Howard Roberts Super Chops PDF

r The Howand Robents Guitan Manuals
nTechnique in 20 \Aleeks
r, bV
HOWAF|tr, F|OBEF|TS
CopyrightO 1978. by HowardM. Roberts , r

Publishedby PlaybackMusicPublishingCompany
P.O.Box 15,Edmonds,Washington
- 99020
RightsReserved Printedand publishedin u.S.A. lafiemational
copyrigfttsecurcd
FORWARD
Have you ever wondered about those -y9ul9 students of, 9ay,--!h9
br piano, *no a very hig.h level.of technical skills in
"i"lin
i'"li.ilfirt tlme? Hav'e you notiied that guitar players, by com-
""quire
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 ex-
inherit a tradition of disciplined.tra.ining.:'-t-g-ti-"-1:'^,-l:9jl-
nirig violin studies are made up of seemingly-endless exerc'ses or
"tpf",
€tc"
ridAy uninterrupted eighth-notes, sixteenth-notes, or triplets,
which the studeni practi-cesfaithfully every day. Great care is
taken to make *"n note sound perfect. lt is through these disci-
pii""a and uninterrupted practice regimens lhat 91e1t technlqu.e is
SctJireO. ln gener"[, tno"" who do It, get it, and those who donrt,
donrt.
Thls book is a series of programmedproiect lessons designed-to-give

itr"hprovislng guitarist sulh a reglmented program. ltltV the imqlo-
.ri"ino'quitaris-t? In most cases, th-eviolin or piano student ls working-
iffr;;f *i.t-i"h was written by someoneelse. The psycho.log.ybehind
hls studies puts him in a relatively safe--place' l.f V9" don]1-liklit'
dontt blame'me. Paganinniwrote it; I didnrt". The improvisor,-now-
faces the risliof criticism not only of-his technique, bul of his
choice of notes as well. This working iondition can create a double
"""r,
bind effect, causing a sort of mental paratysis which quickly translates
-""rry
inio f na6ifity to out the motor skiil. lt is toward the resoltr
"n
tion of this prdblem that this book is directed'
-useftrl who already hav_ean established technique

In addition, those guitarists
rill Rna this book in maintaining-it. Doing the proiect les.sons
as outllned in the book, 50 minutes pei day, 6 days per week-,will keep
you are not actively play-
iiu" -nop. in sfrapeduring the periods wlien
ing.
This program has been tested in numerous grouP and individual situa-
tions, 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 .2
Equipment . .rt
.'.rcking /Fingerings .5
Key Centers .6
The Fingerboard . .9
Line Shaping . t1
The Program . .t4
Pointers. .t6
How to do project lessons for weeks one through six. .19
Week One Project Lesson l-A .20
YVeekTwo Proiect Lesson l-B .2lt
Week Three Project Lesson 2-A .28
Week Four Project Lesson 2-B . . .32
Week Five Project Lesson iFA .35
Week Six Project Lesson 3-B .40
Week Seven Project Lesson Review .lt5
How to do weeks eight through thlrteen .,t7
'
ek Eight Project Lesson 4-A . ttg
_ek Nine Project Lesson 4-B . .s4
Week Ten Project Lesson 5-A .60
Week Eleven Proiect Lesson FB .60
Week Twelve Project Lesson 6-A .68
Week Thirteen Project Lesson 6-8 .72
Week Fourteen Project Lesson Review .77
How to do weeks fifteen, sixteen and seventeen .78
Week Fifteen Project Lesson Review . . .79
lYeek Sixteen Project Lesson Revies . . .80
Week SeventeenProject Lesson Review . . .81
Hammer-Onrs . .82
Pull-Offls . 84
Slides . 85
Week Eighteen Project Lesson Review .86
Week Nlneteen Proiect Lesson Review .87
Week Twenty Project Lesson Review .88
EQU PMENT
YOUR GUITAR
The set up of y.ournguitar plays a very furportant role in the deve-

lopment 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 de-
velope 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 rc-
quirements of todayfs popu-lar music. Since it is not practical to change
stringsêvery 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 impro-
vising, 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 How-
ard 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 rnod-
ern-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.
F NGER NGS
--,ne thumb of the left hand should ride along the approximate cen-
ter 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 ac-
curacy and also stretching the string to sound out of tune.
The fingers should be lifted only high enough off the string to a-
void string noise when moving, but not so high as to become wasted
motion.
The wrist should maintain a fairly flat posture. Avoid severe arch-
ing 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 Kf;Y,,CEH-T,.*ft9 ", :
,,,
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
s I
1B *
I
&
I
tr*. f'.n Ftdri. I A*r Br.
T Itr mi xxf, I
I
8rtry, Dr, L* F,tlrl, I #f.*t fr*{"t
If uf :r
- Ibz,l
cryt{Jt tilt f flisi:l fiqndl Il'I5tD
-- -
f***ii
A1 xl ffit xt 15f :H' rut ift
NOTE: The Vll Chsrd, Bn?b5 is also known as B/ fts ,h€lf*dft*i*lshed swenth!
KEY CENTERS
EXAMPLE 2
T H E H A R MON IZED
F M AJORSCALE
Gr4? H Mt *mql Cr', Dil" E*Pq q.refr-'|.
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.)
2. 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.
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 commonto one key. As In the case below, the key of Ab ls evident, (shown In
c lrcl e s ) .
EXAMPLE3
u-@ U,-DD
[,-u m.-Q fret
fr.- et o:@ 'r:@ t:@
c.*-'t 8tn'l €rl Ab in
'l
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 D A R MONICMINORSCALE ( Key of A m inor )

T H E H A R MON IZ E H
f.F-r/ltuizl gdtl' sqlt D.rJf Fr,1li g*-t enl@"
:E I
Example4A - The HarmonizedMelodicMinor Sclae (Key of A minor)
crsalp*5 oe r*;fs e**,f
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 progres-
sion, 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 finger-
board 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 cor-
responds 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 I
o o 29ozit oz-0 r30,
2nd O
3rd O
rRh o
5th o
6th o
i
Fingering Pattern Number Two \,,
z +J2.41 2. + | 3 4 2,4Jlr t
a
t
g'6*
a
Fingering Pattern Number Three
a{ 3r-t I I 3,1
t2
4t+
@
Fingering Pattern Number Four
slL*tL+
-:l
i
Fingering Pattern Number Five
r3lrJt-l 3r-r3r t+ t3 +
f,22* 2
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.
I I
t ,, I t
+ t- | +
+-* r L-L + I 3-3
*-t | / c222
,o 2 2
?ei 67
r0
L NE SHAP NG
In that the studies in this book are deliberately limited to rhythms of uninterrupted
duple and triple time, interesting rhythmic figures or motifs cannot be used to brighten
-melod.ig
up the solo lines. Therefore, yJur choice of tgne seq-iiEii-ces wilt become tire
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, F.*7 *rc G11 Eba.4 grb',
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
indicated with lines between the notes ( s r o ).
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.)
Example9 (A harrnonlcmlnor)
Lhs Relatlve MeloldicMinor 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
ffih c-hordsor dlminlshed chords.
Examplel1
The WholeTone Scale (symetrical, consecutlve whole steps) most commonly used ov€r
domlnant 7th chords.
Example12
12
7
LINE SHAPING
l\-/
t
l
The M?io_q,Bentatonic Scale (same as diatonic major with the active tones 3rd and 7th
t left out). When harmonized creates inversions of a Maior 6/9 chord, wlth little gravl-
i tational pull toward any key center rrdepending on the usage'r.
Example l3
t ARPEGG
IOS
I Arpeggios are speclfically chords, broken up into single notes. They are effectlve in out-
llnlng the bar harnrony and offer a nlce contrast to scale movementas they create smoth
rolling lines, at sharper angles than scales.
Examplel4
D.n:' &q et,4s cb/q
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 mostcommoncomplalntof beginnlng improvisors is that their playing tends to become

too scale-llke. One solution to this could be to 9!og playing things that rrsoundrrlike
scales, for example, as an exercise, dontt play ffi inah for * scale tones ln the same
directionl €.g. this type of scale movementcreates interval skips, small and large, thus
breaking up the scale effect.
t
Example16
THE PROGRAM
A. 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.
B. 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 pro-
gression, 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.
c. The Seventh Week - Review.

Day I Review Project Lesson t-A
Day 2 Review Proiect Lesson 1-B
Day 3 Review Project Lesson 2-A
Day 5 Review Proiect Lesson 3-A
Day 6 Review Project Lesson 3-B
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 Fourteenth Week - Review.

Day t Review Project Lesson 4-A
Day tl Review Proiect Lesson FB
Day 6 Review Project Lesson 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 pno-
duced 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 NTERS
A. 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.
B . Guitar players are inveterate n@dlers, and I think that a very effective type of
learning tikes place while watffinffilevision and noodling. tio it when y6u feet
like it.
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 commonform for building a solo line is: QUESTIONAND 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. 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."
G. 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.
H. 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.
l. 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.
J. 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.
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 cix-
teenth notes instead of elghth noter, etc., etc.) lf you do it, you get lt. lf
you donrt; you donrt.
N. 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.
Rest Self-
Plateau Questlonl
Self-
Questlonl
PO NTERS
o. Coping ttith The Mental Hazards Of Developing A High Degree of Facility ln

lmprovising. lt is extremely important to cerrectly place the blame when things
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.
P. 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 self-
questioning 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.
a. 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 prac-
tice 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.
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.
T . An'Accelerator -- form a group of other guitar players.

Exchange solos and
comping. Trade off in sequence. The group dynamics is superior to private
study for a program of this sort.
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, .e. strive
to make up strokes sound as strong as down strokes.
c. Do nol set your metronome to a desired speed and try to rise to meet it. Rather,
use the metronome only to track your progress. Keep a daity record of your
lempos in the boxes provided. (NOTE: Your tempo may vaiy stower or faster
from day to day. This is to be expected.)
D . D.o-ea9hproiect lesson for six consecutive days, with one day off. Avoid
skipp.ing
9"y , for whatever reason. The effect is hazardous to progress.
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.
F. 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.
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
Great attention should be given to holding steady time. Do not rush or drag
the tempo.
t9
WEEK ONE PROJECT LESSON I-A
Week End Tempo Obiective J = 60
PREPARATION
Step I Clear your work area of all things not pertaining to thislesson.
Step 2 Tune your guitar.
Step 3 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 appro-
priate box below.
L O G O F D A I L Y M E T R O N O M ES E T T I N C S
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.
Step 6 2 min 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.
Step 7 10 min Play uninterrupted eighth-notes over the progression as it is

played back, to the conclusion of the pre-recording.
Step I 2 min Break! Set the guitar down, stand up and stretch, etc.
Step 9 l0 min Play uninterrupted eighth-notes to the conclusion of the pre-

recording.
Step r 0 2 min Break! Rest aw6y from the guitar. Lie down, etc.
Step l l 10 min Play uninterrupted eighth-notes to the conclusion of the pre-

recording.
Ste p 1 2 2 min 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 Check off each step as it is finished

20
r-€h gbnf-e)
t Ftlll
ltf - I
r+tl
- r|.t-'
{-r}-t
'*'gfi,e-
€frS
I itr _E
fGq gel
EXAMPLE FOR PROJECT LESSON I-A
The following is a mogerof the type of soro rine to

vised-in this project resson. tt is souncemateriat be impro-
to be used
as reference onry. The idea of the proie; i;;;
to.improvls.e your own line on tlre spt and not to is ror you
memorlze
this example. ltrs fine if you wsnt io memoriae
this for-your own purpos6s but it ir ""iiyrf*L-ouGtive
project lesson. of the
"oith"
4h
W*it
Y
m
t 1"1-L ^ a gbp(-+l
'-) 4, rrO9
"
GXEO @--6 (E
Lnl+
Db
t Abrg
@
----__-l
v4ti ,.?+,.
@@@
-6ffi-ut#l,ta-
1-l .g , I t
g+q@)
I r-a Lmr4 2l $
I ?zt?
@@@
@ot
22
@F-re
w-2,o_'
gfis ;,fu" , , a3 ,a7i
:T'-;-.-r^;r
m{*nl;rykffi'
60 @@O0
.-Bt
qffi'"il1 l'r I r rr!-
@&6 6- 6s s s
fil
b*,{ * 4
,tq o#:g'
s,P1#; # il.l ,3..!* la l$^
4
t
o6@ @ o
b,nq
.{'.g,,*#*r*&-l..j
@ @''@ @ 0s @@b6 bso6@

r_r
ga[+r)^
&rrt4. 4
5))n l. * f :biy I r
*+4
6mf a4
i.tt42t-?z;!-ft
6'e 6 @ s&&
TVEEKTWO PROJECT LESSON I-B
t
WeekEnd TempoObiective I .: 7 2
PJTEPABATION
Step 3 Warmup. Play notes slowly at all parts of the fingerboar!.. -

Objective To eliminateany "flamsrrbetween the right and left
h a n d s.
50 MI NU T EP R O G R A M
Step 4 2 min Play eighth notes once through the progression to establish yo{r
tembo 6f tfre day - the speed at which you can play through the
ffitakes. Mark down the dayrs tempo in the aPpro-
priate box below.
L O G O F D A I L Y M E T R O N O M ES E T T I N G S
Step 5 1 0m i n 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.
Stcp 6 2 min Break! Set the guitar down, Stand up and rewlnd the machine.
Focus yoffihord progression. Know the key
centers and memorize the progression. "Get it off the paper and
into your head".
Step 7 t0 nin Ptay uninterrupted eighth-notes over the progression as it is

Step 8 2 min Break! Set the guitar down, stand up and stretch, etc.
Step 9 1 0m i n Play unlnterrupted eighth-notes to the concluslon of the pre-

recording.
Step 10 2 min Break! Rest away from the guitar. Lie down, etc
Step I I 10min Play uninterupted elghth-notes to the conclusion of the prr

recording.
Step 12 2 min Break! Lle down. Relax all parts of the body. Close your cyes.
Breathe deeply and rhythmically. Practice visualizing yourself
playing the proiect the way you wish you had.

2t.
r j**o gf'a-rt
wl?r
iltfTt.tttr -T
*t-qh
ln'r ff -!--r..; --Eb'

| (ntq
,so
A{{(rq} flmA'Ya,
'.A- rf*
.O-
I
r*o t'orr* I
r*;ffiq
q hn-
#btq
#"'t-'d
t.
A. CtgA
, tFn,t/*p frb/tt+\s.a'.
EXAMPLE FOR PROJECT LESSON I-B
Remembert This exampte and alT other examples for the prciect
lessons are qqdels of ttre type of solo line to be improvised. The
lmportant cdfrGiiiEiatlonis ine spontaneous Invention of your own
solo line. The point of the project lessons is to hone y6FtEch:
nique to a level that will facilitate and not hinder the tmmediate
reproduction of any and alt of your musical ideas. Use the exam-
ples as source material and for reference, but when doing the
proiect lessons, itts rrevery man for himselft,
ob I Fr +=
t44
f^t.oIIEJ t^lhl I * dot'rl
t,2l! r.
f- tb
Ctblaf '!*,;21r Ctr!
ttz^ r tb"f ,!
,,rr 4 t z
?r.z t3
4D
I tn{
+
I d" ,n,
'-, I
I I trrz*
a L: ,+
*ot
I
2,
-h
@ o
Wb
r-
'alt1t ^r*i r;Gt c, _i
1t t Lt 2Lt,
26
l IfiS s*Srrt*
- Sb
Fttt gh t!
-Z'
9-^l'^-,
t * - t
rr + ,2, +
s#.0@
66-6 fis
!f '*
f$l' ft",q
lPt t,t.+ 1r f-lt it+
D,*nQ
,tryi , t^r,t
$*lqb/q
+4tl'HA
, ;i
0&@
nlro,4
fh Crua l"r?n
* llhi.+ , l. r t ,lL* + 3 , +, I ol lf ot l,ri't pto I
0 @)@
hbulq *nf4 4' ]
Cnrq
fr !,YL1trif-t'.1
,u 1td'
+ *,t z,tu!1ur4f ;
0@
gb
W f-t* ffiffi,S*-, o-
{7\\l
F?t??
g'
F-, l l E,.r*l t*t f,i*i 'i,! , inl"l ',I,SS
ih,i;,:lli,,,l
0-6 o@ @
WE E K T H R E E PROJECT LESSON 2-A
I =8+
Week End Tempo Obiective d
P REP AR A T I O N
Step I Clear your work area of all things not pertaining to thislesson
Step 3 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
ffitakes. Mark down the dayts tempo in the appro-
priate box below.
L OGOF D A IL Y METRONOMESETTINCS
-
Step 5 l0 min Pre-record yourself playing the chord changes (sustained no
rhythms), with the riretionomenearby so that it will sound on the
tafe like a click track. Repeat the progression non-stop for 10
minutes
centeri and memorizethe progression. "Get it off the paper and
into your head".
Step 7 t0 min Play unlnterrupted elghth-notes over the progrggsion as it is

played back, to the conclusionof the pre-recording.

recording.
Step l0 2 min Break! Rest away from the guitar' Lie down, etc.
Step t I l0 min Play uninterrupted eighth-notes to the conclusion of the pre-

recording.
Step 12 2 min Break! Lie down. Relax all parts of the body. Close your eyes.
Breathe deeply and rhythmlcally. Practice visualiling yourself
playing the proiect the way you wish you had-
Total 50 min Check off each step as it is finished.

28
-
A+'I $rrlq
'nt&
u'f,?, '-J t*I
6b
,6)
-t$ ?W
{t.e. rI&pn@r 0-tr
ElrTgre-
1*'J?r-r**Ji
3,nT
ZE '@
u* D+ tt*;$rr ry$"'*E*S
fil
qFrqi-l bn-*nq-r
fil ' 'j* mw'in
-5ff-t
Hn;u t+!1irr bf:l, f t +, r L%.
( fr-r r-:g-l
s $i,t ll
?i L
4
4l #Y!**'-r,rh} I' ?f*!'i,,
o
eb
:tr:,4*l ,,.fli* r tr,ll I
{rr.l*hl
g'h
alrr r lD -' ,-f, -r
nrnr*1 r,l: gbn(,{}, r
rhi L,'* r |.3d.o frl,.*T$d
o
3! r- F -r ,;-"El -'
f,lr
[{&r',r ,,4Tio, Lt .2. f$ ,i,it'iJ#.
Sam{
r4 r{
p'q
L1'
c**4
t""n-
i;f-
t L
J I 2.,1''blL,*
CI
D
n!n
f': 3 l 3, I rse*
Fni:r{T
s
f
*
o
|
4
Ewfm @ offitu
WEEK FOUR PROJECT LESSON ?-B
J : e.l
lb
WeekEnd TemPoObiective a
PREPAR+TloN
Gtear youf wor"k area of afl things not Pertainingto ttrislesson'
Step t
Step 3 warm trp. Ptay notes sto*ty at all_parts of thg filggrboard. -

OUi".tiu": toLtiminate afty"flamsd between the right and left
hands.
50 MINUTE PROGRAM
Step 4 2 min Play eighth notes once through the progressio+ te establish your
ter'po 5f tne day - the speed at which you can play through the
ffitakes. Mark down the day's tempo in the aPPro-
priate box below.
LoG oF DAILY METRONOIIE-SEJTINGS

I Day2
- no
Step 5 l0 min Pre-record yourself ptaying the clrord changes (sustained
rhythms), with the metionome nearby so that it will sound on the
tafe like a click track. Repeat the progression nglr-slop fisr 10
minutes.
Step 6 2 min Break! Set the guitar doJyn. -Stand up and-rewind the macNne.
Focus yoffihord progr,ession. Know the key
progression. t'Get it off ttle paper and
centeri and memorize the
into your headt'.
Step 7 10 min Play unlnterrupted eighth-notes over the progre-ssion as it is

Step 8 2 min Breaki Set the guitar down, stand up and stretch' etc'

recording.
Step l 0 2 min Break! Rest away from the guitar. Lie down, €tc.
Step I I 10 min Play uninterrupted eighth-notes to the conclusion of the pre-

recording.

32
f- gb-
D''fi' !t;l
k"T.r*{urfi"
0&
{-dts8i"rgr
T Ttra;#F
;;ft
EXAMPLE FOR PROJECT LESSON 2*B
ffi F1'"-F'},-
lriifui iir,psti[
--*-66-*6@T
tb 7F -r rEl-
hQ'n $ot'l Fn'^t ' ]*t - ! r!n'n
tr5.l l, l2 t"1 1r t& I L.
-@
s@
p
Sru4 "
t rt ll '^t
lrq*ti: t4
ffi@w
o
A4(-{ 1 Srrr*t
{ !, ,1,, I s ll 1- tr A II t,
3Ir
et
t,t': I
1..
Sba,{
4 ,4 '^.L t Tq,?,;
+'t-!3rL r3,3r'Lba
,f,\ t r:*c!*t
tefa
O '^
,
3 rL+gt""
t^t'-t
*rt,: f\"+r2
P^:,aJ*; , $Ftr,1
t+* 4tt*
6 6
0,?'1
, tb t\
ch
f' '
LL
n'l
t,, l l
#?*
tL ,t
YUEEKFIVE PROJECT LESSON 3-A
End TempoOujective J
VUeek : /09
PREPARATIOry
Step I Clear your work area of all thingrs not Pertaining to thislesson
Step 2 Tune your Euitar
Step 3 Warm up. Play notes slowly at all parts of the fingerboard. _
Obiective To eliminate any rrflamstr between the rigrht and left
hands.
-5 0 M I N U T E P R O G R A M
tem-po of thq OaI - the speed at which you can play thro-ugh the
ffitakes. illark down the day's tempo in the appro-
priate box below.
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.
Step 6 2 min Break! Set the guitar down, Stand up and rewind the machine.
Focus yoffihord progresslon. Know the key
centers and memorize the progression. r'Get it off the paper and
into your headt'.
7 l0 min Play uninterrupted eighth-notes over the progression as it is

Step 9 t0 min Play uninterrupted eighth-notes to the concluslon of the pre-

recording.
Step 1 0 2 min Break! Rest away from the guitar. Lie down, etc
Step I l0 min Play uninterrupted eighth-notes to the conclusion of the pre-

recordlng.
Step 2 2 min Break! Lie down. Relax ail parts of the body. Close your eyes.
Breathe deepty and rhythmically. Practice visualizing yourself
50 min Check off each step as it is finished.

36
Iln,&a .O,rrr4 A4{-q}
Drrt -g$l
h.,.4 ^ Onrrl .- a
-?Ft-'
Glit
*fr-m4 b+"
hh
r {} ts
L
L-r
.. , f"l"AL
.'/,,Lb*^Wr,-
f tl-l
llrl
l-
,t'-!n,
EXAMPLE FOR PROJECT LESSON }A
D tr,
Ae.l'ql
t,l? hl r,
Pl'*, ,,11^c 2 ,r\li ,hr4
3rL
,,c ,. f s t?
a @o
D,,
{t,,+ lr, #Lsl L5 +li', I A+4 ^l
tPl
qi !.| , t
@@@o
st -l
'rl, ($
r',*Cftl
I,L t
o
, t. il'+r:+ltf',",'Ffl
{n,,r+Al
',,
s,u,{ fri:aiua,;F'n': P,n'
t-;']' | : , il t"Llrfiil$r I
0@@
fan *+4
C*,r,4 - |
l'E,
*.LthLg"I l Itfi, 4'L I
**"ffi" -&@s
0# s
*
(+*) Sb t t*f
4f '-
Cmrl
r r 4$ ++*J ,ft.,r, 1*3 $bnrna
&lr 4l !t, r fli'l*
0 @
A
r-- n r2r -l
g,ni ,4
I
Cfrol . , f**,1
I,,, ffipg t&*tLt*) i-i e'l , r rL
o @ @ @
t '[o,u *'#
[.b,n,"
$ ii,-.zt; i:j'*JJ--#d+l *L jrt +
6-6--o*]*p;E;TEi
# tfi
WEEK SIX P R O J E C TL E S S O N } B
Week End Tempo objectiv

Obiective )a /2 O
"
PR EP A R AITO N
Step 2 Tune your guitar
Step 3 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
tempo of the dav - the speed at which you can play through the
piece without mistakes. Mark down the dayrs temp in the appro-
priate box below.
LOG O.F DAILY METRONOMES-ETTINGS
Step 5 10 min Pre-record yourself playing the chord changes (sustained - no

minutes.
Step 6 2 min Break! Set the qu1!9r down. Stand up and rewind the machine.
centers and memorize the progression. rrGet it off the paper and
into your headtt.
7 t0 min Play uninterrupted eighth-notes over the progression as it is

Step 8 2 min Break Set the guitar down, stand up and stretch, etc.

recording.
Step l0 2 min Break! Rest away from the guitar Lie down, etc.
Step I t 10 min Play uninterrupted eighth-notes to the conclusion of the pre-

recording.
12 2 min Break! Lie down. Relax all parts of the body. Close your eyes.
u0
fu*+ E{{+l
u"f fl* +tl{+*}**
!-F -rq#
ffi ?:{} A"T r I

;.Bgryi r1*****h{-l
*
3
#fi} .. f .*^go,q {fuq}-
L.{*,li
*l,llF I
Ig.*\
lTr I
em b
I
ffrrt* I $,9. dr *uJ {f,ffr*F
EXAMFLE FOR PROJECT LESSON 3-B
ll*r
I A*rf{ trtrl et{4}
ffi t3, I
I
,
A*rra r&l
n4 \! I q,! t+'t{$ I
f , .trt
I
,,
l,,aI
An,f14
l$l+J Lt-|
bn1 tr
| t tl sl ?liE# t,
l-r
t- ?b -r
Larl
I
ilN
t.*j
t" l, 44,4
f,:** t rit} 't' snft-qt {+'tt*i
ll I
,L4
0 6 6&
P3+
I
4*! +4 +
r.F t * t
ry gr;'l{*l
trS l4
#0#0
-f r 6h*t
t
l1 1! zL++t i;, { { il'

3 I].'+,t$tl
06
rr?f. -'r I
,, ttl ^
{ryi Ct$,rtr{r f;*nn1
r l.! r r$,l* r
L r 4 r..r 4E! ?..rr
0 0
nD t
tbltl r 3t$rtt
1t-$*r s I ut3
HOW TO DO THE PROJECT LESSONSFOR THE SEVENTH
WEEK (REVIEW}
with one of the

A six day series of Proiect Lessons. Each day we will deal
ctrorO prbgression form the preceeding studies'
DA Y O N E Review Proiect Lesson 1-A

DAY TWO Review Proiectlesson H
DAY THREE Review Proiect Lesson 2-A
DAY FOUR S€viery P{'oiect Lesson }B
DAY F I V E Review Proiect Lesson 3-A
DA Y SI X Seviery P-roiect LeEsen S
The reasons for this review are two-fgld'
A. To reinforce our merrery of the chord progressions themselves-and

atso of the devices we used to get through them'
focus
B. 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
horvever, that itrs no big deal to outllneit'
study periods agou-tlined. RenEmber,
the big deal is doing it.
44
WEEK SEVEN PROJECTLESSONREVIEIV
I
Week End Tempo Objective J : /3 2
PREPARATION
Step I clear your work area of alt things not pertaining to thislesson.
Step 3
Il1m yp. Play.notes slowlyr'flamsri
at all parts of the fingerboard.
obiective: To eliminate any between the riiht and left
hands.
50 MINUTE PROGRAM
Step 4 2 min Play eighth notes onge through the progression to establishyour
tgqnpoo,f,tne,aar --the speecLatwhi;h fou can play through'the
piece without mistakes, Mark down the day's tdmpb in thJappro-
priate box below.
L OGOF DAILY METRONOMSETTINGS

E
Step 5 l0 min Pre-record yogrs-etf playing the chord changes (sustained - no

rhythms), with the metronomenearby so thit it wilt sound on the
tape like a click track. Repeat the progression non-stop to" ro -
mi n u te s.
Step 6 2 min 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.
Step 7 l0 min Play uninterrupted eighth-notes over the progresslon as it is
played back, to the conctusion of the p""-'"*irJing.
Step 8 2 min Break! Set the guitar down, stand up and stretch, etc,
Step 9 l0 min Play u-ninterrupted eighth-notes to the conctusionof the pre-
recording.
Step | 0 2 min Break! Rest away from the gultar. Lie down, etc.
Step I I 10 min Play u.ninterrupted eighh-notes to the conclusionof the pre-
recording,
Step 12 2 min Break! Lie down. Rerax a|l parts of the body. crose your
. eyes.
Breathe and .rhythmically. practice visuarizing
--
.deepty
playing the project the way yoti wish you had. v"""r"ii-
CONTEMPLATE
YOUR PROGRESS TO
THE END OF ITEEK SEVEN
YOU SH O U L DF 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
S O M E W H A TT E D I O U S A T T I M E S , W I L L
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 YOURSELFA WELL-DESERVED

PA T O N T H E BA C K F OR D IL IGE N C E ,
AND A SPECIALREWARDFOR YOUR

SUCCESSTHUS 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 EEKSEIGHT THROUGHTHIRTEEN
A. Play only eighth note triplets, continuous and uninterrupted. No

rests. No Phrasing. No hammer*onrs. No pull-offls. No other
ornamentatlon.
B. 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.
c. warning: D9 not,set your metronometo a deslred speed and try to
rise to meet it. Rather, use the metronomeonly to track your pro-
gre,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. )
D. !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.
I
tlIEEK EIGHT PROJECT LESSON 4-A
I
W e e k E n d T e m p o O b j e c t i v J" : ?6
P R E P A R A TI O N
Step 1 Clear your work area of all things not pertaining to this lesson.
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 esta-
blish 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.

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.
centers and memorize the progression. trGet it off the paper and
into your headtr.
Step 7 l0 min PIay uninterrupted eighth-note triplets over the progression as it

is played back, to the conclusion of the pre-recording.
Step 9 l0 min Play uninterrupted eighth-note triplets to the conclusion of the

pre-recording.
Step t 0 2 min Break Rest away from the guitar. Lie down, etc.
Step 1 t 10 min Play uninterrupted eighth-note triplets to the conclusion of the

pre-recording.
tl8
r"*$r.*.t
'** tli+*]
n/fi-EryT,s
tQ ^-+t *
rfi nb,,ta-r--?n,u-A u
.g*-
'ffi
, &nla
+qe
$btr
qu'H{ *l
n! .#*i
*4h 3f -4{*,-}fi 4+#*
,t_.,fu"f nCnJ
1 1f'
r1{+rr
}*E *l
,L
* _+$s_ r:runft*rfit ,, rt
HX&**FLF FO* FNOJEf;T LESSSI{ {*A
{n,a SF*'aL '.4 & I

I rtt_ t l L t * *E
& @@
--
I
$
*htl* a .4 :$--{" l
l'*f Lrlt l- '4
*r-lLrlJ +4J
# sffi
ry*
+ l' 2.1t
n,
t S,n,{ at
(
fr+
S I
. r 'Snr{ il*,4
I h to , l.ut
"i"
"L# @ @(p o-E 0€l #&
-?
tr
s
'
c*,n {^r4 +
Ir/ lr.l ., I L
s 0@o 6-o
*
I r- e=-
1.i.",l?{*
lryp-
@d@ @@
sT rl
F-1
l--Ll 14.hl bir. , o,Lt ,
@ Qa@ &v6
A
I | +_I_ F.^t'
@@
6*t'l g+4(A)
t t t t!L: hi r Lt t. rl1{
I
Ab
ts, (n4
aLl 4lL t^+ fr^,4
i'iui1i*iirii
d
l
l)
I +r
.*Ab
\+!
'
frbn,n
Al*r*a
! + Li +L
ss @
W E E KN I N E PROJECT LESSON 'I-B
Week End Tempo Obiective J /o*

PR E PA R AT I O N
Step I Clear your work area of all things not pertaining to this lesson.
Step 2 Tune your guitar,
Objective: To eliminate any 'rflamsrrbetween the right and left
hands.
50 MINUTE PROGRAM
Step tl 2 min Play eighth-note triplets once through the progression to esta-
blish your tqmpo of the dav - the speed at which you can play
through the piece without mistakes. Mark down the day's tempo
Step 5 l0 min Pre-record yourself playing the chord changes (sustained - no

tape like a click track. Repeat the progression non-stop frr lt
mlnutes.
Step 6 2 min Break! Set-the quitar down. Stand up and rewind the machine.
into your headrr.
Step 7 l0 min Play uninterrupted eighth-note triplets over the progression as it


prFrecording.
Step l0 2 min Break! Rest away from the guitar. Lie down etc.
Step I I l0 min Play uninterrupted eighth-note triplets to the conclusion of the

pre-recording.
Step 12 2 min Break! Lie down. Relax afl parts of the body. Close your eyes.
54
{ o'3
\cf
l4frfimf ?=E*'1F,
**,tbrft "J?*
'h6
'@
0, tu,
+tT-
ffiU j*+1ue
.-'r%-r '-,(h''
3L, LD,trAl
-']'-T,f -1 ub arg_ i'@* ia*_

lll nnf'-I ffi'{
u-a1ggv,16rr'
EXAMPLE FOR PROJECT LESSON 4-B
ill
I r.)l+L
-@@u
6,S @@ @ @
*
h 9*it i,,mr,ri
@s @
N
N{,
tIz *LL
+! ltt v,t i
t rteii
le
*l $tt* t'r r
*6*
l/-
s gv,rilTb
gt
,+ Yo,,t* i t ?*
5,1 ffiq *lt

furtq
Il
s00@ o tD 6r
WN
!+ h! * *
frm4 t\ r 1!
t *) +r t *,
n
f$n"r{ F*14(41
Lhl i ?, * tt Lululr.+\! ? +
€nt
o+}
A+rr,rr{ I
I n
*-fr
F4
r*
@ w
gh
ir4
(tr
&
Qoln, t h1h+hi-l4i
--@#"-"-
#ffi*ffie s#s
hr F d____*.1
n
Abnr,r
r1+-t
imini#
b... -+.-_-.*..
+ ('6)
_^ . .4__
@O@
gl
(-4
3brl l
, L4 LFtl +
6b '
. },nr,lr-1)
f*i +t l* L
#s
TTEEKTEN PROJECT LESSOI{ 5-A
Week End Tempo Objective ) : // z

PREFARATION
Step Clear your work area of all things not pertaining to this lesson.
Step 3 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 -tlre once

Play eighth-note triplets through the progression to esta-
btiih y6ur tempo of -
dav the speed at which you can play
throuih ttre@istakes. Mark down the dayrs tempo
SETTINGS
tog oF D4ILY METRONOME
- rrc
Step 5 l0 min Pre-record yourself playing the ctrord changes (sustained
rhythms), with the metronome nearby so that it till sound on the
tafe tike a qlick track. Repeat the progression non:stop for l0
minutes.
Step 6 2 min Breakl Set the quitar down. Stand up and rewind the machine.
Focus yoffihord prolression. Know the key
and mernsriee the progression. rtGet it off the paper and
cente6
into your headrr.
Step 7 0 min Play uninterrupted eighth-note tripfets over the progressisn as it

is played back, to the conclusion of the Pre-recording.
Step 8 2 min Break! Set the guitar down, stand up and stretch, etc'
Step I l0 min Play uninterrupted eighttrnote triplets to the conclusion of the

prFrecording.
Step l 0 2 min Break! Rest away from the guitar. Lie down, etc.
Step t t l0 min Play uninterrupted eighth-note triplets to the conclusion of the

pre-recording.
Step 12 2 min Breakl Lie down. Relax all parts of the body. Close your eyss.
Breathe deepty tnd rhythmica|ty. ?ractice visualizingr Voursett
60
A
-i
r_{ ll
r- r-vt. r?t-r,€}-r
5- A C *I a 1t -t
tllrl'[-tt.
f\al'
f A,*J /,hnf tr*,1 &b1|5l
r- F -*1 r- eb r-F *1 --t"f

fu*a hf doq t*r,l dFl
lsfl
r*
-l c .-]
lmJ/. [' frbq
/a u4t-s)
6t
EXAMPLE FSN PRSJgC'T LgsSgN 5*A
ryC
firt*4 4 ,-:
6
,
(t -r t- 6P -r f
:-f +
frnnr ,ey
5
4
*.r I I , h2bl , frf + i r J tu
I
@ee
I r:zr*
fmr 1""L,, +hq
, ?3 l t tL 3 '-n!; J
}},-
cT-t- ;s ,uhl
{r-*t
%m ,
sss @
RE M I{ D€ R
ln the Crorvth Process,weall gothrough

periods in which we areactivating new
nerve junctions, both in the brain and
$Tughout,other parts of the body.
This type of growth work draws a tre-
mendous amount of systemic energies.
The overall physical feeting is-tike
pulllng a train uphitl,and the psych-
ological 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 ta-
king place. Actualty, the reverse is
true. The progness was made dur-
ing the uphill climb, not during the'
rest period, The rest period will con-
tinue 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 weak-
nesses. 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 prac-
tice regimen must remain ionstaht.
WEEK ELE\IEN PROJECT LESSO}I 5-B
I
I
WeekEnd TempoObjective J : lZ0
PREPARATION
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 esta-
blish your tempo of the dav - the speed at which you can play
1 Dav2 Dav3

minutes.
Step 5 2 min Break! Set the gq'Ltar dorryn. Stand up and rewind the machine.
into your headr'.


pre-recording.
Step l0 2 min Break! Rest away from the guitar. Lie down, etc.
Step I I l0 min Play uninterrupted eighth-note triplets to the conclusion of the

pre-recording.
Step 1 2 2 min Break! Lie down. Relax all parts of the body. Close your eyes
64
S**1 ;b"
aru($rqI +)l
LW
,tr^- 1S' f- !49 ehru*r

#**i*.
6
r-d tffr-,
r-
*[g.flrur'l pt{-rt T;,,6
a6P'1o--t'(*t'
;Er,u'
o
FXA*fiPI-g'FOR PRSJECT LEgSSF{ 5-B
t
f-
LMT
s
'-- C
'f'A ,Î
,n-{ d. #v''.,,
+ -,Lb:;" Fbip*
o o @ 6-'@
co
tnnnblq
K+FT
flr1f,-.
r l't
I .. .-..-,-...*.....-
fubo,n
?- {o. ,I
A*'fr , | ,ri
fi.
,l* T1"f-Jo
r ,r1 t x t"; i*Pt
@& o (#
0----
'
^fu'l''
{1uT}
.? L
t\ofl
Ab+]'
l*, |"t t X r l
sf*;
REM NDERS
i;r
At the beginning o_feach practice session, warm up for 5 minutes

by playing notes all.over the fingerboard.-
high, and mediumpitches, to d6verop a feel 1"y vlry srowfy, row,
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.
f l ltti" progfam, you wirr reach many momentsin which you hate
that rrsameold lick' you rralwayspliy". ge-awareof tti" poi"i
in the tune and the next time arouno,oo somethingerse,no
Yes, .the tape is running, and the next ti;;-i=-"L-ri"g itop".
- -- l-igti ub.'
So welcometo the world of a hot improvisor.
t
}YEEKTWELVE PROJECT LESSON 6-A
WeekEnd TempoObjectiv" ) : l2S
Step 2 Tune your guitar
Objective: To eliminate any "flams" between the right and left
hands.
50 MINUTE PROGRAM
blish your tempo of the day - the speed at which you can play
Step 5 l0 min Prerecord yourself playing the chord changes (sustained - no

minutes.
centers and memorize the progression. ItGet it off the paper and
into your headrr.
Step 7 10 min Play uninterrupted eighth-note triplets over the progression as it

Step 8 2 min Break! Set the guitar down, stand up and stretch, etc

prFrecording.
Step l 0 2 min Break! Rest away from the guitar. Lie down, etc,
Step l l l0 min Play uninterrupted eighth-note triplets to the conclusion of the

pre-recording.
Step t 2 2 min Breakl Lie down. Relax all parts of the body. Close your eyes.
68
*t'-rCt.CL
r\4
, o!t{-6} Lr|lt Ab' &tt gf
l*
f (r) $Lu[$ $efrr-6.

F
f
tu' *to{s
f
g . X . * : I t dF. . L g FOR PRSJECT LESSGf'T 6*A
,Eb
6t&
6b
F,ull
I &a,4 ,! rt
@ @
tbnt
\1 * Lt L I ll
@@
@@ @@
)
3b1(,*
l Ii
@@
Cnr
h,1
Crl
$n,{'s} . frb1t"t|
x:
@o
r ,*$*r,*C.*, ,*Cl"*.,
,_2t 'tL* ;lTr,{i -*.fl--r*
s
ry F 3.116gcn&
h,4 (*na yf
@cn6'b @@
ob
* &urts
L*nl ,
r 3j
@0
F surrt$
Lfi*,i'
I tt
Ll l-l *
f gLats
lu; f L! | lr
t*a{
,* {.
M aoo @ b
W E E KT H I R T E E N P R O J E C TL E S S O N 6 - 8
I :
W e e k E n d T e m p o O b j e c t i v e) /36
Pq.EPARATION
Objective: To eliminate any "flams" between the right and left
hands.
50 MINUTE PROGRAM
blish your tempo of the dav - the speed at which you can play
1 Day2 Day3 Day4

minutes.
Step 5 2 min Break! Set the ggitar doq4. Stand up and rewind the machine.
Focus youT attention on the chord progression. Know the key
into your headrr.

is played back, to the conclusion of the pre-rscording.

prFrecording.
Step l 0 2 min Break! Rest away from the guitar. Lie down, etc.

pre-recording.
72
€-&
$b
H'
m'
*b#
0rr
f,nrnr'tt ut-sl *,r,{ il'#Sf"'b
I,* abS f,lf
& w -gr-rrrs
$crff.g
&$rru1*
cta'gr.ottr
EXA['IPLE FOR PROJECT LESSON 6-8
$t
1.
Sn'| t
t -Lri -L r I
o'* "*- F^ _r@ Ss ss

*L
t+ t-Lr
os@#@ @
gb
fmr
\!+ ?nt,
rf*
b@ @ @@
$
A4
Lrtl !rur
-t..-1., "t! t !t 4 Li 7t *!+
Bfi'"f'
&nr
gl41"l)
t*ar -
e$u* j I !+ 'i{,
* ! ** t.t
@6r
@ odt
74
TI
6*r
{r* ,
l,*b3 j
I
ft *h4t-J]
*uF @
T\, I t+ q-t
0b ,0
{ 1x.rre5 futfrlt
f r4
Qirl t+ ! ft'l d"l ,t

,@O @o s{p@ s
C' hJrt$
P' r+ , &rr,1
i r, * .C^t | ltt Nna
l+
#
ll
c' &Lu{T
,grJ-
61 CI tJ/ @
1{) 7
- r,
C' st-rr€5
t4
I Y,, sry"i
+
@b ##P 61#61 @ @@-e
HOW TO DO PROJECT LESSONSFOR THE FOURTEENTH wEEK (REVtEW)
A six day series of Project Lessons. Each day we will deal with one of the
chord progressions from the preceeding studies.
D AY O N E Review Project Lesson 4-A

DAY TWO Review Project Lesson tl-B
D AY T H R EE Review Project Lesson 5-A
DAY FOUR Review Project Lesson S-B
D AY F I V E Review Project Lesson 6-A
D AY SI X Review Project Lesson 6-8
A. 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.
B. Use Alternate Picking only. No two strokes in the same direction,

i.e. strive to make up strokes sound as strong as down strokes.
c. 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 pro-
vlded. (NorE: Your tempo may vary slower or faster from-day
to day. This is to be expected. )
D. Avoid -skipping a day, for whatever reason. The effect is very

hazardous to progress. Regularity is essential. No, foilow thl
steps faithfully as given.
76
WE E KFOURTEEN PROJECTLESSONREvtEW
,!ii WeekEnd TempoObjective ) : / * t
PREPARATION
i
Step I clear your work area of all things not pertaining to this resson.
Step 3
ll1m yp. Play notes slowly at all parts of the fingerboard.
obiective: To eliminateany trflamstrbetweenthe right and reft
h a n d s.
50 MINUTE PROGRAM
b.lish yguf ter4po of lhe dav - the speed at which you can play
through the piece without mistakes. Mark down the dayrs temp<
Loc oF DAILY[r4,FlRoNoME
SETT!NGS

rhythms), with the metronome nearby so thit it will sound on tt
ta.pe.like a click track. Repeat the progression non-stop for l0
mtnutes.
Step 6 2 min Break! set the qyital_down. stand up and rewind the machine
Focus yoffihord proiression. Know the key
centers and memorize the progression. rrGet it off the paper anl
into your headrr.
Step 7 t0 min Play. uninterrupted eighth-note triplets over the progression as

is played back, to the conclusion of the pre-recordi;g.
Step I 2 min Break! Set the guitar down, stand up and stretch, €tc.
pre-recording.
Step t 0 2 min Break! Rest away from the gultar. Lie down, etc
pre-recording.
Step 12 2 min Break! Lie down.

.Re-lax-allparts of the body. close your eyes.
Brea.thedeeply and rhythmically. practice visualizing yourself
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).
?
Frnr ,a fiorlq
@ @
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_eriodsof 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 One Review Project Lesson l-A

Day Two Review Project Lesson l-B
Day Three Review Project Lesson 2-A
Day Four Review Project Lesson 2-B
Day Five Review Project Lesson 3-A
Day Six Review Project Lesson 3-B
tt,EEKSIXTEEN Day One Review Project Lesson t-A
Day Two Review Project Lesson 4-B
Day Six Review Project Lesson 6-8
W E E KS E V E N T E E N D a y One Review Project Lesson l-A
Day Two Review Project Lesson 4-A
Day Four Review Project Lesson 5-A
Day Six Review Project Lesson 6-A
78
WEEK FIFTEEN PROJECT LESSON REVIET/IT
WeekEnd TempoObiective ) : tSZ
PREPARATION
Step 3 Warm up. Play notes slowly at all parts of the fingerboard-
rrflams'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.
L O G O F D A I L Y M E T R O N O M ES E T T I N C S

tape like a click track. Repeat the progression non-stop for t0
minutes.
Step 6 2 min 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".
Step 7 10 min Play uninterrupted eigrhth notes and eighth note triplets over the
progression as it is played back, to the conclusion of the
pre-recording.
Step 9 l0 min Play uninterrupted eighth notes and eighth note triplets to the
conclusion of the recording.
Step l0 2 min Break! Rest away from the guitar. Lie dswn, etc.
Step l l 10 min Play uninterrupted eighth notes and eighth note triplets to the
conclusion of the pre-recording.
Total 50 min Check off each steo as it is finished.

TYEEKSIXTEEN PROJECT LESSON REVIEW
I
Week End Tempo Objectiv"_l_: /( O_
PREPARATION
Step 1 clear your work area of all things not pertaining to this lesson.
Step 3 !?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
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,
Step 6 2 min 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.
Step 7 10 min Play uninterrupted eighth notes and eighth note triplets over the
progression as it is played back. to the conclusion 6f the
pre-recording.
Step 9 l0 min Play.uninterrupted eighth notes and eighth note triplets to the
Step 1 0 2 min Ereak! Rest away from the guitar. Lie down, etc.
Step I t 1 0m i n Play-uninterrupted eighth notes and eighth note triplets to the
Step 12 2 min Break! Lie down.. Relax all

_parts of the body. close your eyes.
Brea_thedeeply,and rhythmicatly. practice visualizing yiurself
Total 50 min Check off ech step as it is finished.
80
*r
WEEKSEVENTEEN PROJECTLESSONREVIEW
I
WeekEnd TempoObiective 1 = t,12
Step 3 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
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.
têP 5 l0 min Pre-record yourself playing the chord changes (sustained - no

tape like a click track. Repeat the progression non-stop for 10
minutes.
Step 5 2 min Break! Set lhe ggitar down. Stand up and rewind the machine.
into your head".
Step 7 l0 min Play uninterrupted eighth notes and eighth note triplets over the
progression as it is played back, to the conclusion of the
pre-recording.
Step 9 10 min Play uninterrupted eighth notes and eighth note triplets to the
Step 1 0 2 min Break! Rest away from the guitar. Lie down, etc.
Step il l0 min Play uninterrupted eighth notes and eighth note triplets to the
Step l2 2 min Break! Lie down. Relax all parts of the body. Close your eyes.
Total 50 min Check off each step as it.is finished.

WEEKSEICHTEEN,NINETEENAND TWENTY (REVTEW)
r^""=--*morr'r, il.t 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 slides-
By 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
0 ||.o. H.o . ?.o. ?.o.
t 3 4 r3l
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
HAfitt'lEnisilr5":r '
:
::
The Hammer-on technique itself is a very straight sh€ad move. (a) Strike . not€
beinq presssd with the lst, Znd, or 3rd finger (b) while the string is stil{ vibrating,
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
t rr.a" g lr.s, t rr-o. * fl.o, l1ifitnr
q,i*l L
tu *rs t tl.o. t n,lr. il.o. S ' t*l
t- rfL.t &LrF
fl,d. tl.$. ll,o, f{,o, t{,c.

tL.} ril t*l 3 7*
ft.s" H'S. H.O, l{.6. Ir,o. H,O. H.O. lf'O.

*. + ';L * e2 4 4 ,a fri & tL+
ls$. ll.al. ll.o. fl,d. H6" il.o.

42" .3?-{ r3 + t?.
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.
s3
. F{JLL*SrF:IS
The Pult-off technlque involy*:. fi1g:ring preparatio-n. {ai Fress down the primary
:31: g_I"",ly.}oic rinewiththerii. zfii, #.i':J:;;;"};, il; ffii;;
"iir'"#iiil.,e
that tone, (bl press down a prepariatory tone (higher in pitch on the same strinol
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
eo. P.1}, f,A. P.d, r.o. Ro" r.o. f"o"
tf,r. 4 c * q- 'S ?*e * k
g.o" f7
?.a. ?.6. no" f,o, P-o. ?,8. f.o.
$ 7* (t I + A1 ?- t* t4 L I z- 7- I
@
Example 21 cornbinations of Harnmer-on's and pull*off's,
l|"rb ?o.
r*+?,f rf.s.?& ll,.,is, n,d, ?"o'
7- , r L 4n- ila- ?.a
r*4 b?-41. f{,o" ?o, t{a, ?"e, tl*, f.a.
l*3 L t&r r*+ L
ll"$. ga, 11.r.f.o, ILO.?,O. li.a.figl, $,o.fc"

?-& a, r $ |
,1.G.?,A. I+F?.o. ,r.s. eo,
L+L **n I LI ?*4 L z. trL | 2_ |
g4
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 One Review Project Lesson l-A
Day Two Review Project Lesson l-B
Day Four Review Proiect Lesson 2-B
Day Six Review Proiect Lesson 3-B
WEEK NINETEEN Day One Review Project Lesson 4-A
Day Two Review Proiect Lesson 4-B
Day Five Review Proiect Lesson 6-A
W E E KT W E N T Y Day One Review Proiect Lesson l-B
Day Two Review Proiect Lesson tt-B
Day Three Review Proiect Lesson 2-B
Day Four Review Proiect Lesson 5-B
Day Five Review Project Lesson 3-B
85
WEEKEIGHTEEN PROJECTLESSON REVIEW
WeekEnd Tempo obiective:f-j1L 16
PREPARATION
Step t clear your work area of all things not pertaining to this lesson.
Step 3
!3ft yp. Play ryt9s slowly at ail parts of the fingerboard.
objective: To eliminateany 'flamsi, between the iight and left
hands.
50 MINUTEPROGRAM
-
Step tl 2 min Play combinations-of-eighth notes and eighth note trriplets using
fammelln-rs, pull-offls and slides once through the irogressioir
-you
to establish-your tempo of the daa- the speeJ
'Markat which can
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 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.
Step 6 2 min 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.
Step 7 l0 min 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.
Step 9 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.
Step t 0 2 min Break! Rest away from the guitar. Lie down, etc.
Step I I l0 min Play uninterrupted elghth notes and eighth note triplets using
hammer-onrs, pull-offls and stides to tlie conclusion'of the
pre-recording.
Step t 2 2 min Break! Lie down. Relax all parts of the body. close your eyes.-
.
Breathe practice visualizing you"r"tf
9*ply and rhythmicaily.

86
IVEEKNINETEEN PROJECTLESSONREVIEW
I
Week End TemPo Obiective J- /8+
PREBA,RATIoN
'P1 Clear your work area of all thlngs not pertaining to this lesson-
Obiectlve: To ellminateany "flamstrbetween the right and left
hands.
soMINgLEPROGRAM
Step rr 2 min Play combinationgof-elghth noteg and eighth note triplets using
hammer-onlr, pull-offls and slides once thrcugh the progression
-Markat which you oan
to establish your 1gmpqi)f tha dry-- the tPeed
ptay through the ffiakes. down the day's
tempo in the appropriate box below.
LOG OF DAILY METRONOME
SETTINGS
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.
ft"p s 2 mln Break! Set thc guitar down. Stand up and rewlnd the machlne.
Focus yoffichord progrcrslon. Know the key
centeri and menrorlzethe progrcssion. rrGet lt off the paper and
Into your headrr.
Step 7 l0 min 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.
Stcp 8 2 min Breek! Sst the gultar down, stand up and itretch, etc.
Stap 9 l0 min Play unlnterrupted eighth notes and elghth note trlplets uslng
hcmmer-onrs, pull-offls and slides to the conclusion of the
pr€-recordlng.
Step l0 2 mln Break! Rest away from the gultar. Lle down, etc.
Step tt l0 mln Play unlnterrupted alghth notes and eighth note trlplets using
hrmmer-onrr, pull-offs and slides to the concluslon of the
pre-recordlng.
Step 12 2 mln Braak! Lie down. Relax ell perts of thc body. Close your eyes.
Breathc decply and rhythmlcelly. Practlce visualizing yourself
pleylng the project the wty you wish you had,
Total 50 nh Chcck off esch tteP as lt lr flnlshed'

T{EEKTWENTY PROJECT LESSON REVTEW
WeekEnd Tempo Objective ) - / ?z
PREPARATION
Step I clear your work area of ail things not pertaining to this tesson.
3 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.
!o MT N U T EP R O GR A M
%
Step tf 2 min Play combinations.of eighth notes and eig_Hh note

triprets using
lt"*:-lfs. pull-offlJand sridcs once through the progiression
to establish-your tempo of the dap-
play through the ffiakes. -ttre spcei
'Markat which you crn
down the dayrs
tempo in the appropriate box below.
tg c o F p A tL Y M ETRONOMSETTTNGS
E
Step 5 l0 min P5a1eco1d yoursetf ptaying the chord changies (sustained _

rhythms), with the metr.on6me no
nearby so th;tit'*itt sound on the-
a ctick track. Repeat*,e ir"er;;;i; non_stopfor t0
n:iJ:::
Step 6 2 min Break! set the glritar do.wn. stand up and rewind
the machine.
Focusyoffihord.p-ir-9grion." Krro, the key
centcrs and nremorizethe prryression.- ,,Get if off the papeiina
into your headil
l0 min Play uninterrupted eighth notes and eigfith
note triprets
hamme.r-oors, puil-offrs and srides oveithe progression using
played back, to the conclusion of the pr"_"&oriirrg. as it is
Step I 2 min Break! Set the guitar down, stand up and stretch,
etc.
Step s l0 min Play uninterrupted eighth notes and eighth note
triptets using
hammer-on-'s, pull-offll and slides to the conclusion
prFracording. of the
Step t 0 2 min Break! Rest away from the guitar. Lie down, etc.
Step 1l l0 min Play uninterrupted
9i_ghttr notes and eighth note triprets
using
fammer-o1ts' puil-ofei ano riiJ"" to the concrusionof the
pre-reicording.
St e p 12 2 min 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.
50 min Check off each step as it is finished.

88

Howard Roberts Super Chops PDF

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Howard Roberts Super Chops PDF

Uploaded by

Copyright:

Available Formats

r The Howand Robents Guitan Manuals

CopyrightO 1978. by HowardM. Roberts , r

Thls book is a series of programmedproiect lessons designed-to-give

-useftrl who already hav_ean established technique

The set up of y.ournguitar plays a very furportant role in the deve-

The neck should be inspected to assure that it is straight. The frets

on the practical side. a -large percentage of us must play with very

OTHER IMFORTANT EQUIPMENT

lf you will be using finger-style picking, I recommend the standard

SPECTALNOTE: Some of the cbrds in the following studies may require

A KEY CEHTER IS:

A1 xl ffit xt 15f :H' rut ift

Gr4? H Mt *mql Cr', Dil" E*Pq q.refr-'|.

Finding The Key Center for the Chord Progression Below,

EXAMPLE 4 D A R MONICMINORSCALE ( Key of A m inor )

f.F-r/ltuizl gdtl' sqlt D.rJf Fr,1li g*-t enl@"

Example4A - The HarmonizedMelodicMinor Sclae (Key of A minor)

crsalp*5 oe r*;fs e**,f

Each diagram is acc€mPanied by an example in music notation, with some suggested

Fingering Pattern Number One

Fingering Pattern Number Four

Fingering Pattern Number Five

DT, F.*7 *rc G11 Eba.4 grb',

The Chromatic Scale (Symetrical, consecutive * steps)

The Relative Minor Scale

The Natural Minor Scale

D.n:' &q et,4s cb/q

A mostcommoncomplalntof beginnlng improvisors is that their playing tends to become

A. The Program is made up of a series of proiect lessons, each lasting

c. The Seventh Week - Review.

E. The Fourteenth Week - Review.

F. Weeks15, 16, 17 - Review.

Review the proiecat lessons in any order to establish your present

G. Weeks18, 19, 20 - Review.

Review the project lessons as before using (a) hammer-onrs

H. The Appendix in the back of the book consists of examptes or

NOTE: Think of this program as training with the Chicago Bears, as

o. Coping ttith The Mental Hazards Of Developing A High Degree of Facility ln

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

A. Play only eighth notes, continuo'rt: and uninterrupted. No rests. No phrasing.

Play Legato. Hold each note as tong as possible

Step 5 10min Pre-record yourself playing the chord changes (sustained - no

Step 7 10 min Play uninterrupted eighth-notes over the progression as it is

Step 9 l0 min Play uninterrupted eighth-notes to the conclusion of the pre-

Step l l 10 min Play uninterrupted eighth-notes to the conclusion of the pre-

Total 50 min Check off each step as it is finished

The following is a mogerof the type of soro rine to

@ @''@ @ 0s @@b6 bso6@

Step 2 Tune your guitar.

Step 3 Warmup. Play notes slowly at all parts of the fingerboar!.. -

Step 5 1 0m i n Pre-record yourself playing the chord changes (sustained - no

Step 7 t0 nin Ptay uninterrupted eighth-notes over the progression as it is

Step 9 1 0m i n Play unlnterrupted eighth-notes to the concluslon of the pre-

Step I I 10min Play uninterupted elghth-notes to the conclusion of the prr

Total 50 min Check off each step as it is finished

ln'r ff -!--r..; --Eb'

Step 2 Tune your guitar.

Step 7 t0 min Play unlnterrupted elghth-notes over the progrggsion as it is

Step 9 l0 min Play uninterrupted eighth-notes to the conclusion of the pre-

Step t I l0 min Play uninterrupted eighth-notes to the conclusion of the pre-

Total 50 min Check off each step as it is finished.

Step 2 Tune your guitar.

Step 3 warm trp. Ptay notes sto*ty at all_parts of thg filggrboard. -

Gr4? H Mt mql Cr', Dil" EPq q.refr-'|.

crsalp5 oe r;fs e**,f

DT, F.7 rc G11 Eba.4 grb',

r- F -1 r- eb r-F 1 --t"f