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TI.IE
e
BOOK
OF
DAILY
XERCI
Jhe
f
irsfof
its kind
o
he
wrif
en
or
fhe
PLECTR
M
GUITAR
PART ONE
Chromatic
Scales
and
Ererciscs
and
all
maior
e
minor
Scales
with
many
ftngerings
n
ell positiom.
Incorporatint
the
full range
of
thc flngcrboard.
PART
TWO
Studies,
A.rpeggios-ind
Exerc.ises
n
single
rtring
ru
and..chords
in
major
and
minor
kcys
-to
help
iqc
facility
and
ertemporisation.
Incorporating
the full
range
of the f,ngcrboard.
Chords
of the
dominant including
seventh,
ninth,
au
fifth,
f,attened
flfth,
aug. ninth,
fiittened
ninth,
cic-
Special
scales
on diminished
chords
and
augmcntc
chords.
Whole
Tone
Sceles
FRANCIS.
DAY
HUNTER.
LTD..
t38-140.
CHAR|NG
CROSS
ROAD,
LONDON.
W.C.2.
lrAot Na
t{Gr
r'D
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THE
IVOR MAIRANTS'
B O O K
O F
D A I L Y E X E R C I S E S
Thc
rsr
rf rs
kind
ro ht
zt'rirtot
or
thc
PLECTRLJM
LJITAR
[ .RANCIS,
AY
HUNTER,
TD.
I18-I . IO
CHARING
CROSS
ROAT)
I_ONDON.
W.C.2
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FOREw.ORD
The
object
of this
book
is
to provide
the
plectrum
guitarist
with a
set
of progressive
xercises
hich may
be
Practised
at
any
time and
which wil l
rbsult
n giving
the
player complete
ingerboard
nowledge
and f inger
f lex ib i l i ty .
The present
day
plectrum
guitar has
been
n
general
se
n this coun-
try
sinceabout
1930
although
EddieLang
played t
in the
early 1920's.
Although
great
players
ike Eddie
Lang,
charl ie
christian
and
Django
Rheinhardt
eachhad
or have
heir own
\4'ay
f
playing which
served
heir
own genius,
t
is necessary
or the present
day
player
to
haveat hand
a
collectionof scalesand exerciseso helphim improvehis
technique.
The method
u'ritten
by George
an Epps
some
yearsago
was
he
most
logical and
served
he
more advanced
layer.
With
the help of
this
method
and after many
discussions
ith some
of
our own
and
American
eading
gui tar is ts wrote
the
lvor
Mai rants
Gui tar
Method
and
in
genera l
helped
o establ ish
he down
and
up
stroke
plectrum
method
which is
being
usedby
al l the eading
gui tar is ts .
Since
his method
was
published
have
had
he
good
ortune
o
study
with Andri
Segovia,
Abel
carlevaros
and
other
great
spanish
guitar
players
and
coupled
with my
experience
nteaching
t
the
CentralSchool
of
Dance
Music
have
been
able o
discover
which
are
the most
effective
scalesand exerciseso produce peedy nddefinite results.
The
contents
f this book,
herefore,
ave
come
as
the result
of much
practise
and
book,research,and
re
a collection
f
studies
nd
exercises
also
adaptations
or plectrum
of what s
bestand
most effective
n
guitar
f inger ing.
I
practice
hese
exercises
yself
and
although
Ex.1
s
one
which
give
to
beginners,
t is
also
one which
should
e
part of
the
guitarist's
daily
opening
or
l imbering
up
practice
or
synchronizing
oth
hands.
steady
pract ice
at
a
speed
wi th in
your
capabi l i t ies
i l l improve
our
technique
eyond
ecognition.
n fact,
regular
practise
of these
scales
and exerc ises i l l makeYoua br i l l iant technic ian.
fztor
Mairants
F.&
D.
22668
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t
THE
..IVOR
MAIRANTS''
BOOK OF
DAILY
EXERCISES
OR GUITAR
PART I
Play
with al ternate down and up strokes.
The f inger ing
is
the
same
on al l
st r ings. 4P-_l denotes { l . i
posi t ion.
i .e.
When
lst f inger
is
on 4th f ret , Znd f inger is on 5th
fret , Srd f inger
on 6th f ret
and { th fLns, . r
on ?th f ret .
Ex.1
6th String
N
V N
V N V
N V N V N V N V
N V N
V N V
N
V N V
lrll*lt*?+
?n#r*r
r"l
fif,t
wt
t
1
iir
.\
,
q
ttr|'\
t
i
i'
;
+
7
int
1i,l
7Y:3
?q?
"orl
1fi1."7
\lb1
jt"lll\lb1
5th
String. Fingering
as above
t
?P------r 8P-----r
gP---l
fl
gP-------l8P------l
?p----]6p-------.1
5p--14p------l 3p------2p--------l
1p-------t
4th Str ing Fingering
as above
'D--_-- ]
'L,
- ,i
zp-------r
3P----------"14P------1
P-----16P----l
?p------t
gp--..-,
t t v
l t
v
- r _
9P------1, tOP---
r
eP-__lsp------l
''-.-i"l '
5P--:=4P
--r
3P-:-l2P------''
lP---r
3rd
String.
Fingering
and
posit ions
as
above
N V
N V
;l
l
C o p y r i g h t
1 9 5 2
b y
F r a n c i s , D a y& H u n t e r ,
L t d . ,
8 8 - 1 4 O C h a r i n g C r o s s R o a d , - o n d o n , W . C . 2 .
F.& D.
22s68
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4
2nd S t r ing
Finger ing and
pos i t ions
as before
N
V N
V
1st
String
Finger ing and
pos i t ions
as before
| 1 v f l
When fami l i a r w i th f i nge r ing p lay on a l l s i x s t r i ngs a t one tempo w i thou t Pause , commenc ing on_ s ix th
lstr ing.
Ex.2a
Chromatic
Scales.
Three
ways
of
playing
Chromat ic
Scales
? u 2 . ,
N V
N V
t 2
t
a g
r u
ror
23
4
oLt?Z*zl f3i ihi i
T
il
^,.r.
il
Ex.2b
means repeat
sectionbetween
he
double
bars marked
thus
' ^ ' g ^ g q l z g 4
|
2
3
4 l 2
3
4 l
2 3
O
'
r @ t @ t
@---)
@
iTLLLL;
3 r 2
) V t
L
'.;'
4
g t
2
>
n D n
1 t 4
a
s b e
Z
@
iti
z , s
4
r re
F
| . , 2
2i l f
L i l i
hi
1 4
0t 2 t
I
t b t
@---------J
@,]-.,
@-*------J
@-----------J
@
N.B. A numb er n a r ing under a note or notes hus @ means hat the note or notes must be played on
the
str ing
numbered n the r ing.
n & D. 22568
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Ex.2c
o
t
2 3
4
|
1 2
3 4 1
4
|
2
3
2 3
; t
2
+
i i l
1 4 3 2 1
2 1 4
@ -- r@ :
@
' @
Next
in order
of the dai lv
routine
exercises
comes
he scales.
The
player
should
ry to
be
famii iar
rvi th
al l
the scales
and
I thereforegive
the
major, melodic
minor and
haimbnic
minor
s?ales.
Thc sequeirce
s major
scale,
relat ive melodic
minor,
relat ive
harmonic
minor.
That
is, c, A minor
melodic,
A minor
harmonic.
Therefole we
have
the Keys
of :
c G D A E B 6T'
--
G'. Db Ai Eb
Ami Emi
Bmi
Ff lmi
Cf lmi Gf lmi
Df lmi Ebmi
Bbmi F mi
C m i
B b F
G m i
D m i
_o_,_3
?
1 2 4 -
3 t
?
6 - l o
' @
t @
t o
r s a L # 3 r .
6 @
' @
t ' @
r O
4 1 2 4 l 3 l
I r a r
' + i
? '
4
2 - .
@----r-@------,
@
-,
6:J
2 z
s
1
|
3
! Z :
@---G;:r
@
r @ -
- '
@-J
? 1 r e
ksssssss J_t
4
z 1
6-1
0-----'
@
'
@
r @ J O r @ _ : @ _ _ _ r
b
'@
-,
6:_1
4 r z 4 : - U
3 ? 2 ) i f i f i l : ? ' 3
I
1 l o r t 4 2
6 - - , O
' @
r @ ' O
@--.1-
@----J6j
c o D A ' t
r " , r - L - #
r
3 1 2
\ 1s,"
g ' 1 s ' :
L l :
?
r
, 1
6---r
@
'
? : L ? t 4
@ r
2 4
g
r . - )
- , 7
C
r
v----------J
(6)_
|
Enharmonic
@
r
@---.r
rar
r
\9,/_-l
@
- r
R
& D. 226s8
@
r @
t
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A
melodic
minor
A o r z 4 4
2
4
r , r 1
+ i l
I
i
\ 7 3 i l i i l
@
r @ t @
1 , . 1 3 r
o * t
, 1 z | l t z r o 2 |
= t
?
r @
o P
? \ ? q i i : t r
r
6
6:-,
@
I
5I-=,
o
h i q i F i
L i t z I s ,
4 . q r
f - - ; 4
2
|
4
2 | 4
z
I
@
r @
r
@
@
-,
@::6
6:
6
A
harmonic
minor
. r 3
4
I
z ^ U ) i .
r i l i
L L i
r u o r z 4 2 s
@
r @
r @
i l i l L L 2 3 ,
t - r y
|
4
t J 2 r
@
t @
r @
r
@ - _
t @
r
@
- ' @
1 3 3 4 1 2 4 2 9 2 -
L L i r e i l i i i i
r @
t
I
'J
@
r s 4 r g + 2 1 s 4 t s t
t
- r
6
,
@
- ' @
'
: o i E i
L L l t * r
4
s ,
o g _ 3
4 g r 4 3 t 4 g
@
r @ - r @
r
@
- 6
Scale of G major
in four
positions
l l j
B
o
z
s
o
z
+
9
2
o
r
s
o
? 2 ?
l ^
!
z
o
r
' -Y
'
o
s 4 - 2
2 0 s 2
t r z 4 r z 4 r s !
r s
4 z n y 3 5
3 t 4 z
o J t +
B - I
2 r 4 z r
dia=@
ffia '@------------r
---r@----r@'@-6J3
F. & D. 22568
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, 6 - : ' 6 -
' Q
:
= i L L :
L r
z
2 4 1 2 4 1 3 4
t s
r
s
r ' 1
)
e
: )
@
r @
r @ O
a
|
4
f1-3
1 4 2 1
4 2 | / t
@
@-i4
,@
"
r
J,€l=3
| 2 2
4
|
?
4
|
z
l t
r
L 2
_, ._--_---_J
E m
ic
minor
n o 2 o , 2 . t o 2 -
2 Z
o
s
t 2 1 1 4 r 2 4
. 2 1
:
;
ir i l"?
i
elod
tr
3 0
2
4
l 2
I t t t , 6 n - "
'
@
; @ . -
'
,
@
' \
2 \ i \ i i i z \
s
I
4 a , 4
s r
d
@
r
O----------,
O-
- , t
-
-
* t ,
d
o
@----
i - \ * n i i l z , 3 , 1
4 B r 1 8 1 4
, , o ,
I
a
s
+ t _
Z i i # l L L i J
@
I @
-
' @
r @ - - _ _ _ . r
@
r @ O
F.
& D.
p2b68
2 1 o 2 1
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I
E harmonic
minor
0 2 3 0
2 3
| 2
1 o 2 o
+ o 2
o
t+
I
o
2-9.-+
z
1 3 2 0 3 2 0 2
4 3 t
4 3 l s 2 o J z
@
r@
,o__-___,]l __,@
r',
6
D
maj
In six
al ternate
f ingerings,
he sixth going
up to A
at the
l?th fret
z / +
]
4
|
g
t
,'
,t
3 , ? t ' L L L I
or
tr
o - r o r o z o , Z l i i i i f t i i Z y r , ' ? k B , ,3
@
-
@---r@---164
? t i i z
t
3
1
B J
a
?
,
4
z
,
@-.r
@-_il@---r
4
|
3 4
t
g
z
@
' @
B melodic
minor
@
r
@-r@
r@_r@__lO
r@
,@:_1
r '
3 i i L ? L f l i r . z
t s ,
o * ,
r
B
4
B
1 9 . - , @ - J @
@
- ' 6 4
= E F t i i i t z I r 4 s
o-,o- i64,
@
'@-r@
4 3 r
4 z r z 4
2 4 t z ; l $
t
3
2 , 3 i L
t @
' @
t
@ _ t @
t @
r @ _ t @
r
4 r 2 4
3
? 1 , 2 4 ? t f f , f r r i i L L i * n 2 ' " ,
t
i
- J
|
+ z r
66-- -
@
r
@l---r@
t@
t
@
r@
-: @'
'@-
@
r @
r @ O
R&
D.
2P508
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B
harmon
a
3 l :
2 : i $ i f i i f i
t 3 4 l
r 3
J € )
O - - -
t @
n f n l l : L
r
r
t - 4 2 r : t r
4
t
|
4
g
t
4 3
r @
lC mlnor
, , \ 2 : l
_ r _ _ : r
r
o - ; r - q . , 4
r
Z : 2 i l i ? ) - f i l ? ) 3 1 ,
" ,
' - - t
' l t - - t - ' t
: t
o
l \ t ) -
, >
4
t
' l
) L [ i - 5 l i
tr
t1 ,1-
t
4
- - . r ' *
| - , ,
tL1 :
: ) ; ) - i , j 2
z
r s
1-
" - l
) . , ' ,
: t 1
4
: l
#a-
-
@'
6a - l@- - - - - l
@-e tb
_ ,@
-
:_ ,61L
z 4 2 4 t , 4
r
3 1
3
\ 2 3 i i i l Z t r , i 1 n
,
I t 2
, t
, 1 3
t .
B
4
z
4
I
2
4
|
2
4
I Z 3 ? ?
t
3
t 4
i n t
1 4 2 t 4 2 1 4
@ - -
r @ r @ - - - r @
r G ) - = - _ - - - - : 6
- { T ' a h , @ - _ r @ r O - - - r @ - -
0 . 9
: i l E E i i
L i l r : 2 . 1
, ,
B
,
z
4 - t
1 4 : ,
r , : ,
l
o
2
4 o
2 , t
|
2
o
2
g
o
1 Z [ : l Z '
o
" "
o ,
- ' - t - o? J t - 1 - , - - ? - - - 9 -
F.
& D.
22588
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to
Ffl
melodic
minor
1 : l / t l 3 l g 4
r:,-#
3 ,r
r
2
+ l
i i l i $ i i
t
r
-,
iil
'
7 ' . J
i l g h i * i i , r ,
a
r 6 t
- i
o r
l 3 r a - - - r 4
Ffl
har
mo
E
nic
minor
2 * O 2 . 1 O B t r
, #
, u ,
? ' : ? , , r B 2
o J _ _ r
4
3 o 4 2 O 4
2
I
3
2
3 4 l
i l
z g
g 4 l
s 4
iili
i
@
r @
O
9--t
t 2
3 1
3 2 :
1 - , 1
2
4 s
r
4-l
E major
@
r @
' @ _
' @
A o
L
3
4 3 r
4
1 2
4 0 \ -
:
z \ t 2
2
@
L t
2
1 t + -
t
I t + g l z
+ r s t r
O-.t@--li-O_----r
@
t
+
r
s
1
I
B
4
|
? L 3 i
2 A 2 r
o_J@ff
f - 3 : z t
4 s t a u
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2 1 r ? 4 r 3 4
- ' ) 7
,
1 L i l i t
2 i+ i
t :
1
3 t t ! 1 1 : t l
@ - @
'
J
, @ -
1
q.
A
1
:l
o 1 3 4 2
2 4 t 2 1
r
r
r
I L i ;
. f t \ 1 6 \,-) \l/- \l,r
',
i@tt e
r
\
z
r
3 r ' t
3 . 1
7
s
@__Gi].b_,
@_l
Cil
met ic
minor
' t l z ' t l
od
tr
# t r ? ' r l t t i l i l i
i
B
-major
tr
i;
,
";2-fi
r
z
\zliliit
il*llz
,:
,.
'-u-,
l?;
! 4
s
r i
g
@
@---.1
@-b
F.
& D.22568
l _ , r
2 1
4 2
|
7
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t2
Gil melodic
minor
r t z r r
3
i i
2 , , 1 . . L : , 3 f l L r u t , "
s r
' ' z t + z t
l i l t * l : l
1 3 1
2 t t t
3
t
\ 2
't
),
Lili.i
t L
i
hfr€hc
), t :
r
1 , t
B
r
4 g
2 1 4 4 3 t ' + 3
@_-j
@
|
@
--
@
|
@_::_J6
Gil har
mon
n
lc
mlnor
r
g
1
1
g
I
? _ i l
B 4
r s
r , . 2 2 , i l : . . 1
| t | +
B J - - 2 , , 3
4 r 2 4 r 2 1 2
l 2 ' r l 2
,
?L L L L L . i + i i
6
6
-
- , @
5o--r
@
t@
" i L 2 t \ s
r ^ - z t 1
4 3 l 4 g l
v
@
|
@_________J
119
r@__=_=___:_il
The
keys
of Cb and
Ffl are omitted
but only
the ei-harmonic B
and Gbur"
,.""i@
Gb
major
z 4
|
3 4
|
s 4
2 4
L Z l 2 l 4
z o * t ' l
9 1 4 2 t 4 2
6%=@-)
65o--,@
@--,@
@
-'6:idil
. o 4 l
2
4
|
z
4 7
s
4
r
s
4
|
c
1 2 i i A ? t
2 L
r
1
{---t
@-r@
1 \
s
:
r
,t
2
tJ--t
t
4 2 2 1 4 2 t 4
O
r @ r @
- F
r @
@ - r
_-L
15
z
l
?
€)_J@
r@ _
r@ r@
,
, L iLL |LL
i i
i i i l t
1 r
4 2 r J - z r
F.& D .22668
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|
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tr
2 4 1 2 / + 1 3 4
1 3
1
3
1 1 2 ]
3
2
1
7 f , . -
- , @
r
I
Q_,,|
'
I t ,
= t i l l z
e
r
@-=r
o
@ l
3 _ l , t
4
3 1 q z
I t t ? l
r I
2 1 4 2
|
7 J
I r r l [ a l I f , \
\ r
r r l t
|
\ : /J\3,/J
\9
-
'\2
-
t t t
%
@
ro-rP
o
r@---:
d=ie=_.,o':
1
]r
1: ,
1
3
+-\23i \2\ i11ibfui i i : l r@-r
n
-
--€F - i
-J--
K--,rnZ-: C----iO _-1O- - - -=1e-l@-Errt
r'r
(t r \3/ JJ \7
J
,
u
(E) r* '
E b h a r m o n i c m i n o r
'
2 ' ) '
A , n
r
: , {
3
1
r r
\ : ; i i - i r t l | - _ F ; F P i ? Z \ r
. s ' ,
r t '
I
q i i l ) , : 1 r
2 , , 3 * a
3
@_-16=r@:
,@r? , / - - - - - - - . i r : z - - -
.
: r , f : f
\ S t .
2
r 1
2
r
|
3
r
i
\ Z l l i t i
E t l j j
r
r
r
3 * j
r - r
r
r
l
lejor "
6
6-----,
lio-----,o
s ' \
3
,f.l\ | f.l\ l/i\ t
-^
t
O
rr : /
r
\ l /
,q/J
( _
i i : j t r , .
' F * i , , , i
1
ffi
a * t
1 j . i
r
. 1
r
z
\ )
i
l 3 ' t
t
3
7
|
3 l
;- z\ |
tr--
( l ) \ l /
' z r
I
\1./
'
t l . . i
1 |
3
1
@-r@
-l
z a l ? 4 r 3 t r
-,
^ffi?-oet'
\ : / J \ Z J r l )
l \ j / J { r l )
_---l@__rO--J
@
|
@___.r
t6l
-,
e
-
, 1 z 2
r
3
^ 13 7 i i 1 r _
t c 7 : :
l
r
o
3 * 1
. a
1
' , : '
,
6-1e
--fs-----t
@
r@ro
o
r@-
t r
- 2 "
2
a
3 ,
r
r 3 L i l + i i i i i Z :
-i
F.& D.22668
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t4
Bb
melodic
minor
Bb
harmonic
minor
l
l 2 t t l
r
3 1
,
2
4
th2hl2 Li i ; l r , : l
a
r
l r + .
1 3 7 r 3 - )
r
I L t i ' i i ' , i i i i
4 : t l
3 1 4 : l
O
r g -
+ 1 3 4
) 1 1
: l ' L )
. o r l ?
) L L 2 4 t l
t 1
@--__J
@
l 2
1 - 3
1
4
g
I
O . -
@
r @
r
t r
, t t 2 t t , r
7 o ,
z t t ) ) h L i L i
= . - l
@
1 6 . - - - ,
\ ) ) "
" , n
3 - _ 2 t 4 z l r r
; J
Ah major
66___,o @ r@-ro---r :o:5 6:dry
. t t ' 2 4
j | 1 , , r + \ ) l i i , L t , ^ t r , r
:
/ r 2 | 1 p l
66::@
@_F6_:@
^ . .
I
E ,
' ,
2
, + -
l i i l t f
t \ s
{ a - l @
t @
r @
t @
r @
r @ _ _ r
@
I
1 Z t t t 3 4
r
B
r
I i )
t 4
,
L
t i
+
f
i
i
- B ) $ -
@
'
5 - e
o
l l t 4 r r - l - 1 - B
t 4 z r 4 z 1 4
r@ r@____ . r
@
r@
G ) '
€ >
F.&
D.22688
---------------=
@
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F
melodic
minor
t 5
|
3 4 1
3
0
a
o-*i
,
o r ^ 3
: t t 4 , 2
r
r
r
o
B
I
1 i ]
1 4
3
1 3 4
r
z--LJ
B , l
1 ^ 3
- - l ; \
.
@
' ' g '
iv iv : t r
1 1 r
4-s
I
2 1 4 ! t : 1 1 1 * : l
I
O
----J
O-
- =
F ha rmon
lC mlnor
n
l l l l l ' . l r * 2 3
: t 4 1 3
.'t
7 L
1 , "
r : | r
, t
: t _ 1
656----'a
t z 4 r
r 2 )
z
t l :
1 3 4 l \ t t
- @
, o
l O
r C e _
"
6 " '
6 -
@ -
1 q i
i i z : : , , z
1
l t 3 1 4 3 1 4 3
Eb maj
or
tr
g l l 2
: ]
. i
L i L i
L i i i : , t ; , 1
4
2
|
1 2 1
@-l@--:il--_----lO
rO
4 r s , !
1 B
t P
' t L L i )
l 1 i
r i i i i : v , r
j ,
4 : , ,
, i r
@@
rdft
r@
@-s:b
,@a
2 4 t 2 , 1
B 4 l ^ 3 : i i i f f
2 1 ' . ^
= ? i i i Z y -
s
r 4
2
, 4
!
r
g-.l@--JF-6______1
4
|
3
j
t
B
zr
I
1 ) i i i i t i i L ; L 3 : r
,
4 , 4
: ,
, +
4
go ,ff@
r@
io--=r@ r@r
@_r-.b
,@
l
F . & D
P z b 6 8
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t8
C melo
dic
tr
Bh
maior
^ '
- E
ry, -\:::hikiir,i. ibibi
,
,
,
,,
,#
,,
,
;r
,
: ' r - r
r , ' # ,
\
:
) , l i h i F i . E € i + ; ; : : r
: r ,
1
, ,
r ,
1 , ,
: , - * 1
, , ' :
^
: i , i i i - i i : ,
, ,
r
; ' - , : ,
o
J
0
'
'
' l - . l
t
2 l ( t
2 l
.
6j6 r@ | o--___,o____Lo
' = - F r r r t i i
t ,
\ , *
4
,
t O
, @
' O _ _ = r r -
G
melodic
minor
R&
D.
zzioa
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12
4 2 \
r
J 4
r 2 1 r t 1 * \ 3 i
7 i , ) t t t z t t t - 2 - q 3
t o i t r ( ) , - - - ;
O
- - , - - - - - - r @
r
@
r @ - - l ' @
- 1 6 r a
dtt,6:
- l"@-
t# ---. l
@ro
Ic
_l6-a---
l F ; t - J i
6
-
-16-----:
@
r @
= r i i i i i : t
u 2
/ O
, € ) l @ _ _ J @
@ - -
? t r ^ l i r J
=
lFJ
_
__
:
l - i
l
F. &
D. 22568
t r-\
l \ ] / -
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18
l ; J l 2
, r : t 1 ; J
, r
: ; a c l p
4 : t
? t i t i L l
z
--ar;ts
--
t -
E
J 1 - ) : i t t i
F-_ . -_ : ___
_- - -
_______
I
_ -_ -
___T=r___r* - t_
v z ^ r C E - - : O - _ _ J
@
r C _ _ J O _
r o , _ t O _ _ l O - =
:v
1 1 ) : )
' = L L i t r
r
1 : t t 1
5 ; r )
, b -_ - ,@
r@ - - - - - : o
6 r 1 6 \ r ^ $
-
^ ' t -
\ 7
J \ r - r
( 9
, 6 )
J t D .
r
6
6
:,-:
.
'
@
('-
i i * i i l : z , 3
1 I , J
, : l
r 1 6 r ; . - _
l 3 r O i l l o 3
D m e
lod
tr
ic minor
' * l z ' t l s : l ' t
onlc
mlnor
l : l 4 l : t 4 2 3
'
T2iainii€ tiqqiviLt,
, . . , . \
I
:
3
r
L ) ) I i E i
! r
I
l{
n
il
@
, . l
. J
1
r : f
i r
r 3 4
t l : i A i f i t f t
i a j s ; l L < , ,
6
, o | g t @
r @ - '
O
i
7
a.
D h a
r m
tr
f r 2 7 : t - 1 1 : t
@
r @
_ t
'
, @
r O _ _ _ r O _
e
- C
t f f i
7 | . : ' | 2 ; t , t
r . ; r l 1 , L j j
e
@
r @
r @
r
t . &
D
2 2 5 6 S
@
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1 9
PART II
The fo l l ow ing
se t o f s tud ies a re based
on the ma jo r sca le
and cons is t o f ma jo r
and m ino r
t r i ads p lus
m a j o r
o r m i n or s e v e n t h s .
M a j o r
s e v e n t hc h o r d s
m a y
a l s o
h a v e
t h e
f
o l l o w i n g
s y m b o l
: - C
( + z )
Hereare the
chords n
the key o f C major .
* ^
C m a i ?
D m ? E m ?
FnrajT A m ? B m ? - 5
C m a j T
Key
C
To be p layed
in p o s i t i o n .
i .
e . F i r s t F i n g e r
a t t h e ? h F r e t .
h e
? t h
7
P
. " ' "
|
*
i-t
2 1 :
3
t - o
.
, 4
z t ' l
t
-
2
,
' ,
l 4
Key C
Learn
above
tho rough ly
be fo re go ing
on
The
same pattern
fol lows when
playing
in the
other
keys. Therefore
only the
f i rst four
bars
are given.
Key G
2 1 4 3 1 4 2 1
2 t 4 3 r 4 2 r 4 s - : 4 - g r 4
z r
o t ,
J r r
D ma.j7
Key D
e c.
GmajT
G m a j T
Gmaj?
Cfim
-5
2
r E
t J z
t
xMay
be
written
C
(+z)
F.
& D .22568
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20
Key
A
Key
E
Key
B
Key
Ffl
Key
Gl ,
8
P ': :
z t ' t t 1
BmajT
E ma j?
Af im?-5
B m a j ?
Eflm?-5
Gbmaj
?
1 P '
GbmajT
Key
Dl ,
F.
&
D.
225S8
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Key
Ab
Key
Eb
Key
Bb
Key
F
FmajT
Bbma j?
Key F
ln
lst
posit ion
u.i th
open
strings.
t
t
o
l'
'-.o
3
2
O
B
2 1 , 3 _ 3
O
3
e
o
3,
t,
l-
:
o
3 2 1
t - . s 2
o
o 3 2 l , g
? o g
s 2 o : l
2 _ s
3 2
l o 3 2 o i r
t'
. 3 2 0 3 1
U
=
D b m a j ?
Ab
maj
7
Eb
maj
?
Ab
maj
?
; "
s,
| '
'3';' ,
Bbmaj? Bbnraj?
1 0
3
0 3
P o . g 2 o g
I
0 3 2 0
F .
&
D . 2 z b 6 8
3 l o 3 2 0 : ] l
J
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, ,
Key E
2 r + ? r
4 2 t
O , I 2 t . r Z L 1 . t
2 0 4 2
--+
e
Alternat ive
posi t ions
and
f inger ing
of
same
studies
commencing
on
f i f th
str ing.
2P
""""" '
2
|
4
3 r l 4
P
, r 2 l 4 t 3 J r t B t 4 3 , 2 l
4 J
2 4
2-'t
g
I
3P
"""""""
t ; - 3 1 , :
i . : . 3 r 3 t t z t L ' : t r r
D
O
t
@--=r
t L L l , , , ' 4 p s j
s
t
s s z
r ' l
3
7
s
e
4 / t 2 4 s l
2
2 - 1
1
a
2
--f
-r-1
r
- . - + +
e t e d
J:
Key C
Key G
9th
and
10th
Positions
Key
D
4th
and
bth
Positions
Key
A
Special
Fingering
given
below
Key
E
6th
and
?th Positions
Key
B,
lst
and
2nd Posit ions
Key
Ff,
8th and
gth
positions
2
Special
Fingerings
in Keys
A
and
Bb
Key
A
Key
Gb
8th
and 9th Posit ions
Key
Db
3rd and
4th Posit ions
Key
Ab
10thand
11thPosit ions
Key
Eb
5th and 6th
Posit ions
Key
Bb
Special
Fingering
g.iven
below
Key
F
?th
and 8th
Posit ions
C
4 2 1
The
above
fingering
may also
be used
in
the
following
keys
and
positions:
z 7 q 2 0 4
4 2 0 4 0
F.
&
D .22568
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,
L L l L t ,
o
i i L L t t
Key
A
Key
Bb
-E;:
P
.
12
D
t
t
o
:J
!1
?
1
o r C
:
( l P
3
; ; :
? + ;
I
; t
l - _ e
P
1
t ( )
l !
,
Key
B i'
r 1
' : i L ' :
?
1
- . ' - - . '_
s
r
I
s
1
1
B
| 4 l 3 ^ l I
r
1 1
I
o : t
2 0
g
r o
g
l
o
3 ,
2
o g
I
o s 2 \ 3 j _ o s
, o E
r - i
p
o
3 2 l 4 i J t 3 2
o s l 4
t 3
2
r
r t 2 l
t + 3 1
z r \ 3 2 \ + J
P 7 n 2 \ s
o s s 1 4
g
,
o
t ,
'
t _ 3
2
o
o s z j S _ . g o g
s r o S , P o g t
r o s ? o g t o
s r o 3 , 2 o B t
o
3 o
7
10P
"""-" '
, ^ - 2 . , 4 e ; I " ' ; ' ; " " " " " "
o
" '
i l l l l l l l l l l l l l l l l j . a s
4
2 i L 2 \ n
r
r l i i l Z '
o
T i f e i l l
^ ' : i i i i : : - L L -2 ! i t ' : ' i += i i i i LL - , i== :_
i :
\
2
, 2 1 .
'
l i E e + i . t
l .
r.
L Fei;.t
*e*:r - l f
r
+:r i - lJ+#-1j ) : , ,
,
. r
, : - :?,1,) ,
! . ' , ,
, ,
,n
The
above
inger ing
may
also be
used
in keys
Db,D,
b ,p ,
R
Ch,G
ana
ab.
F.&
D .
22568
"
.
t
i -
l
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24
In order
to be able
o
extemporise
reely, he
requircd
notesmust be
found easily
anywhereon
the guitar.
Here
therefore
s still another
ingering
which enables
ou
to
play
chords
as
chords and
as
arpeggios
employing
he
first four
str ings. For
convenience ake he example
s in G, but i t
may
be
transposed.
o '
n *
\ 2
4
2
' - f f i z B 1 B
, 3
L z
r
g
2 4 3
@--,G1
, +-J
z 9
L z t ,
n
L z r a
, 3
D
4-_ 2
4
! s
4
Besides
earning
the chordsbasedon the
Major Scale t is also necessary or the
purpose
of extemporisation
o
learn
the arpeggios
and runs based on the two
Minor Scales .e. the Melodic
and Harmonic. It
is here
mport-
ant to
po in t
out tha t
the Melod icminor
Sca le s modi f ied ,and ins tead o f acend ing and desend ing n the
usual manner
hus:-
it
ascends nd
descends n the same
way,
therefore
having
a
minor
third,
major sixth and a leading'
note
both
ascending
and descending:
We
now
proceed
to
build a four note
chord on each degree of this Scale:
Gfim?-5
iAm(majz)
f.Lm1ma5z)
Bm?
**Cmaj
z*5
Ff,m7-5
A
minor
(Melodic)
In First
Position.
With
open
Strings. Practise
slowty
and smoothly.
3
2
0
4 2
1 4 2
0
3
2 ,
4
2
t B
I
4
)
2
3
@
4
I
1
e
3
@
4
I
1
_4.
t
1
e
f
Mu" also be
written
* . r
C
(+z)+o
F.& D. 22688
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? 5
With
No
Open Str ings.
5P------t
|
4 3
2
7P
a
1 4
3
|
9 P
l r r
9P
---r
3 1 4 2
3 l
+
g
I
4
A
minor
(Melodic)
9P
4 3
1 4
?P-----__--lgP--__---l
2
l , 4 t
2 - l
4
2
4
g l
g l 4 2
Fm(maj7)
Gm7
AbmajT+5
nbz
D m
? _ 5
E m
7 - 5
F m
( m a i
r
- [ '
h*
h*
@-J
1 r
4 2
6P
3
5P
-----------l
I t * S 2
?P---_-r 5P
3 1 4 2 3
I t
i s
prac t i ca l
o p lay
he
aboveexerc ise
n the
keys
of
Fm.
F$m.
Gm.
Abm.
Am.
(as
above)
Bbm.
Bm.
Cm.
Do
not g 'o
on
unti l you are thoroughly famil iar with above study.
Herewith
the
scale n
chords
of these
keys
with
the
first four
bars
of
the exercise
in
each
case.
C 7
F
minor
( l l felodic)
F$minor
(Me lod ic )
Gminor
(Melodic)
lP----r
3P
o
3 1 4 3
t 4
4
Z t
4
g
Ff ,m(maj?)
c$m?
Amaj
7+5
D $ m
- 5
f
2{--14P
1 6 P
Gm(maj?)
Bbmaj
Z+S
3P----l
5p--------r
?P
q
s 7
s l
E$m -5
F$n1(majz )
r 4 3
2
g t 4
3 t
2
1 4
3 1
z l q 2 t 4 s 1
Ff,m
?- 5
Gm(ma.,1?
F .&
D .
22568
1 4 3
2
g t 4 2
1 4 3 7 1 + S 1 , / l
z
l a 2 , t
I
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26
Abm(maj?)
Bbm?
CbmajZ+5
nbz
Fm7-5
Gm
7-5
Ab,m
maj?)
4p-----t
6p
------.l
8P
1 4 3
2 , 3 1 4
3 r -
3 1
4 z
1 + 3 4 + s
r 4
2
9 r J - s r
A
minor,
as
wri t ten
at
the
beginningof
he
series.
Bb.m(majZ)
Bbm(maj?)
Cm?
DbmaiZ+S
Sb Z
Ab
minor
(I\telodic)
Bbminor
(NIelodic)
B
minor
(Me lod ic )
Cminor
(Melodic)
Cf,minor
{N Ie lod ic )
6P---------r
8
4 s
?
s
1 4 2 l 4
Bm(maj7)
Cfm7
DmajT+5
?P-----r
9P
1 4 s 2 3
2
1 4
3 l
cfm(majz)
Dfim?
Cm
maj
7)
Ebmaj
7+ 5
t i E t f , , o " , 1
rf
i:i
t j
4 2
r q ' j
a-3
t r ,
z
41J
'3
t
@--.r
Ff,7
G f , m ? - 5
A f m ? - 5
B m ( m a j ? )
4
2
|
4
B
r t 4 - s
t
r ,
z
1
a , 7 l $ s - r
Bm7-5
Cm(ma j7 )
4 - 3
t
4
z
1 4 , 2 1
4 3 r
@r
Gfi7
l 1 0 P
; 3 r
11P
3 t
/;\
\z
4P
@@
EmajT+5
rfz
Af rn?-5
B$m
7-5
C [m
(ma j? )
3 - r t t 2
r t E
r - t 4
z r l z J
?P;l
----------r
4P.-
3
4 2
J P r z t s z
i l t ,
, ,
t l l , ,
F . &
D . P 2 5 6 8
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Dm
maj7)
Fmaj
7+5
C#m
-5
B m 7 - 5
D
minor
(Me lod ic )
Eb
minor
(Melodic)
Ebm
maj
7) Fm?
Gh
maj 7+5
rbz
Bbz
C m 7 - 5
( r na l
m
hr
D m ? - 5
E
3P
, t 3 2 1
g
r
t t 3
I
etc.
Eminor
(Melodic)
elc .
On
first
4
str ings
G
minor
4 . 3 2 1 2 3
? +
;J
Tf
g ( r
The above arpeggios may also be played in F and Ff, minor on the f i rst four str ings. Hold the notes of t i .e
chord
throughout
each
bar.
6P
3
,
1 g
3 t
4
)
3 2
l-'l
e . )
Em(maj7)
GmajT+5
9
F.
&
D.
22568
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28
Next
in
sequence
i t
is
necessary
to learn
the
Harmonic
minot scale
and the chords,
runs
anc l
arpeg-gios
based
on
the
sca les
i n
a l l keys .
F i r s t he re i s
the
sca le
o f A
minor .
Harmon ic .
We aga in
bu i ld
a
fou r no te
chord
on
each
no te
o f
the
* *
Bm 7-5
'
C
maj 7+5
Am{maj
z )
s c a l e .
E 7
m i
z
I n f i r s t P o s i t i o n
prac t i se
as
be fo re
s low ly
and
smooth ly .
s 2 |
3 - z o a
z o s j
7 _ s i
2
* 2 J s
3
D
( t t
1 g
z
4 " +
"
r
No open Strings
7 P
a
L 4 .
2- 4
s
*
;
4 " - r ;
4 2
* r - l - 3 .
r
1 * i . . o *
A m
Harmonic
s r l g l
t 4 3
l s r
B |
4 -
1
4
g
1 4 3
@
5 P
+ ' z
4 g
! + z
z
|
4 : 1 J 2
|
s
1 4
2
+ s
I t is pract ical
to
play
the above
exercises with
exactly
the
same
fingering in
the keys
of
:
Fm. Ff lm.
Gm.
Abm.
Am.
Bbm.
cm. bu t f i rs t
be
qu i te
sure
of the f inger ing
Herewith
the
scales
n chords
of these
keys
and the
first
four bars
of arpeggios and
runs
as above.
These
should
be played
with exactly
the same
fingering
throughout as
the exercise above.
x.May
also
be
wri t ten
en
(+z)
**"a;r
also
be written C
(+z)
+r
F . & D .
2 2 5 6 8
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BbmT
Db
maj 7
Fmi(maj 7)
Gmi
? -5
Ab
ma j 7+5
F m
Harmon ic
F f l m
Harmonic
t 4 3
2 4
g
z o
a
z
z
t
j z - r
L
2
3 P
4 3
4
e l c
@@@________.
__,
F'flm(maj
?t
Gflm -5
Amaj
7+ 5
B m 7
c l z
D m a j T
Ef ,o
l ' f lm{maj7
2 P
t
Gm
maj
?) Am
?-5 Bbmaj ?+ 5
C m 7
Ebmaj? Ff iO
Gm
(ma j
7 )
G m i
Harmonic
Ab
mi
Harmon ic
B b m
Harmonic
Abm(maj ) BbmT-5
C b m a j
7 + 5
D b m T nbz Fb maj
7 G o
Abm
{m:r , .y
)
6 P
t + 2
A minor as
at
beg inn ing o f ser ies .
Bbm
maj
?) Cm7-
5
Dbmaj
+S
Ebm7
F 7
Gbmaj ?
( m a l
7
I
8 P
g l
2
r - o " "
I
4
2 1
4 9
F . & D . 2 2 5 6 8
3 - i o
s
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so
Bm(maj
)
Cflm
Z-b
Dmaj
?+g
E m 7
Gmaj
7
AflO
Bm
(maj
?)
B m i
H a r m o n i c
( ) m i
Harmon ic
C m
Harmon ic
Cfl
minor
Harmon ic
in
, l t h
Pos i t i on
+
s
1 4 - s
4
2 - 4 3 t
3i-a
s
9P_
=
4 P g * c { r z
Cm(ma j
Z)
m
(ma j
? )
Dm
Z-5
Ebma j
?+g
F m 7
F.&
D.
pps6g
Ab
majT
etc.
e/c.
10
P.
I- lere
s
an
alternatrve
ingering
for
the
harmonic
minor
series
commencing
o'
c
minor
in
Brd
posit ion.
3 P
r_4
1 1B- ,
s
r,
131
#'1
4jL#3*l
,
n
2 7
3
2
z t 4 ^ z
Cf,m
maj
7)
Dflm
Z-5
Emaj
Z+5
Fflm
z
ofrz
Amaj
7
BflO
Cf
m
(maj
Z)
Cf,
minor
Harmonic
descending
n
the
same
way as C minor.
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3
D
minor
Harmonic
5th
Posit ion
Eb
minor
Harmonic
6 th
Pos i t i on
E
minor
Harmonrc
Drn
maj
7)
Em
?- 5
F
nraj
?+ 5
Grn
Ebm(maj
7) Fm
?- S
Gbmaj
+5
Abm?
Em
maj
)
Fflm
?-b
G
maj
?+5
Am7
Bb naj
?
C't
majT
C m a j T
D f l O
c r o
Drn
ma j
? )
etc.
descendin
Ebm(ma j
? )
etc.
descendin
etc
desoend i
g
t
,
6P
l o * e
7 th
Posr t ron
F .
D.
zpb68
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32
Be- lou, s the
same
sequenceas before,
but in
two
octaves.
a rpegg ios and runs a l l ove r
the ins t rumen t .
1 P
7 4 3
2 4 3 1 4
3 5 . 4 3 4 3 L
F
minor
H a r m o n i c
7 P
The purpose
is
to be
ab le
to ex tend
the
2 P
3 2
7 4 2 t 3 2
6P........-.--_7P
7 4 3 1 r , 1
2
r B
e:@@
@___i_,6_
z
l 4
5 P ' ,
2 J
B
8 P
z 7 4 :
1_11
3
I
7 P_10P--
8
P
r
4
2 y 7 3 2
r ,
n ,
3 o
e1 /;\ / '\
, ; . ' azr@
\q---- _-_r
8 P
a
8 P
4
6 P _
g , r 4 1 J - z
r '
3 P
2 4 3
2 4 3
c . 7
I t
is also
possible
o
play
this sequence
n
two octaves
n
the keys of Ff, minor and G
rninor,
therefore
prac t i se
h is
exerc ise in
a l l
th ree
keys
of Fm.
F lm
and Gmi .
I t i s fu r ther
poss ib le
o
p lay
these chords(a l though
omewi thd i f f i cu l ty ) n the
6th ,5 th ,4 th
&
Brds t r ings ;
and on
the
4th , 3rd ,
2nd and 1s t s t r ings .
Here they
are
as
arpeggios
on one
set
of str ings
at a t ime.
Am
(maj
7
)
4 3 2 1 2 3
B m
7 - 5
4 3 2 1 2 , A
l ' 2 9
2 3
D m 7
4 3 2 7 2 3
C m a j 7 + 5
4 3 2
A minor
6 . . 4 . 3 .
C
minor
5 . 4 . 3 . 2 .
Fmaj
7
4 3 2 '
Go
2 3 4 3 2 7 2 3
C m
( m a j
7 )
Z
g
4
Z
t I
B o
4 3 2 1 .
Ab maj?
9 4 3 1
Ami
3 { >
* @ @ @ @ @ @
T h e l a s t t w o c h o r d s a r e n o t
p r a c t i c a l
o n
6 .
5 .
4 . 3 . s o
p l a y
t h e m
o n
5 .
4 .
3 . 2 .
Cmi
maj
7)
3 1 0 0 0
Dm
7 - 5
4 2 1
Eb maj ?+5
4 3 2 7
l
F m 7
4 3 2 7 2 3
G 7
4 3 2
Cm
3 G
F.& D. 22b68
l 7 J
, . 2
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F
minor
1 . 3 . 2 . 1 .
Fm
(ma i
? )
4
2 S
r
7
4 3 2 7 2
maj
7
3 2 1
Db
4
Eo
4 3 2 7 2 3
These
chords may
they
are
played.
f nger ings .
Chord
Extensions
I t
i s
poss ib le
o
make major chords
sound
much more
rn teres t ing
by the add i t ion
of
the S ix th ,
Major
seventh ,
n in th
and
augmented
e leventh ,and
y invers ions
as
fo l lows. Note :
The root o f
the chord i s
ca l led
1
and
so
on. The th i rd ,3 ,
f i f th ,5 ,
major seventh ,? ,
in th ,g
and aug 'mented
leventh ,+
11.
Key C
b e
I t
used n a l l
keys ,and
the
f inger ing
wi l l cor respond
o the
set
o f s t r ings
in
which
is usefu l
prac t i ce
o
invent
your
own
exerc ises based on
the
chords
and the i r
Here
are
as
many o f
b u t
p r a c t i s e
i n
o t h e r
these chords
as i s p rac t i ca l
w r i t t en
as an exe rc i sc fo r gu i ta r
i n
the key
o f
C,
kevs .
Key C
2 a
The same
extensions
can be
obtained
with
minor
chords
as fol lows,
n
the key
of
C minor.
Ex tended
chords
C minor
F .
& D . 2 2 5 6 8
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34
Chords
based
on
the p rev ious
inve rs ions
in
tnco rpo ra t tng
the
chords .
P rac t i se
in
a l i
?
@
wr i t ten
for
gu i ta r .
An
e x e r c r s e
r n
w a l t z
t i m e
@ ' @
I n
d e a l i n g
Y i . t h . e x t e n s i o n s
o n
m a j o r
t r i a d s
i t h a s
b e e n
f o u n d
t h a t
t h e
s e v e n t h
s
a
m a j o r i n t e r v a l
,
a n d
w i th
rn ino r t r i ads the
seven th
i s a
mino r . i n te rva l ;uu t
w i t t r
dominan t
chords
the
seven th
i s
a lways
mrnor .
F o r
e x a m p l e
t h e
d o m i n a n t
c h o r d
o f
c
i s
G a n d
t h e
s e v e n t h
n o t e
b u i l t
o n G
i s F w h i c h
i s
a m r n o r
s e -
ven th
f rom
G.
We
now
tabu la te
the
ex tens ions .
?
/:\
\,
C
minor
keys .
r
@
G 7+ 5 + 9
G
7-
5+9
G 7 + 5 -
G 7 - 5 - 9
G 7 + 5 - 9 + 1 1
e 1 3
4l i
2 P B
7 P B
<>
(trsl
2
13
11
I
Bt*g
1 1P B
bfslS'
A b9
4 P B
G
D 9
4 P B
3
Ab 9
11PB
{}
6 P B
B n 9
1 3
3
l,
J P B
G 9
in
al l
keys
same
fo rmat ion .
(a )
3 P B
G 9
i n
a l l
keys
fo rmat ion
/b )
o
C 9
PB
1 P B
{>
Ff l9
<>
B 9
8 PB
b
2 P B
{>
F 9
roi
E z 9
8 P B
G h 9
G 9
4 P B
o
E 9
7 P B
ba
A 9
1 2P B
ba
E p 9
6 P B
C 9
4 P B
{>
F 9
, , 8
P B
f,e
G
Ffl9
io'
E 9
B 9
D .
z P b 6 8
10
PB
bE
G h 9
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35
? PB
a'
2 P B
fi=
F
l9+5
2 P B
=
Ffl9+5
7 P B
C9+5
8 P B
b
3 P B
c 9 - 5
4 P B
- 5
2 P B
8 9 - 5
o
Bb9+5
O P R
Eb9+5
12PB
( )
5 P B
.T
PB
b o
l -
p t O
Ab9+ -r
lOPB
€>
D 9 + 5
10 PB
A b 9 + b
r D p
1 P B
G 9 + 5
( a )
G 9+ 5
( b )
G 9 +
5
( c )
G 9 -
5
( a )
G 9 - 5
( b )
&-
-n
a_31
--: i l
e
F9+b
Db9+5
Db9+5
o
E9+5
12
PB
ilo
b ' 8
€>
A9+5
9 P B
o $ o
3
r'
{F>
G9 + 5
2 P B
l s
G9+5
5 P B
G 9 - 5
4 P B
e
is___
F9+5
1 P B
Bb9+5
6 P B
9+l-r
11PB
#*
Gb9+5
o.
E9+5
A9+5
8 9 + 5
etc. Through
the cycle
of keys as
before.
1 P B
€>
D 9 + 5
PB
g
o .
F 9 -5
P B
B b 9 - 5
2 P B
E b 9 - 5
7PB
Ab9-5
12PR
bg
Eb9
5
Db9-5
T h i s c h , r r d
m a y b e
f i n g c l p d
i n t h r e e
ways on
1,2,3
&
-1th
st r ings.
Pract ise
e a c h r {
h e s e
i n -
g e r i n g s
a n d
r i n
2 ,
3 , 4
& 5 t h
s l r i r r g s .
3 P B
q
*
fi
-
o ,
b
G b g
5
A 9
5
D 9
5
9 P B
'b o.
4 € >
4 < >
G 9 - 5
G13-5 9 -5
cb9-5
nnilg-r
i s
obta inab le
on both
the
Bb9-5
1 , 2 , 3 , 4
5 t h
s t r i n g s
a n d 2 , 3 , 4 , 5
F .
&
D.22568
= F i l
3 P B
E9
5
7PB
F 9 - 5
ba
Ab9-5
The
same
chord
above
Agth-b(b)
A
6i l
a
9 - 5
t s t r i n g s
a s
D9- -r
f i n
s e
e d
1 0P B
G 9 - 5
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86
There
re
4
in
6
ways:
G ? + 9
G7+5+9
G7-5+9
G 7 - 9
"f)
G?+5-9
G7-5-9
G7+5-9+11
o r
G7+5 9-5
formations
of
the
Dominant
seventh
chord
with
th e
c)
augmented
ninth G ?+9
and they
can
be
played
d r )
the
previous
chords,
going
through
the
cycle
e)
4
r
u @
d)
T^he hords
ca_n
e
played
n
al l
keys
so
practise
o f f i f t h s
i . e .
G 7
+ 9 ,
C 7 + g ,
l r 7
+ g , - e l c .
b)
4
them
as with
d)
)
t
o)
4
c)
4
s)
4
ft
4
b)
t
4
c)
7
c > @
somet imes
r i t ten
r
o t
@
p
O @
d)
e)
I
b
l'
9PB
h
/l
I
2
@
s)
4
t ,
t 5
I
b-q
G13-9
o,@
€)Tl
1 0 '
3 B
bo
a
l s @
ll ':-"lotl
js
sil1ira1
o the
chord
."{
Pb?
F)
but.which
"i"
tnl
_c
."i'D
Therefore
when
unable
o
reach
9.t
"ny
of
the.inversions,quickly
supisTitute
he
chord
of
the Dominant
seventh
based
on
the
flat-
tened
5th.
e.g.substi tute
for
Eb?'5' i
=
Bbbl
or A?.
The special
discordant
effect, rowe"ei,
is tost.
@
F.
&
D.225a8
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3 7
Dimin ished
Cho:ds . In
o rder
to
ex tend the scope
o f d im in ished
chords ,he re
are a se r ies o f s tud iescons is t i ng
o f
d im in ished
chords
tv i th suspens ions nd
runs based on these
suspens lons .
Ao,
co,
Ebo,
F$o
3
J
J
J i ,
1 ,
3
t i
v1>
#
@
Bo,Fo,
Gf
1Do
:* '1
#1
i
; b i
Dlo, E4o,
olBbo4
b
' r
@
Etude
on
1st,2nd
and 3rd
strings. Based
on D im in ished Chords
' l
I
e
4
.t
3
b)
I imaj ?
rp
-
--;l
h-
2
. L
I B t
4
1 u i + t l i
7 v \
<
g
4 ,
s ' : L b 3 b L '
6P-----_--__l
, t )-bLi
f L
I
t | | .
I ? a - b i b j - 2 \ q r
.1
r 3 P
o
P
co
P
b
? r
b L ; ^ '
I
' ,
2
r l
- -
,
c i r
Ebo
?
lai Lbl
iri#i
l1P
i
Lbz
' .bLU
\ b2
12P
L 2
Abo
b*
i$
I
2
F.
; a ?
iriili
ili
hE
F . & D . 2 2 5 6 8
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38
Etude
on
Znd,3rd
and
4th
str ings
Based
n
Dimin ished
hords
Ebo"
o
,
r -74
rT ,
r
4
2
r_4
B
r
\o r_ - !
2 4 t
3
l r l
4
F$o
, l J - "
--J
@
re-------.,
Gf,O
4 r , 2 t 4
t f h : , l ^ 1 ,
1 l
r @ -
- '
z
r R l
t s 4 t t 2 l i L b l
+
! 2 u 2 t 2
l l 3 r :
t t . r , a t z
4
l 4 3 r
Etude
on
al l
str ings
Based
on
Diminished
Chords
2
4
a ,
z
+ t r
1 u \ i l . L
2 r Z ,
o 2
4 4 _ 2 1 4 4
a - -
Z 1 6 )
t ( 9
'
\ v -
-----.r
@
t
O
O@------r
@-:
Bbo,C#o
r
Dho,Eo,
Ao,Co,Ebo,Ff io
r
Gbo
+ 4 r
2
4
4
l 4
4
2 t
l"l:j:
Tlt:lnltiuXos*"n"ins
at
the
owest
note
of
the
suitar.
These
uns
may
be
used
with
any
or
he
chords
B
r
B
o $ 2 * i l l l S i f i S Z ^
2 r
,
4 _ 3
|
4
1 4 2
@-r
@E
@
-,6:11
Gb9-5orAg+5
or
CZ+b+11
2
. 4 !
i z
\ 1 2 , 3
3 t 4
o
J
@ - ,
@
' - b
-
@-:
Cf
+orDb+
3 T T
l { >
Bb9-5
or
C9+5
or
E?+b+11
B9-5
or
Cfg+f
or
F7+b+ll
F.&
D.225a8
t_
PSCg-S
or
A9+5
or
Dbz+b+U
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3 9
1 3
4 l 4 t 3
4
|
s
r
t H 2
- . i@
'
a € r
t
3
t
O - - - r
@
- r
@
r O : - :
3 u b $ n o g - s o r B b g * b o r D ? + 5 + 1 1
th l
( f j t _ J
-bD*
aJ*1
-..- r'rVr
€5*l
r=j
r
f,.+
l 3
+ 7 3
,
\ 2 I
_U-
i t
r , r
a - 3
t
a
3 l
z r
3
I
D 9 - 5
D e
o r
ai.-
___-)
f
@
[:-o--=6:@-r
o-------jt6rp
------J
----,
"36i
iFB
"'il$
G7+5+11
l .
orDb-b
,^
G+
j,fl*
:ft
bft
^:;'.F;*?i,'
il$'3i-ot.
t c
Whole tone sca leson 5th ,4 th ,3rd ,2nd and 1s t
u o
?
Y
I
I
Y
t , l
:
@'
'
@- - - - t
@
,
O
Whole one scales n 3rd,2nd and
1st str ings
4
2
. 4 2 L : 4 1 2 , 4 . 2
Etude
n Thi rds
Based
on
AugmentedChords
r ? L
/ : ] \ , r a \ -
\:/'
.J
\?
-l
/t\ /;\
\ r
, t
s t r ings
n Y
f ' * : l
b
n
7
3
n
t
b
n
v
4 3
n v n
2 4 3
7
, b t
LLri,L,z
4
3 1
1 Z
1
2 rt4
t 3
1
3 1
g 2
i+
il
b
+
fi
3 1
1 3 t
3 lun,rL,,LSi*
3 t
4 2
L2
t " t
@ '
D+,Ff,+or
Gb+,
b+
or
Ail+
All the foregoing
hords
and
runs are of
greatest alue
n extemporising.
amil iar i ty
with the exercisesn this
book wi l l provide he student withgreatest aci l i ty and freedom n inventionon any givenchords. omeof these
runs
havenever
before
beenwri t terrdown for
plectrumguitar
and dai ly
pract ice s essential .
F . & D . 2 ? 5 6 8
I
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40
Inva luab le
Chord
Prac t iee :
The
fol lowing
four
4 - 3 - 2 . t
t r i n g s .
a r e
e o n s i s t e n t
n
notation
n'hen
layed
on
o-b-4-
tr
1 a
s E r g
C,r
gA
I
e_4
n o t e
tr
eho
ds
tr
s t r l n g s ,
5 - 4 - 3 - g
t r i n g s
o r
G6
Em7r .
r .n
b
@
ry
f x a m p l e
o f
s a m e
e x e r c i s e
tr r-r
u s i n g
C 6
tr
o r
A m 7 .
tr
.E tr
flT+31
'
2t
ta
I
eT5-2-l
r l
€)T2t-1
I
Prac t ice
rcund
he
cyc le
of
keys
F,
Bb,
Et,
Ai,
Db,
Ob, ,
E,A
D.
G m 6 / C t i
n o
r o o t l
rir l
E
,bE
o.z
r
g t r
,ry
, E
2 0 D
I
And here
s the
chord
of
07.
z
@ _
ete. ,
n
al l
s t r ings.
I
o m i t t i n g
o o t
G
( e a n
a l o - o
e D m 6 ) .
Alsopract iee
m6
wiJh
{sharp
instead
f
F natura l ,a l ter ing it to
6. Exeel lent
or
ehangin '
rommajor to
minor '
Pract ice
l l
chords, scending
y semi tones- then
i rough
hecycle
of keys.
a o
G9-5omi t t ing
oot
G,
a lso
equals
Dbz+b,
a lso
Ag+b
omi t t ing
th.
? D
4
4
* z a l
, i I
G9+5
oni t t ing
root , or
B7-5,
or
F7-b.
t d 3
( ) l
G
;t
2
4
E
3 , , Q
@
tr
r
r
r
1
I
-
;1 ,
|
|
|
Example
of
Ai7 eommenci lg
t
lowest
point.
^ t?l tr
a
,l-3-}
F-
D.
:,lc;rirj
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'
3. How
o find the chords
f
ony
populor
tune
with
o chord
onolysis-of
200
fomous
Stondords.
Hcw o recognisehords nd ntervols.
4. Theoriginol
substitutes
chords ond modern
of
rnony
populor
:m$
TN
{E --