r The Howand Robents

Guitan Manuals

nTechnique in 20 \Aleeks
r, bV HOWAF|tr, F|OBEF|TS

Copyright O 1978. by HowardM. Roberts , r Published by Playback MusicPublishing Company P.O. Box 15,Edmonds, Washington 99020 RightsReserved Printed and published in u.S.A. lafiemational copyrigfttsecurcd

FORWARD Have you ever wondered about those -y9ul9 students of, 9ay,--!h9 a very hig.h level.of technical skills in br piano, *no ""quire "i"lin tlme? Hav'e you notiied that guitar players, by comi'"li.ilfirt p"ti"J", g""""ifiy do not r-eac!that level in the sametime span? i{ave you-ever wondered why this difference exists? one notable reason is often taken for granted. violinists, for exinherit a tradition of disciplined.tra.ining.:'-t-g-ti-"-1:'^,-l:9jlendless exerc'ses or "tpf", nirig violin studies are made up of seemingly€tc" ridAy uninterrupted eighth-notes, sixteenth-notes, or triplets, is which the studeni practi-cesfaithfully every day. Great care taken to make *"n note sound perfect. lt is through these discipii""a and uninterrupted practice regimens lhat 91e1t technlqu.e is SctJireO. ln gener"[, tno"" who do It, get it, and those who donrt, donrt. to-give Thls book is a series of programmedproiect lessons designedimqlothe ltltV program. reglmented a sulh guitarist itr"hprovislng workingls piano student or violin th-e cases, most .ri"ino'quitaris-t? In behind *i.t-i"h was written by someoneelse. The psycho.log.y iffr;;f don]1-liklit' safe--place' relatively a in V9" hls studies puts him l.f dontt blame'me. Paganinniwrote it; I didnrt". The improvisor,-nowfaces the risliof criticism not only of-his technique, bul of his """r, choice of notes as well. This working iondition can create a double a sort of mental paratysis which quickly translates bind effect, causing -""rry out the motor skiil. lt is toward the resoltr f na6ifity to inio "n book is directed' this tion of this prdblem that an established technique In addition, those guitarists -useftrl who already hav_e the proiect les.sons Doing maintaining-it. in rill Rna this book per week-,will keep 6 days pei day, minutes 50 as outllned in the book, not actively playyou are periods wlien the iiu" -nop. in sfrapeduring ing. This program has been tested in numerous grouP and individual situations, an-dwlthout exception has worked foi those who actually followed ih-iougn and did the work as it is laid out here. Read the instructions Follow the directions. Do the work and lt will work for you ""r"iilfy. too.

TABLE

OF

CONTENTS

Forward Equipment . .'.rcking /Fingerings Key Centers The Fingerboard . Line Shaping . The Program . Pointers. How to do project lessons for weeks one through six. Week One Project Lesson l-A YVeek Two Proiect Lesson l-B Week Three Project Lesson 2-A Week Four Project Lesson 2-B . . Week Five Project Lesson iFA Week Six Project Lesson 3-B Week Seven Project Lesson Review How to do weeks eight ' ek Eight Project Nine Project _ek Week Ten Project Week Eleven Proiect Week Twelve Project Week Thirteen Project Week Fourteen Project through thlrteen Lesson Lesson Lesson Lesson Lesson Lesson Lesson 4-A 4-B . 5-A FB 6-A 6-8 Review

.2 .rt .5
.6 .9 t1 .t4 .t6 .19 .20 .2lt .28 .32 .35 .40 .lt5 .,t7 . ttg

.s4 .60
.60 .68 .72 .77 .78 .79 .80 .81 .82 84 85 .86 .87 .88

How to do weeks fifteen,

sixteen and seventeen . . .

Week Fifteen Project Lesson Review . lYeek Sixteen Project Lesson Revies . Week SeventeenProject Lesson Review . Hammer-Onrs . Pull-Offls . Slides . Week Eighteen Project Lesson Review Week Nlneteen Proiect Lesson Review Week Twenty Project Lesson Review

EQU YOUR GUITAR

PMENT

The set up of y.ournguitar plays a very furportant role in the development of accuracy and strength. speed comes as a by-product of ascuracy. lTithout accuracy, speed is unattainable. Extremely nar- '*' now gauge strings do not create enough resistance or $returnri to their center position quickly enough to permit the right hand to develope predictabfe accuracy, or to strengthen the left hand. so, use a medium-heavy set of strings; nothing smaller than an .012 first string, etc. The strings should be raised to a medium-high action. There are three reasons for this: (l) to eliminate buzzes, (2) to help strengthen the left hand, and (3) to develop accuracy for the right hand. The neck should be inspected to assure that it is straight. The frets should be dressed down, eliminating high and low spot- to avoid buzzes. An acoustic-electric guitar or straight acoustic are best su'ited for this iob. For those who play a classical guitar, your instrument will be fine taking into considcration the necessary adiustments. on the practical side. a -large percentage of us must play with very small gauge strings, with low action, solid body, etc., to meet the rcquirements of todayfs popu-lar music. Since it is not practical to change strings^every day to practice, it may become necessary to have one guitar for the gig and another one to practice on. A-fter adiusting your guitar, make sure that each note rings loud and clear; just like a grand piano, over the entire range of ttrl flngerboard.

YouRPlgt(
Your pick should be of medium size, and medium to heavy in thickness. Av-old very large or odd shaped picks. standard ceiluloid picks are well suited to this purpose. OTHER IMFORTANT EQUIPMENT Also esgential to the studies in this book will be: (t) a metronome, (zl a reellGTEf or cassette tape recorder, and (31 an alarm clock oi grer' P CK NG

lf you will be using finger-style picking, I recommend the standard classical techniques. lf you will be using a pick, a word-of caution might be appropriate. Since the birth of modern electric Auitar, ?pproximately 1937, many styles of plectrum technique have emerged. Some successfully met the challenges of new music, and others became burdens as a result of inadequate or 'nonrr-training. Since this book focuses on the total development of single-string technique for improvising, and not specifically on picking, the reader must make it a point to develop a functional picking style on his or her own. seven p!9es of the Howard Roberts Guitar"Book are devoted to the subject of picking and an even more in-depth study can be found in the Howard Roberts Guitar Manual Picking. I can, however, point out some things to avoid.

1i

:11

The right hand seems to be the greatest limiting factor for most rnodern-day guitar improvisors. lt appears that once a style of picking ' r b€come habitual, it is very difficult to change, and frequently, -.al retraining is required. So, taking into consideration that there ife many techniques one may use to execute a given passage, we must constantly remind ourselves that flexibility-the ability to adapt the right hand to a variety of moves-is the key to longevity. The big thing to avoid is any kind of anchor svstem that inhibits freedom of movement. Observe anchors at the elbow, at the wrist, grasping the pick-guard with the little finger, etc-; all of which may be functional for a specific sound, but should be viewed with caution when considered as the basis of an overall right hand technique. Remember: Isgj! loose!, - like a guy strumming a ukelele in a pineapple field. lf there ls any rigidness in your picking leverage system, it can stop you like a brick wall when the tempos get fast. Under any circumstances, the left and right hands must be in perfect synchronization. No Flams! 1f the finger attacks first and the pick follows, there will be two sounds instead of one. lf the pick attacks first and the finger follows, again, two sounds instead of one. The key here is to close the gap so that therrflamrr effect is unnoticeable. To do so, play tones very slowly at all points on the fingerboard. Only in this way can we hear the flam effect. lf we play fast in warmlng uP, it becomes more difficult to hear the differential of attack. NGER NGS

F

--,ne thumb of the left hand should ride along the approximate center of the back of the neck. The fingers should operate straight up and down on the strings, like hammers in a piano, at a right angle to the fingerboard. Attacking the string at an angle will move the string from its center position, both cutting down on accuracy and also stretching the string to sound out of tune. The fingers should be lifted only high enough off the string to avoid string noise when moving, but not so high as to become wasted motion. The wrist should maintain a fairly flat posture. Avoid severe arching of the left wrist as this can produce undesirable strains.

SPECTALNOTE: Some of the cbrds in the following studies may require a greater stretch than you are accustomed to. So in srch cases, I recortt mend that you leave the lowest note out of the chord, concentrating on the upper three or four notes. But, one strould strive to play the whole chord as soon as possible, rather than substitute another voicing.

i

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The exercises comprising the main Frdy of this book consist of selected chord proqre$sions representing conrmon harrnonic movenrstts. They reflect a broad cross-ssction of ctrorC prograssions odrtmon to the diatonlc tystem, the kind of progression we must deal with on a drity basis. The trained lmprcvisor would ordinorily be knowledgeable about ttre diatonic harmonies a-nO for any-key,*and would be able to properly identlfy the key 1lative.minor cGnt€rs rcsident In a chord progression. The study of this subiect falli under ihe qeneral heding of diatonic harmony and thory, a complete study of whlch would ranqe bev6nd t_hesc-op of this book. Howanrer, I wllf descrlbe briefly what a key canter islnd how to deal rith lt in ths ssn*€ of qr"stlng an lmprovised s*to iine. It must be remembered here that the main purpose of this book is to build up technical flstlitY *ithin the attitudinal sphere of imprcvisation and not to give an additional foad cf theratlc*l &ts. A KEY CEHTER IS:

Itlhan a gilen m*ior or mlnor -**_*le!-sgtackd upon itratf in thtrds as shown in Example l, it srantee harmony chiructGrlstic of thrt rcale, EXAMPLEI THE HARilfiOt.TITED C MAJOfr $CALE

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KEY
EXAMPLE 2

CENTERS

T H E H A R MON IZED F M AJORSCALE

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Finding The Key Center for the Chord Progression Below, The Line of Reasoningls, since .. . l. Fmln 7 could belong to any one of three keys. lt could be the ll chord of Eb, the lll chord of Bb, or the Vl chord of Ab. (The possibillties are llsted above the chord symbols below.) Bb min 7 also could belong to any one of three keys: the tl chord of Ab, the lll chord of Gb and the Vl chord of Db.

2.

3. Eb 7 is a V chord (DomlnantJ typgt whlch only appears once in any given mafor key always as the V chord, and therefore, only one possibillty, the v o? Ab. +./ Ab Maj 7 could be the I chord In the key of Ab or the tV chord of Eb. The posslbiliti€s are noted. 5. Now we examlnethe entlre progression to isolate whole sectlons in which the chords are common to one key. As In the case below, the key of Ab ls evident, (shown In c lrcl e s ) .

EXAMPLE 3

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KEY

CENTERS

The same thing would be true of Harmonic and Melodic Minor scales. Each type of scale generates its own scale harmonies that remain the same regardless of the key. EXAMPLE 4

T H E H A R MON IZ E H MINORSCALE ( Key of A m inor ) D A R MONIC

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Example4A - The HarmonizedMelodicMinor Sclae (Key of A minor)

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H O WT O P L AY W I TH INK E Y C E N T E R S Since the scale is the mother of the chords, it naturally follows that once the mother scale has been discovered for a sequence of chords, that the notes of that scale can be used to form a solo line. In all studies to follow, the key centers have been bracketed above the chord progression. Observe these key centers with care and for each new one, move your hand to a convenient fingering pattern for that particular scale and do your improvislng in that region of the guitar. There are five such patterns for any given scale. And each of these five are movable up or down the neck to the selected key or, they may be connected to increase the range. In addition to being able to logically calculate key centers fron an analysis of the progression, the abillty to play over changes !y ear, can be vlewed as the ldeal end result. The project lessons offer a perfect vehicle for the developmentof thls ability.

THE

FINGERBOARD

In the event that the layout of scales on the fingerboard are not all together clear to the reader, the following is a brief description. There are five tone patterns for the diatonic major scale. The qrechanics of the fingerings center around the use of a finger per fret, although in most caffiEGmes necesEary [o reach out of position one fret either above or below the basic position with the first or fourth finger. This is no big deal. E-achpattern may be moved up or down the fingerboard for access to any key, inctuding the open positions. lllhen these patterns are laid end to end, they covei theentire fingerboard for any S key. The available working range can be extended by connecting one pattern to another. All other scales can be produced through modifications of these diatonic patterns, (using the same five basic forms.) For e-x-ample-, the relative harmonic minor scales can be quickly learned by simply sharping the fifth scale step of the diatonic scales, which is the same as sharping the seventh of the relative minor scales. Also, arpeggios will be easier to handle if they are played within a scale pattern that corresponds to the key center from which the chord is derived, €.g. the progression DmZ, Gm7, Cm7, F7 is a lll, Vl, ll, V Progression in the key of Bb. Thereiore-, one would select one of the five patterns for that key and ptay the arpeggios in that pettern. Each pattern shown here starts with the lowest available in the range of the pattern going !o tle highest, (not from tonic to tonic). The tonics are circled foi clear visual targeting. For identification, I have arbitrarilly numbered the patterns one through five in thJkey gf 9 tvt"iqr,- starting with the open position as number one, the progressing to the next higher pitched pattern as number two and so forth. Each diagram is acc€mPanied by an example in music notation, with some suggested fingerings shown above the notes, and the string numbers betow in circles.-leel free to change the fingerings to anything more comfortable. The most lmportant thing here is to develop a strong visual imprint of the pattern itself, coupled with the tone sequence it produces (the sound) with the view that when improvisin the fingerings may be open to change at any time. T H E F I V E F I N G E R I N GP A T T E R N S Move this pattern out of the open position to other keys using the first finger as a capo. Fingering Pattern Number One lst O 2nd O 3rd O rRh o 5th o 6th o Fingering Pattern Number Two
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Fingering Pattern Number Three

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Fingering Pattern Number Four slL*tL+
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Fingering Pattern Number Five

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C O N N E C T I N GT H E F I V E P A T T E R N S There are essentially three ttmovesttinvolved in moving from one pattern to another (1) Position skips, i.e. from pattern one to pattern four, done smoothly without a break in rhythmic or melodic continuity. (2) Stretching from one pattern to the next, ascending or descending; or (3) Sliding on the half steps, as demonstrated below.
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NE

SHAP

NG

In that the studies in this book are deliberately limited to rhythms of uninterrupted or motifs cannot be used to brighten duple and triple time, interesting rhythmic figures -melod.ig tgne seq-iiEii-ces wilt become tire up the solo lines. Therefore, yJur choice of iordeviceforcreatinginter6sting|ines.smtiveonthissubject, v+ following is a brief outline of some basic line shaping elements for consideration. (Scales, lnterval Skips, Arpeggios) COMMONTONES A common tone is a note that is common to two or more chords, a very simple technique but not to be overlooked, i.e. when playing non-stop eighth notes, or triplets, etc., it is not necessary to keep the line moving at all times. The line can be flattened out --a nice relief from excessive vertical movement. Example 5 DT,

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SCALES Create smooth rolling lines. Some of the more common scales you may use are:

The Chromatic Scale (Symetrical, consecutive * steps) Example 6

The Diatonic.\ilaiorScale (with * steps between the 3rd/4th and 7th/8th scale steps o indicated with lines between the notes ( s r ). Example 7 (C Majorl

C
I

The Relative Minor Scale The Natural Minor Scale Example8 (A minorl

1l

LINE

SHAPING

The Relative HarmonicMinor Scale (wlth * steps betweenthe 2nd/3rd and 7th/Sth scale

steps.)

Example mlnor) 9 (A harrnonlc

Lhs Relatlve Meloldic Minor Scale (with I steps betweenthe 2nd/3rd and 7th/8th scale steps thenatura|minordescend|ng.NoTE:Theascendlngand descending rules here are a technicallty, whlch In the flnal analysls may be disregarded In favor of the exlstant bar harmony, e,g. the key A mlnor, the bar harrnony ls E7b9. We would npre than llkely use F ascendlngor descendlng. Example10 (A melodicminor)

2,t The DiminlghedScale (symetrical, congecutlvewhole step and half rteps) most comrmnly c-hordsor dlminlshed chords. ffih Examplel1

The WholeTone Scale (symetrical, consecutlve whole steps) most commonly used ov€r domlnant 7th chords. Example12

12

7

LINE l\-/

SHAPING

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The M?io_q, Bentatonic Scale (same as diatonic major with the active tones 3rd and 7th left out). When harmonized creates inversions of a Maior 6/9 chord, wlth little gravltational pull toward any key center rrdepending on the usage'r. Example l3

t

I

ARPEGG IOS Arpeggios are speclfically chords, broken up into single notes. They are effectlve in outllnlng the bar harnrony and offer a nlce contrast to scale movementas they create smoth rolling lines, at sharper angles than scales. l4 Example

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INTERVALSKIPS lnterval skips create sharp, dramatic lines. An interval is the distance between any two notes. Large interval skips can be a valuable tool for creating interesting lines and can have a dramatic effect in breaking up the monotomy of excessive scale movement. Any sequence of interval skips, 3rds, 7ths, 9ths, etc., can easily be applied to a key center by playing scale intervals that take into account the half steps of the scale, thus, resultinl in combinations of major and minor 3rds or major and minor Tths (not, parallel 3rds, 7ths, etc. ) Example 15

A mostcommon complalntof beginnlng improvisors is that their playing tends to become too scale-llke. One solution to this could be to 9!og playing things that rrsoundrr like scales, for example, as an exercise, dontt play ffi inah for * scale tones ln the same directionl €.g. this type of scale movement creates interval skips, small and large, thus breaking up the scale effect.

t

Example 16

THE A.

PROGRAM

The Program is made up of a series of proiect lessons, each lasting 50 minutes per day, running six consecutive days per week, with one day off. The objective is to gradually increase the tempo over the course of 20 weeks maintaining precision and accuracy at all times. The First Six Weeks, Project Lessons l-A, l-B, Z-A, 2-8, 3-A, 3-8, focus on the use of eighth notes, as representative of duple time, sixteenth notes, thirty-second notes, etc. Each project lesson is broken down into a series of steps to be carried out within specified time frames. The first lesson (1-A) deals with a common chord progression, showing the key centers bracketed above the chords. Project Lesson l-B uses the same chord progression transposed to another key, thus requiring a change of fingering patterns, licks, etc. This also tends to stimulate fresh approaches and ideas. Lesson 2-A is a new chord progression and Lesson 2-B is the same progression transposed to another key. Project Lesson 3-A uses a new progression and Lesson 3-B uses the same progression transposed to another key. The Day Day Day Day Day Day Seventh Week - Review. I Review Project Lesson 2 Review Proiect Lesson 3 Review Project Lesson 4 Review Proiect Lesson Review Proiect Lesson 5 6 Review Project Lesson t-A 1-B 2-A 2-B 3-A 3-B

B.

c.

D.

Weeks Eight Through Thirteen, Project Lessons 4-A, tl-B, S-A, 5-B, 6-A, 6-8 focus on trlple time via eighth note triplets as representative of their relative divisions and sub-divisions, i.e., quarter note triplets, sixteenth note triplets, etc. As before, each project lesson is broken down into a series programmed steps with corresponding time frames. Lesson 0-A presents a new progression, with key centers bracketed above. Proiect Lesson 4-B uses the same progression, transposed to another key. Lesson 5-A is a new progression and Lesson 5-B is the same progression transposed to another key. Project Lesson 6-A is a new progression and Lesson 5-B is the same progression transposed to anothCr key.

14

THE

PROGRAM

E.

The Day Day Day Day Day Day

Fourteenth Week - Review. t Review Project Lesson 2 Review Proiect Lesson 3 Review Project Lesson tl Review Proiect Lesson 5 Review Project Lesson 6 Review Project Lesson

4-A 4-B 5-A FB 6-A 6-8

F.

Weeks15, 16, 17 - Review. Review the proiecat lessons in any order to establish your present maximum tempo as a permanent reflex. The proiect lesson steps and time frames are to be followed as before.

G.

Weeks18, 19, 20 - Review. Review the project lessons as before using (a) hammer-onrs (blpull-off's (c) glissandi (slides). The introduction of these techniques should cause your technique and speed to increase dramatically in that via these devices several notes can be pnoduced with one picking stroke.

H.

The Appendix in the back of the book consists of examptes or models of the kind of lines intended for the project lessons and are numbered accordingly, i.e. 1-A, l-8, 2-A, 2-[|, etc.

NOTE: Think of this program as training with the Chicago Bears, as compared to joining a health spa. Trust the program. Do the work exactly as prescribed, then stand back and watch lt work. You should see dramatic progress within about six weeks.

l

PO A.

NTERS

It is true that the rnore you practice, the more quickly you will progress. So, after your one hour per day of controlled practice, if you feel like playing for l2 more hours, so much the better. Be in tune with your physical and psychological hights and lowrs and use them appropriately. When you feel like doing it, do it. learning tikes place while watffinffilevision like it. and noodling. tio it when y6u feet

B . Guitar players are inveterate n@dlers, and I think that a very effective type of

c.

Sometimes it's helpful to sketch out a very simple melody line over the changes, i.e. half note, quarter notes, halves, etc. Let this line run through your head as a basic melody and play "fillsu around it. This will at least get your line started with some form.

D. A very common form for building a solo line is: QUESTION AND ANSWER. When this Q/A routini?Foccurs, it ii generally called a sequence.
SEQUENCE

ct

E . Listen to the "pre-recorded changesrr and sing the solo the way you would like to
play it. F. G. REST: Lie flat on the floor. Hands flat, not crossed. legs flat, not crossed, ebse your eyes, breath deep, and say to yoursetf, ul wiil-retax now." BE_qf : Stand with your back up against a wall. Press each part of your body agalnst the wall. Naturally parts of your body wlll not want to do this, like the small of the back, the nape of the neck, etc. But the idea is to attempt trreal hard" for about 30 seconds. Do this on one of the 3-minute breaks. In this program you will reach many moments in which you hate that rrsameold licktl you [always playrr. Be aware of this point in the tune and the next time around, do something else, no stops. Yes, the tape is running, and the next time is coming right up. So welcome to the world of a hot improvisor. HANGUPS: Play very slowly and listen carefully for any flams. Use all up strokes. Make each note sound as loud and strong as any other. Now use all up strokes, scales, interval skips. Now use consecutive down and up strokes. Now reverse to all up (on the down beat) and down (on the up beat) strokes. The Warm-Up. At the beginning of each practice session, warm up for 5 minutes by playing notes all over the fingerboard. Play very slowly, low, high, and medium pitches, to develop a feel for string travel at a given picking area. Notes played high up on the neck have a much greater string travel than the low ones and can create coordinatlon problems between the left and right hands. Both must attack the string simultaneously.

H.

l.

J.

16

-

POINTERS K . A most commonmlstake ls to blame the left hand when the rlght hand lc at fault, or vice versa. Watchout for this. L . Get the progression off the paper and Into your head as 3oon ar posrlble. Memorizlng the chord changes allows you to focus all of your attentlon on what you are playing rather than readlng the muslc.
M . The objectlves put forth In this book are attalnable only lf the reader follows

each step of the pnogram without deviation from the schedule (that means no mlssed days, hourr shortened, tlmc frames dlsobeyed, key centerl mlsr€d, Introduclng hammer-onrs,pull-offls, before stated, playlng dotted elghth cixteenth notes instead of elghth noter, etc., etc.) lf you do it, you get lt. lf you donrt; you donrt. ln the Growth Process, we all go through perlods in which we lre actlvatlng new nerve fwrctlonr, both ln the braln and throughout other partr of the body. Thls type of grcwth work drawr a tremendou3 amount of systentlc energles. The overall physlcal feellng ls llke pulllng a traln uphlll, and the psychologlcril spln-off ls the feellng that we are gettlng nowhere. Thls will perslst for some perlod of tlme. We then tend to go Into a natural state of rest, fra plrteau.rl During thls rest period, we tend to feel that we have the world by the tall and great progress ls taking place. Actually the reverse ls true. The progress was madedurlng the uphill climb, not durlng the rest period. The rest perlod wlll contlnue for someperlod of time. Donrt worry about lt. Then the road wlll becomevery rough agaln, and we wlll begln to becorneaware of our weaknegt€g. This wlll last untll we select the speclflc lrea to attack flrgt. We wlll then begln the uphlll cllmb agaln and plateau again only to meet our deflclencies face to face agaln. So, on and on lt goes, but your practlce reglmen must remaln congtant.

N.

SelfRest Plateau Questlonl SelfQuestlonl

PO

NTERS

o.

Coping ttith The Mental Hazards Of Developing A High Degree of Facility ln lt is extremely important to cerrectly place the blame when things lmprovising. seem to be going wrong. For example, your guitar may sound out of tume, which is certainly possible. However, keep in mind that it may actually be in tune with itself, but out of tune with an air conditioner, refrigerator motor, or traffic noises--' from outside. When your music sounds bad to you, the natural reflex is to stop playing. So before you blame yourself for a problem, make sure that you have accounted for elements in your environment that may be superimposing a subliminal orchestration over what you are playing. Learn to ferrot out the real problems. There seems to be something about the guitar. at least for the serious performer, that creates an overload of humility. A certain amount of this is okay and selfquestioning is essential to oners progress, But do not fall into the trap, as many do, of blaming yourself when something else is wrong, as this will not cure hidden problems. Also be aware of your bio-cycles. Every person has natural high and low points running in approximately monthly cycles. During low periods, you may feel very down and discouraged, but this must not interrupt the regularity of your practice routine, as far as the project lessons in this book are concerned. You must continue to practice with controlled discipllne, no matter how you feel about things from day to day.

P.

a.

R . You will find that once you reach a given level of speed, and maintain playing at that level or faster, for approximately 2l days, on a daily basis, -- the ability acquired during that period of time will be permanently imprinted and assimilated by your nervous system. You could lay off for six months, come back and practice hard for about 2-3 weeks and it will come right back. lt seems that once this ability is programmed clearly, the rest is mostly a matter of muscular strength and agility.

s.

Practicing an hour a day 6 days a week is great, but 12 hours is better. There will be some days when you may feel like playing for long periods of tlme. This is great when you feel like it, but donrt force it. Exchange solos and comping. Trade off in sequence. The group dynamics is superior to private study for a program of this sort.

T . An'Accelerator -- form a group of other guitar players.

U . Another hazard to watch out for -- when tunes are played with a specific feel,
i.e. steady eighths or dotted eighths, sixteenths (shuffle) or triplets (12181 , etc., they tend to have slow, medium and fast tempos that are just right for that particular rhythm feel and any other tempos inbetween feel awkward and difficult to play on. This applies even to the most experienced players. You should expect that, during the process of building up your speed, you will encounter long periods when the tempo feels awful and, from time to time, points where the tempo is just right. Donrt blame yourself -- just be aware of the real problem.

18

H O WT O D O P R O J E C T L E S S O N SF O R W E E K SO N E T H R O U G H qtx A. Play only eighth notes, continuo'rt: and uninterrupted. No rests. No phrasing. No hammer-onrs. No pull-offls. No other ornamentation. ttNothingr but stead-y eighth notes. Use Alternate Picking only. No two strokes in the same direction, to make up strokes sound as strong as down strokes. .e. strive

c.

Do nol set your metronome to a use the metronome only to track lempos in the boxes provided. from day to day. This is to be

desired speed and try to rise to meet it. Rather, your progress. Keep a daity record of your (NOTE: Your tempo may vaiy stower or faster expected.)

D . D.o-ea9h proiect lesson for six consecutive days, with one day off. Avoid skipp.ing , for whatever reason. The effect is hazardous to progress. " 9"y Regularity is essential. Follow the steps faithfully as given.

E . T!re-key centers bracketed in the chord prog-ressions represent only one analysis

of the progression. other views may be apptiea as welt. ror exarildlo, *,ilt encounter key center brackets in which a given chord could be viewed a's a lll orVl chord of one key, but indicated as a ll chord of another. In these situations oners individua-l preference can- prevait. ltts just a matter of where you want the change of tonality to occur. Also, there are ilmost unlimited scale and chord substitution possibilities. Feel free^to use any harmonic devices at your dlsposal. lf theyrre_rlght, they will sound right and if ihey,re wron!;, you wifl know ii immediately. The chord voicings shown in the proiect lessons are comrnonguitar voivings which are intended to assure a clear understanding of the progressi-on and, in aldition, may serve as a good.study in the application of I'garden-variety'r guitar chords. However, other voicings may be used at your own- discretion.

F.

G . The week end tempo obiectives shown at the top of each project lesson are scheduled to increasg by two metronome points'daily. lt'may be good to remember that these are only obiectives. Care shoutU be takin not to sac"i"fi". and precision in order to meet the tempo goals. These will always come """u""ry in time. The tempo obiective plan is symmetricar, 6ut the learning curve'is not. Play Legato. Hold each note as tong as possible Do not rush or drag

Great attention should be given to holding steady time. the tempo.

t9

WEEK ONE

PROJECT LESSON I-A J

Week End Tempo Obiective
PREPARATION

= 60

Step I Step 2 Step 3

Clear your work area of all things not pertaining to thislesson. Tune your guitar. Warmup. Play notes slowly at all parts of the fingerboard. Objective: To eliminateany Iflamstr between the right and left h a n d s.

50 MINUTE PROGRAM Step 4 2 min Play eighth notes once through the progression to establish your tempo of the day - the speed at which you can play through the piece without mistakes. Mark down the day's tempo in the appropriate box below. LOG OF DAILY METRONOME SETTINCS

Step 5

10min

Pre-record yourself playing the chord changes (sustained - no rhythms), with the metronomenearby so that it will sound on the tape like aplick track. Rcpeat the progression non-stop for l0 minutes. Break! Set the guitar down. Stand up and rewind the machine. Focus yoffihord prdgression. Know the key centers and memorize the progression. r'Get it off the paper and into your head'r. Play uninterrupted eighth-notes over the progression as it is played back, to the conclusion of the pre-recording. Break! Set the guitar down, stand up and stretch, etc. eighth-notes to the conclusion of the preLie down, etc.

Step 6

2 min

Step 7 Step I Step 9

10 min 2 min l0 min 2 min 10 min 2 min

Play uninterrupted recording. Break!

Step r 0 Step l l Ste p 1 2

Rest aw6y from the guitar.

Play uninterrupted recording.

eighth-notes to the conclusion of the pre-

Break! Lie down. Relax all parts of the body. Close your eyes. Breathe deeply and rhythmically, Practice visualizing yourseif playing the project the way you wish you had.

Total

50 min

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50 MI NU T EP R O G R A M
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2 min

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Step 5

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Pre-record yourself playing the chord changes (sustained - no rhythrns), with the metronome nearby so that it will sound on th€ tafe like a click track. Repeat the progression non-stop for 10 minutes. Break! Set the guitar down, Stand up and rewlnd the machine. progression. Know the key Focus yoffihord centers and memorize the progression. "Get it off the paper and into your head". Ptay uninterrupted eighth-notes over the progression as it is played back, to the conclusion of the pre-recording. Break! Set the guitar down, stand up and stretch, etc. eighth-notes to the concluslon of the preLie down, etc

Stcp 6

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Break! Lle down. Relax all parts of the body. Close your cyes. Practice visualizing yourself Breathe deeply and rhythmically. playing the proiect the way you wish you had.

Total

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PROJECT LESSON 2-A d

Week End Tempo Obiective

I

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P REP AR A T I O N Step I Step 2 Step 3
Clear your work area of all things not pertaining to thislesson Tune your guitar. warm up. Play notes slowly at all parts of the fingerboatd.. OUlective: toLliminate any "flams'i between the right and left hands.

50 MINUTE PROGRAM Step 4 2 min

Play eighth notes once through the progression tg establishyo-ur t",n'po 6t tne day - the speed at which you can play through the Mark down the dayts tempo in the approffitakes. priate box below. L OGOF D A IL Y METRONOMESETTINCS

Step 5

l0 min

Pre-record yourself playing the chord changes (sustained no nearby so that it will sound on the rhythms), with the riretionome tafe like a click track. Repeat the progression non-stop for 10 minutes Break! Set the guitar down. Stand up and rewind the machine. progression. Know the key Focus yoffihord centeri and memorizethe progression. "Get it off the paper and into your head". Play unlnterrupted elghth-notes over the progrggsion as it is played back, to the conclusionof the pre-recording. Break! Set the guitar down, stand up and stretch, etc. Play uninterrupted eighth-notes to the conclusion of the prerecording. Break! Rest away from the guitar' Lie down, etc.

Step 6

2 min

Step 7 Step 8 Step 9 Step l0 Step t I Step 12

t0 min 2 min l0 min 2 min l0 min 2 min

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Total

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PROJECT LESSON ?-B J : e.l lb WeekEnd TemPoObiective a

PREPAR+TloN
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ttrislesson'

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50 MINUTE PROGRAM Step 4 2 min

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I Day2

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l0 min

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Step 6

2 min

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to the conclusion of the pre-

Step 12

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Total

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PROJECT LESSON 3-A

VUeek End TempoOujective J

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PREPARATIOry
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50 MINUTE PROGRAM Step 4

2 min

Play eighth notes once through the progression to establish your tem-po of thq OaI - the speed at which you can play thro-ugh the illark down the day's tempo in the approffitakes. priate box below. SETTINGS LOG OF DAILY METRONOME

Step 5

10min

Pre'record yourself playing the chord changes (sustained - no rhythms), wlth the metronome nearby so that it will sound on the tape like a click track. Repeat the progression non-stop for l0 minutes. Break! Set the guitar down, Stand up and rewind the machine. progresslon. Know the key Focus yoffihord centers and memorize the progression. r'Get it off the paper and into your headt'. Play uninterrupted eighth-notes over the progression as it is played back, to the conclusion of the pre-recording. Break! Set the guitar down, stand up and stretch, etc. eighth-notes to the concluslon of the preLie down, etc

Step 6

2 min

7 Step I Step 9

l0 min 2 min t0 min 2 min l0 min 2 min

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Break! Lie down. Relax ail parts of the body. Close your eyes. Breathe deepty and rhythmically. Practice visualizing yourself playing the project the way you wish you had.

50 min

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P R O J E C TL E S S O N } B a ) /2 O

Week End Tempo objectiv Obiective "

PR EP A R AIT ON Step I Step 2 Step 3
Clear your work area of all things not pertaining to thislesson. Tune your guitar Warm up. Play notes slowly at all parts of the fingerboard. Obiective: To eliminate any "flamsrr between the right and left hands.

50 MINUTE PROGRAM Step 4 2 min Play eighth notes once through the progression to establish your tempo of the dav - the speed at which you can play through the piece without mistakes. Mark down the dayrs temp in the appropriate box below. LOG O.F DAILY METRONOMES-ETTINGS

Step 5

10 min

Pre-record yourself playing the chord changes (sustained - no rhythms), with the metronomenearby so that it will sound on the tape like a click track. Repeat the progression non-stop for l0 minutes. Break! Set the qu1!9r down. Stand up and rewind the machine. Focus yoffihord progression. Know the key centers and memorize the progression. rrGet it off the paper and into your headtt. Play uninterrupted eighth-notes over the progression as it is played back, to the conclusion of the pre-recording. Break Set the guitar down, stand up and stretch, etc. eighth-notes to the conclusion of the preLie down, etc.

Step 6

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7 Step 8 Step 9 Step l0 Step I t 12

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with one of the A six day series of Proiect Lessons. Each day we will deal studies' preceeding ctrorO prbgression form the

DA Y O N E DAY TWO DAY THREE DAY FOUR DAY F I V E DA Y SI X

Review Proiect Lesson Review Proiectlesson Review Proiect Lesson S€viery P{'oiect Lesson Review Proiect Lesson Seviery P-roiect LeEsen

1-A H 2-A }B 3-A S

The reasons for this review are two-fgld' A. B. To reinforce our merrery of the chord progressions atso of the devices we used to get through them' themselves-and

focus To do some clean-up work on our t€mpo obiectives and r€ally on precision.

point in time' This will help firm up ouf technlque as lt exists at this of regu-lar disciptin€d The method of going about deing this is, as before, I matter deal to outllneit' no big itrs that horvever, study periods agou-tlined. RenEmber, the big deal is doing it.

44

WEEK SEVEN

PROJECTLESSONREVIEIV
I J : /3 2

Week End Tempo Objective

PREPARATION Step I Step 2 Step 3 clear your work area of alt things not pertaining to thislesson. Tune your guitar. at all parts of the fingerboard. Il1m yp. Play.notes slowlyr'flamsri obiective: To eliminate any between the riiht and left hands.

50 MINUTE PROGRAM Step 4
2 min

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Step 5

l0 min

Pre-record yogrs-etf playing the chord changes (sustained - no rhythms), with the metronome nearby so thit it wilt sound on the tape like a click track. Repeat the progression non-stop to" ro mi n u te s. Break! set the,gyitar dgwn. stand up and rewind the machine. Focus your attention on the chord progression. Know the key centers and memorizethe progression.- ,Get lt off the paper lnd into your headtt. Play uninterrupted eighth-notes over the progresslon as it is played back, to the conctusion of the p""-'"*irJing. Break! Set the guitar down, stand up and stretch, etc, Play u-ninterrupted eighth-notes to the conctusionof the prerecording. Break! Rest away from the gultar. Lie down, etc.

Step 6

2 min

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l0 min 2 min l0 min 2 min 10 min 2 min

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CONTEMPLATE YOUR THE PROGRESS END OF ITEEK TO SEVEN

YOU SH O U L D F EE LA N OT IC E A B L E N EWCON F I D EN C A EN D S U R E N E S S I N YO U R PL AY I N C T E C H N IQU E

C O N T I N U E D P E R S I S T A N C ET O T H E END OF THE PROGRAM, EVEN THOUGH SOMEWHAT TEDIOUSAT TIMES, WILL R E S U L T I N T H E F U L F I L L M E N TO F YOUR GOAL IN ONLY THIRTEEN MORE WEEKS.

GIVE YOURSELF A WELL-DESERVED PA T O N T H E BA C K F OR D IL IGE N C E , AND A SPECIALREWARD FOR YOUR SUCCESS THUS FAR.

THE N, W I T H R EN E WE MOT D IV A T ION , GO O N T O W E E KEIGH T .

46

H OWT O DO W EEKS EIGHT THROUGH THIRTEEN A. Play only eighth note triplets, continuous and uninterrupted. No rests. No Phrasing. No hammer*onrs. No pull-offls. No other ornamentatlon. use Alternate Picking only. No two strokes in the same direction, f,e. strive to make up strokes sound as strong as down strokes. This will cause every other set of triplets to begin with an up stroke. warning: D9 not,set your metronometo a deslred speed and try to rise to meet it. Rather, use the metronomeonly to track your progre,s!. Keep a daily record of your tempos in the boxes providld. (NOTE: Your tempo may vary slower or faster from day to day. Thls is to be expected. ) !o 9a9h project lesson for six consecutive days, with one day off. Avold sklpping a day, for whatever reason. The effct is very hazardous to progress. Regularity is essentlal. Now, follow the steps falthfully as given.

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PROJECT LESSON 4-A
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Clear your work area of all things not pertaining to this lesson. Tune your guitar. Warm up. Play notes slowly at all parts of the fingerboard. Objective: To eliminate any "flamsrr between the right and left hands.

50 MINUTE PROGRAM Step 4

2 min

Play eighth-note triplets once through the progression to establish your tempo gf thq dav - the speed at which you can play through the piece without mistakes. Mark down the dayrs tempo in the appropriate box below. LOG OF DAILY METRONOME SETTINGS

Step 5

10 min

Pre-record yourself playing the chord changes (sustained - no rhythms), with the metronome nearby so that it will sound on the tape like a click track, Repeat the progression noJ-stop for l0 minutes. Break! Set the guitar down. Stand up and rewind the machine. Focus your attention on the chord progression. Know the key centers and memorize the progression. trGet it off the paper and into your headtr. PIay uninterrupted eighth-note triplets over the progression as it is played back, to the conclusion of the pre-recording. Break! Set the guitar down, stand up and stretch, etc. eighth-note triplets to the conclusion of the Lie down, etc.

Step 6

2 min

Step 7 Step 8 Step 9 Step t 0 Step 1 t Step 12

l0 min 2 min l0 min 2 min 10 min 2 min

Play uninterrupted pre-recording. Break

Rest away from the guitar.

Play uninterrupted pre-recording.

eighth-note triplets to the conclusion of the

Break! Lie down. Relax all parts of the body. Close your eyes. Breathe deeply and rhythmically. Practice visualizing yourself playing the project the way you wish you had. Check off each step as it is finished

Total

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50 MINUTE PROGRAM Step tl

2 min

Play eighth-note triplets once through the progression to establish your tqmpo of the dav - the speed at which you can play through the piece without mistakes. Mark down the day's tempo in the appropriate box below. LOG OF DAILY METRONOME SETTINGS

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l0 min

Pre-record yourself playing the chord changes (sustained - no rhythms), with the metronome nearby so that it will sound on the tape like a click track. Repeat the progression non-stop frr lt mlnutes. Break! Set-the quitar down. Stand up and rewind the machine. Focus yoffihord progression. Know the key centers and memorize the progression. rrGet it off the paper and into your headrr. Play uninterrupted eighth-note triplets over the progression as it is played back, to the conclusion of the pre-recording. Break! Set the guitar down, stand up and stretch, etc. eighth-note triplets to the conclusion of the Lie down etc.

Step 6

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l0 min 2 min l0 min 2 min l0 min 2 min

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Break! Lie down. Relax afl parts of the body. Close your eyes. Breathe deeply and rhythmically. Practice visualizing yourself playing the project the way you wish you had. Check off each step as it is finished.

Total

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Clear your work area of all things not pertaining to this lesson. Tune your guitar. Warm up. Play notes slowly at all Parts of the fingerboard'. 'rflams'r between the right and left Objective: To eliminate any hands,

50 M I NU T EPR O G R A M
Step tt 2 min

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l0 min

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ln the Crorvth Process,weall gothrough periods in which we areactivating new nerve junctions, both in the brain and parts of the body. $Tughout,other This type of growth work draws a tremendous amount of systemic energies. The overall physical feeting is-tike pulllng a train uphitl,and the psychological spin-off is the feeling that we are getting nowhere. This will persist for some period of tirne. We then tend to go into a natural state of rest, a "plateaur'. During this rest period, we tend to feel that we have the wortd by the tail and great pnogress is taking place. Actualty, the reverse is true. The progness was made during the uphill climb, not during the' rest period, The rest period will continue for some period of time. Donrt worry about it. Then the road will becomevery rough agnin,and we witl begin to become aware of our weaknesses. This will last until we select the specific area to attack first. We will then begin the same uphiil climb again and plateeu again onty to meet our deficiences face to face again. So,on and on it goes,but your practice regimen must remain ionstaht.

WEEK ELE\IEN

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PREPARATION Step 1 Step 2 Step 3

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Clear your work area of all things not pertaining to this lesson. Tune your guitar. Warm up. Play notes slowly at all parts of the fingerboard. Objective: To eliminate any Iflamsrr between the right and left hands.

50 MI NU T EPR O G R A M
Step 4 2 min Ptay eighth-note triplets once through the progression to establish your tempo of the dav - the speed at which you can play through the piece without mistakes. Mark down the dayrs tempo in the appropriate box below. LOG OF DAILY METRONOME SETTINGS 1 Dav2 Dav3

Step 5

10 min

Pre-record yourself playing the chord changes (sustained - no rhythms), with the metronomenearby so that it will sound on the tape like a click track. Repeat the progression non-stop for l0 minutes. Break! Set the gq'Ltar dorryn. Stand up and rewind the machine. Focus your attention on the chord progression. Know the key centers and memorize the progression. rrGet it off the paper and into your headr'. Play uninterrupted eighth-note triplets over the progression as it is played back, to the conclusion of the pre-recording. Break! Set the guitar down, stand up and stretch, etc. eighth-note triplets to the conclusion of the Lie down, etc.

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2 min

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Break! Lie down. Relax all parts of the body. Close your eyes Breathe deeply and rhythmically. Practice visualizing yourself playing the project the way you wish you had. Check off each step as it is finished. 64

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At the beginning o_feach practice session, warm up for 5 minutes by playing notes all.over the fingerboard.1"y vlry srowfy, row, high, and mediumpitches, to d6verop a feel fdr strlng t""l"r a given picking a-rea. Notes played irigtr up on the n6ck have-a "i' much greater string travel than ihe low ones and can create col ordination problemsbetweenthe left and right hands. Both must attack the string simultaneousty.

reach many momentsin which you hate f l ltti" progfam, you wirrrralways that rrsame old lick' you ge-awareof tti" poi"i pliy". in the tune and the next time arouno,oo somethingerse,no itop". Yes, .the tape is running, and the next ti;;-i=-"L-ri"g - -l-igti ub.' So welcometo the world of a hot improvisor.

t

}YEEK TWELVE

PROJECT LESSON 6-A

WeekEnd TempoObjectiv" )
PREPARAT ION Step I Step 2 Step 3

:

l2S

Clear your work area of all things not pertaining to this lesson. Tune your guitar Warm up. Play notes slowly at all parts of the fingerboard. Objective: To eliminate any "flams" between the right and left hands.

50 MINUTE PROGRAM

Step 4

2 min

Play eighth-note triplets once through the progression to establish your tempo of the day - the speed at which you can play through the piece without mistakes. Mark down the dayrs tempo in the appropriate box below. LOG OF DAILY METRONOME SETTINGS

Step 5

l0 min

Prerecord yourself playing the chord changes (sustained - no rhythms), with the metronomenearby so that it will sound on the tape like a click track. Repeat the progression non-stop for l0 minutes. Break! Set the guitar down. Stand up and rewind the machine. Focus yoffihord progression. Know the key centers and memorize the progression. ItGet it off the paper and into your headrr. Play uninterrupted eighth-note triplets over the progression as it is played back, to the conclusion of the pre-recording. Break! Set the guitar down, stand up and stretch, etc eighth-note triplets to the conclusion of the Lie down, etc,

Step 6

2 min

Step 7 Step 8 Step 9

10 min 2 min l0 min 2 min l0 min 2 min

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Step l 0 Step l l Step t 2

Rest away from the guitar.

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eighth-note triplets to the conclusion of the

Breakl Lie down. Relax all parts of the body. Close your eyes. Breathe deeply and rhythmically. Practice visualizing yourself playing the project the way you wish you had. Check off each step as it is finished.

Total

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Clear your work area of all things not pertaining to this lesson. Tune your guitar. Warm up. Play notes slowly at all parts of the fingerboard. Objective: To eliminate any "flams" between the right and left hands.

50 MINUTE PROGRAM Step 4

2 min

Play eighth-note triplets once through the progression to establish your tempo of the dav - the speed at which you can play through the piece without mistakes. Mark down the dayrs tempo in the appropriate box below. SETTINGS LOG OF DAILY METRONOME 1 Day2 Day3 Day4

Step 5

l0 min

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Step 5

2 min

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l0 min 2 min l0 min 2 min l0 min 2 min

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eighth-note triplets to the conclusion of the

Step 12

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Total

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D AY O N E DAY TWO D AY T H R EE DAY FOUR D AY F I V E D AY SI X
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Lesson Lesson Lesson Lesson Lesson Lesson

4-A tl-B 5-A S-B 6-A 6-8

Play only eighth note triplets, continuous and uninterrupted. No rests. No phrasing. No hammer-onrs. No pull-offts. No other ornamentation. rrNothingtt but steady eigtirth note triplets. Use Alternate Picking only. No two strokes in the same direction, i.e. strive to make up strokes sound as strong as down strokes. warning: Do !9! se_tyour metronome to a desired speed and try to rise to meet it. Rather, use themetronome onty io track your progress, _Keep a daily record of your tempos in the boxes provlded. (NorE: Your tempo may vary slower or faster from-day to day. This is to be expected. ) Avoid -skipping a day, for whatever reason. The effect is very hazardous to progress. Regularity is essential. No, foilow thl steps faithfully as given.

B.

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76

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PREPARATION Step I Step 2 Step 3

clear your work area of all things not pertaining to this resson. Tune your guitar. all parts of the fingerboard. ll1m yp. Play notes slowly at obiective: To eliminateany trflamstr betweenthe right and reft h a n d s.

50 MINUTE PROGRAM Step 4 2 min Play eighth-note triplets once through the progression to estab.lish yguf ter4po of lhe dav - the speed at which you can play through the piece without mistakes. Mark down the dayrs temp< in the appropriate box below.

Loc oF DAILY[r4,FlRoNoME SETT!NGS

Step 5

10 min

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Step 6

2 min

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t0 min 2 min l0 min 2 min l0 min 2 min

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Play uninterrupted eighth-note triplets to the conclusion of the pre-recording. Break! Lie down. parts of the body. close your eyes. .Re-lax-all Brea.thedeeply and rhythmically. practice visualizing yourself playing the project the way you wish you had.

HOW TO DO PROJECT LESSONSFOR WEEKSFIFTEEN, SIXTEEN AND SEVENTEEN

(2 1 D AY REVTEW ) 9p t9 now, our goal has been to gradually rach a tempo of ) = lltwith ctean execution by the end of the fourteenth week. Whether you have or have not attained this tempo, write d.o*l the present maximummetronome setting (the setting at which you ortlfiy through the project lessons free of mistakes).

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Following is a 2l day "gestationrr period aimed toward affixing your present maximum -one technique as a permanent reflex capability, a point at which may go without playing

for_long p_eriods of time, but with about two to three weeks of practic6, regain ttre full technique.

The following here is a suggested schedute (you may change the order at will). W E E KF I F T E E N Day Day Day Day Day Day Day Day Day Day Day Day One Two Three Four Five Six One Two Three Four Five Six One Two Three Four Five Six Review Review Review Review Review Review Review Review Review Review Review Review Review Review Review Review Review Review Project Project Project Project Project Project Project Project Project Project Project Project Project Project Project Project Project Project Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson l-A l-B 2-A 2-B 3-A 3-B t-A 4-B 5-A 5-B 6-A 6-8 l-A 4-A 2-A 5-A 3-A 6-A

tt,EEKSIXTEEN

W E E KS E V E N T E E N D a y Day Day Day Day Day

78

WEEK FIFTEEN

PROJECT LESSON REVIET/IT

WeekEnd TempoObiective )
PREPARATION

:

tSZ

Step 1 Step 2 Step 3

Clear your work area of all things not pertaining to this lesson. Tune your guitar. Warm up. Play notes slowly at all parts of the fingerboardrrflams'rbetween the right and left Obiective: To eliminate any hands.

50MINUTE PROGRAM Step 4 2 min Play combinations of eighth notes and eighth note triplets once through the progression to establish your tempo of the dav - the speed at which you can play through tl.e piece without mistakes. Mark down the dayts tempo in the appropriate box below. SETTINCS LOG OF DAILY METRONOME

Step 5

l0 min

Pre-record yourself playing the chord changes (sustained - no rhythms), with the metronome nearby so that it will sound on the tape like a click track. Repeat the progression non-stop for t0 minutes. Break! Set the guitar do.wn. Stand up and rewind the machine. Fc.us your attention on the chord progression. Know the key centers and memorize the progression. IGet it off the paper and into your head". Play uninterrupted eigrhth notes and eighth note triplets over the progression as it is played back, to the conclusion of the pre-recording. Break! Set the guitar down, stand up and stretch, etc

Step 6

2 min

Step 7

10 min

Step 8 Step 9 Step l0 Step l l Step 12

2 min l0 min 2 min 10 min 2 min

Play uninterrupted eighth notes and eighth note triplets to the conclusion of the recording. Break! Rest away from the guitar. Lie dswn, etc.

Play uninterrupted eighth notes and eighth note triplets to the conclusion of the pre-recording. Break! Lie down. Relax all parts of the body. Close your eyes. Breathe deeply and rhythmically. Practice visualizing yourself playing the proiect the way you wish you had. Check off each steo as it is finished.

Total

50 min

TYEEK SIXTEEN

PROJECT LESSON REVIEW

Week End Tempo Objectiv"_l_: PREPARATION Step 1 Step 2 Step 3

I

/( O_

clear your work area of all things not pertaining to this lesson. Tune your guitar. !?ry gp. Play notes slowly at all parts of the fingerboard. objective: To eliminate any "flams" between the right and left hands.

s0 MTNUTE-I'ROG,F,$fI4
Step 4 2 min Play combinations of eighth notes and eighth note triplets once through the progression to establish your tempo of tire dav - the ,speed at which you can play through the pffiakes. Mark down the dayrs tempo in the appropriate box below.

Step 5

l0 min

Perecord yourself playing the chord changes (sustained - no rhythms), with the metronomenearby so thit it will sound on the ta.pe.like a click track. Repeat the progression noE-stop for 10 mtnules, Break! set the guitar down. stand up and rewind the machine. Focus yoffichord progression. Kto* the key centers and memorize the progression. ,,Get it off the paper and into your headtt. Play uninterrupted eighth notes and eighth note triplets over the progression as it is played back. to the conclusion 6f the pre-recording. Break! Set the guitar down, stand up and stretch, etc.

Step 6

2 min

Step 7

10 min

Step I Step 9 Step 1 0 Step I t Step 12

2 min l0 min 2 min 1 0m i n 2 min

Play.uninterrupted eighth notes and eighth note triplets to the conclusion of the recording. Ereak! Rest away from the guitar. Lie down, etc.

Play-uninterrupted eighth notes and eighth note triplets to the conclusion of the pre-recording. Break! Lie down.. Relax all _parts of the body. close your eyes. Brea_thedeeply,and rhythmicatly. practice visualizing yiurself playing the project the way you wish you had. Check off ech step as it is finished.

Total

50 min

80

*r

LESSONREVIEW WEEKSEVENTEEN PROJECT
I

End TempoObiective 1 = t,12 Week
ION PREPARAT Step I Step 2 Step 3

Clear your work area of all things not pertaining to this lesson. Tune your guitar, Warmup. Play notes slowly at all parts of the fingerboard. Obiective: To eliminateany I'flams" between the right and left h a n d s.

50 MINUTE PROGRAM Step 4 2 min Play combinations of eighth notes and eighth note triplets once through the progression to establish your tempo of the dav - the speed at which you can play through the piece without mistakes. Mark down the dayrs tempo in the appropriate box below. LOG OF DAILY METRONOME SETTINGS

t^eP 5

l0 min

Pre-record yourself playing the chord changes (sustained - no rhythms), with the metronome nearby so that it will sound on the tape like a click track. Repeat the progression non-stop for 10 minutes. Break! Set lhe ggitar down. Stand up and rewind the machine. Focus your attention on the chord progression. Know the key centers and memorize the progression. rrGet it off the paper and into your head". Play uninterrupted eighth notes and eighth note triplets over the progression as it is played back, to the conclusion of the pre-recording. Break! Set the guitar down, stand up and stretch, etc

Step 5

2 min

Step 7

l0 min

Step 8 Step 9 Step 1 0 Step il Step l2

2 min 10 min 2 min l0 min 2 min

Play uninterrupted eighth notes and eighth note triplets to the conclusion of the recording. Break! Rest away from the guitar. Lie down, etc.

Play uninterrupted eighth notes and eighth note triplets to the conclusion of the pre-recording. Break! Lie down. Relax all parts of the body. Close your eyes. Breathe deeply and rhythmically. Practice visualizing yourself playing the project the way you wish you had. Check off each step as it.is finished.

Total

50 min

AND TWENTY (REVTEW) WEEKS EICHTEEN,NINETEEN

--*morr'r, r^""=

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DEs

Up to this point in the pnogram, our technical resources have been limited to (a) alternate down and up strokes and (b) duple tlme and trlple time. Now letrs expand the resources to include (a) hammer-onrs, (b) pull-offrs and (c) glissandi or slidesBy introducing these devices into your work studles. you can expect an almost immcdiate, dramatic acceleration of technique in general. One main reson for this ls that the duties of the picking hand are greatly reduced. in that 2 sr urore tones can be phyed wlth only onc picklng stroke. ln Example 15,. seven notes are sounded ulth one attack of the plck. The picking stroke shown as ( $ ) means either a down or up stroke may be used. Example18

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For those of you who have been playing for someUme, hanmer=onrs pull-offr, and slides arc nothing new. But for those who may not be so famillar with them, the follouing examplesbriefly describe and demonstratethe basic principles.

82

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t'strong slam-(irsmmer) your 2, l, or 4th finger &wn on the sam€ string. This hammer-like action" produces another tone {hiEher in pitch} without having to strike the string again. Thus wG are able to sound 2 or more not€s for the price of one picking stroke. NOTE: Not only is it important to hammer-on strongly enough to sound like a plucked string, but the rhythmic character of the PassEgc must-be precise. Example l9
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:: (a) Strike . not€ very straight sh€ad move. The Hammer-on technique itself is a (b) presssd while the string is stil{ vibrating, with the lst, Znd, or 3rd finger beinq

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tt shor,lldba pointed out that it k poeuiblc ts sound any ton€, group of to*rer or chords without any initial pick stroke at all, if the hammer-on is forceful anough. Thls ie efpccislly trtre lf-the amplifier is turned up to a hlgh vslurne eetting.

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with the Znd, 3rd, or tlth fingers. {c} pluck the preparatory thieher} tone and"' y-lrj*.:n* string is vibrating,.(dl pult the finger {ptaying the higFer pitch} away rrom the string, toward the side of the fingerboard in a pluckindaction. This allows the lower note (still heing h€ld) to sound, ln other wordi, pick the strinq a second time-wlth the fingerin{ hand. rtt* buil-off shoutd be ,t*Tri^"nil;h'i;" tone a.pp.roximatingthe loudness of the origina! {pickEc striig}. RT:_ou:*__"_:olicl Also'-.great care should be taken to maintain rhythmic contlol otine puli-ofi."' "uon't rush, or drag the time. " Keep the rhythmic character of the phrase precise, Exarnpte 20

withtherii. zfii, #.i':J:;;;"};, il; ffii;; g_I"",ly.}oic rine :31: that tone, (bl press down a prepariatory tone (higher in pitch on the same "iir'"#iiil.,e strinol

The Pult-off technlque involy*:. fi1g:ring preparatio-n. {ai Fress down the primary

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Example 21 r*+?,f

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SLtDES (CL|SSANDt) The execution of- the gliss (or glissando) simply involves stiding from one note to another. The slile may cover oneor more frets, either ascendi-ng or descending and may be used for chords as well as single note playing. pick the first note jr - -rtes and, without lifting the finger(s), slide up or dbwn to a new note or notes. re slide is indicated as a line connecting one note to another. Example 22 ,l

H O W T O D O P R O J E C TL E S S O N SF O R W E E K SE I G H T E E N , N I N E T E E N A N D T W E N T Y Review the following Proiect Lessons incorporating hammer-oflts, pult-offrs and slides. not break away from the-pnogram or time frames. The following is -;redule (you may change the order at will) " "rgt.rt".L W E E KE I G H T E E N Day Day Day Day Day Day Day Day Day Day Day Day Day Day Day Day Day Day One Two Three Four Five Six One Two Three Four Five Six One Two Three Four Five Six Review Review Review Review Review Review Review Review Review Review Review Review Review Review Review Review Review Review Project Project Project Proiect Project Proiect Project Proiect Project Project Proiect Project Proiect Proiect Proiect Proiect Project Project Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson l-A l-B 2-A 2-B 3-A 3-B 4-A 4-B 5-A 5-B 6-A 6-8 l-B tt-B 2-B 5-B 3-B 6-8

WEEK NINETEEN

W E E KT W E N T Y

85

WEEKEIGHTEEN

PROJECT LESSON REVIEW 16

WeekEnd Tempo obiective:f-j1L
PREPARATION

Step t Step 2 Step 3

clear your work area of all things not pertaining to this lesson. Tune your guitar. !3ft yp. Play ryt9s slowly at ail parts of the fingerboard. objective: To eliminateany 'flamsi, between the iight and left hands.

-

50 MINUTEPROGRAM 2 min Play combinationsof-eighth notes and eighth note trriplets using pull-offls and slides once through the irogressioir fammelln-rs, -you to establish-your tempo of the daa- the speeJ can 'Markat which play through the ffiakes. down the day,s tempg in the appropriate box below. L OG OF p A tL Y METRONOME SETT|NGS

Step tl

Step 5

10min

P-re-1eco-rd yourself playing the chord changes (sustained - no rhythms), with the metrcnome nearby so that it will sound on the tape like a click track. Repeat the progression norqtop for l0 minutes. Break! set the guitar down. stand up and rewind the machine. Focus yo@hord progression. Know the key centers and memorize the progression. tGet it off the paper ind into your headrr. Play uninterrupted eighth notes and eighth note triplets using hamme-r-on's, pull-offrs and stides oveithe progresiion as it is played back, to the conclusion of the pre-recorEing. Break! Set the guitar down, stand up and stretch, etc.

Step 6

2 min

Step 7

l0 min

Step I Step 9

2 min 10 min

Play uninterrupted ei-ghth notes and eighth note triplets using hammer-onrs, pull-offls and slides to thE conclusion of the pre-recording. Break! Rest away from the guitar. Lie down, etc.

Step t 0 Step I I

2 min l0 min

Play uninterrupted elghth notes and eighth note triplets using hammer-onrs, pull-offls and stides to tlie conclusion'of the pre-recording. Break! Lie down. Relax all parts of the body. close your eyes. . practice visualizing you"r"tf Breathe and rhythmicaily. 9*ply playing the project the way you wish you had. Check off each step as it is finished 86

Step t 2

2 min

Total

50 min

IVEEKNINETEEN

LESSONREVIEW PROJECT

Week End TemPo Obiective

J-

I

/8+

PREBA,RATIoN 'P1 Step 2 Step 3 Clear your work area of all thlngs not pertaining to this lessonTune your guitar. Warm up. Play notes slowly at all parts of the fingerboard. Obiectlve: To ellminateany "flamstrbetween the right and left hands.

soMINgLE PROGRAM
Step rr 2 min Play combinationgof-elghth noteg and eighth note triplets using hammer-onlr, pull-offls and slides once thrcugh the progression at which you oan to establish your 1gmpqi)f tha dry-- the tPeed -Mark down the day's ptay through the ffiakes. tempo in the appropriate box below. SETTINGS LOG OF DAILY METRONOME

Stcp 5

l0 min

Prrrecord yoursclf playlng the chord changes (sustained - no rhythmsl, wlth the mcttonomenearby so that lt wlll sound on the tape llke a click track. Repeat the progression non-stop for 10 minutes. Break! Set thc guitar down. Stand up and rewlnd the machlne. progrcrslon. Know the key Focus yoffichord rrGet lt off the paper and progrcssion. centeri and menrorlzethe Into your headrr. Play unlnterrupted aighth notes and eighth note trlplets using hammcr-onrs, pull-offrs and slidcs over the progresslon as it is played back, to the oncluglon of the prrccordlng. Breek! Sst the gultar down, stand up and itretch, etc. Play unlnterrupted eighth notes and elghth note trlplets uslng hcmmer-onrs, pull-offls and slides to the conclusion of the pr€-recordlng. Break! Rest away from the gultar. Lle down, etc.

ft"p s

2 mln

Step 7

l0 min

Stcp 8 Stap 9

2 min l0 min

Step l0 Step tt

2 mln l0 mln

Play unlnterrupted alghth notes and eighth note trlplets using hrmmer-onrr, pull-offs and slides to the concluslon of the pre-recordlng. Braak! Lie down. Relax ell perts of thc body. Close your eyes. Practlce visualizing yourself Breathc decply and rhythmlcelly. pleylng the project the wty you wish you had, Chcck off esch tteP as lt lr flnlshed'

Step 12

2 mln

Total

50 nh

T{EEKTWENTY

PROJECT LESSON REVTEW

WeekEnd Tempo Objective )
PREPARATION Step I Step 2 3

-

/ ?z

clear your work area of ail things not pertaining to this tesson. Tune your guitar, yp. P1"VT:t"s stowly at alt parts of the fingerboard. I:3 objective: To eliminateany ',flamsi'between the rigrrt and left h a n d s.

P R O GR A M !o MT N U T E
%

Step tf

2 min

Play combinations. of eighth notes and eig_Hh note triprets using pull-offlJand sridcs once through the progiression lt"*:-lfs. to establish-your tempo of the dap'Markat which you crn -ttre spcei play through the ffiakes. down the dayrs tempo in the appropriate box below. E tg c o F p A tL Y M ETRONOMSETTTNGS

Step 5

l0 min

P5a1eco1d yoursetf ptaying the chord changies (sustained _ no rhythms), with the metr.on6me nearby so th;tit'*itt sound on the -

n:iJ:::
Step 6 2 min Break!

a ctick track. Repeat *,e ir"er;;;i;

non_stop for t0

the machine. Focusyoffihord.p-ir-9grion." Krro, the key centcrs and nremorize the prryression.- ,,Get if off the papeiina into your headil Play uninterrupted eighth notes and eigfith note triprets hamme.r-oors, puil-offrs and srides oveithe progression using as it is played back, to the conclusion of the pr"_"&oriirrg. Break! Set the guitar down, stand up and stretch, etc.

set the glritar do.wn. stand up and rewind

l0 min

Step I Step s

2 min l0 min

Play uninterrupted eighth notes and eighth note triptets using hammer-on-'s, pull-offll and slides to the conclusion of the prFracording. Break! Rest away from the guitar. Lie down, etc.

Step t 0 Step 1l

2 min l0 min

9i_ghttr using puil-ofei ano riiJ"" to the concrusion fammer-o1ts' of the pre-reicording. Break! Lie down. R.ela1all parts of the body. Close your eyes. . Breathe deeprv and.rhythmiciily. practice visuarizing'y*rrJri-' playing the'pioject the way you wish you had. Check off each step as it is finished. 88

Play uninterrupted

notes and eighth note triprets

St e p 12

2 min

50 min

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