sounds; generally, the more open the voicing, the less chance of conflict between the chord and melody or improvisation. For this reason, while comping, Wayne especially used the spread and split voicings, which have the most "open" sound in his system. The other forms, being more "closed", are often chosen in arrangements using counterpoint and melody. However, there are no hard-and-fast rules for choosing a particular form in a given situation. Surprisingly, Wayne's approach reveals many chord forms that are comfortable to play but rarely seen, except in classical guitar fingerings. This is particularly true of inversions that begin on the third or sixth/seventh, and also of certain split and spread voicings. In Wayne's heyday, experienced guitarists were often puzzled to watch him playing chord shapes that they didn't even recognize, chords with subtle differences from the norm. Wayne's novel strategy gave him an exceptionally wide harmonic palette, helping him avoid the sameness often found in the playing of guitarists – even some great ones. Scales Wayne's scale fingerings were designed to maximize use of consecutive/alternate picking, and thus to provide a legato feel. His basic scale fingerings are simple, although he also created various extended forms. Like his analytic approach to chords, his scale fingerings provide a single structure that can be applied to a variety of scale forms. The simple rule for transverse diatonic, melodic minor, and harmonic minor scales is: 2-3-3-3-2-2, where each number represents the number of notes to play on each string, from low E to high E strings. The simple rule for his extended fingering is: 3-3-3-3-3 (five strings). Wayne provides many other fingering patterns in his "Scales" method book. The idea behind all of the various fingerings is that the student will be able to quickly learn the fretboard. In this way the player can create melodic lines that sound the best. The fingering patterns are practice exercises. However, by generally playing three notes per string, consecutive picking across adjacent strings occurs frequently throughout the scale when forming a melodic line. Arpeggios The arpeggios in Chuck Wayne's system were explained in his book with his student, Ralph Patt. His arpeggios are derived from the rule for each two-octave arpeggio: 2-1-2-1-2 (five strings) for playing the tetrad (4 notes) harmonic forms of Chuck Waynes' chordal voicings. Unlike other ad-hoc arpeggio fingerings, the two notes per string followed by one note per string rule provides