Manual de Guitarra

BEYOND BEDROOM GUITAR www.beyondbedroomguitar.
com
Spencer Westwood, 2003,2004 All Rights reserved Page 1

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The book that will
change the way
you think about
and play guitar
forever
By
Spencer Westwood
BEYOND BEDROOM GUITAR www.beyondbedroomguitar.com

CONTENTS

1 INTRODUCTION........................................................................... 3
2 LEARNING HOW TO LEARN..................................................... 13
3 RELAXED AM I RELAXED ENOUGH?................................... 52
4 POSTURE................................................................................... 65
5 FINGER STRENGTHENING....................................................... 68
6 TENSION AM I REALLY THAT TENSE?................................ 77
7 PRACTICE, ADJUSTMENTS AND LESSONS .......................... 82
8 PRACTICING FOR 24 HRS........................................................ 99
9 READING MUSIC/TAB............................................................. 108
10 TECHNIQUES ....................................................................... 144
11 UNLEARNING BAD HABITS................................................ 170
12 USING BACKING TAPES; ABERSOLD, BAND-IN-A-BOX
AND HOMEBREWED...................................................................... 184
13 DEEP TRANCE IDENTIFICATION ....................................... 185
14 PERFECT PITCH .................................................................. 193
15 CONCLUSION....................................................................... 215


1 Introduction

A journey of a thousand miles begins with a single step
- LAO-TZU.

Welcome to Beyond Bedroom Guitar. The book that will literally
change the way you think about and play guitar.

This book contains a collection of hints and techniques that will
improve your playing skills and your musical ability.

In the book you will find a collection of

NLP and DHE techniques

Accelerated learning techniques

Practical techniques (i.e. physical routines)

Hypnosis techniques

All of which have been specifically tailored for guitar playing and
musical applications.

Whats different in this book from traditional
guitar instruction books?

This book is different to every other guitar instruction book out there in
many ways. Some of biggest differences are:-

It focuses on using your mind.

Getting improved self-awareness, learning how your mind works and
how to use it to accelerate your learning of practical guitar skills and
musicality.

Its not full of pages and pages of music and diagrams that give
you exercises to practice in the vain hope that you will learn to
play better.

Yes you can go and buy those and follow them to the letter if you want.
Some of them are worth reading while your mastering the skills in this
book. A lot more are not!

Its not biased towards one particular type of music or style.

A common occurrence with guitar tutorials , in general, is that they are
targeted towards a specific musical genre even if they pretend not to
be. I have purposely avoided doing that. There are some techniques
that are specifically for Heavy Metal guitarists, Country/Pop players,
Fingerstyle Steel string, Jazz and Classical, but most of the techniques
apply equally well to all styles.

It will be self-revealing

I knew that when I started this project it was going to be a long slog.
Some of the techniques, as I tried and refined them, were going to
personally challenge me to the max. Some of them are going to
challenge you too. Some of them will highlight your weaknesses even
though you have managed to hide them away .Be honest with yourself
- quite often it really is worth taking one step back in order to take two
forward.

About the Author

My name is Spencer Westwood, but my friends call me Spenny or
Spen. Ive been playing guitar for over twenty years on and off. I went
to Music College and then did a degree in Computer Engineering.
Funny whats a music college student doing computer engineering
well I got interested in the electronics side; building and repairing
synths and amps. To learn more about how modern synths worked, I
needed to understand more about the inside of computers. Hence the
Computer Engineering.

Ive played on stages in the UK and USA and Ive recorded and
produced demo tapes, roadied for other bands, and all that fun stuff
All as a hobby.

At the beginning of my working career I had a choice either the music
business or the computer business via computer animation. I chose
the computer graphics and animation business and the music stayed a
hobby albeit an important one. Since then Ive had a variety of jobs,
mostly IT related.

When I started playing, I had help. My dad played guitar in a band in
the sixties - a shadows clone called the Palamino's. He taught me
how to hold the guitar, how to strum, some basic chords and how to
hold a plectrum (wrongly so I later found out). He taught me how to
read basic music and charts. I had a head start

About four years ago, quite by accident, I got into the whole self-help
and personal development thing that was sweeping through corporate
cultures like a virus. Not content with skimming the surface that the
few compulsory courses I attended taught, I got more and more
interested. Especially on things that would increase my learning
speed.

Anyway to cut a long story short, I ended up taking some courses on
Neuro Linguistic Programming, which allowed me to discover what was
stopping me from being my best in all sorts of pursuits. During one of
the courses, I chose musical applications for most of the self-help
exercises. I learnt some very useful techniques that have helped
improve my guitar playing and musical abilities generally.

After that I spent quite a while searching for articles, books, tapes etc.
that would allow me to find out even more musical applications of this
mind stuff. There wasnt one book out there that specifically covered
guitarists. Yes there was one about using this stuff for music in
general. There was one written for guitar teachers to help their
students but no book specifically for guitarists, especially one written
by a primarily self taught guitar player.

Thats when it struck me Ill write a book. Ill learn even more in the
process, Im sure there are some other people out there that would
want to know how to use this mental stuff , specifically for guitar
playing.

I selected or invented as many useful techniques as I could. I tried
them out, adjusted them and then finally wrote them down for others to
follow this book is the result!

I welcome you aboard this journey of self-discovery that will radically
improving your playing.

How to use this e-book

Fiction is meant to be read from the start to the finish, page by page.
Some people approach reading text books this way but the majority
dont. They dip into the book especially if it has an index looking for
a specific answer to a specific problem.

To get the best from this book, Read the whole of the second chapter
first before skipping through to any of the others. This gives the
background to the techniques and lays down some fundamental mental
skills.

Its a long chapter so take it easy. Read it once quickly and then read it
again doing the exercises as you go through.

After completing chapter 2, I recommend that you read Chapter 3, the
relaxation chapter, before dipping into the remainder of the book.

Most of the other chapters are on specific topic areas. You can
dip into them randomly in any order.

Some of the chapters are for recent beginners or go over
existing information with a new slant. Others are for the more
intermediate and advanced players.

The chapters on Deep Trance Identification, Borrowed Genius
and Perfect Pitch are advanced mental topics and should be left
until you have tried and practiced some of the other materials.

The First Appendix is a collection of the tab for all the exercises.
This is so that you can just print out the pages you need rather
than the whole book when practicing away from the computer.
To save paper, when I am printing out e-books I select the two
pages on every sheet option. This makes the tab a little small
So if you do the same as me and print the books out half size,
thats why the tab is repeated so you can print just those
pages out full size.

Exercises are marked out using this shaded box.

TIPS AND KEY POINTS ARE MARKED OUT IN BOLD
CENTRED AND UPPERCASE


Am I really going to improve?

Im often awed by the amount of poor playing that I hear around me.
Some of it technically perfect but not musical and lacking feel, some of
it intonation is out or the guitar is not even in tune.

Sometimes though you hear something wonderful, like the other
evening when travelling back home on the London Tube I heard a
classical guitarist busking and he was producing the most wonderful
version of Francisco Tarrega's Recuerdos del la Alhambra. He was
being completely ignored by the passers by rushing home. I missed
two trains just listening.

It was an amazing thing listening to him losing himself with the music,
ignoring the interruptions and the flow of people around him.

Yes I did tip him, and next time I see him, I will buy one of his CDs.

Thats a challenge could you play like that with all those interruptions
going on, people walking past constantly?

Are you going to improve? Absolutely YES! If you use and practice
even half the techniques presented your playing will be much better
than before you started reading this book in a much shorter time than
ever before!!

I cant be there to look over your shoulder and force you to practice
every day. I can however give you some of the best self-help (i.e. the
ones that are proven to work) techniques to help you get better and
better. The mental techniques will also allow you to practice even
though you are away from your guitar for a few days.

What you wont you get from this book

As I have already said - this is not a complete beginners book. Its not
a How To Play Guitar in 21 days book .

The market is flooded with books that teach you how to play from
scratch so if youre a complete beginner contact me via email Ill give
you some personally tailored recommendations depending on what
style of music you want to play and what sort of guitar you have.

If you are a total beginner, the techniques presented in the book will
give you a head start once you have got the basic mechanics of
playing mastered.

When I was writing the book, I made the assumption that the baseline
was that youve been playing for at least a couple of months, can strum
a few chords and play single note lines without the frets buzzing.

Of course some of you will have been playing for years, and be very
accomplished there are still plenty of things in the book for you too.

What tools are you going to need?

You are going to need some tools to help you improve. You should
already have some of them - if you havent I recommend that you get at
least these listed below.

A metronome. A real one. There is nothing quite like the original
wind up metronomes for learning rhythm. It has a visual, auditory
and physical click. Electronic and computer ones miss the feeling
effects of the tick (unless you have the volume up way loud), and
sometimes the visual effect is not quite as good - The swinging of
the little weight backwards and forwards teaches your unconscious
the in-between spaces of the beats as well as the beats
themselves.
So go out and get yourself a proper mechanical wind-up
metronome.

An electronic Chromatic guitar tuner. Ive found by experience that
the more you pay the better the quality up to a point. A strobe
tuner is a little over the top great in a Kiss rock video but just a tad
too heavy for my liking. I personally use a Boss tuner but there are
several great makes out there to choose from. Chromatic tuners
are easier - they are usually hands free. Computer tuning software
does work quite well but I wouldnt want to drag my PC with me to a
session along with a guitar, amp, leads etc.
Using an electronic tuner is really important. Our ears are good but
over the whole range of notes, they vary in accuracy. Some of the
beginner books teach how to tune the guitar to itself which is fine
and useful but if you want to play along with records, other
instruments etc. a tuner is the only way to go. Ill cover tuning again
briefly in a later chapter

A recording device a cassette recorder, minidisk or direct
recording via microphone on your computer.

A Practice Journal a notebook of some kind that is specifically
used for recording information about your practice sessions, your
thoughts and comments, results from the exercises etc. especially
as you read the rest of the book.

Download and install a copy of Powertab - its free, easy to use and
its fantastic. The powertab .ptb files for all the exercises are
included in the download.
http://www.power-tab.net

These are optional although you might find them useful.

Some fast fret this is a type of gel that you rub onto the strings.
I guess its got a silicone base because it makes the strings
slippy again like when they are first put on the guitar the rust
and grime on metal strings makes your fingers stick and not
slide about. I love that stuff.

A headphone amp unit for electric guitar players allows you
to hear the sound in a noisy environment. There are some
really great ones like the Rockman box, and some very poor
quality ones. Its your choice but you wont need one with lots of
special effects for practicing the routines in here.

There will be other tools and software that I will mention along the way.

Acknowledgements

Id like to first thank my wife Nicola for her support and patience,
putting up with me spending hours and hours in front of the computer
instead of with her whilst re-writing this book.

Secondly a big thank you to Jim Oram for proofreading the first version
of the book and picking up all the typos, spelling mistakes etc that
are easy to miss. Keep practicing Jim.

Id also like to thank

Dr. Richard Bandler, Paul McKenna and Michael Breen for opening my
eyes to the possibilities of change.

Win Wenger for his permission to include some of his many varied
accelerated learning techniques. www.winwenger.com

Steve Manning for his brilliant writing tools this guy is a genius. Ive
been using his techniques for a lot of different projects over the last two
years. His writing course has been my best buy on writing so far.

Jim Edwards for his ebook that finally sparked me off writing this one

www.beyondbedroomguitar.com/7dayebook.html

Finally Id like to thank my late father for buying me my first acoustic
guitar and teaching me the basics, and then buying me my first electric
guitar. I miss you Dad.

Finally, before we really start a few words
of warning

You are permitted to make backup copies of this file and the
accompanying materials for your own use only.

You may print out one complete copy of the book for your own
use and four copies of the second appendix. Teachers wishing
to print out multiple copies of any part of the book for their
students must contact me for permission first. (I can do a
discount on bulk orders email for details
spencer@beyondbedroomguitar.com)

I cannot be held responsible for the misuse of any of the
techniques in the book. If I gave you a hammer you could use it
to bang nails into wood or use it to brain someone. The choice
on how you use the tools and techniques is yours alone to
make. I would hope that you choose to use them wisely and for
the benefit of yourself and others.

When using any technique which uses visualisation, hypnosis or
changing your mental state do not drive or operate any heavy
machinery. You should be sat in a comfortable chair or lying
down resting whilst doing any of these types of techniques.

When practicing any of the practical techniques, if you feel any
pain in your hands, wrists, shoulders etc. STOP PLAYING and
rest. If the pain continues when you start to practice seek
medical advice before continuing.

Further contact info

As this is the first ever version of the book, there may be errors or
things that you believe are missing.

I want to know if there are things that you believe can be better or
should be included in the second version. If you have completed the
email form when you brought the book then I will inform you of updates
when they become available.

If you have any feedback errors, improvements, things that you really
liked or hated then send an email to:

spencer@beyondbedroomguitar.com

Spencer Westwood, August 2004

2 Learning How to Learn

The mind is the limit. As long as you can envision
something, you can do it.
ARNOLD SCHWARZENEGGER

When we are at school there are several different methods that
teachers use to try and impart the subject matter to us; for example
reading, lectures, lecturettes, open questions (Socratic and non
Socratic styles), slides, films, videos, practical experiments etc.

Sometimes you got it, sometimes you didnt. It depended on the skill of
the teacher, your own interest in the subject area and how it was
presented to you.

At school we are not taught how we think or learn. The situation is
changing slowly but its still the case the world over that they dont
teach this!

Keep reading - Im going to let you into a few secrets.

Did you get given a recorder to play when you were in kindergarten or
nursery? If you did, how many hours did you spend holding it wrong,
or blowing it wrong?

Eventually most children give up on the thing even though the teacher
was trying to show them how to play. Its a terrible shame because
that sets in their mind the belief that they are not musical, they dont
have any musical talent, and they dont have the aptitude. WRONG!

The same thing happens in art class by the way. Got given a pencil
and paper and told to draw what you see? Unhappy with the results?
Not artistic, no artistic talent, no aptitude for art? WRONG!

Then some people dont get maths, or cant read or spell.

WRONG WRONG WRONG WRONG WRONG!

Whats missing from all this. Three things:
Always do this before any other exercises, and before beginning
practicing. It gets the blood moving in your hands, heightens your
finger sensitivity and thus touch - and reduces the possibility of injury.

First shake both your hands vigorously for a count of 20, using a
backwards and forwards flapping motion

Figure 5-1 Flapping Hands

Hand warm-up twist

This loosens the wrist and gets blood pumping through your hands

Twist your hands backwards and forwards in a circular motion
vigorously for a count of 20.


Figure 5-2 Twisting Hands

Finger independence

Bend each finger down in turn. Try to do each finger independently
and use your other hand to correct the movement or go the full path.

To build some stamina and strength, when youve mastered doing
each finger independently then hold a stress ball (or orange) against
your palm with your right hand and press into the ball lightly with each
bending finger. Do this 10 times with each hand. (Yes both hands we
want them to remain balanced)

Figure 5-3 Five finger bends

Finger side stretches

Using your right hand fingers, separate and stretch out the gaps
between your fingers. Do this ten times. The first time through be
gentle and only use one or two fingers as a spacer. Widen the gap a
little more each time. Repeat the exercise, without using your right
hand as a guide (just move the fingers to make the gap on your left
hand).

Figure 5-4 Finger sideways stretching

Massage the gaps between each knuckle. Top and sides. Start on
first finger near the tip and work inwards. Then do the second finger,
third finger etc.

Finally shake your hands again with the flapping motion and then rest.

The beauty of this set of exercises is that it only takes a couple of
minutes to do, and can be done anywhere.

For the first week you should do it 4 or 5 times over each day,
increasing to 10 times daily for a month. Then back to 3-4 times a day.
After a month your hands will be naturally more supple and stronger
and just need a little movement to keep them in form.

It should also be done before and after your daily practice session.

There are lots of exercises that improve speed, accuracy etc. out on
the Internet. Some of them are very good, but most of them are very
boring and repetitive.

Pianists use some practice exercises to warm their hands and extend
their playing ability; one of the most popular is the set of Hanon
exercises. Good but very boring after a while.

Problem with boring is that the repetition becomes the norm and your
mind shuts off concentrating on what youre doing pretty quickly. If you
dont get it right at the beginning bad habits and poor playing set in.

The alternative is to make it so complex that your conscious mind is
focused on the complexity and your unconscious does all the muscle
memory learning etc. yet still have the desired benefit.

Finger exercises as part of your practice at
the guitar

There are five different exercises for you to do. Not all at once, and not
all in the same week. They are ordered in level of difficulty.

1. Pressure pumps
2. 1-2-3-4-3-2-1-1-4-3-4-2-4- single string 1
st
fret to 12
th
fret each
string
3. The stretcher (1-3-5-7 starting at 9
th
fret)
4. The wasp 6 string

Pressure pumps

A very simple exercise but dont overdo it.

Place your fingers, one fret apart, anywhere on the neck on any
string. If youre just starting use the G-string with your first finger on
the 8
th
fret.

Now press your first finger down on the fret and apply more
pressure. More pressure and even more. Hold for a count of two
and release the finger from the string.
Do the same for each of the other fingers.
Now repeat except this time whilst applying the pressure, rock the
first knuckle backwards and forwards.

Figure 5-5 First knuckle bending backwards and forwards - Finger pumps

1-2-3-4-3-2-1-1-4-3-4-2-4- single string 1
st
fret to 12
th
fret each
string

This was the first exercise I ever learned, and it still proves useful
even after 25 years. It Improves your 4
th
finger strength and it gets
the muscles all working. Start slowly at first and dont be afraid to
stop if you get tired. If you do stop, count four beats and begin
again.

Set your metronome between 40-60 bpm. Play the following
pattern using alternative picking and then move the whole pattern
up one fret and play again. Keep going up until you reach the 12
th

fret and then go back down again.


Figure 5-6 Simple Finger Warmup

Shift onto the B string and repeat 1
st
to 12
th
fret to 1
st
and then the
other four remaining strings.
Stop and shake out your hands.

The stretcher (1-3-5-7-5-3-1 starting at 9
th
fret)

Simple to explain, more and more difficult to do at first.
Start with your first finger on the B string 8
th
fret and place fingers
with a 1 fret gap in-between each one (so 8
th
10
th
12
th
14
th
frets).
If your guitar does not have a cutaway (steel string for example)
then start lower say 5
th
fret

Now play a 123432114342434 pattern keeping fingers in the same
fret position.
Slide down a fret and repeat

Figure 5-7 Finger Stretch Exercise

The wasp 6 string

One of the most common exercises Ive seen on the net is to play a
repeating finger movement such as 1
st
fret, 2
nd
, 3
rd
4
th
on each
string with alternative picking then move up a fret and repeat.

Now this will build up speed and muscle memory slowly but it
takes a long time.

What happens is that after a while the finger movement becomes
boring and unconscious. Something we want but it also becomes
programmed in and its all we want to play not useful. The
awareness goes to the wrong place.

I developed the wasp exercise that overloads the conscious mind
and forces you to keep track of whats going on rather than it
becoming a mindless repetitive (read boring!) exercise.

There are 24 ways you can order your four fingers.

1234 2134 3124 4123
1243 2143 3142 4132
1324 2341 3214 4213
1342 2314 3241 4231
1423 2413 3412 4312
1432 2431 3421 4321

The exercise cycles through every one of these starting on the top
E string and doing one pattern per string down to the low E. Then it
moves up a fret and starts again with the second column, then the
third and finally the fourth column.

Practice this mentally first one column at a time at a very slow 40
bpm playing one note per beat of the metronome.

Hint: Each column starts with the column number finger

Then do the physical practice for the first column.

Repeat for each column

Then combine columns 1 and 2



The whole lot 1,2,3 & 4

And rest it for a day.


The Wasp 6 String
Spencer Westwood, 2003

Figure 5-8 The Wasp Exercise

6 Tension am I really that tense?

Sex relieves tension - love causes it.
- WOODY ALLEN
How can I realise when Im tensing up?

(If you really cant read guitar tab yet, skip this and go through the
chapter on reading music and tab first then come back)

Lets try a little experiment. I want you to pick up your guitar and play a
simple single note line below.

Figure 6-1 Tension Exercise

Now I want you to start to speed up each time you repeat the phrase.

Get faster, and faster, and faster.

Keep trying to play it even faster.

Faster still dont worry if you start to make mistakes. Go
faster.

Verse
Chorus
Middle 8/Breakdown
Verse
Chorus
Outro

Now if you were to write that down without using repeats or any use of
DC or Coda it would both get very long, and also would have a lot of
the music looking exactly the same. Our brain is forever trying to
simplify things so by just writing out the Intro, Verse, Chorus, Middle
and Outro, we can then specify which bits to repeat, how many times
and what leads on.

So our music would look like

Intro
| : Verse
Chorus : | % (repeat once notice the de capo symbol)
Middle 8/Breakdown
Chorus DC al Coda
Outro

Youll find great examples of all of these in nearly every guitar
instruction magazine out there. Work at your own pace to remember
each one. Typically the structure comes first, then the dynamics,
followed by the others.

How to Read Guitar Tab

There are two sorts of tab. ASCII tab produced by and or on a
computer or full tab notation that is created with a notation program
such as Sibelius or Finale. The only difference is the notation program
versions are more polished and the symbols richer.

Before we go any further get yourself a copy of powertab. Its free and
its one of the best tab programs I have found!
http://www.power-tab.net

Tab in its simplest ASCII form looks like this:-


|-3-2-0--------|-!2----|
|-3---3--0-1-3-|-!3----|
|-0---0--------|-!2----|
|-0---2--------|-!0----|
|-2---3--------|-------|
|-3------------|-------|

This format is mostly seen in email, text files or newsgroup posts.

Printed versions, using a tablature editor or printed books usually have
the music line as well as the tablature, thus:-

Instead of the lines representing note names like the clefs on ordinary
music, the lines represent the strings of the guitar the lowest note being
at the bottom. A number is placed on each line showing which fret
needs to be pressed (nothing on the string line means dont play, 0 is
an open string and X is a muted string if necessary).

The spacing along the tab represents where in time that particular
fretted note or notes are to be played. Some tab is quite accurate in
this, using extra dashes to represent the space between the notes but I
dont always trust it especially things posted in newsgroups.

There are other symbols, which are shown in the table below. Again
some of these are more common or important than others.

Text
ASCII TAB
example
Musical notation
and tab example
Action
h

|--------|
|-2h3----|
|--------|
|--------|
|--------|
|--------|

hammer-on
p

|--------|
|-3p2----|
|--------|
|--------|
|--------|
|--------|

pull-off
b

|---------|
|-3b5r====|
|---------|
|---------|
|---------|
|---------|

bend
Pb

|----------|
|-5pb7-----|
|----------|
|----------|
|----------|
|----------|

pre-bend
r

|---------|
|-5b7r====|
|---------|
|---------|
|---------|
|---------|

bend release (if no
number after the r,
then release
immediately)
/\

|-----------|
|-\9--/7----|
|-----------|
|-----------|
|-----------|
|-----------|

slide into or out of
(from/to "nowhere")
Text
ASCII TAB
example
Musical notation
and tab example
Action
s

|--------|
|-5s7----|
|--------|
|--------|
|--------|
|--------|

legato slide
S

|--------|
|-5S7----|
|--------|
|--------|
|--------|
|--------|

shift slide
<n>
[n]
n(n)

|-------------------|
|-<5>-[7]--5(17)----|
|-------------------|
|-------------------|
|-------------------|
|-------------------|

natural harmonic
artificial harmonic
tapped harmonic
~

~
|----------|
|----------|
|-7--------|
|----------|
|----------|
|----------|

vibrato
tr

|-------------|
|-------------|
|-7tr8--------|
|-------------|
|-------------|
|-------------|

trill

Most guitar magazines that feature pieces, give their own list of the
way the tablature is notated. This is worth studying at length, and Ive
written them out several times (its a good way of memorising them
especially when I imagine playing them at the same time and imagine
doing them and imagine the sound. Kind of re-enforces the symbol.

Also because there are loads of different special techniques that can
be done whilst playing (whammy bar tricks, harmonics etc.) it gives you
a unique list of the techniques even if you dont know them at the
moment. It wont cover every possible thing, but its 99% there.

One of my trademark licks is to bend the G string down towards the
floor then release and bend it up towards the ceiling before playing a
note using my pinkie on the B string a double bend that sounds
completely different if you just bend the string down to the floor twice
Ive never seen that notated anywhere.

How do I increase my skills to read the
music faster?

So now weve covered the facts that you need to read music and Tab.
Granted there is more to learn about both but the basics are here.

For more information then look out on the net using the resources.
Theres loads of stuff out there on both.

Knowing the information is one thing, using it is an entirely different
thing. Ive hinted along the way some of the mental tricks to get the
information quickly to that Unconscious competence stage but Ill add a
few more here.

Firstly break down the learning. Dont try and learn all the tab symbols
in one day.

From my table there are 13 different symbols (I put the harmonics
together. There are another 11 at least look them up in powertab or
a guitar magazine. Take them 4 a day.
Learn them:-

Imagine seeing the notation written down for that fragment
Imagine seeing yourself playing them on your guitar
Imagine how it would feel to play that tab snippet.
Hear how it would sound.

Then try playing them on your guitar, and then keep thinking about
them during the day.
For the more advanced players Still do it. Take four a day, learn
them play them and then think about them at odd times during the day.

I usually do this mini reminder thing when Im waiting for something like
coffee to filter, or a can to drop out of the machine.

The intention is that youll have at least 30 50 times during the day to
specifically think about the three steps (Im a busy person and I have
at least that many interruptions over the whole day).

On the second day, after learning the second four and thinking about
them etc., remind yourself of the first 4, write them down, play them
and imagine them just one more time.

Continue this way reviewing the previous days stuff until youve got to
the end of the table and then Review them all.

Write them down one by one. Check them. Play them all one by one
in your head and then physically.

By now you might even have a few new techniques to add to your
playing.

Ok after a few days of working on the tab symbol stuff some of it will be
UC, some CC.

Go out and buy another edition of a guitar magazine and look at one of
the pieces.

Take out a piece of paper and write down each notation item that you
can find on one page- for example if its a slide, imagine you doing that
slide. Go through the whole of one page looking at each notation item
in turn.

Can you imagine your fingers actually doing those things? Cool huh
And your almost there.

Its a funny thing but when someone buys a new car, they notice more
other cars that are similar on the road. For example if the car is
metallic blue, they notice more metallic blue cars on the road. If its a
Van or MPV as we call it over here in the UK, then you notice more of
them on the road. Its not that suddenly more people have bought the
same as you its just that your awareness has changed.

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