"ac a its Includes: ¢ Daily warm-y ‘@ Lessons on right-@nd loft- hand technique e Prepon Gale pickstyle and fingerstyle ¢ A 30-day technical daweleperent plan for ¢ all guitarists Jody Fisher cee lalaialelala| meContents ABOUT THE AUTHOR .. ne INTRODUCTION a5 SECTION ONE—TERMS, GEOGRAPHY AND READING MUSIC..........6 SECTION TWO—BASIC TECHNIQUE 8 9 io SECTION THREE—THE BASIC WARM-UP. or-ssesterssrecrerese sale a iye #1. ae iN: formn-Up EX@ICIR@ HE nano é a Warm-Up Exercise #3 3 Woren-Up Exercise #4 ries ia 2 CONTENTSTION FOUR—THEWORKOUTS...1 exercise #1: Chromatic Scales ocdiac Drill #1= Harnonized Seales... |, : : Nexereise #2 eee Jordiae Drill #2 exercise #3 eneeae Jhordiae Dril #3 ... Four... exorcise #4 Drordiac Drill 4 . Jerercise 45 Seven... Sexercise #7. Drordiae Drill 7 Eight ........ Thordiac Drill #8 Flexercite #9. Shordiac Drill # ss Fare hv@ en Flexereize #10 Chordiac Drill #10 Thirteon Flexercise #11 Shordiac Drill #11 Flexercise #13 Ghordiac Drill #93: 21 16 1 9 19 a) 20 20 20 zi 21 22 22. 22 23 2 24 Flexercise 17 Chordiac Drill #17 . Day Twanty-Two Flewercise #18... Chordiac Oaill #18 Day Twenty Three... Flexercise #19. Croreiac Drill #19 Day Twenty-Four .. Flexercise (20. Chordize Dil #20 Chordiac Brill #21 Day Iwenty-Six Flexercise #22 Chardize Drill #22 Day Twenly-Seven. Fiexertice #23 ‘Chordiae Drill #23 Day Twenty-Fight Flexersise #24 . Chordiac Dell 124 Day Twenty-Nine .. Flenarcise #25 ‘Chordiae Dell #25. Day Thiry.. Floxercise #24... Choreiac Drill #26 SSESERRERGESSAbout the Author ‘Other instructional products bydody Fisher: 4 ABOUT THE AUTHORbecoming proficient as a guitarist requires SME 1) an intellectual Iederstanding of music and the guitar; and 2) pRmEEmiesBerity so you can Fansiste your ideus onlo your istiument. This book is oat lame feemoy ack “Aren't guitariets to0 concerned about speed sng RaNE siesdy?" For fe most part, yes. Howeve’ most of us are highly developed i Same Gectriqves but fpberassingly uncer developed ir others, Maybe you've = real sees dames So your [emenerons are weak. Can your rignt nand ALWAYS keep up with your lettiamat r= legen chops great and your pick choos poor? Or vice Versa? How sit ates she Ses? Picking trplets? The ist of skils possible on a guitar goes on andon Titec! fet you develop a balarced VIL vii XE with [heirAnsbickevivelerts oq ii 3 WI vi 6 FIX OO OXM sitSection Two" """" We're talking technique here! Pianists, violinists, sax instrumentalists learn ¢arly on that playing with complete control coes not come ni Many hours of study and practice are necessary. Sut all the practice and exercises in the world won't help much if your basic hand position and pesture sre working against you For some reason, many guitar players con't bother with developing good technical fact. We're not talking about developing seed —that comes later. We're talking about know. ing howto si, how to stand, how ta hold the guitar, howto fingar a chord, how to finger single note, how to change chords and how te pick. Most guitarists seem to figure out ‘their own way. Sometimes this werks. Most of the time it doesn't. As a resull, there are 8 lot of players working agairat themselves unnecessarily. layers and all other The ideas presented in this section ore not new or revolutionary. There could bu many Giffering views on this subject. Try some of these ideas lor a few morths betore acceati F rejecting any of them. The workouts in this book will give you maxirnun results when conibined withthe falloning suggestions Your Strap ‘Always wea” your guitar strap. Your hands should not have the job of “haleing nn” te your ‘guiter—that’s the straps job. The strap frees your hands so you can play. Be sure to have your stp acjusted so thatthe guitarsheight against your body is exactly the same wheter yOu aro standing o¢ sitting. When you practice you are programing your body to react Sertain ways. If you practice sitting down and the guitar is up agsins: your chase, your ‘muscles will move in very specific ways. If you stand up and the guitar is nanging dow ‘around your waist or knees, most of the programming goes right oul the wrdow, Consis tency counts for lot Your Posture ‘Yes, itimatiers. Every function of your body works betta’ anel mers effisien ly when your spine is straight So, don't # slouch * lay the guitar fiat on your lap fa sight angle ie OK) * rest your left forearm on your left chigh (a tough habit to break ** push the nedk out in Fron! of you you dam's want to “reach” for notes) Do: 4 sit upright one slightly forward * elevate the neck upwards sightly nth your head lumed to the let, the fingerooard should be rghit uncer your nase!) Ti wo siti the same type of chair vary time you practice. Somesimes inconsistent progress can be sistent pesitioning. Relax your whale aody—atms toal “breathe * focus. 8 SECTION TW tse TannenThe Left Hand invisible Thumb intec away trom yo. rat efsrereck, Yaur thur smanla® this sesition me yo wrup the thumis around the Sogsvings: Whe ps wisilze vie neck and orevides os ose sereing or “telling.” your fingerl ps should be gee ofthe ection. Avo'd ssirg the pads of your finge's. Picture your tinge! fe ¢ Slane and come straight domn an the neles. Depens Tan, youwill comstinee ind taatitcmers ratura to use the sic SOK Theiesa ia that you don'taant orneed to use rmsc” Inger “surface your finger ps wil make yeu much snare cictaie ard capae ¢ of nuance. ower...Lower sus low te bie surges ouesiole, [1 gports, shis concepts called Syouure racing a S0 yard dosh eed your arms are waving al ever rydirecton, your time won't be very good. you ar your age nosing in a straight ane contrallad me. better, hy che sane taken, you reee co have your Prgers as close 9 LU mes, Anish ane & 19 Tay not sean ten far for your fingers to Wawel but at 37 foal ke 2 rile ro means “shor! or “eat off ith lite or ne sustain, Wher nger’s pressure without 1 feel, Stac ava 2 song attack settacd note, = mply rele chrique te & 2 tron the a Dpen stings, we generally silence the note with we > x cmsicrmalec bye dolore the players, the tarm agate means playing with s lor of hammer ong or slurs the eicturee, Playing with a lagava ‘eel generally mears thatthe fulest asi until the next Practice playing ascending by Ieguirg your finger an a we next nete te sounaec!. 178 le, This sprimari ya sate in aul ler lowing n froster, Long, south ines jee! end coun end will ake sor pre. Uncorvolled, shovt chor wv amateur stalus,he Right Hand lolding the Pick su shewie hale the pits hatnian your tra ane ince apa pick sas ghs ar it ely macasisie total yeu Ioholde ack Geely itisnct 3 9 aly #07 kee recon ep your rind ane sick vit ur ponany hane shope daurthe “ere true es Thestandard viar of expermentation, it, YUE ick iy fecterd your wrist raised wt your thumb acd fir sips Your elbow snauld rest on tae body of the guitar Tre p) shuuld be in trent {low erooaid) af your the’ fingy’s) being yaur back 3 ttle, Must ef your finger motion should carne From the middle jones. You © ai Sth stings. IL would) ne ven he pful to find # oud st Tennant ranger seule to check your technique. Classica +i + ight bund technique & < Pumping Nylon. pl cnew #9 yu, I pays To get start fr tian naw rg79. fers laser on Jolume and Tone h ‘rows than just kn any volume er tanal co able to adjust ts th sound idervical ir toims ef schrrs ene! Lae ater ou getit. Nove using all upst-okes, alay ‘our sle Gand/natch the valumeane tone othe dss wit, then ge ca asingle dowrs.1002 followec by 2 i ges fala s, ther eg che same thug playing aly sae ve that oh thar the twa svoses soured os lppencal andatwarieus dynam Cue #6 itis a aickrg excicse, Most players hurc foriy uneen picking jy jis innit reali it This exarcise vl it and give you the means tore [iv every way. Try Fis is as ruch take yes & Fingerstyle players: eu cur do thi Ihyeu pick sn 29 bane mor a3 vany jar? ployers do. ancl ne sors Just stice the same sirrg a omarely antil he wclurne ancl sone SFOTIONjes, Glue and Ping-Pong Bai a iow kgs the svi entako ap goinst't. Whan the edge becomes smooth, cot nip “cusram gauges" your nails 19 the string yor rail Le mk youtear a 4 Lis gaeily aad usinggouper glue Yep. ang (Ie itsanata, ye. actualy brask tie nai ef, cutup a 9 grent tot your rail. Whip oul you teaty tube of supe cack business. For salt cullouses orcther tears 04 your super ghia. {ont ELL it on oper wouncs, but fo" spits an zmail noles Je quvetu with this stl, thors are health rake if asec ir Other Thoughts Swing Shift Mary. ines played en 2 guitar require shifting trem ene pesitinn an rhe ngerboard ta ancthar. Logk at this major sea e “nger rg: 2-8 oe 3 7 i xt ‘You car see that olaying the Fal three notes of ths fingering el force yeu z9 shi. You heve mmove the 4th finger Fow G er thea fer ctshe ist ating up tothe taxinger Dion ste tDrn Pet, itis important te practice this meve snl souncs as srraotias if ther nis shift at el, To hear wha: tis should sour ke your Sid. Play shem osc ard leith, ower ard over, Now natch srat sg tho actsal Jiegers thoshi requinas—tta firgerto the‘ sLirger Play both lingerrigs unl they soune t down, Practice all shifts fn this anne iy G with your Tat finger and ith ware raving (rouble wth this slor sare, [Fy Slower...slower...slower ery techaical problem on the gular: Slow down. st A nigtake means that you are practic camming new 2, exe cia@g atc) into UI make misiokes, yOu a°e al Taare is gne cure for Almesl everyone p fest Aways When you a°e oroge eebeomscious, you wartt itt De nigh. Ih emertal potion love mistakes oa inea unt yeu. can pley twerty-tive Liv fraying aganicingly 9.9m but up abit sramistake. This moy nea y 29 buna the speed ee SECTION TWOBasic TechniqueSection Three The Basic Warm-up ir this section you will eam a great warm-up routine, Ifyou z1e rot in the heb of warning Up besfore you practice or play, you shoule know that yeu are urobabiy not laying up te your potential, Trying to play well witheut warming up is ke trying te run 9 eee without stretching first. You can do some real camage, such as causing harmful musce scrain o» even tendonitis This warm-up consists of four separate exercises. Two for your left hand and! -wo fe your . 3 full practice session before you gig, this rutine sould Warm-Up Exercise #1 Main Squeeze h should ke done es slowly as possible. Play Fat the Tat mum pressure wth your fist finger and hold fer «slow court of four, Minti ssure, now add your 2nd finger on F. With maximum pressure, count -o four n. Add your 3rd finger to G maintaining the frm pressure with your frst nwo fingers, ‘or four more. Now, while maintaining al the pressure play ee ofthe éth sting vith your dta Seger ‘Av thie point, maintain the pressure on fingers 2, 3.and 4 while you move your lat finger ‘om F ot the éth sting to the Bon the Sth sting, Once again, exert maxima praseure with your st finger. Continue moving each fingsr ove: Lo the Sth sting. Maincain pressure and hele! far 3 count of fou me, When all the fingers are prossing firmly on the Sth Sting, your 1st finger will now mave to the 4th string, and so on. When you rich on the = alring, relax your hand (twill probably fee! a ltts stfland rest for a moment belore sterting the whole 2nd fret on the éth string. Eventual’, you should able to per 3m each krezon the éih rng, Toke your Line this—t could take months to master is, The main points fo remember are-0 keg the pressure on throughout the exercise anu count very slowly 7 1 1 1 ofr 1 2 2 2 2{[e@ rary 2 i i : TEE tetHH 3 1 % eet es CST]: 1 2 felt 2 2 2(T¢ 2 Cy 2 [} 2 TBHH 2 : HoH 2 : tf : fe 4 4 «Ue a on +e 3 i 1 107 > e0 O70 1 2 2 2 ie] 2 2 2 @ 3 ‘FASH 2 Bie 2 HHS : HHS} = Heh He: gett and help you develop fingerindependence. Spending long slow periods with a single (te wil lso acquaint you more inemataly wth the feel of your lingerboar SECTION THREE ThaoVarm-Up Exercise #2 a iternate/Circular Picking (Tremolo) mols is a rag aly °e y onan waen hat wie are going :o dois siewy play de gy Whar the covinstrokes aad upsuraxee sours reacy Yo eased uma lee, its sounds ra tes sound oven at ths new speed, tle aerlect sremals is etisined. (yas, lire il) Scard twa rinutes oF deri this curry days give you mere 1 icking. \r ig basically the sarie thing as = ore guilar t6 pe king out you piek in uy vireular movor, Swaghten your eats cnanstrake, Bunclyourthumi alin re howe soso’, Aeleltne a ck wory Loosely. You thurs ipl and nee 1 lien, Youll naties (ual at comer terypes the cic = Cesswatly its m al cy large are a, [esluy tnane the erele becomes almeat frpe-cept ble baking save al tbe stvakas soune: perfect y Warm-Up Exercise #3 Digits of Dominance This excrete Is denigred to arengthen your burds ard fingars and ing the Cathe Ath het of the ‘esting, Hod the rove fo: fou Holder Creer ret s patter sionly, Sta by in beats, Now bars the C1 she's strirg end ine Gon Bre vt yee stings, Hold dor four cur then Bare four strings Importan™ no finger cari touch any other finger Unoue hen Serre Uurvil your are arr gal sh ene out the duration of this exercise! Thor 1 tn Five strong, four sbin te [Fis wieale Es une rune. Tre scanci ro Ire same pattern your second finger. On the Wiird ane! ourth soars, use Je bive aod courth fingers ‘ezanetieel, The sewer you do Ure nase youretencee Aeresses, ay Us er other frets sik your way be! thse stings is Umeyou SFCTION THREE The Rasic WarmWarm-Up Exercise #4 Fingers of Freedom oe a Seund each chord tone in an enpeggio with this fingering. pimam ip. Ropeat ard move the chord up one fret and repeat the finger pattorn, Go all the way to the highest fret your guitar will accommodate and come back down, Repeat the entire proce: term: pamipa mi This is a right-hand fingerstyle warm-up. Start with thi 8 Using this pat eae pS ae 1324231 “etc Fae Be era 4 2 aa Via geeo7g | arete Follow the same procedure on the top sting set with this | —- eSECTION Four dinthegvevious section, Fac ses) that develop leltehanci clexterty anid errand axe rol chordal: In inest cf the esi costs shea inure ext musical situa bla te do all the ox youand sa gos ile Ake. sh the back, return to Day © © you sperd veal y ns ol time oy after Jour warp rrinutes. 6a to the next workout ean dog ove. Gasvaral ty to practice sassion: the workoul You coud you only teonty nvinutes. wan't, Jen't beet yaurral? mirures hene ane shere ame feratica over thisus Fie we go. Warm Up #1-4 Flexercise #1: Chromatic Scales.) Sint oe eee verly in cermso! voume ancien, Keep yo [ct be inviz ble, use only ve fingertins and sy haar yrushilts! Exercise 1y uses als xst‘ mali seale a org all six indivi al sting left band alegate werd Ihae sas Chordiac Drill #1: Harmonized Scales ay Memorize the is ra-monizec “rier scale, Pay the Pes: ch wing *rgeaing otis ing forvourvery sow ass. The dea is netic change chores prevaiuie~. Courtin Sxteert otes ions ——anel—a, 2—e—ene—a et], Dens etange chords ut ofie tie lest sixteenth heat the "a" of "4", Tren nove all ‘rgers emu san up. ov sown te ta next crord Pract ow this vary slovw eay7 Gmin?—AMal7 min? Dmin#S EMal7 vasitile, tis a gee ichaa herd Fycu know your key signet uruviice tsin all wslve keys, Transpnsingte the other keys ari ramemer tar the sequen’ Aspe is ebveye the carne 1 ii cy Wwooy “i si Ma) omin? in? Mig Darn? mint in Tha instructian te “oract ce in all birelye keys" well cur throw comertable with cris, gueull "you don't Feel quite r Wore on devel aping this skill 02" sims: this book Hye ae 2 few tanspasitions means to ply are ocuave higher than written LL ETT TN ITE ANE SECTION FOR —The Workouts1. Practice Flexercisa #1 using alternate or ci and velumes, 2, Practice Chordiae Drill 41 using all downstrokes, all upsteckes and alternating the two. Fingerstyle: 1. Practice Flexercise #7 using p and m alternately 2. Practice Fexercive #1 using m andi akemately # Practice Chorchac Drill 1 stiking all four strings simultaneously (p -m a). 4. Practice Chorelac Drill #1 using outsice/insile technique. lar pcking. Various tempos = Butsideliside technique is simply picking the two outside stings together en a downe Hein then plucking the owe insidostiings together on the upbeal. Thicenarole Shs sechnique applied 10 the harmonized scale in Choris Dril #1 on page 17 Play Ascending and Descending pa ON eee Se ee : - a= 7 * = ‘Try atemation__outside/inside, inside/outside. erect he Cony Camis «gsDay Wo —————— Warm-up 11-4 wa RE, Flexercise #2 | ra: jy this getter elwornetivelly Chordiac Drill #2 3 Meruoriae this frvaerin jeeel 4 fouican, practice this in every key. tnd a eva? mis? Anas et tL: ete 5 EH SHEE Picking: a a 2 Fingerstyle: SECTION FOUR—The Workouts 19way inree. Warm up #1-4 Flexercise #3 \5 SZ é Play this pattern ehrometically up and down the fingerboard on exch sting. Star slowly and increase speed. The open strings must be 2g loud as the fretted notes. Strve fer ‘evenness and control, Practice this patiorn roving across the rest ofthe stings as wel Ay noe yn ne Wa Vani ing | pm opm pmnm pap a, : Q! 242328 401 21232 3401 212323 e012 Chordiac Drill #3 = Memorize this fingering for s harmonized majorscale, Holrlesch chare four slow beats before switching. Try it in all keys ‘or Ws fullvalue af Foi Gein Amin? = BB7 min? Emin?§ FMS q 3 5 «eon wéTeet] 2 a 2 ‘ ‘ > Tae 0 3 ” ] > Bin oF oie & a he ] ‘ ‘ . > FEIH ¢ ® . * ] Picking: 1. Practice Flexercise #3 using alternate o* citcuor picking. Vary the termpas and volumes 2 Practice Chordiac Drill #3 using all downstrokes, all upstrokes and ahemsting the two. Fingerstyle: j 1. Practice Flevercise #3 using p and m altomataly 2 Practice Flexercise 83 using m ard alternately, 3 Proctice Chordiac Dri #3 srking all four sigs simutaneourly ima) 4, Practice Choreiar Dail 43 using outside inside tecrn que. SEES 20 SECTION FOUR—The Workoutsvay Four Warm-Up #1-4_ Flexercise #4\7 Teeataa Chordiac Drill #4 ah Gin? smn? atta” Gn? i? tt FR : “RE 7 ; Ta : oH = Lt Hee cr ae + T IT die ne ysing al dewnsireke apstrekes end SECTION FON IR—The Werrkrsels 21way rive > Warm-Up #1-4 | Flexercise #5 Chordiac Drill #5 “al BMaj? Cin? nt 22 SECTION FOUR—Picking: cireular pisking Thy varices 3 4 Day Six Warm-Up #1-4 Flexercise #6 0 wos trgerboard an gacn string. Start teens mowingChordiac Drill #8 a the diatonic ches youhave bee using. The cae you learned in Bay Tee, ou: you seul al rigs you eared or Days On hold eventing as long a: pose ble Fusi7 Gmin? Amin? Gin? BMait Fingerstyle: #6 Using p ane me acamecaly and alternately aly p Fino. Choreiac Dril 4é usirg the eusiceinside que You wil have lecheryeleexamp e fom Day Seven ——— oe Warm-Up #1-4_ annie Ee Flexercise #7\%) fingeronad on wack stig. Sears o|, Practce these pallens me ce are coirg = working on mest or the fingering shy wat work on different patter ‘0.8 and thythm must be accurate ally up anc 4 SECTION FOUR—The Workouts| Chordliac Dri #7 Trg This exersie corvoines block chews with arsecies os tain estennyempo. Saitcring fier cho a Breciicocarabuly C ulus, Fecice in all kayst Emin? PMT Sh Amin 8 ir 3 5 i a = 1 3 Taa7 2 139 p22 gy z i 5 3 i i ; ; Maj? Ema. Fiva? o Aminé — Bmintts CMa? ee 7b * | 4 a= a = A = i k 3 ; ib oe = = 7 T2a24 rae! 13142 Pe i Z 2 5 ; 3 ; 1. Practice Flexertise #7 using alternate or crcular oicking, Yary the lornpus end volumes, 2. Frostice Chamise ill #7 using all cownstrakes, all upstrokes and oltomating the tea Fingerstyle: 1. Practice Flexercise 27 using. and m atornately 7. Practice “lenctcve Musing w 8 A. On Choveise Dill #7 exike the chores with p i mea sirhallas ecu Usepim congecitve roles us wel Siri te «cca the single ternalDay Eight ———_—____________sxsam= Warm-Up #1-4 Flexercise #8 \ pup end eawn he ling Jennies andcorte. Pr ole ord Loke your line 26 SFCTIONPicking: joa Sr circulsy piewing. Vary che fee 2! upetrakes andl allerrating the Wwe Fingerstyle: 1 1 Hoxerese #8 usi F Eretice Hoxemise 3, On Choreiac Dril #8 str ce the o Keay all notes even dynamically. Try : 2 playing ali he notes al cree, Practice at cifere Day Nine Warm-Up #1- seed Flexercise #9 : Play thane params cremation uss and sour the Inger neachsting, Starts! and ncrease speed, Strvetorevsimess arti coatal, Practice these pattems noving ac: che strings as wel 7 ate es 7e7 68 o 87 9109 8-10-44 SECTION FOUR—The Workouts 7Chordiac Drill #9 2 Hore is ancther exercise utilizing the chords from the harmonized major scale. Once again, the idea isto skip from chord to chord witout rissirg any beats, Practice ascending and descending in all keys. Listen carefully FMa? mint’ Omnv cp BI?) Amini?! FM feos pet 4 Sema edd 8A de SST UD 1 eet 2s gy eee See ee G8 ee Vi ee: 1 i 4g 7 Picking: 1. Practice Flexercise @? using alternate o circular picking, Vary the tamaes and volumes. 2. Practice Chordize Drill #9 using all downstrokes, all upstrokes and altemsting the two. Fingerstyle: 1. Practice Rlexercise #9 using» and m sternatly. 2, Practice Flenercise #9 using m and i akernately 3 On Chordiac Drill #9 sttike tha chords with p i ma simulane Keep all notes even dynamical, Proctce at erent ycmic lols.Day Ten —_— Warm-Up #1-4 won Review MAE aa pt Bee AEE ae Day Eleven) ——— sprint Warm-Up #1-4 vw Review ther rember te wate and wamies exch cannefac ebill fiom the ore = a picking thesn, Warm-Up #1-4 Flexercise #10°5 SFCNON FOUR—The Workouts 7Chordiac Drill #10 7 oF + 8 Here is 2 chord stretching exercise. Start with the major 7th shape: SH ‘Then move each finger down one fret at a time starting with your first finger, then Zndete: ‘The trick is to do this very slowly se you have to held the chord dowm for a while. Slide each foger down without iting off of any nate. Travel from the top ofthe fingerboard al the stay down to the fst fet. cag cr chs Crinbs amps? ots Binks b by 43214929 632 tee Practice the same way with these shapes: Picking: 1. Practice Flexercice #10-with this picking pattern: down —cowt—up, down-—down-—up, etc. Keep all notas even in terms of volume and tone. Practice this at a variety of tempos! 2. Practice Chordisc Drill #10 using all downstrokes. ‘Then ase aitemste/crcular picking 1. Practice Flexercise #10 using p and m alternately 2 Practice Flexercise #10 using p nei repeatedly, Play evenly. 2. Practice Flexercise #10 using mand i akemately, 4. On Choriac Drill #10, arpaggiate using pi ma. Keep all notes even ‘dmamically. Practice at different dynamic evels. Day Thirteen Warm-Up #1-4 Flexorcise #11 \% {he eenciew onthe top page 31 fm vsiesion on tho tad axrcis you loarned yes: (by. We are adding the major 7th to each triac by playing the Lone which lies ane haltscep \dlow cach tisds oot. Others, the potiom raaivethe tama, Trill eevee rors etapa re accent crore te het teaee i ces fou tenon tone ans Jnce you have memorized the pattem, start again by placing your 1st finger on the 1st fret rnd moving up the neck from there rr ERanntisisiammdmmm cease SECTION FOUR—The Workoutsa Dae visi? BM? EM? MGT OD a at Previa’ Q1AT AIA 1 21dT 2041 21492 Pia atate Chordiac Drill #11 s ollowing the same therrs of traveling through the cycle, shis is an exercise us ant Fraaiads. You are nasically alternating beroaen a voicing on sting se! sting, Ath string and Jed string) and avoiving on string se: 5843. Paying one, ther, ther roving Gown tro frets and repeatirg the oracess nill give you the who) hs over tre entire fingerooard, Ones you see the paile-n wilh jos rouunw uf altar iiiig ane nosiry dow ¢ abule step with th ring sets Travel “am the top atthe 'ngevbnard all 1 op orp op ony at a [2 ar. 3 2 3 3 3 3 > 7 3 2 : i i 3 ; 3 b } g 7 o 2 Voconstesnme wgthttmecheps: BES Hp etn ett efi] = Het nite, Picking: He : Ho noves even nm ceims ef ve Le and tone 2. Practice Crereiae Drill #11 using all d alternate seen Fingerstyle: +. Praciice Floxeciee #1 using p ane m 2. Practice Flexercse #1 al ver ous tempos: stokes, upstroke: ee 2. Practice Hezercite #71 Ling m and i Play every 4.07 Chordiac Dill #10, oley using p im. Keep ell rates even dynamically Masia at difkeren: dyiaric ovals grate Chora vi, grand mend mane iLA AY OUT | TET Warm-Up #1-4 ae Flexercise #12 \%) A ean be duiclan reo fa tar sscerding ai Those: aro thane tring sere of ending the nree strings & spscesthe 2nd oste direction 123 $211.25 921 one eters gull ond. 7 >> i i 4 i Picking: 712 with alterraraécireula’ picking Kees all P using your nick and a for notes on the Fingerstyle: ercse #12 using pan m 3 pared om ulternalloy, und. Alay evenly if vastus on I sland aly Practice ey using p a sing. Seepzall aores eeen dyerDay Fifteen: ————__———————— er -( Wire Warm-Up #1-4 ey Flexercise #13 “A wrens wach. First follow the dual sting sets. cending the ais os you oid fer F234 204 994A GIT 924A P94 e BED 12548 Chordiac Drill #13 aa ie cheras i Ath on string sei 2/24, Precticn fn all Picking: 1. Practice Flosercoe #19 wi lr resin of volume ancllone. Pravtcn a vito tomb 2. Proctue Crate Ori #13 sag your pick 39 2nd ard 4ch strings, Fingerstyle: 1. Pos laste on voy 2F ese ¥13 using pared ma Tormataly E prvon Tlenerce 13 wingrand, Play em a. On Chore Lrll 12, play using p andl Spratvcaly, Practice ol ellerent cyewic a picking, Keepal retes ever for voles on the pvforthe rd string the seco dating, $_$_<$_$$>$ eres _ Ween Flexercise #24 \7 raat b pipe kpbete ipl c = [sr rassesiss aes sri restare alas rows say 8 —_———— i yevasei4 a2 saga aera teaazad Chordiac Drill #24 We come to the @ gath chard et Picking: 1, Practice Flexereise #24 with ein terms of yolure wematefcreuler aieking, Kee oll retes d tore. 2 Pra 26 Dell #2£.asirg a | downecckes fet, then all upetrokes and “her avamae tre nia, Fingerstyle: 1 Prsctire Flexercise #74 using p andi 2. Practice Flaxercise M24 using me and, lay even'y @ Chord ac Dill #24 using p im a simultznecusty o° slightly gate ET PE SECTION FOUR—The Wearkrwts a5 apDay Twenty-Nine Warm-Up #1-4 Flexercise #25 \D Play ascending ard descencing on and a 25e | tear Chordiae Drill #25 38% Take your time — TS x Pieking: efereular picking, Kean all rotes dewnetoces first, ther al upslrokes Fingerstyle: 1. Practice Fleas eously O° slightybey Thirty —=&@=<—-M@ a jeen-Up #1-4 e wae, Flexercise #20 \ Be Choreiac Drill #26 iH guad aS | ae = @1 re) i 3° 4 Picking: 1 Practice Tene 2 Practice Ch Fingerstyle: 1. Fk. ng p wen 2 3 pea ate SECTION FOUR— The WorkoutsLae CUA TES 7 uly a3 wi ELH! * Sludy musie a0 iRtensivo and friendly environment * Locatiots iN Connecticut, Califomia, Canada, Orlando, Austin, andl Meh «= Studehis of allages end iovels enjoy leaming trom visting artists and an suilsigraing professional faculty in week-long summer sessio1 * Classe are available for the beginner through the protessi *# Design a course of study that fits your needs,eweeceit] Rock Series ue Series Method Books Technique Se Been och Guts) =o > ‘Sse Dewsapet 2 su39 Donk ac 3 Barco Alfred's Baste Gultar Method Inermedte Rook tar none Fagg ar 039 on a Sue wo 20 toon Maperng Roe oe age They 08 At 5 Rak 8106 nko set = me tas ames caries {298 Teng xp oe Dein Bes tar rue) S985 Hem Meet tar) tts Sse Suita Ft Ser 16488) m0 "bono 298 Beng | drs ake Ty sone om Mibeallansous Books ae eee: Tian dae —— 4845 Mode ep aor Fh) Base Gtr Sand Reese rn) Maring Bes Gate oa) Bia Date sane Book OO 18508 mate Tung Us Aes Bie uo Cow tee) 71g sO As ARS Et Jazz Serles Teach Yourself to Play Begening Int Oats Tea oul Pay Guts sus hs hok nd se werd C0 Intense am Gat 13° Gar coo Sele Fine rr 1509 msey orem omtampeary ‘uit 5154 hard Comal 46:1 ae une eae E5501 sais “enon Jetty Snytier Msc nn om nrmaes, Classleal Guitar car ses Coon Om Ste gan sco Men Mien et rawrenten wet sia ““totce 33 sn roel ae {8% Bake Tachrs aon onc = voy $09? Buh? Bick OO Fingerstyle Method sen) prohensea eta Beak, Tech's Gu ant 00 eg Begin Fass ter nc 70). Pano pe Ten ale Tay 289 board oD {7RI8 Pangng pn TR one; was Soh ‘wera awn Guar Pugin yon: as a a os res foros soupy MMM Reet os ici tee sce rong Mm Pen itr Fn tert nian ar FB Guitare tein Sage Rite Cul ( rected Guitar “In Tab” Series [TSE Boe or GltrMeters io UB 6 asta Guan TA Gt aa tte 16/5 lel for ar HB Sse $859 Hanon for atar—n TAR pent Veaie) ¥ 2/981 Nese utr—Or A een H [eh arer) Chord Books t <9 emant ar—Mars 9 TAB 22 ta Chat eo th 8° Gute chee Deven ionss 1 1 ‘anLEIA CTO MORE GREAT BOOKS BY JODY FISHER FROM ALFRED AND THE NATIONAL GUITAR WORKSHOP 00- 22894 US $23.95 | 38081123276 30-Day Guitar Workout 17867 Book 12894 Book & DID 20883 DID 3O-Day Guitar Workout This enjoyable and challenging exercise routine will not only prepare you for the rigors of modem guitar playing, but it will sharpen your technique as well. This versatile book will help you develop the physical dexterity you need to translate your ideas onto the guitar. It includes warm-ups, Chordiac Drills (chordal exercises) and Flexercises (single-string dexterity exercises), with various picking approaches. 30-Day Guitar Workout will help you develop a balanced set of hands and prepare you for most musical situations, while providing a structured routine that is necessary for the development of any art, craft or skill. Don't wait another day to start the workout that could help take your playing to the next level! The companion DVD includes clear examples of many of the concepts from the book demonstrated by Jody Fisher. Ear Training Guitar Chord Guitar Mode Rhythm Guitar forthe andScale Finder Encyclopedia Encyclopedia Eontemporary acd “The Art of Solo Guitar Joe Licks Encyclopedia ISBN-10: 0-7390-3633-5 ISBN-13: 978-0-7390-3633-4 {| ll | ill oeearaslosesse WMA