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Linear Patterns in Descent

The document discusses linear patterns and inversions on the fingerboard of a string instrument. It explains that the fingerboard can be viewed as separate vertical areas or positions and covers chordal and linear inversions across all twelve keys in each position. It also discusses combining positions into the full fingerboard.

Uploaded by

Fabio Negroni
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© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as PDF, TXT or read online on Scribd
35 views4 pages

Linear Patterns in Descent

The document discusses linear patterns and inversions on the fingerboard of a string instrument. It explains that the fingerboard can be viewed as separate vertical areas or positions and covers chordal and linear inversions across all twelve keys in each position. It also discusses combining positions into the full fingerboard.

Uploaded by

Fabio Negroni
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
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Linear Patterns in Descent

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b n
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Linear Inversions
Ranges of chordal, and linear activities organize in greater balance when they're viewed as self
contained divisions of the fingerboard, (simalar to seperate floors in a house). These verticle
areas comprise linear, as well as chordal inversions encompassing all twelve keys in each of
their seperate positions.
eg. 32a

open

12

11

10

*1
6
5
4
3
2
1

First Position

12

11

10

1
6
5
4
3
2
1

Second Position

12

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1
6
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2
1

Third Position

12

11

10

1
6
5
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2
1

Fourth Position

13

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11

10

1
6
5
4
3
2
1

Fifth Position

!
When each of these seperate areas are mastered the sixth, (or full fingerboard becomes
!
activated as a fully organized tool for any improvisational subject.
eg. 32b
13

12

11

10

*1
6
5
4
3
2
1

The Full Fingerboard


open

12

11

10

*1
6
5
4
3
2
1

First Position

Before beginning a discussion on "line forms", and their inversions it's important to !
!
defiine the proper use of fingerings for what's normally defined as "open strings".
Players often use a completely different arrangement of fingerings each time open !
!
strings are used in the lower area of the fingerboard. By placing the first finger behind!
!
the "nut", (just as if it were another fret) familiar fingerings normally used in different !
!
areas of the fingerboard take place in comfort here as well. The following patterns !
!
!utilize this approach. Take note, the "asterisk", when in use should be viewed as a!
!
reminder regarding ones placement of the first finger behind the nut whenever it !
!
appears on fingerings in the upcoming patterns.
!

The first, and fourth fingers of the left hand determine not only the beginning of the!
!
pattern, but also the position in which it unfolds vertically, as well as horizontally. In !
!
example 33, patterns I, and II reveal a full vertical inversion.!
!

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