PREPARATORY

STUDIES

Counting Basic Rhythms

A familiarity with the following reading this book. "

typical

rhythms

will be of great

help in

QUARTER

EIGHTH

TRIPLET

SIXTEENTH

Some typical

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(with

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The Muting Technique

DEVELOPING Basically there

THE MUTING

OR CHOKE

TECHNIQUE: the guitar strings.

are two ways to mute (or muffle)

RIGHT

HAND:

Place the right corner palm against the strings by the bridge of the guitar: Then whichever string you choose to mute simply apply pressure until the muted sound is achieved. LEFT HAND~

We can achieve the muting technique with the left hand by simply laying our fingers across the fretboard while simultaneously keeping the chord in position.

Note:

The right hand technique works best with single notes and double stops. The left hand technique works best with chords and chord fragments.

4-

Developing the.8th Note Feel
.
.

to play the accents on any part of the beat. "Accent Independence". B) Wrist dexterity: keep the wrist relaxed throughout all of the exercises .. C) Use a metronome and count out loud.
A) Objectrve;

Practice

these exer cises slowly at first

then graduaUy increase

the speed.

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Note: There are two ways to play these exercises. I) Use the muted stroke, except for the accented stroke. . 2) Do not use the muted stroke, strum freely and accentuate the accents.

Note: You do not necessarily have to use the Em7 chord for these exercises. Any chord you choose would be fine.

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the 8th NOTE FEEL

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the eighth

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in two bar patterns.

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Deve/op,lng the' 16th Not'9 Feel
A) ,Obj,ecUve'; To :phl..Y the

iB) Wdst D,e)rte,r1.tx:~ Keep :your wrist C) Remember
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thro,ughou't aU of the

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7

Developing the 16th Note Feel
A) Objective; To play the accents on any part of the beat, at any time while playing sixteenth notes. "Accent Independence". B) Wrist Dexterity: Keep your wrist relaxed throughout all of the exercises. C) Remember to count out loud while playing increase your metronome setting. the patterns, then gradually

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two accents

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note grouping. This helps develop a strong

Make sure all muted muting feel

parts are played.

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Note: The up stroke

should be as strong

as the down stroke.

DEVELOPING the 16th NOTE FEEL (cont.)

MUL TIPLE ACCENTS:

Note: These patterns are just a few of many, so experiment

and have fun.

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Note: AU of these exercises can be done with either single or double notes, or chord fragments.

Developing the Triplet
The Shuffle, 12/8 Groove (Triplets) Objective: To play the accent on any part of the beat while playing the triplet pattern.

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(cant.)

Once we can play exercise 1128 at a moderate apply this pattern to basic grooves.

tempo,

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ACCENT INDEPENDENCE (cont.)

We can also apply these

ideas to single

notes.

Note:

when playing the single and double note grooves in this book, muffle or rrute the strings. This rnnff ling technique gives the guitar a much more percussive feel.

Remember

to start

out slowly

using alternate

picking •

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Developing Alternate Patterns

These are just a fraction of the many possible combinations we can use. Remember, all of these exercises can be applied to any shuffle or 12/8 groove. However, some you may find more exciting than others, so experiment and have fun. .
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BREAKING DOWN CHORDS Double Stops and Chord Fragments

What

is a DOUBLE
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STOP? played simultaneously.

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To get a chord fragment, its component parts.

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Breaking Down the 9th Chord
Objectives: A) B) C) D) To learn and memorize the thirds and sixths below. Transpose these ideas to all keys. To incorporate the thirds and sixths into basic 9th chord grooves. Practice these ideas in all octaves.

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BREAKING Some Groove

DOWN the 9th CHORD Patterns

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Using 3rds and 6ths

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15

BREAKING DOWN the 9th CHORD (cont.) The Tritone Tritone Remember that the interval of the trltone within the dominant chord played 7th chord sound. Lick

by itself still gives us that

Note: The tritone lick is an idea [ originally picked up from bass players. Remember," you can learn a lot from listening to musicians that pl~y other instruments.

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GROOVES
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25

SHUFFLE

ROCK

& BLUES PATTERNS

(cant.)

Remember that these these groove patterns

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29

REGGAE

& SKA (cont.)

With this very typical Ragae groove we can use either all up or all down strokes, depending on which kind of pick sound you prefer.

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1218 Grooves

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