Jimmy Bruno Guitar Method

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Introduction

The main obstacle facing every guitarist is the overwhelming number of fingering possibilities. After thirty some years of playing professionally I have found these six fingerings for the major scales to be the most efficient. From these six fmgerings all other scales are derived. As guitarists we face too many choices as to where to playa

given note or phrase. It is this phenomenon of the instrument that hinders one's ability to

make sound and hand associations. In other words, IIWhat sound will I get if I put my 1st finger down on the 3rd string, 5th fret, and how does it relate to the note that comes before itor after it; how does it sound against a given chord?

A saxophone player does not have this problem. The fingerings are fixed. After years of using fingering x, y, z, he is used tohearing the same sound. After years of this ~epe1itiveprocess the average saxophone player develops a fairly decent ear and a remarkable technique. Itis this limitless choice facing the guitarist that hinders his development as a musician. The purpose of this book is to eliminate all unnecessary fingerings. Just because it is possible to playa given scale or phrase with fingering "A",

<"8",or

"c"

does not make itpractical.

I have compiled what Ibelieve to be a standard set of fmgerings for the

instrument. Furthermore, the fingerings are as symmetrical as possible. For instance, the ~'-_#~

"m

OllS

d

~

-;,;;,r

tIlescale are~n th,,_~~rp.roughout eachpair of

Theguitar isavery visual in&trument 1believe it isimperative to visualize each fingering until itcan be mentally practiced without your instrument. After a few months, you should be able to associate the sounds with the mental pictures. A pianist, for example, can see each scale and all of its notes. The picture never changes for him; it is repeated approximately 7 times. Below each scale I have included what I call a "mental picture". This is what I see when I look at the fingerboard if improvising from a major scale. It is not a chord grid. It is the fingerboard laid out in the following manner:

lrtS'tring 2ndm-hg 3M st:r.ing 4thst:r.ing Sth~ 6thstring

-

---..J

..

-I have named the six fingerings as follows: The 1stpair - 6V2, SV2

The 2nd pair - 6V 4, SV 4 The 3mpair - 6H2, 5H2 Translation:

6 =starts on the 6thstring

v

=crosses the neck in a vertical direction 2

=

starts with the 2nd finger

H

=

crosses the neck horizontally

For example: 582 means the fingering starts on the 5thstring, crosses the neck

1::mizontally and starts with the 2ndfinger. The horizontal pairs are perfectly symmetrical

o;;;;{"!ijethe other pairs are symmetrical except forthe last few notes. Oncethe six basic

fm.gerings are mastered all this becomes quite obvious. I cannot stress enough the huportance of thoroughly mastering the six basic fingerings before proceeding to the other fingerings. A complete mental picture is necessary before you tryto connect the mental pictures. I have purposely illustrated only two examples (see page 7). To fully ~-p this concept it is necessary for you to explore this aspect on your own. Spelling it

rr:rt defeats the purpose. The same is true if you skip ahead to the other fingerings. Ifyou n:!:dyourself not understanding where the scales are derived from, STOP! Goback ...

-fmgerl~-& "_string 2₈

.

-

,

-

=

-=-

.

-The

Major

Scales

6

=

starting string V= vertical 2= startingfinger

6V2

fI

Vertical Fingerings

2nd finger

0 0 -& .n. &

.,

4 2

2

4 1I 9--10 a:--tO 7- d< ~ 0 4 t 2 I 3 4 1 5

4

3 7' '7 9 10 .

.,

_{8 10}

l&mmg~~~~,--r-r--2nd

stringl-44I~-HItt--l-r--3rd string

t..J-"'~M-;--r-4thmmg

laJ-....

H-;--r-

5ilistrmg~~~-+~r-t--r--

6ili~gl--J4aL~"~~----mental picture

It isimperative that you visualize the scale

5V2 fI -& .n. .~ -I ~-T" I :~

I

& T

t>

2 5 A

-

IV' I IIF ._ "CI _<> ,v

-

IIF [Copyright] 1999 by Jimmy

Bruno

1

Practice Tip

It is important to practice these fmgerings in all twelve keys

.

Below is the recommended procedure.

Key

_Fingering

starting fret.

C 6V2 8 F 5~ 8 Bb 6V2 6 Eb SV2 6

--

-

-

Ab

---

--

-- ---

-

--

-

--.--

6V2 4 --J)1;t __c__ .,_~._'- _ " ~V_2_-~~"--~~--- ----4 _ Ob 6V2 2 B,'_---.,-_'.---.---.--,-·~---S¥2---.-~..--',~---,-'~»' '.'.".---.--._",_" 2,.. __

-{-

-

-

-

-

-

-

-

-

-

-

--

-

'

---

'

-

-

-

~~}

-

-

'

'

-

~

--

-D ~ , , , 5V2_~ .~,_'"~ ~ __

o

6V2 3 C 5~ 3 ...

Practice this until all fmgerings create a mental picture.

Make sure you practice the scales descending as well as ascending .

..

Tryusing the fingerings to solo over n - V - I progressions inallkeys.

Example: Dm7 07 CMa7 use fingering 6V2

Om7C7FMa7 use fingering SV2

em7 F7 BbMa7 use fingering 6V2etc.

-I

•

2

...\:-. 4

J

V

ertical Fingerings

4th

.

finger

...

6V4 -& .0.

"

.

... 6 • J

....

•

~ 1.1 -A.,

.

J

-& 0 ""

"

t 3

"

1 3 1 ~ 4

2

"

x 4

i

os 6

5

3

"

-

-0' 7 _'" 4 5 ~ 6 8

...

5 7 7 ~. _{7 8}

-1

1

l

1

1

1

1

1\ ~

.,..,.

r,r... -=

..

4 1 os 4

a

5 -I 3 ~ X 4 1

-1 x 4 1 os -! 6. - 1 ~ "0' 8 ~ 8 10--12--1 ':--8 ~. 7 8 ..., ..0. -& 5V4

l

l

3

Here's the same thing with the 6V 4 and 5V4

Key

Fingering

starting fret

C

6V4 8 F 5W 8 ~---.---- .--- --- -Bb 6V4 6 Eb 5V4 6 c-N)--- --6V4 - ---

-

4

--

---

-

'

_I)~ ---.. -' 5Y4_~_~__~___ __

-,

,_

4:

-

-

-Gb 5V4. '

L-B 6V4 7 -E SV4 7

--

A

-

---

-

-

--

-

-

--

,

-

--

6\74

----

--

-

--· ..

-

-

-

-

-

-

-

-

-5'

--

-D SV4 S (1'---..-- -5V4

-

-"

io

"

-C .... -- 6V4

g

-

--solo over II - V - I progressions inall keys.

Example: Dm7 G7 CMa7use fmgering 6V4

Gm7 C7 FMa7 use fingering SV4 Cm7 F7 BbMa7 use fmgering 6V4 etc.

~

..

, Horizontal Fingerings 6H2

"

LI -~

"

,,'-

'"

~ ..l

e--

--...:.T U '-"' 2 4 1 2 ;G 4 -r

6

5 ;G ₄ 1 .t ;G 3 4 1 a 2 4

E

a

7 8 9

-

10---12 1 10---12-1Q--1Z ~ 10---12-13

-I

I

J J

1,-.1-5H2 5

Here's the same thing with the 6H2 and SID

Key Fingering starting fret

C 6H2 8

-

---£

im.

.---

-

-

-

-

.

-

-.-

-

-

8

-

_

-Bb 6H2 6

.

E

.

"

..

.

.

__

._._

..

. _. _

5H2 ._ _____ _ __" 6__ Ab 6H2 4 ,.._J)b ..__~.. h ~~ "'- 4.. Gb 6H2 2

_

It

5H2 ...

4

"

_

E 5H2 7

--

-'X

---- -

--

----

-

-

-

-

-

6H2--- ..--

-

5

D

5H2 5 G 6H2 3

C

5H2 3

solo over II - V - I progressions in all keys. Example: Dm7 G7 CMa7 use fingering 6H2

Gm7 C7 FMa7 use fmgering 5H2

Cm7 F7 BbMa7 use fingering 6h4 etc.

.:leTthese six fmgerings have been mastered you are ready to connect from one picture to the next.

'::henext section of this book does not makeany sense, STOP!!!! Go back! You need more practice.

Connections

Here's a few examples using fmgerings SV2 and 6V 4. If you have practiced the previous fingerings, this iseasy . I point out these connections because when improvising you may fmd the need to access different parts of the fmgerboard.

These examples are not meant to be practiced as a scale fmgering but may beused when improvising from the scale.

Here's a descending example that uses three fingerings.

6V2 -& 6V4 ~ 5V2 J

-

-

~ ~ ~

..

.

"

..

c

_

-

-.'...

-~ 4 T 4

"

4 T 4 4 1 1 4 2

T

~ .a-t 2 3

.t

₅

4 2 8 7 10--8 6 5 7 5 4 ,

-5 3 ,

-5

..,

The number of possibilities is endless. The point is to know the six basic fmgerings as well as you know how to spell your name. Since the remaining scale fingerings are derived from these six. this type of connection is possible with any scale.

If you want to see these connections in action refer to my Hotlicks video' "No Nonsense Jazz Guitar. tt

The Dorian Scales

from6V2 .0. -e .0..

"

-

0 -9-0 iI\ e

.:.

,

0 n ~

;>

3 4 1 3 4 2 4 1 2 -4 0 1 2 .t

₄

3

2

1 6

5

To create a Dorian scale start a Major scale on the second note and keep the fmgering the same. The example below is taken from major scale fingering 6V2 ("e" Major in this example) but the fIrst note is omitted. This produces a Dorian or minor 7th scale.

;

,---10 7 8--10 7----.r---10 7----.r---10 8 10 7-~--8~--·1· =1

from 5V2

!Ef

;)

&;

Ii

7

;

_~

;-

-9- ~.o.

-e .0. -9- .0.

.a-5

4

3 3 4 2

1

1 1 3 4 4 -10 7-8 10 7----.r---10 8-1a---.-11 8-1Q----12--13 15

I

IfI take fingering 6V4 and start on the 2nd noteIget the following fingering (see example 1). example 1 f\ ."-~ J ~ '-~ v

=

~ "~ u "-" 1 3 .\ 1 ~

a

,

5

.t

"-

"

-1 2 "- 4 11 t:S ~ 4 10--12- -9--10--12 S---1o--12 10--12--13 -1" 10--12--13 eliample 2 4}

Inorder to keep the pattern of 6th string-5th string intact, take the

fingering from example 1 and start it on the 6th string (see example 2). The fingerings are identical except for the last note.

On the next page the pattern isrestored starting with fmgering example 2.

0 n 0 ,. ...

.,

0 ~

-e

..0. .a- n .{ 1 3 1 5 2 'I 1

.t

2 3 'I 21 3 'I 1t

t

Q

_{, 0} ~ t G 11>--12---13 1{)---12 9--11>--12 9 10---12 10---12-13

'

g

from 6V 4 but starting on the 6th string -e- .ll

1

*0

0 n

r ': i

i ~

r ; ~ ~ ~ ~ ~

1 34₅ 4 3 2 t

I

6

I

u

I

.

ft

E

"

9 ~ ~ '~ .. -" '_.'. i~ , from 5V4 10---12

Horizontal Dorians

These are derived from the Horizontal Major Scale fmgerings.

[~ LI ....u:.

_""

~ ~ V -..::T ..;0 oJ 4 1 2

"

4 I 6 5 4

.t

4

a

~ 4

2

t:S 4 1 t 11'\. 7 8-10--1 ... -;:,- _10--12- 10---12 10---12 - 10-Q 13 -fI _I ~

.,

.... ~ I ,"' -. "-'" l ~1

5

I

"

~ ~

..

4 _i'

"

4

2

q 3

"

t 4 1 , t:S ~: t 4 4 t: L :--10--12 13 10--12-9--10--12 10--11 13 10--12 13 15

-The Mixo-Lydian Scales

The easiest way to create a Mixo-Lydian scale is to add the three diatonic tones below the root of the parent Major scale. In this case Iwant to create "C"

Mixo-Lydian. "C" Mixo-Lydian is the 5th mode of an "F" Major scale; therefore, I will add the three notes "E", "D", and

"c"

below the "F" Major scale. When I get to the note "F" Iuse fmgering 5V2 ("F" Major) and stop on the note

"c."

"

5

f~

~ ...II ~

p

n

-~ \7 L..

...,.

-&

-e-I

-

~

!

•

'-J -v

"

15 2 -4 jI

"

4

a

;i -4 1 ;i 4 1 2 _t

E

7--a-tn- 7---8~ -1o-7-9--10 8 10--11 - 8-~~-1 1v -6H2

"

J

.,

I ~ - ~ ~ _'" 'tP' y .~ v II: ....

-@5 2 4 1

"

: 5 j <I I

"

4

I

3 1 ;-s

..

2 T T

i

t

"

-4 ( -j ~

!

,q _-I'_r !I , _/ , , 8 8---10--11 r----8-- 1C- 7·---8 10 7---8·· ---10 10---11 13

-,... .I

•

~ l...L r'\ ~ ~ n ~ =

-

~ e- u

..

,

'-'" v~ -1 1 3 -1 I 3 4 -, 6 5 4. I ~ ~ 3 21 ~ 4 I ~ t ~ 4'

-L=

-

5 -8 7--8 -5 7 8 5 7 " 6 8 5- 6

8--

-

-I~I~I

1

:

1

T

----;

.

.."..,

.

.-.

...

-6V2

Horizontal Mixo-Lydians

6H2

-

~e-p

o

bn

0 '-'" 0 0 n

'""

n 0 ~ e-2

"

1 2 4 1 2 G 5

"

2 4 1 2 4 3 12 ~

'"

8-10 7 8-10 7 8-10--12 9---10--12 1(}--11-13 I

This fIngering is derived from the above fingering but starting on the 5th string.

The fingerings are identical.

b

-&

"

-

loa..

0 0 e- .n. 4 1 t 4

l

in

~) b

_i

₇

~

Ii

I 2 , 5

"

3 ! ;, j ~8-10 7-8-10 7-8-10---12 10--11 13 10--11-13

I

The Pure Minor

S

c

a

les

To create a Pure Minor scale add the two diatonic tones below the root of the relative Major scale. In this case I want to create "A" Pure Minor.

This is the 6th mode of "C" Major; therefore, I will add the two notes

liB"and "A" below the

"c"

Major scale. When I get to the note "C" I use fmgering 6V4 ("C" Major) and stop on the note "A"

,.., L ...IJ 1"~. ~ ~l.l ~ = e- u e-

?

•

~ ..., 1 3

"

3

"

T -;j

3

6 5

.t

~ 4

!

~ -4

1

L _{-s- 7} 5 7 -8-5 -4 S --·7 -5- 8_-5- R-7 ·6' l 6V4 5V4 ,..,

•

•

~ ~v n -e- I

I

"

l'

,

.,

~ '-" 3

"

1 ;j 4

3

I 5

.t

OJ 1 ;G 2 4

i

~ I 4 4 j I 'i r---S·--7 -- ·8 -5--7-.---8 5 7 5 -.6 8 5 -6 8 1 0---l ..~.

Pure Minors

_{-- \ I ,\}

I" ,", "

"~, • ...1.. eli' '''-1- / ~~~g}lF4J. '-0 c.... '.

-These fingerings use scale

fragments from two different vertical major scale fingerings.

"

I

--"

'-'-.

'"

I

..

'~ ~ -& U -& u '-'"

"

1 2 4 1 2 "'4 ~ ;s 6 5

"

4 1 if 2 4

1

"3'

I

-I _{2--3 -- '5} 2--3 5 2--4 5 3 5 6 3-- ' 5---' 5V2 5 6H2 ~

•

r,~ -

.,.

'-'-.

"

'" t, U I' "-'"

"

1 2

" 3

~ 5

"

4 1 if

"

2 1 ;j 4 1

"

4 i

I

2--3--5 3 5 3,--5 2--3 6 6 8--1: r----5 5

The

Harmonic Minor

S

cales

Raise the 7th tone of the Pure Minor scale one half step

f\ L ..~ l'

'"'

. ,",-IT f. -.::::: ~....,. .a- U .a- u .a-t 3 4 1 3 4 ;G a 1 -6 5 .t 3 ~ 4 ~ I-a

1

2 4

L-C=::.:;

7 --A 5 7 --6-. -~7 4 5 -5- 4 8 -7- 6

5-"

,

....,_" tl rio ~ ~ ~ -e-f. u

..

v'-' "-" "'" t 3 4 1 a 4 5 .t 4 a 1 3 2 ~ 4 T ;.;: t a --1; 1---5 5 '6' -5- -S-9--1G 7 --u8 5..---7---8 '1)- --7- 8 --I -i

V-.

f

I i ;- --i - -! ~

:po

?

S

c ( ~

r

~ -> .~

/>

Harmonic Minors

4th Finger

.\ 1

.t

2 e- U -& 4 1 2

6

5

1 ,~, ,---2-4--5 '.8 5 6 4 5==---1 2-3 -s ,'2-3

rei

-

I

5 ,i.... 1

.t

2

!

Horizontal Harmonic Minors

1\ I. '\. '-~

6--

fI'_ ~ U 6-

r

" 1 3 .t 3 .t T I

.,

.t

4 I ;-j 6 5 3 4

2

4 -5 7 _0- 7 8 '1)- 7--g---1: 7----9-- 10-~ 1 0---I 1'1

'"

L..

-

-~ ~ -..::T .. u 3

-"

I 1

.,

4

3

5

.t

1 ;J" 4

-2

;-j ₄

"

-:f t -5 7 "5" 7--8 "6' 7----9--1(} 8 10--11 :3 1: 8

20

The Melodic Minor Scales

For the Melodic Minor raise the 7th tone of the Dorian one half step.

For me this iseasier than making the adjustment from the Pure orthe Harmonic Minor.

'"

•

•

_'"

~ \J t ~

~-& U & 0

...

~ t 3

"

t

"3

TTl ;i ₄ 1 6

5

..

3 :G -I ;t L.... 2 -I

1

:G -5' 7 - "'-4- - "6 4 '1)' 4 5 - 7-5 7-7 7 " ~ .',- .

-"

~ u.

-

,.

••

l"'-., ,

-'-' I =

.,.

_"" - -@. u "

"

1 ;i 1 3

..

₃1

.,

4

2

:G 4

i

1 ;i -4

5

,

-7--9--1~ .' 4,....'-/ 6 Q 6 7 ~ Q - 5--7

-

Q 5 T· / -' / ' -.0.#& .0.

Melodic Minors

4th Finger

f\

,

'\.., t. ~ Jl, ~~

-~ -& U -& u

-

rr 3 'I'r

"

t 2

"

1

a

-1 3 6 5 .t 4 ;G

-4

i

-2

OJ <I L--S 2---3 5 2---4 - 1 2---4 3 S 2---4- 5 5

-

--

-I _1"'1

1"."'1

_T 5 '2--- 3-1 2 .t

Melodoc Minors Horizontal

-~

y

,", ~ _{.a- u}

-

=

~

_~""

-& '-J ..: ~ 1 3 4 t 2 11 4 • 1 1 ~ 6 5

.t

;s _{4 1} 3 oJ 1 2

.,

4 -0' 7 _0- -0 7 -6' w 7--1}---1" -7 <:I 7--1}--- 10

--

-'

"

~ I( IT,

...

-

_""

~

~1

"" '11 3 4 I ~ ~

-5

.t

1 I -3 ~ 4 :G 2 4 1

.,

4 t L -0' 7 8 5 7 1)' 7- 9 10-8--10- 7--1}---10

Conclusion

""--... I hQpe_{this small reference text helps to improve your understanding of the}

fingerboard. Unfortunately, space did not pennit the inclusion of some of the altered

scales. However, all the modes of the Harmonic and melodic scales are easily derived.

For example, the dimlwholetone scale is the Sthmode of the Melodic minor. For a

Pentatonic remove the 2nd_{and 4th degree of any Major. The use of such scales is}

somewhat involved and would probably require a separate book. IF you have questions