Re: Barry Galbraith's Fingering on Donna Lee



Thanks for sharing this. I find Barry's material - the Aebersold books
and chord melody volumes - to be bottomless, and this adds more stuff.
I'm going to checkout his fingering here.

Thanks again.

-- Todd

Gerry wrote:
After having hassled a friend for years over having lost this chart,
among others, I found it inside a music folio I haven't opened in 10
years! That still doesn't account for the others he lost though.

It's quite ugly, since it's a 30 year-old mimeograph. I scanned the
original, then half-assed cleaned the top two staffs, then the
remaining page. I started hand-editing it back into legibility and then
thought, who cares? If you can't figure out what it says somewhere let
me know: I probably remember.

The original scan, and the partial clean will be available for a couple
of days here:

<http://tinyurl.com/mrorf>

In his charts he doesn't indicate position in Roman numerals by fret as
in classical repertoire. Instead he indicates the string number for a
note and the finger number. Then all the rest is logical relative to
that location until you have to shift. His dictum was "if you find
yourself running out of room and have to shift up or down, it means you
should have shifted two bars before." So in his charts he
overwhelmingly indicated either 1-1 or 2-2: He believed that in reading
you should shift with your first or second finger, except under limited
circumstances, and that you should be shifting, or sliding, a single
fret at a time. "What about this clear need for a whole step shift?" I
said. "You should have shifted a half step back there." And so forth.

There are a number of places in this chart where circumstances demand
he indicate other fingers for clarity, since there are 5-fret stretches.

Initially I had asked him about diagonal shifting, where one shifts up
and over (or down and over) for each string. He asked, "You mean like
a diminished arpeggio?". I said I didn't play diminished arpeggios like
that and so Donna Lee was the next tune we worked on. The diagonals
are indicated in the the fourth bar from the end.
--
What a day this has been, what a rare mood I'm in.

.



Relevant Pages

  • Re: Lesson: Flowing through chord sequences
    ... I didn't say there was a position shift within the position, I said that the shift was the RESULT of moving one's hand within the position as opposed to stretching. ... 2nd position, while the D above that is in 3rd position, meaning that it must be played on the 2nd string, 3rd fret, with the 1st finger. ... The 1st finger plays anything required in the 2nd fret and may have to stretch in order play notes in the 1st fret. ...
    (rec.music.makers.guitar.jazz)
  • Re: Carlevaros default shifting technique
    ... finger, ... but the guide finger scale is very noisy and the ... Carlevaro shift isn't. ... a legato scale on one string without guide fingers, ...
    (rec.music.classical.guitar)
  • Re: Lesson: Flowing through chord sequences
    ... stressed to me that they could all be played without any stretches at ... You can't have a position shift within a position. ... followed by the next note on the 3rd fret with the first finger. ... take the G form A major scale: ...
    (rec.music.makers.guitar.jazz)
  • Re: Carlevaros default shifting technique
    ... finger, ... but the guide finger scale is very noisy and the ... Carlevaro shift isn't. ... very accomplished player, in which case it lets you play ...
    (rec.music.classical.guitar)
  • Re: What interests guitarists
    ... want to play that a lot). ... them is that they don't realize that it not usually the shift that's ... Sometimes ringing strings ... once the finger leaves the ...
    (rec.music.classical.guitar)

Loading