The guitar playing deconstruction process continues…
I’ve spent a couple of hours each of the last three days on boiling down scales to their simplest elements. There’s probably some scholarly soul somewhere who has written a brilliant thesis on this and reduced the following meanderings into a few pithy sentences, but keep in mind that I’m a dumb old firefighter and that I am as interested in the process here as much as I am the results. Use my ideas and explorations to go off in your own direction…
Scale Processes
After going over linear major scales (up and down a single string) and thinking in terms of whole step and half step relationships, I went a step further. I started placing the major scale tetrachords on the fretboard, and crossing from string to string. I would start at a random note, then build a major scale from the ground up, trying every possible path from the root, using every fingering I could think of. In other words if I took an A at the fifth fret of the sixth string, I’d work my way through starting with each successive left hand finger – 1, 2, 3, 4 – and figure out all the shifts and crossings I could from each. This worked both up and down the neck and across. (A comment from Miguel de Maria on my “Guitar Scale Meltdown” post pointed out that Dante Rosati has already done this. The link will take you to the diagrams.)
That wasn’t as hard as I thought it might be, as my basic fretboard knowledge is pretty good. My goal is not to learn the fingerboard; my process would be different if that were the case. I want to understand scale layout on the guitar for improvisation and to use scales more efficiently for technical development.
Mr. Spock Looks at Scales
What was bedeviling me was that I felt like there should be more logic and pattern to what I was doing. I thought about the harp. There isn’t an easier instrument for scales than the harp. Set your pedals, then pick your tonic and the six adjacent strings. Cs are red, Fs are blue. Pedal up, flat; middle, natural; down, sharp. Not much to it.
How about the keyboard? That gets a bit more interesting. Once you leave the key of C, you have to know how to progress through the black keys. It’s still very easy to see, though, and each tetrachord leads either ahead through the circle of fifths or back through the circle of fourths. Hmmmm. That got me thinking.
Violin. Tuning. On the violin, since it is tuned in fifths, I can use exactly the same finger pattern from string to string. Start on the G – open, 1, 2, 3 and open, 1, 2, 3 – and you’ve got G major. Start on the D, you’ve got D major, etc. It is extremely easy to transpose in that way, as well. I thought about it some more. I looked at my guitar in it’s stand. “Why aren’t you tuned in fifths?”
Guitar Logic
Silly guitar. Perfect fourths from the low E to the G, then that anomalous major third, then another perfect fourth. What logic was there in that? It does reduce the stretches and shifts that would be necessary, given the size difference between the guitar and the violin, but why not perfect fourths all the way across, a nice, logical symmetry that would make this oh so much simpler? Each pattern would be the same, only moved down one whole step as you went across the fret board string by string. It would be an easy, predictable sweep across and down the neck with straightforward left hand shifts.
Standardized Tuning
I thought back to music history class from decades ago. Lutes had lots of different tunings, and were often retuned for a particular song. Besides, the lute isn’t even really a true ancestor to the guitar. Classical guitarists just repurposed the literature for respectability!
Guitar as we know it is still a fairly young instrument. It wasn’t until the Classical era that the guitar reached its present tuning, and even then changes continued to the standard fretboard length, body size, and internal bracing up until the end of the nineteenth century. Sor, Guiliani and Paganini played with the same standard tuning as you, me, or Andres Segovia. Luis Milan did not.
I really wasn’t in the mood for an exhaustive study of the tunings of the Baroque guitar, however. I was more into imitating Charles Darwin observing Galapagos finches. If I could reason my way back from the adaptation to the reason for it, I could avoid all that nasty digging around in the dusty archives of music pedagogy and pretense.
What If?
Staring at my guitar again, I thought about what fingering diagrams of the scales would look like if I tuned it to E-A-D-G-C-F; I thought about how few guitar players I know use open or alternate tunings and the probable reasons why. (Beyond the fact that it screws up every fingering you’ve already learned, it’s a pain in the neck to keep retuning as the strings try to go back to their old pitches.) Then it hit me. Once again, I was coming at this from the classical tradition. John Dowland’s courtly, virtuosic polyphonic lute compositions were not what the rogues and wenches were dancing to down at the roadside inn in 1602; just as Sor and Guiliani’s masterpieces were not Top 40 hits of 1827.
The rogues and wenches down at the Boar’s Head were probably dancing reels to fiddles and mandolins, while the guitar was just entering puberty in Spain. Mandolin, once you get away from the four or five easiest chords, uses all four left hand fingers across four courses of strings. You couldn’t chord very well on more.
The guitar, however, has lots of open strings in a variety of keys, with fairly easy fingerings – a two finger E minor chord, three finger E major chord. Use those as key centers and branch back to A, D, and G major, and so on. More open strings; more easy fingerings. Duh! Use a capo and you can accompany any singer of a folk song just by knowing a half-dozen chords…
“Classical” Pedigrees
I remembered all the high-falutin’ verbiage I heard over the years about how the guitar was “raised” to the status of a “classical” instrument, the duty for serious players to expand the repertoire and increase the respect for the instrument in the concert halls of the world (Oh, puhleeze! Don’t believe me? Read some of Segovia’s early record jackets…), the prejudices of my teacher and my compatriots about me playing flamenco and folk, the work to get classical guitar programs established and recognized in college music departments, “classical guitar societies,” etc.
Common Folk
All that never phased the hillbillies and highwaymen, gypsies and grunge rockers… You can bang out chords on a guitar and, with a little application, play some pretty mean scale passages, too, whether you’re John Williams or Angel Romero, Al DiMeola, Paco de Lucia, or Eddie Van Halen. And it’s all because of a simple compromise in tuning, an adaptation away from strict regularity or a graphic representation of the scale (like the harp or keyboard) that allows scale, chords, or both, to be played far more easily than if you had a six course mandolin, for instance.
The Red Headed Step Child
I looked at my guitar and laughed. “Well, aren’t you just the red-headed stepchild of the snooty classical world? Even your tuning points to your common, wenchy origins!” I thought about it a bit more. “But, damn, you get the job done!”
The guitar is one of the most popular musical instruments in the world with millions players around the globe, rivalling and even surpassing the traditionally more “respectable” piano and violin. It’s portable and adaptable to just about any style of music; it can scream and wail, or croon a lullaby. And it’s pretty, too. Not bad for a little girl from Andalusia…
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