Antecedentes de la investigación

This appendix offers some personal interpretations on how to organize scales on MFT’s layout. The included graphics will help other guitarists to familiarize themselves with the novelty of the patterns associated with fifths-based configurations in general. The majority of the chosen patterns are radically different to the vertical arrangements most guitarists are accustomed to as I believe that MFT requires a completely new approach to playing melodic lines on the guitar. Therefore, these configurations require both a new conceptual framework for the performer and the development of additional technical abilities. For these reasons, the underlying model of how the patterns have been devised can be applied to standard guitar tuning and stimulate brand-new strategies for creating unusual scalar configurations that break away from familiar and over-used sequences.

The traditional approach to learning and playing scales on the guitar is based on the division of the fretboard in vertical positions. When considering a scale of seven notes, this line of thinking generates seven distinct configurations, which start on each degree of the scale itself. It is important to mention that additional in-between layouts crossing two separate positions are also possible, thus generating even more variations. Most scalar arrangements are performed with a three note per string approach with occasional two note per string fragments that occur either on the second or third string of the guitar (due to the irregular major third interval among them). This system is a convenient way of organizing the placements of notes and patterns around the instrument. However, it results in countless possibilities that take a long time to be assimilated. Since I was exploring a new tuning layout, I thought of devising a more efficient system based on the inner logic of musical scales to facilitate their memorization. Moreover, I realized that executing scales in three notes per string manner could not be applied to MFT. When

performing an ascending scale, the fifths-based layout imposes lateral movements towards the nut of the guitar, when crossing the strings, in order to find the next note in the sequence. Figure 91 shows how the traditional method of executing a scale with three note per string approach arrives at a dead-end point.

In order to continue the natural progression of the D major scale in Figure 91, the note F# can only be played on the fourth string, which is where the sequence is interrupted, and is located two frets above the indicated major 2nd_{. The pitch of the following open string (G3) is above the}

intended note F# by one semitone. Clearly, a fifths-based configuration demands a different use of the horizontal and vertical dimensions of the guitar compared to standard tuning. If scales are to be performed in vertical position, MFT imposes a four notes per string approach. With this system in mind, the next diagrams show a D major scale played in position

Figure 92: D major scale on MFT played with four notes per string allowing to exploit the vertical dimension of the guitar

Figure 93 shows the preferred fingerings I devised in order to avoid two-frets stretches between the middle and ring fingers, which are the most challenging to execute. When the same

fingering is indicated on two consecutive notes played on one string, a horizontal movement is required by that digit. This method also gives two performance options: articulating both notes for more clarity and attack; or executing a slide into the second note for a more legato effect.

Figure 93: Suggested fingerings for a D major scale in position

The remaining six vertical configurations of the major and other scales are easy to find and similar fingerings, which involve slides rather than excessive stretches, should be followed in lower positions. In higher positions, the four notes per string method is more practical and slides may not be necessary for more advanced players. Manipulations of scale degrees can be derived quite intuitively to produce all possible melodic variations. It is important to notice that the scalar pattern in Figure 93 ends on the second string because the re-entering first string does not

allow the ascending continuation of the melodic sequence. This apparent limitation in MFT’s layout, which transforms the guitar in a five-string instrument for melodic purposes, inspired me to devise a different strategy to execute scales. As Figure 94 shows, one octave can be covered in the space of two consecutive strings (bottom two strings).

Figure 94: One octave major scale showing the repetitive fingering sequence

In Figure 94, it is evident that the same fingering sequence is repeated on both strings. An interesting application of this technique involves scalar sequences that are larger than one octave. Instead of developing the scale vertically, I thought of moving this fingering pattern horizontally along the fretboard. This can be achieved by playing the last note of the pattern, marked in red on the right, with the first finger rather than executing a slide with the little finger (as suggested earlier). This prepares the first finger for the next horizontal position, and the full octave sequence shows the following fingering distribution:1-2-4-4 followed by 1-2-4-1 (Figure 95).

Figure 95: One octave fingering preparing the first finger for the next horizontal position

This adjustment allows the repetition of the same pattern throughout all the available octaves within the chosen scale, until the range of the instrument has been exhausted. The horizontal shift required by the left hand may be challenging at first but it does allow the continuation of the ascending sequence of the scale quite naturally. By virtue of this technique, the octave can be divided in different intervallic formulas, each with adjusted fingerings, and their lateral transposition can be used to cover the whole range of the instrument (Figure 96). This strategy is particularly useful considering the limitations of the vertical dimensions discussed earlier.

Figure 96: C major scale, four octaves

In other major keys, this specific pattern must undergo some slight variations. For example, this occurs when the tonic of a scale is located in higher positions of the 6th _{string. This will not}

allow the use of four ascending octaves as the top diagram in top diagram of Figure 97 shows (key of E major). Similarly, if the scale starts from the 5th _{string, the interruption of the}

symmetrical pattern will also occur before its full layout has been exploited (bottom diagram in Figure 97, key of A∫ major).

Figure 97: Two examples of modifications to the fundamental scalar pattern

Rather than providing a universal method, these considerations and illustrations describe a simple concept that was conceived to work with the advantages and disadvantages of MFT’s unique tuning characteristics. Figures 98 and 99 illustrate fundamental scales and modes that were compiled with improvisation in mind. Knowledge of this vocabulary is essential for any improvising musician and allows the navigation of a wide variety of chord types and harmonic progressions. The presence of numbered scale degrees in their geometric layouts allows easy modifications to create countless scalar possibilities that have not been included here as they

clearly exceed the scope of this appendix. All the scales are built from the note C, which is conveniently located on the second fret of the lowest string and allows the full exploration of MFT’s range. Fingerings for one octave are indicated on top of each scale.