Guitar finger patterns CAN be a "crutch!"

[Gary Guth]

Patterns exist in music in many forms, and when it comes to improvising, patterns are an important element. The very scales/modes used can be described in patterns. Chord formations follow certain patterns. Being aware of these patterns, and knowing how to make use of them in the creative process is a very important skill.

However, having said this, I have been lately trying to at least partially "UN-learn" my reliance on FINGER patterns (in my guitar playing, violin playing, and any other string instruments) while improvising. I have decided that since it was relatively easy to memorize patterns of frets and strings (fingering patterns), I became stuck in that rut for a number of years.

Yes, I am the first to agree that the logic found in the PHYSICAL layout of finger patterns can be a great ADVANTAGE to string instrument players, and yes, MAYBE the word "rut" is not the best choice... But my point is that I have lately been trying to develop as a musician in ways that have been made more difficult due to my reliance on PHYSICAL finger patterns. I feel that I have placed myself at a DIS-advantage for a number of years, and feel that even with those certain advantages afforded to guitarists through the use of finger patterns, this has actually been detrimental to my improvisation process.

My first challenge, was to re-think the manner in which I practice my scales. I used to practice, lets say, 2 octave major scales, in all keys, simply by playing a specific memorized fingering pattern in one fingerboard position, and then each of the other positions until all keys were played.

In a sense, though, this really is just playing ONE scale! (One scale played, and then the same scale again an inch or two to the right, and then the same scale AGAIN, an inch or two to the right, etc., etc...)

Now I am able to fairly easily play ALL keys in EACH position. I have been trying to develop my EAR so that it finally will catch up to my fingers!!! I wish I would have LEARNED this approach from the start! It is more like a sax or trumpet player must be able to function. More like a pianist also. Pianists do have some great pattern advantages laid out on their keyboards, but when it comes to scales, and improvising, none of these other instruments can simply plug a pre-determined, identical, universal fingering pattern into every key! Therefore, out of necessity, they learn the SOUND patterns, and don't rely quite so much on fingering patterns.

Also, I have been re-working how I play arpeggios (such as while outlining chord changes to a tune) so that I strengthen how I HEAR them, and translate that into my fingers, rather than simply playing memorized finger patterns, and then hearing the result only after playing them. That now seems rather backwards to me.

If anyone has any suggestions for me, I love good advice! Also, I welcome other observations on this topic...

- Gary

[elwood madeo]

Gary,
I tend to agree with you. I too have fallen into that finger programming. but I've found that playing melodic "Heads" in different positions and octaves and keys retrains my thinking and finger pattern tendencies. And then improvising or paraphrasing around the head like instrumental scatting furthers my liberation from patterns.

Elwood

[Gary Guth]

Elwood,

Thanks. I do especially like your suggestion to play "heads" in different positions. I do that from time to time, and probably should do it much more regularly as a practice routine. One thing I've done, for example, is to systematically play the head in Anthropology, in the first 14 positions (same key). I should systematically "plug heads into" other keys that way, too.

I also really should do your other suggestion (paraphrasing around the head) more often. I have done some of this in the past, where I would play the head with some minimal rhythmic/melodic variation, and repeatedly with increasing variation, until the point at which it becomes pretty much an entirely improvised solo.

I practice a really wide range of approaches, on three primary instruments (guitar, violin/mandolin, and bass) so it becomes very time-consuming. But eventually, it should all come together and really solidify my progress.

The whole time, I am constantly "fighting" the tendency to over-rely on finger patterns, at the expense of hearing and totally internalizing the sound patterns.

And the final goal with all these exercises, of course, is to internalize the exercise material so thoroughly that when improvising on stage, everything should "flow" out from my brain & fingers in a fluid, easy manner, and to make effective melodic/harmonic/MUSICALLY EXPRESSIVE statements, withOUT having to try to THINK of tedious exercises and patterns.

[elwood madeo]

Gary,
another way I have found effective is to alter {raise or lower}, or add a chromatic addition to each note of the major scale which will then create a different scale. Then practice that scale in all of it's inversions keeping track of which note is altered. This is an ear exercise as well as a fingering expansion exercise.

[Gary Guth]

Elwood,

That is definitely a good way to practice. Lately I've been focussing extra on my modes, and I've discovered that I really don't have them in my head/ear as well as I thought.

If I understand your suggestion, you mean that, for example, if I practice (with all the various starting notes of) an F major scale with a B NATURAL instead of B flat, it trains the ear and adds increased flexibility to the fingering technique. (Of course this example is the F LYDIAN scale, which many people feel should be the "JAZZ MAJOR scale" instead of the "normal" major scale.) I've discovered that I don't actually "hear" this scale as comfortably as I really should. The Lydian-Dominant scale is also a great one to thoroughly get into the ear too.

Also, I've been practicing all the other standard modes more too. (It is also good to keep in mind what harmony would go along with each particular mode.)

Is this pretty much what you mean???

I REALLY have been surprised to discover how challenging it was (especially at first) for me to play the whole/half or the half/whole diminished scales, withOUT thinking finger patterns. It sure SEEMS like these two scales should be relatively easy for the ear to accept, since they are simply alternating half step and whole step intervals. I definitely can do these better on my violin or mandolin than on my guitar.

I'm STILL not there yet!

Thanks again,
- Gary

[nicky quick]

sounds like you're describing my playing gary.. free use of all the modes of all the scales in all the keys.. patterns here and there but only as melodic devices.. no dependancy on patterns to get me through a whole run or phrase.. been there, done that is our favorite expression here.. true.. all of that we have to do.. and once it's done it's really fun.. lydian, diminished, whole-tone, lyd-dom and the 8-tone bebop scales are what i hear naturally.. if we're using chord extensions and subs we got to hear that stuff.. check out a couple of my tunes if you want to hear my style of using all of the above..

http://www.jazzplayer.com/profile/nickyquick

"playin the blues" will play automatically but I also would like you to hear "nothin is easy" and a few others.. all scales covered.. lol..

cheers fellas and thanks for the interesting read..

nicky

[Eric Watson]

Hi Gary,

   I have just the thing that helps explain what you've discussed here..

http://www.youtube.com/playlist?list=PL1012298A0A4F1763 Patterns are the correct way to learn the guitar...There are 5 that contain everything that has to do with Modes, and the Major and Natural Minor Scales..as well as the chords derived from them...The idea is to learn how to use those 5 to move to different keys..the chords derived are simple every other not of the scale from each of the seven degrees..Once you have an understanding for scale patterns and where the chords are, (which I'm sure that you do) then you have to force yourself to play by ear, even play something that you know is incorrect and try to resolve it with your ear, you'll recognize which of the 5 scale patterns that your ear resolved to thru your subconscious..but this will only happen if you have put in your reps with the patterns....this is where it sounds like you may be since you already know the patterns .....anyway if you can, take a look at my free videos, they re-enforce what you've said about patterns on stringed instruments

[Gary Guth]

Thanks Eric.  I will certainly investigate your link.  

 

I have, however made a lot of advancement since I first posted this topic.  I am even more convinced that IGNORING patterns (for the most part) is the best way for me to get to where I want to go.  I've used patterns for decades and managed fine in various styles of playing, including rock and blues ("regular" modal-type blues), country, funk, progressive jazz, jazz-rock, etc.  

 

However for straight-ahead jazz I have become completely convinced that while PHYSICAL patterns on my string instruments are very helpful, it is MORE important, at least for ME, to be able to focus more on SOUND patterns.  Trumpet players, sax players, etc., can't rely of physical patterns like we can on string instruments, and they simply learn how to find the sounds they need/want by knowing how to produce those sounds on their instruments withOUT the use of physical patterns.

 

I have become much better at finding my notes without thinking of patterns.  It has been very challenging for me, but I feel MUCH better about my improvising.

 

When I perform a classical violin or classical guitar (or jazz or any other type) piece that is written out, I don't think AT ALL in those "larger" finger pattern approaches.  I just know where the notes are on my fingerboard, and play them.  Obviously, improv is different, but I figure that if I can manage to play extremely complex and advanced pieces by reading and/or memorizing written music, then I should be able to play (much "simpler") arrangements of notes in the form of improvisations without relying on such patterns to find my notes to play.

 

But thanks for your suggestions/ideas.  I WILL check the link you were kind enough to share...

 

---Gary