This book is a continuation of Volume I, Modern Method for Guitar. Most
of the terms and techniques are directly evolved from material presented
there. For example,
the entire fingerboard is covered at once in the five
position C Major scale study. This is accomplished by connecting the four
basic (types 1, 2, 3, 4) and one derivative (type 1A) fingering patterns that
were, hopefully, mastered from the first book. (The sequence of finger-
ing types will vary from position to position up the neck, depending upon
the key. )
Study all material in sequence as I have tried to relate, as much as pos-
sible, all new techniques (physical and
theoretical) to something already
All music is again original and has been created especially for the presen-
tation and perfection of the lesson material.
Please be advised that the pages devoted to theory are not intended to re-
place the serious study of this subject with a competent teacher, but only
intrigue the more inquisitive student and maybe shed some
light into the mysterious workings of music for guitar players in general.
As before, good luck and have fun.
William G. Leavitt
ALL SCALES (MAJ. and MIN etc. ) WILL BE DERIVED FROM THESE FOUR
BASIC MAJOR SCALE FINGERING PATTERNS. ULTIMATELY 5 MAJOR KEYS
WILL BE POSSIBLE IN EACH POSITION WITH TYPE 1 AND ITS' FOUR DERIVA-
TIVE FINGERING PATTERNS - 1A, 1B, 1C, AND 1D. THIS SAME FACT APPLIES
TO TYPE 4 WITH ITS' DERIVATIVES 4A, 4B, 4C, AND 4D. FINGERING TYPES
2 AND 3 HAVE NO DERIVATIVE MAJ. FINGERING PATTERNS.
((S) = finger stretch )
(F MAJ. ASCENDING)
(OBSERVE THE FINGERING - NOTE COMMON FINGER(S) BETWEEN MOST FORMS)
Make the upstroke sound as much like the downstroke as possible by
favoring the lower strings with the returning upstroke of the pick. There
will be a slight natural accent on beats 2 and 4 because of the downstroke
hitting the heavy strings first - but this is good, as it is comparable to the
drummers use of the hi-hat cymbal on these beats.
(G Maj. Ascending)
MOST OF THE CHORD FORM PAGES FR