings will be required here regarding the choices between playing the Perfect Fourths either with a half barré, or with a combination of two fingers:
PERFECT FOURTHS - exercise.jpg
Next: The Perfect Fourth as formed by the combined G and B strings
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alexgmcm
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Re: Improve your Fingerboard Knowledge and Sight-Reading Technique

Post by alexgmcm » Mon Jan 28, 2019 2:19 pm

Also subscribed.

Thank you for such useful material :)

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