Play better with...

Your
Ultimate
Practice
Plan

Play: All Styles

ON THE CD

Tracks 4-12

Your Ultimate
Practice Plan...
A lot of players gravitate towards the things they can already do, wasting
time running around in circles whilst the things they cant do get further
and further away. John Wheatcroft puts you back on track
ABILITY RATING

From 1 to 5

Will improve your:

Technical ability
Theory knowledge
Musical discipline
THE POPULAR VIEW is that to
become a better player you should
devote practice time to mastering
things you cant do at present.
Whilst this is ne in priciple, in
reality its not much help when

attempting to organise yourself.

You may be the most willing and
eager guitar scholar, but more often
youll not be sure of the best place
to start, potentially trying to do
too much too soon and therefore
forced to make a hasty retreat
back to familiar musical pastures.
The best approach is to see your
learning and musical development
as a progressive pathway, with
each new piece of information a
logical, conceptual and technical
develoment of the things you
already know. This allows you to
grow at a steady rate and means
that each time you attempt to learn
something new you dont have
to start from scratch, as a huge

amount of the groundwork has

already been put securely into place.
Much better, Im sure youll agree.
One massive schoolboy error
is to practise by the clock, thinking
that simply the amount of hours
you put in denes how good
you are going to be. The reality is
that its more down to the level
of intensity - far better to do 30
minutes a day of focused work
thats designed to strenghten
weak spots and turn the heat up
progressively, than to have the
guitar in your hands for ve hours
while watching TV or looking
out of the window. This type of
activity is only really useful for
drilling motor skills, where you

Are you sitting

comfortably?

Musics like dinner you do it a bite at a time

16 GuitarTechniques April 2008

can disengage the brain and keep

going for longer periods. If youre
working on a cognitive skill such as
memorising a new chord sequence
or analysing ngering choices, you
need focus and total concentration.
Intense concentration requires a lot
of energy. If youre able to focus
fully for more than 20 minutes
without falter, then youre doing
exceptionally well!

BREAKING IT DOWN
It is a practical and physical
impossibility to work on every
single element of your playing
every time you sit down to
play (unless you are a complete
beginner). To make any real
progress you need to look at the
individual component parts in
isolation and in detail. Always plan
what youre going to do before
you even pick up the guitar and
be realistic about what you can
achieve in the timeframe provided.
Between 15-20 minutes on
any one topic before taking a
break is ideal. I generally pick
four contrasting things every
day. Choose a timeframe that is
realistic and sustainable in the
long-term, so that when you put
the guitar down you feel a sense of
achievement, not disappointment.
Shorter and more intense sessions
are more effective than the
conservatoire type methodology
of practising for eight hours a day
non-stop. Thats just going to give
you RSI.
Create a log, mapping out
short, mid and long-term goals and
review monthly. This way, if theres
anything missing (Ill put money on
it being sight-reading!), you should
be able to spot it and put your

Phil Hilborne

Play: All Styles

much information as is humanly
possible; its about how youre
going to use the skills creatively as
a musician. Ill often tell students
that if we both had to make a list
of things we couldnt do on the
guitar, then mine would denitely
be longer, just because my
experience means Im more aware
of the innite possibilities music
has to offer. Its a constant work
in progress, so surrender to this
marvellous piece of information
and enjoy the journey

FURTHER STUDY

If you fancy a bit of light

bedtime reading then try
the following excellent and
inspirational books: Effortless
Mastery by Kenny Werner
(Alfred 1996), The Inner Game
Of Music by Barry Green
(Doubleday 1986), and nally
Musical Excellence, a collection
of essays outlining strategies
and techniques to enhance
performance edited by Aaron
Williamson (Oxford Press 2004).

missed in your musical education

up to this point. You need to isolate
whatever that might be and nd
ways of reinforcing that element of
your playing and establish what the
problem is, then nd some exercises
to strengthen that area. This might
mean learning some other musical
examples in order to build that
area up. You may have to go back
a few stages. It can be a humbling
experience, but you almost always
have to go back before you can go
on to the next stage.
The part of the brain that is
associated with long-term memory

APPROACHING A
NEW PIECE

practice pathway back on track.

Obviously this time does not
include getting the guitar out of
the case, nding a lead, plugging in
the amp and setting up the music
stand, or turning the CD player on.
Also, one hour playing with
other people is worth ten in the
practice room. It helps if the people
youre playing with are just that
little bit better/more experienced
than you too. This also helps you
to focus and structure your studies
in the best way possible, as youll
quickly gure out what works and
what doesnt. Dont put this off
until youre good. This is how
youll actually get to be good!
Ill leave you to ponder on this
thought. It isnt about amassing as

When learning a new piece, often

you need to break it down into
small chunks. Theres always
a reason why you cant play
something and its usually not
because youre incapable; its
because previous steps have been
missed. If you want to achieve a
specic goal there are a number of
stages before you can get there. If
I want to play like Steve Vai, thats
too much of a jump in one go you
need to go through many other
steps (often very smalll ones) to get
to his level. So when youre trying
to play a Steve Vai piece and you
cant play a specic lick, maybe its
because something else has been

works best when information is

re-entered periodically in small
amounts, so once again the
method of little and often is best.
Anyone whos crammed for an
exam to nd that two weeks later
they cant remember a single thing
knows this is true!

WHEATCROFTS WAY
My philosophy regarding practice
breaks down into three main areas.
The rst deals with tackling new
material, usually something Ill have
to perform at some stage in the
near future. The second deals with
general musicianship; ear training,
transcribing, reading, harmony,
theory and so on. In terms of pure
instrumental development, its
all about attaining/maintaining
control of expression, clarity of
tone, uency, dynamic articulation,
exibility, stamina, consistency,
aesthetic beauty etc. I tend more
to think about musicality these
days, rectifying technical problems
as and when they occur. But this
is only possible now because of
the work put into just technique
earlier on. Most work that is purely
technical tends to be in the form
of re-ghting - putting out any
potentially disastrous are-ups as
and when they occur. GT

And when
your session
is over, relax!

A word on how this lesson works. The rst ve studies all take one
specic technique or concept, selected in order to provide a balanced
range of skills. We then work through ve variations or developments

- the last of which is always a musical example. Studies 6 to 8 can be

viewed as practical methods to drill specic disciplines in the minimum
of time - with the maximum results. Ready? Then lets go!

EXAMPLE 1 PICKING

ON THE CD

Two of the main technical challenges when picking all notes are what
to do when crossing strings, and also when playing multiple notes on a
single
string. Our study here starts with the most basic combination of
GUITAR TECHNIQUES MAGAZINE 150
John Wheatcroft
these elements and expands into something much more complex, but

Track 5

in smooth progressive steps. Economy picking is the obvious choice

here, but remember to always accent the notes that land on the beat,
even when that happens to be an upstroke.

- Practise Examples

SECTION 1 : PICKING

>
>
>
>

& 44 .. .. ..

Fig 1.1: Initial cell

E
B
G
D
A
E

10

Fig 1.2: Developed Scale Fragment

10

10

10

Fig 1.3a: String crossing cell

&

E
B
G
D
A
E

10

(Alt)
(Eco)

10

10

etc

10

etc
etc

. .
. .

10

(Alt)
(Eco)

10

10

10

10

etc

.
.

Fig 1.3b: String crossing pentatonic line with double-stop rolls

7 10

etc
8

10

7 10

10

7 9

10

8 10

8 10

10 8

10

Fig 1.4a: Combined arpeggio/scale with economy picking

10

D m7

E m7

Fmaj7

9 7

10 7

10

10

April 2008 GuitarTechniques 17

Play: All Styles

E
B
E
B
G
D
G
A
D
A
E
E

7
7

7
7

9
9

10
10

7
7

7
7

9
9

10
10

(Alt)
...CONTINUED

1PICKING
etc
(Eco)
EXAMPLE
(Eco)
etc
(Alt)

Fig 1.4a: Combined arpeggio/scale with economy picking

Fig 1.4a: Combined arpeggio/scale with economy picking

C
C

D m7
D m7

&
&

E
B
E
B
G
D
G
A
D
A
E
E

7
7

10
10

7
7

10
10

8
8

7
7

8
8

7
7

10
10

9
9

7
7

10
10

8
8

8
(Eco) 8
(Eco)

G7
G7

&

&
E
B
E
B
G
D
G
A
D
A
E
E

9
9

8 10
8
8 8 10 10 8 8 10
8
7
8
10 8
10 9 7 8 9
9 7
9 10 7 7 10
10 7
10 10
10

8 10
7 9
7 8 10 9
7 10
9
7 7 9 10 7
7 10
7 7 10 10 7
10
8 7 10 10 7
10
8
etc 10
etc

10
10

E m7
E m7

8
7 10 9 7
9 8 10 9 7
10 9 7 10
9 7 10 9 7 10 9 7 10 9
10 9 7 10
10
10 9
10

Fmaj7
Fmaj7

7
7

10
10

7
7

9
9

10
10

9
9

10
10

7
7

10
10

9
9

10 8
7 10 10 8 10 7
8 9 7 10
10 7
8 9

7 10
8 7 10
8 9 8
8 9

j
# j
#

#
#
##
3
3

9
9 10
10 10 9
9
10 9 12 11 9 12
12 12
12 11
12

11 12
11 12

EXAMPLE 2 PHRASING WITH CHORD TONES

ON THE CD

Track 6

associated with learning lots of scales. All of our examples relate to

the ve CAGED dominant 7th chords, and culminate in a tasty blues
turnaround idea that spells the chords out perfectly, logically and with
great ease.

SECTION 2 : PHRASING WITH CHORD TONES

Fig 2.1: Moveable chord forms (Dominant 7th)

4
&4

E
B
G
D
A
E

C7

8
8
9
8
10
8
Moveable 'E' form

12
11
12
10

'D' form

Fig 2.2: Moveable chord forms with asociated phrase (1 key)

ww
w
& b ww
w

C7

E
B
G
D
A
E

8
8
9
8
10
8
Moveable 'E' form

18 GuitarTechniques April 2008

j
b

10

j
b n

13
15
14
15

3
5
3
5
3

6
5
5
5

'C' form

'A' form

'G' form

b
j
b n

J
3

b www
w

C7

12
11
12
10

11

b n
b
3

BU

13 (15 ) 13

3
11 12

13

12

ww

j
b n

b j n

b www
w

C7

11

13
15
14
15

Moveable 'D' form

C7

7
7

7
7 8
8 10
8 9
7 9 10 8 10 10 7
7 9 10
9 10 7 9 10
10 7 9 10 7 9 10
10
9 10

10 8
7 10 10 8 10 9 7
10 9 7 10
9 7 10
9
10

Our second study is more conceptual in nature, allowing you

to develop the essential skill of chord-tone and melodic gure
association. This skill allows players such as Eric Clapton to clearly
outline
harmonic changes whilst soloing, without the clutter
2 xxxxxxxxxx

7
7

etc
etc

bb # n ## #
&

# n
&
7
9 7 10 9 7
10 9 7
9

8
8

C maj7
C maj7

D m7
D m7

8
7 10 9
8 7 10 9 10 8
10 8
10
10

10
10

B m7 5
B m7

b5

7
7 10 7
10 7

7
7

Fig 1.4b: Descending pattern

Fig 1.4b: Descending pattern

C
C

9
7 10 9
8 7 10
8

9
9

Fig 1.5: Be-bop jazz phrase (Dorian/Melodic minor)

Fig 1.5: Be-bop jazz phrase (Dorian/Melodic minor)

E
B
E
B
G
D
G
A
D
A
E
E

Track 5

B m7 b 5
B m7 b 5

A m7
A m7

ON THE CD

Moveable 'C' form

b
J

bCww7

j
b

b n

E
B
G
D
E
A
B
E
G

J j
J b j n 3 b

b n 38 8 11
J 93

w7
Cw
b
& www
w
& b ww88
w98

10

8
10
8
8
9
8
Moveable
'E' form
8
10
8
8
9
8
Moveable
'E' form
10
8
j
b
Moveable
'E' form

ww
b ww
w
12

3 b n 3
b wCwww7

BU 3
3
(15 ) 13 11 12
All13ww Styles
Play:
13
11

C7

13

11
12
10
12
11
12
10
Moveable
'D' form
12
11
12
10
Moveable
'D' form

11

BU

13 (15 ) 13

BU
8
9
EXAMPLE 2 PHRASING
WITH
CHORD TONES ...CONT.
10
8
13 (15 ) 13 11
D
E
A
B
E
G
D
A
E

E
B
G
D
E
A
B
E
G

10

j
b n
j
& b j J
3 b n 3
& b j j J
3 b n 3
BU
&
J 13
13
15 (17 )
BU

15 12
3

15 (17 )

15 12

15 13

11

w
bCwww7
w
bCwww7
w
b www35
w35

143

BU

16 (17 )

3
3
5
3
BU
D
Moveable
'A' form
5
15 13 14
E
3
A
3
B
13
13
5
E
G
(
)
3
15
17
15
12
Fig 2.3: Moveable chord transposed to I IV V in each area
D
Moveable
'A' form
5
15 13 14
A
C7
F7
G7
C 7 F73 G 7
E

13

C7
& b
C7
& b

& b 88
98

13

BU

16 (17 )

BU

16 (17 )

b n 'A' form
bC7 Moveable
G7
F7

b
bC7 F7 nG7

b b n
11 10
12
11
10
12

bF7 n G7

bF7 n G7

b 8 n
8 108
10

Fig 2.3: Moveable chord transposed to I IV V in each area

Fig 2.3: Moveable chord transposed to I IV V in each area

E
B
G
D
E
A
B
E
G

12
10
10
10
9
10
10
12
8
8
12
11
10
10
8
10
10
8
10
8
11
10
12
8
9
8
10
12
10
10
D
8
10
9
10
10
12
E
8
8
12
11
10
A
10
8
10
10
B
8
10
8
11
10
12
E
8
G
9
8
10
12
10
10
Fig 2.4: Moveable
chords
through
I
IV
V
with
associated
phrase (1 area)
D
8
10
9
10
10
12
A
10
8
10
10
E
C7
C87 F7 G 7

E
B
G
D
E
A
B
E
G

15 17

10
8
8
10
8
10
8
8
10
8
10
8

8
8
10
8
8
9
8
8
10
8
8
9
8
10
8

D
E
A
B
E
G
D
A
E

9
10
8
10
9
10
8
10
9
10

10

8
9 3

8
8

8
9
10 'E' form 8
Moveable
8
8 9
10 'E' form
Moveable
8

11

BU

17
3

BU

17

16 (17 )

15 17

16 (17 )

bF7

bF7

b13

F7

13
14
13
13
15
13
13
14
13
13
15
13
13
14
13
15
F713

17

BU

11

17

15

17

15

17

nG7

nG7

n

13
12
G7

C7

bC7

bC7

b 35
35

12
12
13
12
12
12
13
12
12
12

8 10

3
3
5
3
5
3
3
5
3
5
3

&
E
B
G
D
A
E

BU
11

(12 )

10

3 10

(10 )
10

10
10

j
b

12

14 13

10

12

j C7

BU

b n
13

Moveable 'D' form

8 6

8 6

bC7 F7
b
bC7 F7
b
b
6 b
68
5
5
C7

F7

5
6
5
5
5
6
5
5
5

7
8
6
8
7
8
6
8
7
8

G7

10 8

10 7
Moveable 'C' form10 8
8
10 7
10 (12 )
Moveable 'C' form10 8

8
8
8

nG7

nG7

n
7
6
G7

7
5
7
6
7
5
7
6
7
5

b n
3 j J
b n 3
3 j J
b n 3
8
J8
(
)
7
10
12
BU
3

j

G7
j

G7
j
BU

93
9

8
8

/'
b b n
14

3
BU
10 (11 )

11

10

12

13

11

13

10

10

1/4

13

11

'

Moveable 'G' form

3
13 (15 )

3
3
4
3
3
5
3
3
4
3
5
3

8 6

Moveable 'C' form

j F7
b

BU
(6 ) 5
5

nG7

n 33
4
335

(12 )
10BU

BU

11 (12 )

3
5
4
5
3
5
4
5
3

Track 6

Moveable
b 'C'n form
b n
3
3
3 b n
3

BU
3
(6 ) 5
5

Moveable 'G' form

F7 G 7

Moveable 'A' form

12

b
bF7
b 5
45

15
14
15
13
15
14 'C' form
Moveable
15
13
15
14 'C' form
Moveable
15

(6 ) 5

5
5
6
5
5
Moveable
'G' form
5
6
5
5
Moveable
'G' form
5
F7 G 7

Moveable 'A' form

&
E
B
G
D
A
E

j
b
j
b
j
BUb

10

Fig 2.5: Blues V VI I ending lick

b j n

12

BU

3 xxxxxx

G7

11

10

Moveable 'A' form

Moveable 'E' form

j
b n

13

9 (10 )
BU 10

(10 )
BU
Moveable 'A'
form
8 10
9
9 (10 )

11

15

b j n
b
b j n J
b
3
b j n 3 J
BU 3
3
b J
8 10
(10 )
(10 )

j
j b
b n
b

C7
Moveable chords through I IV V with associated
b (1 area) b j nF7
J b j n 3 phrase
C7

j F7
J b j n 3 b
b n
BU

b
& bC7 F7 n G7
b
& bC7 F7 n G7
b
& b 88 108 n 8
10
8
9

16

13
15
14
15
13
15
14
15
13
15
14
15

Fig 2.4: Moveable chords through I IV V with associated phrase (1 area)

Fig 2.4:

b C7

b C7

11

b
bCw7
w
J
b bCww7
w
3
J
b bCww7
BU 3
J ww6
w5
(17 )

15 17

C7

13

12
ON
THE CD

12

j
b j n
b n
Moveable 'D' form
j
b j n
b n
j
3 j
b n
b n

C7

3 12

11 12

11

12

13

b b j b
3

12

11

11 10

j
n

C9

b b

11

9
8
9
8

8
7
8
7

D b9

Moveable 'E' form

April 2008 GuitarTechniques 19

Play: All Styles

EXAMPLE 3 HYBRID PICKING

ON THE CD

Its country madness next with a ve-point plan to develop your hybrid
picking technique. By now youll have gured out how things work;
take a basic technique and expand gradually as your accuracy, stamina
and consistency responds to the workload. Ive squeezed a couple of

Track 7

nifty rock-style arpeggios in here too. Its possible to get these up to

frightening speed with not too much effort, so give them a go. From a
country perspective, hybrid-picking and scales containing open strings
go hand in hand, so Ive integrated elements of both as we progress.

4 xxxxxxxxxx

SECTION 3 : HYBRID PICKING

C

& 44

E
B
G
D
A
E

10

10

10

10

Fig 3.1c: Fwd/Rvs (2 fingers)

Fig 3.1b: Basic cell (2 fingers)

Fig 3.1a: Basic cell (1 finger)

10

10

9
m

10

10

10

10

a m

10

a m

10

a m

a m

Fig 3.2: Basic I IV V sequence plus hammer on

Fadd9

& #
E
B
G
D
A
E

0 2

1
2

m a m a

0 2

1
2

1
2 3

1
2 3

1
3

4 5

3
5

&
3

0
7

0 2

1
2

1
0 2

1
2

3
0

0
8
m

0
7 8

0
7

0
5

m a

6 8

Fig 3.4b: Rock 7th triad with hybrid picking

Fig 3.4a: Rock triad with hybrid picking

A Aeolian

mma maama m

mmaa
C

G Mixolydian

C major scale

3
5

etc

Fig 3.3: Scales with hybrid picking and open strings

E
B
G
D
A
E

4 5

& .. .. .. ..
E
B
G
D
A
E

.
.

2 5

5
a

5 2

2 5

5 2

2 5

5 2

2 5

5 2

etc

. .
. .

2 5

5
a

5 2

5 2

2 5

5 2

5 2

etc

Fig 3.5: Country hybrid picked line with open strings

&
C

E
B
G
D
A
E

0
m

3
m

20 GuitarTechniques April 2008

0
a

3
m

10

BU

7
0
m

2 5

0
10

7 (9)

7
10
m

10

a
m

5 2

.
.

Play: All Styles

EXAMPLE 4 SLURS AND HAMMER-ONS

ON THE CD

Hammer-ons and tapping are the order of the day for study number
5
5 xxxxxx
xxxxxx
4. Initially
its fretting-hand only, picking the rst note on each new
5 xxxxxx
5 xxxxxx
string.
Before long though were incorporating two picking-hand
SLURS/TAPPING
taps.SECTION
Try using44 ::your
m and a ngers so you keep the pick between
SECTION
SLURS/TAPPING
SECTION 4 : SLURS/TAPPING
Fig 4.1a: Basic
legato cell
SECTION
4 : SLURS/TAPPING
Fig 4.1a: Basic
legato cell
Fig 4.1a: Basic legato cell
C /Am
/Am
Fig 4.1a: Basic
legato cell
C
C /Am
C /Am

444
&

&
&
& 44 5
5
5
5

E
E
B
E
B
G
B
E
G
D
G
B
D
A
D
G
A
E
A
D
E
E
A
E

Fig
Fig
Fig
Fig

E
E
B
E
B
G
B
E
G
D
G
B
D
A
D
G
A
E
A
D
E
E
A
E

Fig
Fig
Fig
Fig

5
5
5
5

4.2:
4.2:
4.2:
4.2:

Basic cell with string skips

Basic cell with string skips
Basic cell with string skips

C
/Am
Basic
C
/Am cell 5with string skips
C /Am
5
5
C /Am

5
&
&

&

&

9
9
9
12
10
8
12
8
8 12 8 10 12 9
8 12 8 10 12
8 12 8 10 12

LLL

4.3: Basic
4.3: Basic
4.3: Basic
/Am
4.3: C
CBasic
/Am

cell
cell
cell
cell

with
with
with
with

second
second
second
second

&

&
&
&
6
6
C /Am
C /Am

LL
14
14
14
14
m
m
m
m

6
6

9
9
9
9

12
12
12
12

9
9
9
9

5
5

5
5

5
5
5
5

10
10
10
10

12
12
12
12

9
9
9
9

and
and
and
and

third
third
third
third

12
12 8 12
12 8 12
12 8 12
8 12

5
5
5
5

LLL

12
12
12
12

LLL
&

LL
15
15
15
15

8
8
8
8

12
12
12
12

8
8
8
8

15
15
15
15
a
a
a
a

14
14
14
14
m
m
m
m

12
12
12
12

LLL LLL LLL

10
10
10
10

15
15
15
15

taps
taps
taps
taps

14
14
14
14
m
m
m
m

LL

10
10
10
10

LL LL LL

12
12
12
12

10
10
10
10

&

&

&
&

&
&
&

LL LL LL
15
15
15
15

17
17
17
17

15
15
15
15

LLL LLL LLL

12
12
12
12

6
6
6
6

12
12
12
12

8
8
8
8

8
8
8
8

10
10
10
10

12
12
12
12

xxxxxxxxxx

L L L

LL LL LL
15
15
15
15

17
17
17
17

15
15
15
15

12
12
12
12

9
9
9
9

10
10
10
10

10
10
10
10

C maj7

&

10 3 7

L L L
6

8 3 7

9 4 5

D m7

9 4 5

10
10
10
10

8
8
8
8

10
10
10
10

12
12
12
12

8
8
8
8

10
10
10
10

10
10
10
10

L L L
6

10 5 8

10 5 7

moved
moved
moved
moved

across
across
across
across

string
string
string
string

12
12
12
12

LLL

LL
14
14
14
14
m
m
m
m

LL
17
17
17
17

5
5
5
5

9
9
9
9

5
5
5
5

5
5

8
8
8
10
12 8
10 12
10 12
10 12

9
9
9
9

10
10
10
10

12
12
12
12

8
8
8
8

5
5
5
5

6
6
6
6

9
9
9
9

12
12
12
12

9
9
9
9

6
6
6
6

LLL

LLL LLL LLL

LL LL LL
15
15
15
15
a
a
a
a

14
14
14
14
m
m
m
m

14
14
14
14
m
m
m
m

14
14
14
14

LL LL LL
17
17
17
17

19
19
19
19

17
17
17
17

12
12
12
12

12
12
12
12

10 5 7

LL
17
17
17
17

14
14
14
14

10
10
10
10

10
10
10
10

14
14
14
14

12
12
12
12

LL LL LL
17
17
17
17

19
19
19
19

17
17
17
17

14
14
14
14

12
12
12
12

12
12
12
12

10
10
10
10

10
10
10
10

9
9
9
9

10
10
10
10

14
14
14
14

LLL LLL LLL

6
6
6
6

10
10
10
10

9
9
9
9

8
8
12 8
8 12
12
12 9 12 9 10 12 8 12 8
12 9 12 9 10 12 8 12 8
12 9 12 9 10 12
9 12 9 10 12

LLL LLL LLL

12
12
12
12

12
12
12
12

5
5
5
5

10
10
10
10

14
14
14
14

10
10
10
10

12
12
12
12

10
10
10
10

9
9
9
9

5
5
5
5

10
10
10
10

5
5
5

12
12 9 12 9 10 12
12 9 12 9 10 12
12 9 12 9 10 12
9 12 9 10 12

12
12
12
12

12
12
12
12

10
10
10
10

14
14
14
14

12
12
12
12

12
12
12
12

10
10
10
10

12
12
12
12

14
14
14
14

L L L n nL L .
L
b b
b L
L
b
L L L L L LL
D b7

L L
L
L
L
12 5 8

LLL

cell
cell
cell
cell

9
12
9 12
9
12 9 12
10 12
9 10
12 9
9 12
9 12 9 10 12 9 12
9 12 9 10 12

9
9
9
9

12
12
12
12

Basic
Basic
Basic
Basic

5
5
5
5

5
5
5

4.1b:
4.1b:
4.1b:
4.1b:

5
5

Fig 4.5: Harmonised sequence with string skip tapping

E
B
G
D
A
E

Fig
Fig
Fig
Fig

9
9
10 12
9 10
9 12
12
9 12
12 9 10 12
12 9 12 9 10 12
12
12
12

6
6
6
6

C /Am
C /Am

8
8
8
8

LLL LLL LLL

finger
finger
finger
finger

Fig 4.4: String skips in octaves

Fig 4.4: String skips in octaves
Fig 4.4: String skips in octaves
/Am
Fig 4.4: C
CString
/Am skips in octaves

E
E
B
E
B
G
B
E
G
D
G
B
D
A
D
G
A
E
A
D
E
E
A6
E

5
5
5
5

thumb and rst nger. Were simplifying the tapping element for our
nal musical example but increasing the complexity both harmonically
and in freboard movement. The crucial factor here is damping unused
strings. Use the palm of your fretting hand to mute all idle bass strings.

9
12
10 12
9 10
12 9
9 12
12 9
10 12
9 10
12 9
9 12
12 9
10 12
9 10
12 9
9 12
12 9
10 12
9 10
12 9
9 12
9 12 9 10 12 9 12 9 10 12 9 12 9 10 12 9 12 9 10 12
9 12 9 10 12 9 12 9 10 12 9 12 9 10 12 9 12 9 10 12

E
E
B
E
B
G
B
E
G
D
G
B
D
A
D
G
A
E
A
D
E
E
A
E

E
E
B
E
B
G
B
E
G
D
G
B
D
A
D
G
A
E
A
D
E
E
A
E

Track 8

11

b bb

C maj7

10

4 8

10 4 6

j
n

8 3 7

9 4

BU

10 12

10 3 7

April 2008 GuitarTechniques 21

Play: All Styles

EXAMPLE 5 THUMBPICK

ON THE CD

Just for the record, Im absolutely hopeless with a thumb-pick, but

I resisted the temptation to just cheat and hybrid-pick and worked
through these examples progressively for 15 minutes. By the end I
was able to record the tracks on the GT CD, so this method obviously
works. Our musical examples follow the now familiar pattern: start
GUITAR TECHNIQUES MAGAZINE 150

Track 9

simple, isolate any movement or idea, expand upon this in stages, and
end with a musical application. This time we nish with a 12-bar study
with combined root-5th bass and melody on the treble strings. This
example might seem unusual, but consider that players as different as
Freddie King, Johnny Marr and Brent Mason all use a thumbpick.

John Wheatcroft - Practise Example 5

SECTION 5 : THUMBPICK/FINGERSTYLE
Fig 5.1a: Basic Pattern

Swing
# #
& # # 44

E
B
G
D
A
E

Fig 5.1b: Elementary melody

. . w

. .

Palm mute bass

throughout

. .
. .

Fig 5.2a: Syncopated melody

. .
. .

Fig 5.2b: Melody in half-notes (minims)

.
.

. .
2 .
.

0
2

n
# #

& # # .. .. ..

.
.

. .
. .

Fig 5.3a-5.3c: Syncopated melody transposed over I IV V

. .
. .

0
2

. .
2 .
.

2
2

# #
.
& # # 44

Palm mute bass

throughout

#### n

&

22 GuitarTechniques April 2008

0 2

. .
. .

0 2

0
1

.
.

j
n

3
2

2 0
1

0 2
2

0 2

.
.

j
n

. .
. .

Fig 5.4d: Bass-line variation

. j

. .
2 .
.

.. .. n .. ..
.

Fig 5.5: 'Travis-style' complete 12-bar study over I IV V sequence

E
B
G
D
A
E

E
B
G
D
A
E

.
.

Fig 5.4a-5.4c: Expanded melody examples

E
B
G
D
A
E

..

E
A
B
j
j
j
j
# # # # . j .
. . .. .. .. .. . .. .. . .. .. . ..
&

E
B
G
D
A
E

. . w

. .

Fig 5.1c: Expanded melody

E 6/ 9

12
12
11
11
11
0

Play: All Styles

EXAMPLE 6 THE IMPROVISATION ACID TEST

ON THE CD

Track 10

This example will test how well you have absorbed a musical device,
you lose the rhythm, mess up or come back in the wrong place or key
concept or technique. We know the story: youve put the hours in
then more work is needed. If all goes well then put your new skills to
and are feeling rather smug; you go out to gig or jam with friends and
the test by creating as many variations as you can, mixing techniques,
none of the stuff youve worked on comes out! Well, help is at hand.
fretboard positions etc. Next time you play for real you should have
The trick is to make your practice and performance line up. Your task
a far better command of vocabulary you know that you can actually
is simply to play on your own, establish a groove, feel, key and style,
get to it on demand. On the GTCD I played all the examples and just
GUITAR TECHNIQUES MAGAZINE
(Section 6 - 8) - John Wheatcroft
decide upon how long the soloing gap is going to be andPractice
go for it.
If
improvised a couple of things to show you how things may turn out.
SECTION 6 : IMPROVISATION 'ACID-TEST'

Shuffle
G7
4
.
&4 .
( )
( )

Fig 6.1: Blues-style vamp

E
B
G
D
A
E

.
.

5
3

7
3

7
3

5
3

5
3

7
3

7
3

5
3

Possibly miss on repeats

(5)
(3)

..

Insert fill here (Mixolydian/Blues)

.
.

Fig 6.2: Maiden-style rock vamp

Straight

& ..
E
B
G
D
A
E

.
.

A5

0 0

9
7

G 5/A

0 0

Swing
D m11
.

& ..

9
7

F5

7
7

0 0

G5

5
3

7
5

..

Insert fill here

(Aeolian/Minor Pentatonic)

.
.

Fig 6.3: Swing-style minor vamp

E
B
G
D
A
E

.
.

E m11

5
6
5
5
5

D m11

7
8
7
7
7

Straight
C
. .

& ..

J
E m11

5
6
5
5
5

D m11

7
8
7
7
7

..

Insert fill here

(Dorian/Melodic minor)

.
.

5
6
5
5
5

Fig 6.4: Reggae -style major vamp

E
B
G
D
A
E

.
.

8 8
8 8
9 9

8 8
8 8
9 9

8 8
8 8
9 9

. F

8 8
8 8
9 9

Straight

8 8
10 10
10 10

. . G

8 8
10 10
10 10

7 7
8 8
7 7

. .

Insert fill here

(Major scale/Triad
arpeggios)

7 7
8 8
7 7

..
.
.

Fig 6.5: Funk -style single note riff

C7

& .. b b n b

E
B
G
D
A
E

.
.

10

10

j
b

10

10

..

Insert fill here

(Mixolydian/Blues/Extended dom chords)

10
8

.
.

April 2008 GuitarTechniques 23

Play: All Styles

EXAMPLE 7 FRETBOARD FLUENCY

ON THE CD

We all know our pentatonic scales, right? Well, just how well do you
know them? This little beauty will put your knowledge to the test,
leaving no stone unturned. The trick is in dening the octave points
- the crucial landmarks of any scale, arpeggio or chord. Once youve
worked through these examples repeat the procedure with any

Track 11

scale/mode/chord/pentatonic that you know. Work in this area will be

highly rewarded, I promise. If youre ever stuck for something to work
on, this exercise has endless permutations - just think of any scale or
mode etc that you feel is a little weaker than youd like, and give it the
Fretboard Fluency treatment. The rewards will be immense!

2 Practice (Section 6 - 8)

SECTION 7 : FRETBOARD

A m
4
&4

Fig 7.1a: Basic octave definitions

E
B
G
D
A
E

Fig7.1b: Rvs cell

Fig7.1c: Fwd cell

A m7/11

A m7/11

Fig 7.2a-e: Octave definitions/Associated chord/Pentatonic cell

&

A m7

E
B
G
D
A
E

Moveable 'Em' form

&
E
B
G
D
A
E

10

12

13
12
10
12

17

17
17
17
17

14

17
Moveable 'Gm' form

5
Moveable 'Gm' form

24 GuitarTechniques April 2008

12

7
5

8
8
9
7

10

10

10
7

10

12

14

12
13
12
14
12

12

12

12

15

12

12

14

14
12

17

17

15

14

17

Moveable 'Em' form

14

17

14

17

15

17

15

17
14

17

&

Moveable 'Am' form

Fig 7.3: Continuous scale exercise

E
B
G
D
A
E

Moveable 'Dm' form

10

12

Moveable 'Cm' form

&
E
B
G
D
A
E

5
5
5
5
7
5

10

10

Moveable 'Dm' form

10

10

12

10 12

Moveable 'Cm' form

12

10 13

12

Play: All Styles

3 Practice (Section
6 - 8)
7 FRETBOARD
EXAMPLE
FLUENCY ...CONTINUED
3 Practice (Section 6 - 8)

&
3 Practice (Section 6 - 8)

&
& 14 12
14 12

&
3 Practice (Section 6 - 8)

12
15

15
15

E
B
G
D
A
E
E
B
G
14
12 'Am' form
Moveable
E
D
14
12
B
A
15
12
15
G
14
12
E
15
D
14
12
Fig
7.4a:
8ve
defs
in
5
keys/forms
(1
Area:
Ascending
4ths)
A
Moveable 'Am' form
15
12
15
E
E
15
B
E
A
G
14
12
Moveable 'Am' form
D
14
12
Fig 7.4a: 8ve defs in 5 keys/forms (115
Area: 12
Ascending 4ths)
A
15
E
15

&
& E
& E
& 7

Moveable 'Gm' form

12
14
12
15
12
14
Moveable
12
15 'Gm' form
D
Moveable 'Gm' form
12
14
12
15

12

14

12

14

Fig 7.4a: 8ve defs in 5 keys/forms (1 Area: Ascending 4ths)

E
5
B
5
A
G
D
7
A
5
E
5
E
5
B
5
G
E
5
D
7
B
5
A
7
5
G
E
5
Fig 7.4b: Complete shapes in 5 keys/forms
D
7(1 Area: Ascending 4ths)
A
7
5
E
5
E
E m7/11
A m7/11
5
B
5
G
3
Fig 7.4b: Complete
3 shapes in 5 keys/forms 7(1 Area: Ascending 4ths)
D
A
7
5
E
E
m7/11
A m7/11
5
Fig 7.4b: Complete shapes in 5 keys/forms
(1 Area: Ascending
4ths)

&

3 3
E m7/11
& 3 3

&E m7/11
3 5 7 53
& 5 7
Moveable
'Cm' form5

3
3 5
4 7
3

3

3 7
5
3

A m7/113

3
8 5
A m7/11
3

Fig 7.4b: Complete shapes in 5 keys/forms (1 Area: Ascending 4ths)

E
B
G
D
A
E
E
B
G
E
D
B
A
G
E
D
A
E
E
B
G
D
A
E

7
7

5 7
5'Cm'
7 form
G Moveable
m7/11
5 7

b 'Cm' form5 7
Moveable

5 7
5 7
&G m7/11
b form
G Moveable
m7/11 3 'Cm'

& b
3
8
6
&G m7/11
b 3 8 6

& 8 6 8 6

5
5
5

3
5

b
3 b
3 b
7
5
3 b 8
4

7
7

3

3
8 5
7
3
7

~~
. ~~
&
~~ ~~
A
m7.
~~
~~ ~~
& .~~

8
5
& A m7
5
5
8
8 5
~~ 7
~~ ~~
.~~

& 5 ~~ 5 8 8~~ 5 8 5 7
8
5

b ~~b
C
b m7~~b
~~
bC m7~~
b
8 ~~
b ~~b 8
8~~

~~

~~
~~
~~
~~
~~
~~

19
C
19

3
3

3
5
7 5
7

5
7

8
D m7/11
8

3
3
3
5
8 5
8

5
5

~~

5
5

~~ 5

8 5
8 5

7
7

8
8

~~ 8
8

8
8
8
8

~~

8
8

7 5
7 5

6 8

3
3
3
5 73
3
3
5 7

3

3
3

D m7/11

3 5 8
5 8

Moveable
'Am' form5

5 8
5 8
5
Moveable 5
'Am'8form
5 8
3
Moveable
'Am' form
5
5 8
5 8
3
Moveable
'Am' form

3

3 8
5
3
5

3
5

b 8

7
b

5
b
8 5

3
b 3
Cb
m7/11
3

3 b exercise up semitone for nextb5keys...etc)

3 b (Transpose

entire

3
6
8
b
C m7/11
3
6
8
entire
3

5 up 8semitone for nextb5keys...etc)

exercise
b 3 b (Transpose
3
5
8
b 3 6 for8next 56keys...etc)
6
8
8
b

(Transpose
entire
exercise up semitone

6
8

5
8
b b
3
6
8
3
5
8
6

A m7
6

D m7/11

7
7

7 5
7 5

6
8
6
8
5 up 8semitone for next 5 keys...etc)
(Transpose entire exercise
5
8
6
8
6
8
C m7
6
8
5
8
5
8
6
8
C m7

A m76 6 8

A
m7


8 A m7
5
5
5
7 5
7 5

7
7 5

8 5 7 5 7 5

5
7 5
7 5
5
7
7 5
7 5
5

8
(Transpose entire exercise up
semitone for next 5 keys...etc)

D m7/11
8

Fig 7.5: Fusion lines through non-diatonic modal progression Am7-Cm7

E
B
G
D
A
E
E
B
G
E
D
B
A
G
E
D
A
E
E
B
G
D
A
E

entire exercise up
(Transpose

5 keys...etc)
semitone for next
8

(Transpose entire exercise up

5
semitone for next 5 keys...etc)
entire exercise up
(Transpose
8
5 keys...etc)
semitone
for next

7 5
7
Moveable
'Em' form C m7/11
8 5
8 5
7
5
Moveable 3
'Em' form
7 5 3
7
C m7/11

E
B
G
D
A
E
E
B
G
7
5
E
3
8
6
D
3
8
B
8
6
A
8
5
G
7
5 modal progression Am7-Cm78
Fig 7.5: Fusion lines through non-diatonic
E
D
8
5
A
8
5
E
8
6
A m7
C m7
E
8
B
8
6
G
7
5 modal progression Am7-Cm7
Fig 7.5: Fusion lines through non-diatonic
D
8
5
A
8
5
A m7 lines through non-diatonic modal
C m7 progression Am7-Cm78
Fig 7.5: Fusion
E

19

8 5
7
Moveable
3 'Em' form
8 5
3
8 5
7 5

3
Moveable3
'Em'b form

3
3
3 b
3 b
5
8
5
8 6
b
5

19

w
w

12

Track 11

12

13

12

13

E defs in 5 keys/forms A
D
Fig 7.4a: Moveable
8ve
(1 Area: Ascending 4ths) Moveable
'Am' form
'Gm' form
A

13

12 G 14

13
12

12
14

12
14
12
15

ON THE CD

7 5
7 5

5
5

7 5
7 5

7 5
7 5
7 5

C m7

b
6
b

C m7

5
b 5

8 5

8 6
8
8 b

8 8
6

5
b
8

5
5
5

8 5
8 5
8 5

5
5

6
6

April 2008 GuitarTechniques 25

Play: All Styles

EXAMPLE 8 SCALE DRILL

ON THE CD

I thought Id save the easy one until last! Fancy running through all of
the most used scales, pentatonics, 7th arpeggios, triads and intervallic
permutations in one minute and eight seconds? Well roll up and give
this beast a go. Obviously, its in one key and is limited to just one
octave, so you could invent an alternative uber-scale drill that moves

Track 12

through all keys and exploits a greater range of fretboard motion. But
for now this should hit the spot. Notice how each structure morphs
into the next by changing just one note, and remember that the best
way to learn something you dont know is to relate it to and develop
something you already do know. Continued next page.

4 Practice (Section 6 - 8)
SECTION 8 : SCALE DRILL

Fig 8: Play as one continual study

C maj7
C7
4
b

& 4 #
b

E
B
G
D
A
E

C Lydian (#4)
2

3 5

5 4 2

5 3 2

C Dorian (b3 b7)

3 5

3 5

3 5 3 2

&

5 3 2

5 3

b
b

C Harmonic minor (b3 b6)

3 5

3 5

4 5 4

6 5 3

b b

C Melodic minor (b3)

6 5 3

3 5

5 3 2

3 5

2 3 5

3 5 3 2

5 3 2

5 3

3 5

2 4 5 4 2

5 3

C m7

b b b b
C Aeolian (b3 b6 b7)

6 5 3 2

C Phrygian (b2 b3 b6 b7)

6 5 3 2

b b
b

C Blues scale (R b3 4 b5 5 b7)

3 5 3 5 3

4 3

6 3

10

C maj7

&

3 5

3 5 3

6 5 3

6 5 3

b b b b b b b b b b b
4

3 5

C Locrian (b2 b3 4 b5 b6 b7)

3 5 3

6 5 3

6 4 3

&

3 5

C m7 b 5

C m7

C m7/C7

C m7

3 5 3

6 4 3

6 4 3

b
b

b
b
C minor pentatonic (R b3 4 5 b7)

3 5

3 5

3 5 3

C major pentatonic (R 2 3 5 6)

5 3

6 3

C m7 b 5

C7

C m7

(1 3 5 b7)

(1 b3 5 b7)

3 5

2 5

2 5

2 5 2

5 2

5 3

C dim

b
b

(1 3 5 7)
E
B
G
D
A
E

2 4 5 4 2

C m(maj7)

C m(maj7)

E
B
G
D
A
E

2 3 5

3 5

&

E
B
G
D
A
E

2 4 5 4 2

4 5

C m7

E
B
G
D
A
E

C Mixolydian (b7)

C Ionian

2 5

4 5 4

5 2

13

26 GuitarTechniques April 2008

2 5

3 5 3

5 2

(1 b3 b5 b7)

3 5 3

6 3 6

(1 b3 b5 bb7)

3 5 3

2 5 2

6 3 6

2 5 2

Play: All Styles

EXAMPLE 8 SCALE DRILL ...CONTINUED
Two good examples are the relationship between the Dorian mode
and the melodic minor, and the parallel relationship between the
Aeolian mode and harmonic minor. There are no prizes for how fast

&

C aug

(1 b3 5)

(1 b3 b5)

16

&
3rds

18

10

8 7 10 8

10

9 7 10 9

10

&

6ths

E
B
G
D
A
E

C dim

(1 3 #5)

E
B
G
D
A
E

Cm

(1 3 5)
E
B
G
D
A
E

Track 12

you nish this, just how well you understand it, so take things one bar
at a time if necessary. Right then, Im off to do some practice myself
- on the trumpet (think Im joking?). Have fun!

5 Practice (Section 6 - 8)

ON THE CD

10
10

8
9

10

9
10

7
8

10

Dm

10

10

7
10

10

7
10

10

10
10

Em

7
7

9
8

10
10

&

8
7

5ths

10

10

10

10

10

8ves

10
9

10

7ths

9
8

9
10

21

4ths

10

10

10
7

8
10

Am

10
8

9
7

7
10

B dim

Triads

E
B
G
D
A
E

7
24

10

10

10

10

10

10

10

10

10

9
10

April 2008 GuitarTechniques 27