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RIFF TRAINING
LEVEL 2
By
Jonathan Strange
Shred Training Publishing Co., Inc.

All rights reserved
DVD performed by Jonathan Strange
DVD edited by Jonathan Strange
More instructional products available at:
www.ShredTraining.com
Also check out:
RIFF TRAINING LEVEL 1

Part 1 of the Riff Training series available at ShredTraining.com
Copyright © Jonathan Strange 2010
All rights reserved. No part of this publication may be reproduced, stored on a retrieval
system, or transmitted in any form or by any means, without prior permission of the
publisher.
ISBN 978-0-9559504-1-4
Printed in the UK
Printed and bound in Great Britain by MPG Biddles Ltd. King’s Lynn
Acknowledgements
Huge thanks to Johanna Kirchner for helping me put this book together.
Johanna helped me with the cover design, videos, photos, editing tabs as well as
playing all of the material in this book to ensure its accuracy. This book would not
have been written without her help!
Thanks to my parents for putting up with me over the years.
Also thanks to: Iris Littleby and my rabbit Malmsteen.
Johanna with her cat Lestat Margaret and Tim Strange
About This Book

When writing RTL2 (Riff Training Level 2) my aim was to cover a lot of ground with
all of the major techniques. I wanted to show you a way of organising these ideas
into a routine and to open as many creative doors as possible for you to expand
upon.
Do not just play what is written in the book and move on, really try to understand
and apply what you have learned. Technique for the sake of technique has no real
use.
I hope this book provides you with years of creative practice.
Enjoy!
Contents
Using A Metronome And A Timer.........................................................................1
Monitoring Your Progress And Setting Goals.......................................................1
Practising.............................................................................................................2
The DVD..............................................................................................................2
Tablature Key.......................................................................................................3
CHAPTER ONE – WARM UP..............................................................................4
Legato Warm Up..................................................................................................5
Pick Hand Warm Up............................................................................................8
Stretching Warm Up...........................................................................................12
CHAPTER TWO – PICK HAND DEVELOPMENT............................................16
Pick Hand Endurance Workout..........................................................................17
Pick Hand Endurance Table..............................................................................20
Pick Hand Speed Workout.................................................................................21
Pick Hand Speed Table.....................................................................................24
Pick Hand Rudiments........................................................................................25
Left and Right Hand Coordination Exercises.....................................................30
Combining Coordination Exercises....................................................................32
Combining Coordination Exercises With Pick Hand Rudiments........................33
Pick Hand Development – Sample Practice Routines.......................................35
CHAPTER THREE – LEGATO..........................................................................38
Legato Speed, Control And Endurance Workout...............................................39
Legato Speed, Control And Endurance Table....................................................41
Legato Quintuplets.............................................................................................42
Legato Septuplets..............................................................................................45
3 Note Per String Sequences............................................................................47
Single String 3 Note Per String Sequences.......................................................50
3 Note Per String Sequences With String Skipping...........................................52
Advanced String Skipping..................................................................................56
Preliminary 4 Note Per String Legato Sequences.............................................59
Single String 4 Note Per String Sequences.......................................................61
4 Note Per String Sequences With String Skipping...........................................63
Combining 3 And 4 Note Per String Sequences................................................66
Legato – Sample Practice Routines..................................................................68
CHAPTER FOUR – SWEEP PICKING.............................................................70
5 String Arpeggios.............................................................................................72
Arpeggio Sequences.........................................................................................77
Combining Sequences.......................................................................................81
String Combination Master Exercises................................................................83
Major And Minor Arpeggio Inversions................................................................84
Inversion Exercises For 3 String Arpeggios.......................................................87
Inversion Exercises For 5 String Arpeggios.......................................................91
5 String Master Inversion Exercises..................................................................93
Combining 3 And 5 String Arpeggio Inversions..................................................95
Sweeping And Tapping......................................................................................97
Sweep Picking – Sample Practice Routines....................................................102
CHAPTER FIVE – TAPPING...........................................................................104
Basic Tapping Exercises..................................................................................106
Tapping Scales.................................................................................................110
Tapping Arpeggios...........................................................................................113
Arpeggio Sequences........................................................................................117
Left And Right Hand Tapping Exercises...........................................................119
Tapping – Sample Practice Routines...............................................................121
CHAPTER SIX – RHYTHM.............................................................................124
Subdivisions Of 5 (Quintuplets) And 7 (Septuplets).........................................125
Subdivision Table.............................................................................................126
Subdivision Master Exercise............................................................................127
Advanced Subdivision Exercises.....................................................................128
Subdivisions And Riffs.....................................................................................130
Subdivisions With Lead Playing.......................................................................133
Combining Subdivisions..................................................................................136
Grouping Exercises.........................................................................................138
Displacement Exercises..................................................................................145
CHAPTER SEVEN – PRACTICE PIECES AND LICKS.................................148
Practice Pieces................................................................................................148
Practice Piece 1 – Complex Picking Patterns And Fast Alternate Picking.......149
Practice Piece 2 – Sweep Picked Arpeggio Inversions....................................152
Practice Piece 3 – Sweep Picking And Tapping...............................................154
Practice Piece 4 – Pick Hand Speed With Down Strokes................................157
Licks.................................................................................................................159
Alternate Picking Licks.....................................................................................160
Legato Licks.....................................................................................................163
Sweep Picked Licks.........................................................................................165
Tapping Licks...................................................................................................167
Licks Combining Techniques...........................................................................170
CHAPTER EIGHT – SCALES, ARPEGGIOS AND
PRACTICE SUGGESTIONS..........................................174
Modes Of The Major Scale..............................................................................175
2 Note Per String Pentatonics.........................................................................179
3 Note Per String Pentatonics.........................................................................181
4 Note Per String Major Scale Shapes............................................................183
Modes Of The Melodic Minor Scale.................................................................185
Modes Of The Harmonic Minor Scale..............................................................189
Whole Tone Scale............................................................................................193
Half Whole Diminished Scale..........................................................................193
Scale, Mode And Arpeggio Practice Suggestions............................................194
Conclusion.......................................................................................................202
Webcam Lessons............................................................................................202
Online Video Lessons......................................................................................202
Using A Metronome And A Timer
As you will see on the DVD, a large aspect of my practising philosophy relies on
the use of a metronome and a timer. When playing through this book it is
paramount that you work on the techniques slowly, to a click, and for long periods
of time. Playing an exercise for 10 seconds at a random speed is not going to do
you much good.
Metronomes help gain perspective and timers reinforce accuracy and

endurance.
Monitoring Your Progress And Setting Goals
Making a note of your speeds and times is very important whilst working through
the book. In RTL1 the main focus was the pick hand whereas with RTL2 you will
see that I cover many techniques to a high level. Make notes and apply your
newly developed skills to improvising and composition.
It is equally important that you know why you are practising in the first place. Set
yourself short and long term realistic goals.
Short term = 6 – 12 months

Long term = Over 4 years
For example:
Short term goals:

Alternate picking sixteenth notes at 180bpm for 2 minutes.
Be able to smoothly switch between alternate picking and sweep picking.
Learn all modes and arpeggio of the major scale in all 12 keys.
Learn all sweep picked and tapped arpeggios associated with the major scale.
Learn all major and minor arpeggio inversions.
Understand and apply all subdivisions in a soloing context.
Improve legato strength and endurance.
Learn 4 note per string scales.
Learn “song” by “artist”.
Long term goals:

Pick sixteenths at 220bpm for 1 minute.
Be able to switch between any technique, arpeggio, scale, mode anywhere on the
neck in any key.
Be able to improvise with any technique.
Learn all practice pieces and licks from Riff Training Level 2.
Write your own list of short and long term goals and you will always have a
reason to pick up the guitar.
1
Practising
Progress goes hand in hand with organisation, perseverance and

concentration.
You do not need to practice for 10 hours a day to become a good guitar player (or
any other instruments). Have your list of short term and long term goals with you
when practising.
Important things to bear in mind:
1. Be organised: Your practice environment should be well organised with

everything you need laid out in front of you: guitar, leads, amp, tuner, metronome,
timer, pen, paper, computer, books.
2. Warm up: Before a long practise routine it is very important to make sure your
hands are warm and muscles are relaxed. Play some picking, legato and
stretching exercises at a slow speed until you feel ready to tackle greater things.
3. Plan your practise: You should know exactly what you plan on achieving when
you sit down to practice.
4.Stay focussed on your goals: When working on technique, that is all you
should be doing. You can play your favourite blues licks when you are working on
improvising.
5. Avoid distractions: Turn off your TV and music. You want to listen to your own
playing as closely as possible and pay full attention to the guitar.
6. Target weaknesses in your playing: Spend the majority of your practice time
on the weaker elements of your playing.
To help you develop some practice routines of your own. I have included some
routine examples at the end of technique chapters. These are not set in stone and
you should adapt them according to your own needs.
These routines will drastically improve your technique, but remember not to just
work on technique. Devote plenty of time to improvising, composing, ear training
and enjoying music.
The DVD
The DVD is a great way to see how to play and practice the techniques and
exercises in this book. I also go through some routines and offer as much help as I
can for playing and practising.
The layout of the DVD is on the DVD case.
2
Tablature Key
Throughout the book I mention bpm, which stands for beats per minute. This is the
tempo setting for your metronome.
The numbers below the tab indicate the

fingers used. For some exercises the
numbers represent the fingerings for the
fretting hand, for other exercises the
numbers are for tapping fingerings.
1 = Index finger
2 = Middle finger
3 = Ring finger
4 = Baby finger
Hammer on Pull off Slide up
Slide down Pick stroke down Pick stroke up
3
CHAPTER ONE
WARM UP
Purpose Of Chapter:
 Provide a well rounded warm up routine prior to a practice session,
recording session or gig.
 Improve alternate picking, finger strength, coordination and the
stretching capability of the fretting hand
Play every single exercise in this chapter before a long practice session.
As part of your warm up it is also wise to play all of the scales, modes, arpeggios
and chords that you know. Refer to Chapter 8 for scales and arpeggios (page
174).
Remember the body stretches and fret hand posture from RTL1.
Remember to watch the DVD!
Do not play like this:
Play like this:
There is a time and a place for the thumb over the neck approach but it is not in
this book. Later to come there are some very wide stretches therefore correct fret
hand positioning is vital.
4
Legato Warm Up
Play each exercise for 1 minute. Use your stopwatch.
Exercise 1
Exercise 2
Exercise 3
Exercise 4
5
Exercise 5
Exercise 6
Exercise 7
Exercise 8
6
Exercise 9
Exercise 10
7
Pick Hand Warm Up
Exercise 1 should be played for 2 minutes, the other exercises should be played
for 1 minute.
Remember to relax your muscles, keep all of your picking movements small and
pick from the wrist.
It is also important to mute the strings with your picking hand. Take a look at the
photos below, this is a good position for your hand to be in.
The hand is muting the lower strings

enough to stop unwanted noise.
Be careful that you do not mute the
strings too much, this will deaden
the notes.
Note that I also hold a large
proportion of the plectrum, this
helps me glide over the strings
without digging in.
It also gives me better grip and
control.
8
Exercise 1
Exercise 2
Exercise 3
Exercise 4
9
Exercise 5
Exercise 6
Exercise 7
Exercise 8
10
Exercise 9
Exercise 10
11
Stretching Warm Up
These stretches help prepare you for the material in this book and also increase
your stretching capability. Do these before and after you have a long practice
session.
From the starting position on the A string, move 1 finger at a time across to the
next string. When you have moved each finger to the E string, repeat on the D, G,
B and high E. Then move all fingers to the D string and repeat.
Hold each stretch for 10 seconds before moving to the next stretch.
Remember to keep your thumb in the middle of the neck, not at the top.
Stretch 1
Starting position Finger 1 Finger 2 Finger 3 Finger 4
This is how it should look on the guitar:
Starting Position
Finger 1 Finger 2 Finger 3 Finger 4
12
Now repeat this stretch on the D string, like so:
Starting position
Finger 1 Finger 2 Finger 3 Finger 4
13
On the G string
On the B string
And finally the high E string
14
Once comfortable with that stretch, do the same thing with these stretches.
Make sure you move the fingers across all strings, just like the previous example.
Stretch 2
Stretch 3
Stretch 4
Stretch 5
Are these stretches too hard? Start on the twelfth fret instead of the seventh.
Did you manage all of that? Move the stretches down the neck.
15
CHAPTER 2
PICK HAND DEVELOPMENT
Purpose Of Chapter:
 Build pick hand speed, endurance and control
 Help synchronise left and right hands
 Give ideas for creativity and practice
There is no secret to picking fast for long periods of time; it just takes a lot of hard
work and discipline. You should work on alternate picking for at least 1 hour a day.
Remember to:
 Warm up properly before you practice.
 Remain relaxed at all times.
 Start off slowly when doing the endurance and speed workouts.
 Keep track of your current speeds and times.
Tracking Your Progress
Do not forget to make a note of the tempos you have achieved, this is especially
important for the endurance and speed workouts. It is very easy to convince
yourself you are not improving. Therefore, it is encouraging to have written
evidence showing improvement.
When you go through the endurance and speed workouts I recommend you have
the following:
 Metronome. This is absolutely vital if you want to accurately measure your

speed.
 Timer. Again, this too is vital. “Roughly 2 minutes” is not 2 minutes.
 Pen and notepad. I suggest you get a notepad or even better a diary, to
keep track of your progress.
16
Pick Hand Endurance Workout
This workout is a continuation of the workout in RTL1. You should make sure you
can do that entire workout at 150bpm before moving onto this one.
Each exercise will be played two times for 2 minutes each.

There will be a 1 minute rest between each exercise.
To finish the workout, take a 5 minute break and then play exercise 6 for 5
minutes.
Refer to the Pick Hand Endurance Table (page 20) for workout and rest periods.
Make sure you only increase the metronome setting by 1bpm each time you do
the workout.
Important things to bear in mind:

 Warm up before you play. You should not just pick up your guitar and do 40
minutes of picking.
 Start your workout at a realistic tempo. I suggest starting at 120bpm.
 Increase the metronome tempo by just 1bpm each time you play the
workout.
 Remain relaxed at all times. Where endurance is concerned, relaxation is
paramount.
 Avoid digging into the strings with the plectrum. This slows you down and
wastes energy.
 Keep your picking movements small. Efficiency of movement is vital.
 Follow the picking directions under each exercise. They are there for a
reason.
 Use a timer. Do not just assume 2 minutes is up and move on.
Keep track of your workouts, this is the only way that you will be able to see
consistent progress and therefore be more inclined to continue.
Play each of these exercises for a few days before starting your routine. This will
ensure that you are comfortable with them and allow you to focus on playing in
time and working on your technique.
Practice Suggestion: This routine should take approximately 40 minutes to

complete and should be done between 3 and 5 times a week. Doing this routine
every day is not recommended, you will be over training. If you are doing the
speed workout routine as well, do not play this routine more than 3 times a week.
17
Here are the 6 exercises for the endurance workout.
Endurance Exercise 1
18
19
Pick Hand Endurance Table
Here is the table for you to follow when you work on your picking endurance.
Remember to play exercise 6 for 5 minutes.
Suggest starting tempo: 110bpm. On the DVD I play the workout at 120bpm.
Increase metronome speed by 1bpm each time you do this routine, this is
very important.
DAY 1 – 110
DAY 2 – 111
DAY 3 – 112
During the rests is an excellent opportunity to work on another technique such as

legato, sweep picking or tapping.
Duration
Endurance Exercise 1 2 minutes
Rest/work on another technique 1 minute
Rest/work on another technique 5 minutes
20
Pick Hand Speed Workout
This workout will develop your:

 Pick hand speed
 Fret hand speed
 Left and right hand coordination
 Inside and outside picking
 Soloing skills
Below are the 7 exercises for the pick hand speed workout. Just like the workout
from RTL1, you will be playing burst exercises for short periods of time.
These exercises differ from the exercises in RTL1, because they also require the
fretting hand. You will be able to play some exercises faster than others so
remember to change the tempo accordingly and make a note of your speed with
each exercise.
Remember to familiarize yourself with the exercises before working on your speed
routine. When you are comfortable with the exercises, take a look at the table and
decide on a starting tempo. Assuming you are at ease with the speed routine from
the previous book, I suggest you start this routine at 90bpm. Beginners should do
the exercises from RTL1 before doing this routine.
Refer to the Pick Hand Endurance Table (page 24) for workout and rest periods.
Practice Suggestion: This routine should take approximately 45 minutes to

complete and should be done between 3 and 5 times a week. Doing this routine
every day is not recommended, you will be over training. If you are doing the
endurance routine as well, do not play the speed routine more than 3 times a
week.
21
Here are the 7 exercises for the speed workout.
Burst Exercise 1
Burst Exercise 2
Burst Exercise 3
Burst Exercise 4
22
Burst Exercise 5
Burst Exercise 6
Burst Exercise 7
23
Pick Hand Speed Table
The table below shows how long to play each exercise and how long to rest.
Rest for 1 minute between each exercise. You will need this rest if you are going
to play all the exercises while pushing your maximum tempo.
Once you have followed this table with exercise 1, do the same with exercises
2,3,4,5,6 and 7.
very important.
DAY 1 – 100, 104, 108, 112
DAY 2 – 101, 105, 109, 113
DAY 3 – 102, 106, 110, 114
Exercise Duration Tempo

Burst Exercise 1 30 seconds 100
Rest 1 minute -
Rest 1 minute -
Rest 1 minute -
Rest 1 minute -
Here is a modified speed workout. During the resting periods I have added the
basic tapping exercises from Chapter 5 (page 104). This is a great way to work on
multiple techniques and save time.
Exercise Duration Tempo

Basic Tapping Ex 1 1 minute -
24
Pick Hand Rudiments
I consider the following exercises to be the equivalent to rudiments that a

drummer might use. They should be worked on to increase pick hand control then
favoured patterns later used to create musical ideas.
There are thousands of combinations and I encourage you to create your own,
these are just to get you started.
Some of the rudiments use odd groupings, if you get stuck watch the DVD.
Practice Suggestion: Each time you practice, choose 5 exercises and play each
one for 2 minutes. The next time you practice choose 5 different pick hand
rudiments. When you can play all of these exercises go to the Combining
Coordination Exercises With Pick Hand Rudiments section of this chapter (page
33).
Rudiment 1
Rudiment 2
25
Rudiment 3
Rudiment 4
Rudiment 5
Rudiment 6
26
Rudiment 7
Rudiment 8
Rudiment 9
Rudiment 10
27
Rudiment 11
Rudiment 12
Rudiment 13
Rudiment 14
28
Rudiment 15
Rudiment 16
Rudiment 17
Rudiment 18
29
Left and Right Hand Coordination Exercises
The next section will help you synchronise both hands as well as working on down
strokes, up strokes, alternate picking and string skipping.
These exercises will improve your:

 Coordination between hands
 String skipping
 Finger independence
Practice Suggestions:
Choose 1 exercise a day and play it for 2 minutes with down stokes, up strokes
and alternate picking. When you can play all of the exercises flawlessly, move
onto the Combining Coordination Exercises section of this chapter (page 32).
Play each exercise using down strokes
Play each exercise using up strokes
Play each exercise using alternate picking
30
Speed is not important with these exercises, the aim is to be comfortable picking
across strings without making mistakes.
Make sure you play each exercise with down strokes, up strokes and alternate
picking.
Coordination Exercise 1 Coordination Exercise 2
31
Combining Coordination Exercises
Once you are comfortable playing each of the previous exercises, combine 2 of
them to make a new exercise like the examples below:
Make sure you play each exercise with down strokes, up strokes and alternate
picking.
Coordination Exercises 1 and 4 Coordination Exercises 8 and 4
Try combining 4 of the exercises, here are exercises 1,2,3 and 4.
32
Combining Coordination Exercises With Pick Hand Rudiments
The following exercises combine pick hand rudiments with left and right hand
coordination exercises (the 3 previous sections).
When you have mastered this section, add your own note choices and apply
these ideas to music.
Practice Suggestions: Play these examples then combine coordination exercise

1 with all of the pick hand rudiments. Do the same with coordination exercises 2
through to 8. Aim to play each exercise for 2 minutes without making any
mistakes.
Coordination exercises 6 and 5 with rudiment 1
33
Coordination exercises 1,2,3 and 4 with rudiment 6
Coordination exercise 1 with rudiment 7
Not all of the rudiments will work with the coordination exercises as they divide
into 4 equally. When this occurs make the rudiment fit by taking notes out, for
example:
Rudiment 9 contains 14 notes. 14 does not divide equally into 4 so I have taken
out the last 2 notes. See below:
Coordination exercise 1 with rudiment 9
34
Pick Hand Development – Sample Practice Routines
Here are 2 routines for you to follow, they are suggestions only.
Remember:
 Use your metronome.
 Use your timer.
 Increase your metronome speed gradually.
 Stay relaxed.
 If you feel any pain in your hand, arm or shoulder when playing, stop.
Routine 1 – Endurance And Control

This routine should take approximately 100 minutes to complete.
You will need to refer to Chapters 3 and 8 for some of this routine.
Pick Hand Endurance Workout – Page 17

Follow the instructions in the Pick Hand Endurance Workout section.
40 minutes
Pick Hand Rudiments – Page 25

Choose 5 exercises and play each one for 2 minutes. Your focus should be on
solid timing so make sure you practice these to a metronome. The next time you
do this routine, play 5 different rudiments.
10 minutes
Left And Right Hand Coordination Exercises – Page 30

Take 2 of the exercises and play them for 2 minutes each with down strokes. Then
play each exercise with up strokes and finally, alternate picking.
When you feel comfortable with each of the exercises in this section, you should
move onto the Combining Coordination Exercises section (page 32).
12 minutes
Chapter 3 – Legato – Page 47

Play all 7 exercises from the 3 Note Per String Sequences section with alternate
picking starting with a down stroke. Play each exercise for 2 minutes. Gradually
increase the tempo each time you practice.
14 minutes
Chapter 8 – Scales, Arpeggios And Practice Suggestions – Page 174

Complete this routine by alternate picking the scales and arpeggios in the Scales,
Arpeggios And Practice Suggestions Chapter. Start with the major modes and
their arpeggios then gradually make your way through the pentatonics, melodic
and harmonic minors, whole tone and diminished. Make sure you go through the
scale and arpeggio practice suggestions section for more ideas.
20 minutes
Chapter 1 – Warm Up – Page 12
Finish with the stretching exercises in the Warm Up Chapter.
35
Routine 2 – Speed And Application
You will need to refer to Chapter 7 for some of this routine.
Pick Hand Speed Workout – Page 21

Follow the instructions in the Pick Hand Speed Workout section
45 minutes
Chapter 7 – Practice Pieces And Licks – Page 148

After doing the speed workout your pick hand should be very warmed up. Spend
the last part of this routine working on the alternate picking licks in the Practice
Pieces And Licks Chapter. You should also work on your own riffs, licks and
compositions.
35 minutes

Finish off with the stretching exercises in the Warm Up Chapter.
Don't forget to spend time playing music too!
36
37
CHAPTER 3
LEGATO
Purpose Of Chapter:
 Build fret hand strength, speed and coordination
 Develop smooth, controlled legato
 Give ideas for creativity and practice
There are literally thousands of possible sequences that can be played with
scales, and you will never know all of them. This book covers just a fraction of
what is possible with legato. My advice to you is to use these sequences as
technique builders and then spend time working on your own patterns and ideas.
When you have learnt a sequence from the legato chapter, jump to chapter 8 and
apply it to the scales and modes.
Things to be aware of when playing legato:

 Be relaxed!
 Never play an exercise for less than 30 seconds.
 A key to great speed is small, efficient movement with both hands. As your
fret hand strength develops you should try to decrease the movement your
fingers make away from the neck.
 Practice on a clean tone before practising with distortion.
 Pay careful attention to unwanted noise. Make use of your pick hand by
muting the strings you are not playing.
 Remember to mute nearby strings using the index finger of your fret hand.
Although all of the exercises that follow are written out for legato playing,
they should also be practised with alternate picking. For example: If you
have a 2 day practice routine, play the exercises with legato on day 1 and
with alternate picking on day 2.
38
Legato Speed, Control And Endurance Workout
This routine follows the same rules as the pick hand speed and endurance
routines: 1bpm a day!
Refer to the Legato Speed, Control And Endurance Table (page 41) for workout
and rest periods.
The first 6 exercises focus on endurance and balance between the fingers. Every
note should be the same volume. Do not rest between these exercises.
The last 3 exercises are geared towards timing, control and speed. Make sure you
rest between these exercises for at least 2 minutes.
Exercise 1 Exercise 2
39
Exercise 7
Exercise 8
Exercise 9
40
Legato Speed, Control And Endurance Table
Here is the table for you to follow when you work on your legato.
The resting periods provide an excellent opportunity to work on another technique

such as picking, sweep picking or tapping.
very important.
DAY 1 – 90
DAY 2 – 91
DAY 3 – 92
Remember to use a stopwatch!
Exercise Duration
Exercise 1 1 minute
Exercise 2 1 minute
Exercise 3 1 minute
Exercise 4 1 minute
Exercise 5 1 minute
Exercise 6 1 minute
Rest 2 minutes
Exercise 7 2 minutes
Rest 2 minutes
Rest 2 minutes
41
Legato Quintuplets
A quintuplet is a group of 5 sixteenth notes. Therefore a quintuplet is 5 notes per

beat. For exercises on subdivisions, refer to the Rhythm Chapter.
Play each of these exercises for 1 minute. When you can play all of them with
ease, take these sequences and apply them to scales and modes (page 174).
It is vital that you practice quintuplets to a metronome.
Exercise 1
Exercise 2
Exercise 3
42
Exercise 4
Exercise 5
Exercise 6
Exercise 7
43
Exercise 8
Exercise 9
Exercise 10
Exercise 11
44
Legato Septuplets
A septuplet is a group of 7 sixteenth notes. Therefore a septuplet is 7 notes per

beat. For exercises on subdivisions, refer to the Rhythm Chapter.
Play each of these exercises for 1 minute. When you can play all of them with
ease, take these sequences and apply them to scales and modes (page 174).
It is vital that you practice septuplets to a metronome.
Exercise 1
Exercise 2
Exercise 3
45
Exercise 4
Exercise 5
Exercise 6
Exercise 7
46
3 Note Per String Sequences
Now that you have added quintuplets and septuplets to your arsenal of
subdivisions, we will go through some other exercises that will push your legato
playing.
All of these exercises are in A natural minor, make sure you play them with other
scales.
Play each exercise for 1 minute.
47
Exercise 7
When you can play each of the 7 exercises, combine them to make longer
sequences. Play them with different subdivisions too.
Doing this will give you greater control, and allow you to improvise freely with
whichever sequences you choose to play.
Here are some examples.
Combination Example 1
Combination of Exercises 1 and 3 as sixteenth notes
Combination of Exercises 5 and 7
48
Combination of Exercises 5 and 6
Combination of Exercises 1 and 5 played with septuplets
These are just examples, come up with your own ideas too!
49
Single String 3 Note Per String Sequences
Single string legato is an excellent way to learn your scales up a single string at
the same time as working on position shifts.
Make sure you play these ideas through all of the modes, on all strings and with
triplets, sixteenths, quintuplets, sixteenth note triplets, septuplets and thirty second
notes.
All of the following exercises use the A natural minor scale.
Exercise 1
Exercise 2
Exercise 3
50
Exercise 4
Exercise 5
Exercise 6
Now start playing these ideas across strings. These runs make very good practice
as the position shifts can be tricky.
Exercise 7
This time we use the A minor pentatonic scale and play quintuplets.
51
3 Note Per String Sequences With String Skipping
I suggest you do not start with this section until you are comfortable with the
previous legato sections.
All of the exercises here use the A major scale and skip just one string. Once you
can play the ideas across one string, try it across two, three and four.
Exercise 1
Exercise 2
Exercise 3
52
Exercise 4
Exercise 5
Exercise 6
Exercise 7
53
Exercise 8
Exercise 9
Exercise 10
Exercise 11
54
Below are examples of how to practice Exercise 1 across multiple strings.
I am only playing notes from the A major scale.
Exercise 1 – skipping one string Exercise 1 – skipping two strings
Exercise 1 – skipping three strings Exercise 1 – skipping four strings
Do not forget to:

 Apply these string skipping ideas to the other exercises.
 Use different scales.
 Use different subdivisions (triplets, quintuplets etc).
 Make your own licks!
55
Advanced String Skipping
Here are a selection of very useful and challenging exercises to help further
develop your string skipping.
Do not forget to:

 Apply these string skipping ideas to the other exercises.
 Use different scales.
 Use different subdivisions (triplets, quintuplets etc).
 Make your own licks!
All of these exercises are in A major.
Exercise 1
Exercise 2
Exercise 3
56
Exercise 4
The following 4 exercises are great for practising position shifts and scale shapes
all over the neck.
Exercise 5
This exercise skips to the next position of the scale
Exercise 6
Jumps 2 positions
57
Exercise 7
3 positions
Exercise 8
4 positions
Continue doing position shifts the whole way up the neck.
58
Preliminary 4 Note Per String Legato Sequences
4 note per string playing is very challenging and takes years to master, therefore
this section is only really for die hard technicians, and mere mortals may want to
skip this section.
Hand positioning is very important, make sure your hand is parallel with the neck.
Like this:
If your hand is at angle to the guitar neck, these shapes will be very difficult.
Do not position your hand like this:
59
All of these exercises use the A natural minor scale.
60
Single String 4 Note Per String Sequences
These exercises are in A natural minor, remember to apply these ideas to scales
and modes in all keys.
If the stretches are too wide for you, move the exercises up the neck.
Exercise 1
Exercise 2
Exercise 3
61
Exercise 4
This exercise skips a scale shape, it misses out 7 8 10 12. This is a great position
shift exercise.
Exercise 5
Extension of Exercise 4
Exercise 6
Similar sequence to Exercise 1, played over 2 strings.
62
4 Note Per String Sequences With String Skipping
These string skipping exercises require a lot of dexterity and coordination. Take
your time!
The following exercises are in A natural minor, remember to apply these ideas to
scales and modes in all keys.
If the stretches are too wide for you, move the exercises up the neck.
Exercise 5
63
Exercise 6
Exercise 7
Exercise 8
Exercise 9
64
Exercise 10
Exercise 11
65
Combining 3 And 4 Note Per String Sequences
When you are comfortable playing 4 note per string sequences, try combining 3
and 4 note per string sequences. This will give you lots of new sequences to
practice and help improve coordination.
Exercise 1
Here is the fingering for 3 and 4 note per string sequences:
Exercise 2
Exercise 3
Exercise 4
66
Exercise 5
Exercise 6
Exercise 7
Exercise 8
67
Legato – Sample Practice Routines
Here are 2 routines for you to follow, they are suggestions only.
Remember:
 Use your timer.
 Stay relaxed.
 If you feel any pain in your hand, arm or shoulder when picking, stop.
Legato Routine 1 – Basics And Speed

Initially you should try to make it through the entire routine at a slow tempo.
Eventually, this routine should be about increasing your speed.
3 Note Per String Sequences – Page 47

Play all 7 of the exercises for 1 minute each.
7 minutes
Single String 3 Note Per String Sequences – Page 50

Play each of these ideas for 1 minute.
7 minutes
3 Note Per String Sequences With String Skipping – Page 52

Play each of these 11 exercises up your daily scale, then do the same thing but
skipping 2 strings instead of 1. If that is too easy, play the exercises skipping 3
and 4 strings.
20 minutes
Legato Speed, Control And Endurance Workout – Page 39

You do not need to apply your daily scale for this section, play it exactly as it is
written in the book.
Make a note of your current speed.
30 minutes

68
Legato Routine 2 – Advanced Sequences
This routine should take approximately 45 or 85 minutes to complete depending
on how far you decide to go (there is an optional 4 note per string section after 45
minutes).
Apply all of the following ideas to whichever key and scale/mode you are
playing in that day.
This routine covers some advanced ideas and wide stretches. Take your time and
make sure you are relaxed. Do not attempt to play the 4 note per string ideas at
high tempos until you are very comfortable with them at slow tempos.
3 Note Per String Sequences – Page 47

Play all 7 of the exercises for 1 minute each.
7 minutes
Advanced String Skipping – Page 56

Play all 8 exercises for 2 minutes each.
16 minutes
Preliminary 4 Note Per String Legato Sequences – Page 59

16 minutes
Single String 4 Note Per String Sequences – Page 61

Play each of these exercises for 1 minute each.
6 minutes
Stop here if you are new to 4 note per string playing and find the previous
exercises very difficult.
If you are finding this easy, do the next 40 minutes:
4 Note Per String Sequences With String Skipping – Page 63

Play each exercise for 2 minute each.
22 minutes
Combining 3 And 4 Note Per String Sequences – Page 66

16 minutes

I suggest you alternate between these routines.

69
CHAPTER 4
SWEEP PICKING
Purpose Of Chapter:
 Develop clean sweep picking
 Learn lots of new arpeggio shapes and sequences
 Combine arpeggios and sequences to create interesting musical ideas
In RTL1 I covered 2 and 3 string arpeggios using major, minor, augmented and
diminished forms. Assuming you are proficient with those, the next step will be to
learn 4 and 5 string arpeggios along with lots of new arpeggios and sequences.
In the section that follows, I have included the following arpeggios up 5 strings:
Major, major 7, major 7 #5, major 7 b5, major add9, major 9

Minor, minor 7, minor 7 #5, minor 7 b5, minor add9, minor 9
Dominant 7, dominant 7 #5, dominant 7 b5, dominant 9
Diminished 7
Augmented
More arpeggios can be found in the Scales, Arpeggios And Practice Suggestions
Chapter (page 174).
Memorise the arpeggios in all 12 keys, the shapes and the formula. Make sure
you can smoothly switch between any arpeggio without hesitation and that you
understand their construction.
Practice Suggestion: Choose an arpeggio, memorise it and then practice it with

the 2 String Sequences section. When you can do that, move onto the 3 String
Sequences section and so on until you can play the arpeggio up 5 strings. Then
move on to the next arpeggio and repeat this process.
Remember to learn these 5 string shapes and practice them with 2 string
sequences first. This is especially important if you are a beginner to sweep
picking. Playing 5 string arpeggios straight away will only lead to bad habits and
unclean playing.
70
Make sure you can alternate pick every arpeggio you can sweep pick. For
example:
From this To this
Pick each note 2 times
71
5 String Arpeggios
Here are a selection of arpeggios all in root position. Root position is the note that
the arpeggio is based on. All of the following arpeggios have a root of E.
I have written the formula of each arpeggio on the right hand side.
Arpeggio formula
Major arpeggio:
135
Minor arpeggio:
1 b3 5
Major 7 arpeggio:
1357
72
Minor 7 arpeggio:
1 b3 5 b7
Dominant 7 arpeggio:
1 3 5 b7
Major 7 #5 arpeggio:
1 3 #5 7
Minor 7 #5 arpeggio:
1 b3 #5 b7
73
Major 7 b5 arpeggio:
1 3 b5 7
Minor 7 b5 arpeggio:
1 b3 b5 b7
Dominant 7 #5 arpeggio:
1 3 #5 b7
Dominant 7 b5 arpeggio:
1 3 b5 b7
74
The stretches for the major add 9, minor add9, major 9 and minor 9 are very wide.
You may want to slide to the 14th fret on the E string, or tap it.
Major add9 arpeggio:

1359
Minor add9 arpeggio:

1 b3 5 9
Major 9 arpeggio:
13579
75
Minor 9 arpeggio:
1 b3 5 b7 9
1 3 5 b7 9
Diminished 7 arpeggio:
1 b3 b5 bb7
Augmented arpeggio:
1 3 #5
76
Arpeggio Sequences
Choose an arpeggio from the 5 String Arpeggios section (page 72) and then
practice it with the sequences that follow. All of the following sequences are
demonstrated with an E major 7 arpeggio.
The following sequences will give you new ideas when playing arpeggios. It is
common to play arpeggios straight up and down but there is so much more you
can do with them.
The sequences will also also help develop superior control and the ability to mix 2,
3, 4 and 5 string arpeggios.
The notation on the left hand side is the upper part of the arpeggio and the
notation on the right hand side is the lower part of the arpeggio. Make sure you
practice both.
2 String Sequences
Sequence 1A Sequence 1B
77
3 String Sequences
78
4 String Sequences
79
5 String Sequences
80
Combining Sequences
Once you are comfortable with the sequences, combine them. Here are some
examples.
Combination of sequences 1A and 5A
Combination of sequences 5B and 10B
Combination of sequences 3A, 4A and 8A
81
Combination of sequence 1A, 5A and 7A
Make your own sweep picking ideas by combining the previous sequences
together, then play them through chord progressions.
This example uses sequences 5B and10B with D minor 7, E minor 7, F major 7

and E minor 7.
This example uses sequence 10B with D minor 7, F major 7, C major 7 and
E minor 7 arpeggios.
82
This uses the same arpeggios as the previous example:
D minor 7, F major 7, C major 7, E minor 7
However, this time the first arpeggio ascends, the second descends, the third
ascends and the fourth descends.
String Combination Master Exercises
These 2 exercises combine 2, 3, 4 and 5 string arpeggio patterns.
Your aim is to be able to play any string combination, 2, 3, 4 and 5 strings.
These exercises use an E major 7 arpeggio but should be practised with all
arpeggios.
Exercise 1
Exercise 2
83
Major And Minor Arpeggio Inversions
Arpeggio inversions are an excellent way to learn arpeggio shapes all over the
neck, develop technique, visualise the fretboard and cover a lot of ground when
sweep picking.
Practice Suggestion: First practice each of these shapes using the sequences
from the Arpeggio Sequences section (page 77). When you have done that, try
testing yourself by thinking of random arpeggios.
For example: C major second inversion. F# minor first inversion. Bb minor root
position.
When you are confident that you know all of these inversions, move on to the
Arpeggio Inversion Exercises section (page 87).
84
E major arpeggio inversions
Arpeggio formula
Major arpeggio root position

135
Major arpeggio first inversion

351
Major arpeggio second inversion

513
85
E Minor arpeggio inversions
Arpeggio formula
Minor arpeggio root position

1 b3 5
Minor arpeggio first inversion

b3 5 1
Minor arpeggio second

inversion 5 1 b3
86
Inversion Exercises For 3 String Arpeggios
These exercises use the arpeggio inversions from the previous section. Do not
move onto the 5 string inversion exercises until you are comfortable with the 3
string inversion exercises.
E Major Inversion Exercises
Each exercise is written out twice. The first starts on the highest note of the
arpeggio, the second start on the lowest note.
Root position and first inversion
87
Root position and second inversion
Root position, first inversion, root position, second inversion
88
E Minor Inversion Exercises
Each exercise is written out twice. The first starts on the highest note of the
arpeggio, the second start on the lowest note.
Root position and first inversion
89
Root position and second inversion
Root position, first inversion, root position, second inversion
90
Inversion Exercises For 5 String Arpeggios
E Major Inversion Exercises
These exercises start on the highest note, you should also practice them starting
on the lowest note.
Root position , first inversion
Root position, second inversion
91
E Minor Inversion Exercises
These exercises start on the highest note, you should also practice them starting
on the lowest note.
Root position , first inversion
Root position, second inversion
92
5 String Master Inversion Exercises
This exercise uses all 3 of the E major arpeggio shapes. This is difficult so make
sure you start off slowly and gradually build up the speed.
Root position, first inversion, second inversion, first inversion
Here it is again, starting on the high note
93
This is the same as the previous exercises, but with the E minor arpeggio
inversions.
Root position, first inversion, second inversion, first inversion
Here it is again, starting on the high note
94
Combining 3 And 5 String Arpeggio Inversions
Here are a few examples of 3 and 5 string arpeggio inversions combined to make
longer sequences.
This E major exercise combines a root position 3 string arpeggio with a first
inversion 5 string arpeggio.
This E minor combination is a 3 string second inversion, first inversion, root

position, second inversion arpeggios (bar 1), followed by a sequence in root
position (bar 2).
95
This E minor exercise combines a 4 string second inversion arpeggio, root
position on a single string, first inversion up 5 strings followed by a descending
second inversion arpeggio.
96
Sweeping And Tapping
Sweeping and tapping is a great way to create smooth licks that can cover the
entire neck.
You should tap with your middle finger when playing these exercises. You will
want to keep the plectrum between your thumb and index finger in order to sweep
pick the arpeggio. If you hold the pick between your thumb and middle finger, tap
these arpeggios with your index finger.
If you have not done much tapping, take a look at the Tapping Chapter for lots of
exercises to get you started.
The following exercises use an A minor arpeggio and notes from the A natural
minor scale.
Exercise 3
97
Exercise 4
Combination of the previous 3 exercises.
Exercise 5
The following exercises use more than 1 finger when tapping so I have added the
fingerings for the tapping hand.
Exercise 6
98
Exercise 7
Exercise 8
Exercise 9
99
Exercise 10
Combines a 3 string arpeggio with some 2 finger tapping and then descends a 5
string arpeggio. Remember that the numbers below the notation represent the
fingers of the tapping hand.
Exercise 11
This exercise is the same as the previous except this time the 2 tapped notes are
played just with the middle finger, they are connected with a slide up, and a slide
down.
Exercise 12
A minor arpeggio ascends the second inversion, taps a note, descends down the
root position arpeggio and then slides to the E on the A string.
100
Exercise 13
A minor arpeggio ascends the root position, taps a note, descends down the
second inversion arpeggio and then slides to the C on the A string.
The following exercises use the sweep and tapped arpeggio shapes (page 72 for
sweep and page 113 for tapped).
All exercises use the E major 7 arpeggio shapes.
Exercise 14
Ascends a tapped arpeggio and descends a sweep picked arpeggio.
Exercise 15
Ascends a sweep picked arpeggio and descends a tapped arpeggio.
101
Sweep Picking – Sample Practice Routines
Important things to remember:
 Play these exercises in different keys using all arpeggios.

 Never play an exercise for less than 30 seconds.
 When learning new sequences always start slowly and do not practice it to a
metronome until you can play the sequence smoothly.
 Control is far more important than speed.
 If your hand is tired then stop playing and give your muscles a few minutes
to recover before continuing.
 Glide over the strings with the plectrum, do not dig in.
 Make sure you are using your pick hand to mute the lower strings.
Sweep Picking Routine 1 – Basics

2, 3, 4 And 5 String Sequences – Page 77

Play every sequence for 1 minute each
25 minutes
Combining Sequences – Page 81

Choose 2 arpeggio sequences and combine them, play for a minute each. When
you can do 2 sequences, combine 3 sequences. Eventually you should be able to
combine any number of sequences.
15 minutes
String Combination Master Exercises – Page 83

Play these 2 exercises with different arpeggios each day. Play for 3 minutes each.
6 minutes
Minor And Major Arpeggio Inversions – Page 84

For this section, play through the 3 and 5 string exercises in the book as they are
written. When you can play them in E, move them to different keys. Then combine
3 and 5 string arpeggios (page 95).
20 minutes
5 String Master Inversion Exercises – Page 93

Play the major and minor master inversion exercises for 2 minutes each. Start on
the low note first and then the high note.
8 minutes
102
Sweep Picking Routine 2 – Creativity And Licks
You will need to refer to Chapter 7 for some of this routine.
This routine is all about working on your own ideas and making licks. The aim
here should be to be creative although your technique should still be pushed.
Arpeggio Sequences – Page 77

Warm up with several sequences from this section (2, 3, 4 and 5 string). 1 minute
on each.
5 minutes
5 String Arpeggios – Page 72

Play all of the 5 string arpeggios in the same key. 1 minute on each.
20 minutes
Sweeping And Tapping – Page 97

Play all of the exercises from this section
10 minutes
Sweep Picking Practice Pieces 2 and 3 – Pages 152 and 154

Go to the Practice Pieces And Licks Chapter, play the 2 sweep picking pieces
there.
20 minutes
Chapter 7 – Practice Pieces And Licks – Page 165

Learn the licks in the book but also create your own. Remember to use all of the
ideas in the book: different arpeggios, sequences, subdivisions, displacement,
groupings, tapping, sliding etc
25 minutes
103
CHAPTER 5
TAPPING
Purpose Of Chapter:
 Develop the strength, speed and coordination required to apply
tapping to all aspects of your playing
 Give you new ideas for tapping licks
Holding your pick with your thumb and index finger has an advantage over thumb
and middle, it allows you to tap with 3 fingers. See photo below:
2 = Middle Finger
3 = Ring Finger
4 = Baby Finger
The numbers below the tablature represent the fingers of the tapping hand and
not the fingers of the fret hand.
The tablature in the Tapping Arpeggios section does not have fingerings, instead
tapped notes are marked with a “T”, like so:
The reason for this is some people hold their plectrums between their index finger
and thumb and tap with the middle finger, others hold it between their middle
finger and thumb and tap with their index finger.
As only 1 finger is needed for these exercises, it is up to the guitarist to decide
which finger to use.
104
Tap by moving the fingers individually and not moving the hand. Your hand should
be muting the thicker strings to stop unwanted noise. When you tap the neck of
the guitar, the guitar will resonate and if you are not muting the open strings they
will ring out.
For this chapter I would suggest not moving on to the next section until the current
section has been mastered. If you are new to tapping, spend 3 or 4 months just
playing the Basic Exercises section.
105
Basic Tapping Exercises
These exercises will help you develop the finger strength and coordination
required for the tapping ideas in this book.

 Use your pick hand to mute to prevent unwanted string noise.
 Keep your pick in your hand when tapping, you should aim to switch
between picking and tapping without having to change how and where you
are holding the pick.
 Tapping fingers 3 and 4 take a long time to develop, be patient.
Practice Suggestion: Each exercise should be played for 1 minute, start at

70bpm and gradually increase speed.
106
The following exercises are in B minor. When you can play them in B minor, you
should play them in the other 11 keys.
107
Exercise 15
Exercise 16
108
Exercise 21
Exercise 22
Ascending groups of 4
109
Tapping Scales
When you can play the exercises from the Basic Exercises section, move on to
the following exercises.
Remember to practice all of your scales with tapping.
Practice Suggestion: Select 5 exercises each time you practice and play them
for 2 minutes each.
Exercise 1
A natural minor (Aeolian)
Exercise 2
B Locrian
Exercise 3
C major scale (Ionian)
110
Exercise 4
Ascending A Aeolian, descending B Locrian.
Play the same scale ideas, but with different sequences, such as:
Exercise 5
A natural minor (Aeolian)
Exercise 6
Ascending groups of 4 in A minor
111
Exercise 7
Ascending groups of 6 using E minor pentatonic
Exercise 8
String skipped groups of 4 using E minor pentatonic
Exercise 9
The following exercise uses a 2 octave A natural minor scale. Practice other
scales too.
Exercise 10
This is similar to warm up exercise 9
112
Tapping Arpeggios
Here are some of the most common arpeggios.
The note with a “T” above it signifies a tap, which will either be played with the
index or middle finger depending on how you hold your pick.
Practice Suggestion: Before you try to play the entire arpeggio across strings,
break it down and play one string at a time. See examples below.
These examples use an E major 7 arpeggio.
Example 1 Example 2 Example 3

Single string
Example 4 Example 5
2 strings
Example 6
And finally all 3 strings
113
The formula for the arpeggio is on the right hand side of the tablature.
E major Arpeggio formula
Major arpeggio:
135
E minor
Minor arpeggio:
1 b3 5
E augmented
Augmented arpeggio:
1 3 #5
E diminished
Diminished arpeggio:
1 b3 b5
114
E major 7
Major 7 arpeggio:
1357
E minor 7
Minor 7 arpeggio:
1 b3 5 b7
E dominant 7
1 3 5 b7
E major 7 b5 (#11)
Major 7 b5 arpeggio:
1 3 b5 7
115
E minor 7 b5
Minor 7 b5 arpeggio:
1 b3 b5 b7
E diminished 7
Diminished 7 Arpeggio
1 b3 b5 bb7
E major 7 #5 (E augmented 7)
Major 7 #5 arpeggio:
1 3 #5 7
E minor 7 #5
Minor 7 #5 arpeggio:
1 b3 #5 b7
116
Arpeggio Sequences
All of the following sequences are demonstrated using an E major 7 arpeggio

shape. You should play the sequences using all of the arpeggios.
Arpeggio Sequence 1
Arpeggio Sequence 2
Arpeggio Sequence 3
117
Arpeggio Sequence 4
Arpeggio Sequence 5
118
Left And Right Hand Tapping Exercises
At this point you should be comfortable with the tapping technique.
These exercises will help further develop your coordination.
Exercise 5
119
Exercise 6
This pattern alternates between left and right hands
Exercise 7
Here is the same idea up the E natural minor scale
Exercise 8
First, the sequence is tapped and then fretted.
120
Tapping – Sample Practice Routines
Here are 2 routines for you to follow, you should adjust them to your requirements.

 Tap from the individual fingers and do not move your wrist.
 When tapping, make sure you mute strings you are not playing.
 Use your timer.
 Stay relaxed.
 If you feel any pain in your hand, arm or shoulder when picking, stop.
Routine 1 – Tapping Basics
This routine should take approximately 20 – 40 minutes to complete and will help
you strengthen your tapping. The routine can be done every day but as you add
more exercises you may want to do it every other day.
Basic Tapping Exercises – Page 106

Play the first 14 exercises from this section for 1 minute each. You should
eventually aim to play all 22 exercises from this section.
14 minutes
Tapping Scales– Page 110

Play the first 6 exercises for 2 minutes each. You should eventually aim to play all
10 exercises from this section.
12 minutes
Tapping Arpeggios – Page 113

Play the 5 preliminary exercises for 2 minutes each. When you are comfortable
with these, move onto the full arpeggios.
10 minutes
121
Routine 2 – Advanced
This routine is for someone who wants tapping to be a big aspect of their playing.
It is about being creative with the ideas in this book as well as coming up with your
own ideas. It should take approximately 90 minutes to complete.
Basic Exercises – Page 106

Pick 5 exercises at random and play them for 1 minute each. This is just a warm
up.
5 minutes
Tapping Scales – Page 110

Use all of these exercises as speed builders. Play them for 2 minutes each to a
metronome and make a note of your speeds. Practice them in different keys and
scales.
20 minutes
Tapping Arpeggios – Page 113

Play through all 12 arpeggios (pages 114-118) in the same key for 1 minute each.
The next time you practice, play them in a different key.
8 minutes
To push your arpeggio knowledge, randomly think of arpeggios and then play
them on the guitar. Start off with 2 arpeggios and then more on to 3,4,5 etc.
Some examples:
F major – C minor
E minor 7 – D major 7 – B dominant 7
Bb major 7 #5 – G dominant 7 – C# minor 7 b5 – D diminished
10 minutes
Use the arpeggio sequences as a template to create your own licks. Though there
are only 5 sequences (page 119) in the book, there are literally thousands of
possibilities. Make your own and write them down.
20 minutes
Left And Right Hand Tapping Exercises – Page 119

Apply the ideas from this section to a scale and key. Play them on all strings and
with different subdivisions.
20 minutes
Tapping Licks – Page 167

Play and create your own licks and solo ideas using tapped scales and arpeggios.
20 minutes
122
123
CHAPTER 6
RHYTHM
Purpose Of Chapter:
 Gain a greater understanding of time in music
 Help you develop solid time keeping
 Show you new ways of phrasing and composing
To develop a solid sense of time it is important to develop the ability to play any
subdivision to a metronome. Your goal is to go smoothly from one subdivision to
any other subdivision while maintaining consistent tempo.
Before you attempt to work on all of the subdivisions at once, it is a good idea to
isolate 2 and work on those.
I have included musical notation in this section to familiarize you with how the
subdivisions would look on a musical stave.
124
Subdivisions Of 5 (Quintuplets) And 7 (Septuplets)
Quintuplets
A quintuplet is 5 subdivisions per quarter note beat.

Set your metronome to a setting of around 50bpm and count to five for each click.
1 2 3 4
12345123451234512345
Once you are comfortable doing that, apply it to the guitar by alternate picking
quintuplets.
This is how quintuplets look on a stave:
Septuplets
A septuplet is 7 subdivisions per quarter note beat.

Set your metronome to a setting of around 45bpm and count to seven for each
click. Remember not to say “seven”. Seven has 2 syllables and you may end up
counting 8 beats. Instead say “sev”.
1 2 3 4
1234567123456712345671234567
Once you are comfortable doing that, apply it to the guitar by alternate picking
septuplets.
This is how septuplets look on a stave:
125
Subdivision Table
The more control you have over playing subdivisions, the better your timing will
be.
Assuming you can play quintuplets and septuplets, here are the subdivisions that
you should practice combining.
Subdivision Notes Per

Beat
Quarter Note 1
Eighth Note 2
Triplet (Twelfth Note) 3
Sixteenth Note 4
Quintuplet 5
Sixteenth Note Triplet 6
Septuplet 7
Thirty Second Note 8
Several things to remember when working on subdivisions:

 Start off with 2 subdivisions, play 1 bar of each.
 As you gain more confidence, make longer exercises.
 Combine ALL subdivisions.
 Begin with open strings so you can focus all your efforts to playing perfectly
in time.
 When playing with open strings is easy, practice subdivisions with scales,
arpeggios and riffs.
126
Subdivision Master Exercise
When you can go between every subdivision with ease, make sure you can play
this “master” subdivision exercise and then move onto the Advanced Subdivision
Exercises section (page 128).
This master exercise combines all of the subdivisions from the table on the
previous page.
 Start off at 60bpm with this exercise.
 Play this exercise daily until you have control over all subdivisions.
127
Advanced Subdivision Exercises
The following exercises combine multiple subdivisions. If you get stuck, watch me
playing them on the DVD.
Remember to add notes when you can play them with open strings.
Apply these ideas musically.
Exercise 1
Exercise 2
Exercise 3
Exercise 4
128
Exercise 5
Exercise 6
Here are some examples using the A natural minor scale.
Example 7
Example 8
129
Subdivisions And Riffs
When you can go between subdivisions, try applying these subdivisions to riffs.
Play these ideas to a metronome, and you will see how the feel of the original idea
completely changes when you play them with different subdivisions.
The following examples take the same idea and apply it to different subdivisions.
Example 1
Here is a grouping of five played as sixteenth notes
Example 1 - Triplets
Example 1 - Quintuplets
130
Here are more examples of subdivisions being applied to other ideas.
Example 2
Groupings of 3 as triplets
Example 2 - Sixteenths
Example 2 - Quintuplets
131
Example 3
Sixteenth note riff
Example 3 – Triplets
Try these subdivision ideas with your own riffs. This will give you lots of new
musical ideas at the same time as working on your rhythmic awareness.
132
Subdivisions With Lead Playing
This same subdivision concept can also be applied to your lead guitar playing. In
the examples that follow you will see that it is possible to create many ideas from
one, just by using different subdivisions.
Remember to take this idea and apply it to your own playing, do not just play what
is written.
Play these ideas to a metronome and you will see how the feel of the original idea
completely changes.
Example 1
Here is an E natural minor scale run that uses groups of 4 played with sixteenth
notes.
Example 1 – Sixteenth note triplets
Example 1 – Quintuplets
133
Example 2
This E natural minor run uses groups of 3 with sixteenth note triplets
Example 2 – Sixteenths
Example 2 – Quintuplets
134
You can also apply to different techniques.
For example, with sweep picking.
Example 3 - Triplets
Example 3 – Sixteenths
Apply different subdivisions to licks, riffs and improvising.
Always be aware of the subdivisions you are playing.
135
Combining Subdivisions
When you are comfortable playing riffs and licks with one subdivision, try
combining multiple subdivisions.
The following examples combine subdivisions.
Example 1
Ascending groups of 3 played with sixteenths, sixteenth note triplets and
quintuplets.
Example 2
Sixteenths and sixteenth note triplets
Example 3
Sixteenth note triplets and quintuplets
136
Example 4
E major 7 tapped arpeggio that combines sixteenth notes and sixteenth note
triplets
Example 5
This E minor 7 arpeggio combines sixteenth notes and sixteenth note triplets
137
Grouping Exercises
Groupings refer to the group of notes in a sequence. A grouping of 2 refers to a 2

note pattern, a grouping of 3 refers to a 3 note pattern and so on.
By changing the grouping of notes, you can change the overall feel of a riff or lick.
Remember to apply these examples to your own playing. It is possible to create

completely new and often better ideas with groupings.
To fully understand the following demonstration, you will need to familiarize

yourself with these groupings.
Grouping of 2
Grouping of 3
Grouping of 4
138
Grouping of 5
When you combine these groupings, new musical ideas can be made.
Example 1
Groupings of 2 and 3 (making a grouping of 5)
Example 2
139
Example 3
Example 4
Example 5
Example 6
140
Here is another grouping demonstration, this time with a group of 4 notes.
Example 7
This is our basic idea, a group of 4 notes.
Example 8
By adding an extra G# (fourth fret on the E string) at the beginning of each
group, we get a 5 grouping.
Example 9
By adding an additional G# we create a 6 feel.
Example 10
By adding yet another G# we create a 7 feel.
141
Example 11
Groupings of 5, 4 and 7
Example 12
Here are the previous examples as one exercise.
142
The following examples use the same original idea, with triplets.
Example 13
Original grouping of 4
Example 14
Grouping of 5
Example 15
Grouping of 6
Example 16
Grouping of 7
143
Example 17
Groupings of 4, 5 and 6
144
Displacement Exercises
Displacement in music is when you move something from its usual place or
position in a bar. It is possible to create completely new and often better ideas just
by displacement. Refer to RTL1 for a basic explanation. If you understand the
concept, move on to these examples.
Remember to apply these examples to your own playing and compositions.
Example 1
Example 1 – Original pattern
Example 1 – Displaced forwards by 1 triplet
Example 1 – Displaced forward by 2 triplets
145
Example 1 – Displaced forwards by 3 triplets
Example 1 – Displaced forwards by 4 triplets
Example 2
Example 2 – Original pattern
Example 2 – Displaced backwards one 16th note
146
Example 2 – Displaced forwards one 16th note
You can also use the same displacement method with lead guitar. This can give
you hundreds of new sequences to work on.
Example 3 – Displacement with a scale sequence
Example 3 – Original idea
Example 3 – Displaced 1 note forward
Example 3 – Here are both ideas combined, the original and the displacement.
This creates a new sequence.
147
CHAPTER 7
PRACTICE PIECES AND LICKS
Purpose Of Chapter:
 To apply the knowledge and technique and challenge your playing

 Learn pieces and licks based on the material covered
 To give you lots of material to add to your practice routine
Practice Pieces
In this section I have written various practice pieces based on the material in the
book. These pieces demonstrate what you should be doing with the book, do not
just play what is written!
I have found that writing short pieces makes practising far more fun. Mechanical
exercises have their place too but it eventually becomes tiresome.
Identify weaknesses in your playing and then compose a short piece of music that
isolates that particular problem.
Each of these pieces were written to target specific technical aspects of guitar. Of
course I could have written out dozens of these, but that is for you to do!
Practice Piece 1 – Metal tune designed to work on complex picking patterns and
fast alternate picking
Practice Piece 2 – Sweep picking piece designed to work on arpeggio inversions
Practice Piece 3 – Sweep picking piece designed to work on combining sweep

picking, tapping and sliding
Practice Piece 4 – Alternate picking piece designed to work on shifting between

different picking patterns. An excellent workout!
148
Practice Piece 1 – Complex Picking Patterns And Fast Alternate Picking
All of the fingerings under the tab refer to the fretting hand except the last bar
which refers to tapping finger 2 (your middle finger).
Goal tempo: 105bpm
149
150
151
Practice Piece 2 – Sweep Picked Arpeggio Inversions
The chords/arpeggios in this piece are: F#minor, E major, B minor, D major.
Remember to work on each bar individually before putting it all together.
Goal tempo: 110bpm
152
153
Practice Piece 3 – Sweep Picking And Tapping
Here is a sequence which combines sweep picking, sliding and tapping. The
arpeggios are: A major, C# minor, B major, F# minor, G# major.
This sequence is tricky, so isolate each arpeggio and work on these first.
Goal tempo: 100bpm
A Major
C# Minor
B Major
154
F# Minor
G# Major
155
Practice Piece 3
156
Practice Piece 4 – Pick Hand Speed With Down Strokes
This piece is designed to give your picking hand a real workout. First learn each
riff individually and then memorise the structure of the piece.
Start off very slowly. Do not increase the tempo until you can play this piece
without making any mistakes.
Pay attention to the picking patterns.
Goal tempo: 100bpm
Note: This piece is in drop D.
157
158
Licks
The following 40 licks should give you plenty of ideas to expand on the content of
this book. Again, do not just play what is written! Make your own licks!
The licks are split into the following areas of technique:

Alternate Picking (page 160)
Legato (page 163)
Sweep Picking (page 165)
Tapping (page 167)
Combinations – This section combines various techniques (page 170)
These licks will make a welcome addition to your practice routine.
159
Alternate Picking Licks
Lick 1
G Minor Pentatonic
Lick 2
C Lydian
Lick 3
E Half Whole Diminished
160
Lick 4
A Melodic Minor
Lick 5
This lick uses the 4 note per string technique and F Natural Minor scale
Lick 6
E Natural Minor
161
Lick 7
This lick uses 4 note per string playing up a sequence of 9 in the G Dorian Mode
Lick 8
E Natural Minor
162
Legato Licks
Lick 9
B Phrygian Dominant
Lick 10
A Major
Lick 11
F Minor Pentatonic
163
Lick 12
A Natural Minor
Lick 13
A Natural Minor. This is a similar lick to the previous one, this time the string
skipping is between the E and G strings.
Lick 14
G# Minor Pentatonic
164
Sweep Picked Licks
Lick 15
F Major, C Major arpeggios
Lick 16
F Major, A Minor, G Major, D minor, G Major arpeggios
Lick 17
D Minor 7, F Major 7, E Minor
165
Lick 18
G Minor Add9
Lick 19
C Major 7, D Minor 7, E Minor 7, F Major 7 arpeggios
Lick 20
F Minor to Gb Major arpeggios
166
Tapping Licks
Lick 21
E Natural Minor
Lick 22
E Minor 9 Arpeggio
Lick 23
E Natural Minor
167
Lick 24
G Diminished
Lick 25
E Major 7, C# Minor 7, A Major 7, B Dominant 7
Lick 26
A Diminished
168
Lick 27
E Minor Major 7/Melodic Minor arpeggio
Lick 28
A Minor Pentatonic Scale
Lick 29
A Minor Pentatonic Scale
169
Licks Combining Techniques
The following licks combine two or more of the technique covered: alternate
picking, legato, sweep picking and tapping.
Lick 30
Sweep picking and legato lick
The arpeggios are:
E Minor 7, D Minor 7, F Major 7, E Minor 7, A Minor 9, C Major 9
Lick 31
C Augmented, E Augmented, Ab Augmented arpeggios followed by E Whole Tone
scale alternate picked run
170
Lick 32
Alternate picked F# Whole Half Diminished scale run followed by A Diminished
arpeggios. The numbers below the tab at the end of the run are for the fretting
hand.
Lick 33
Alternate picked 4 note per string B Minor scale following by B Minor and B Minor
7 arpeggios
171
Lick 34
E Natural Minor legato and tapping
Lick 35
G Natural Minor legato and alternate picking
Lick 36
E Minor 7, B Minor, F# Minor sweep tap lick
Lick 37
C Dorian 3 fingered tapping followed by F Dominant 7 and Eb Major 7 arpeggios
172
Lick 38
A Minor arpeggio first inversion sweep tap lick
Lick 39
C Minor 9, Bb Major, Ab Major 9 sweep tapped arpeggios
Lick 40
C Melodic Minor legato, sweep tapped lick
Can you play all of these licks? Make your own!
173
CHAPTER 8
SCALES, ARPEGGIOS AND PRACTICE
SUGGESTIONS
Purpose Of Chapter:
 Learn scales and arpeggios in all keys
 Apply sequences to scales and arpeggios to create musical ideas and
improve technique
First of all, I never intended for this book to be about theory. However I think that
with the amount of technique covered in this book it is important to at least cover
the basics of scales and arpeggios. Learning scales and arpeggios is an intrinsic
part of playing guitar. Without harmonic and melodic knowledge, technique has
very little application in music. Therefore, a considerable amount of your practice
time should be dedicated to this section of the book.
I only cover the shapes and names of the scales/arpeggios. I advise you to
get a good theory book if you want to learn more about them.
I have written out the major, melodic minor and harmonic modes all in the key of
C. After each mode I have written the triadic, seventh and ninth arpeggio of each
mode: major, major 7, major 9.
Your goal should be to play every mode and its arpeggios in every key without
hesitation. You will use these modes and arpeggios to create solos, improvise and
write songs so it is important to practice them regularly.
Practice Suggestion: Play all of the scales and arpeggios that you know as part
of your warm up. Doing this for a long time will ensure they become second
nature, so you can focus on playing music and not trying to find scales and
arpeggios.
174
Modes Of The Major Scale
The modes of the major scale are arguably the most useful modes to learn.
Before moving on to the melodic and harmonic minor modes make sure you know
your major modes and arpeggios.
Here are the modes and arpeggios of the C major scale.
Mode Triad Seventh Ninth

C Ionian C Major C Major 7 C Major 9
D Dorian D Minor D Minor 7 D Minor 9
E Phrygian E Minor E Minor 7 E Minor 7 b9
F Lydian F Major F Major 7 F Major 9
G Mixolydian G Major G Dominant 7 G Dominant 9
A Aeolian A Minor A Minor 7 A Minor 9
B Locrian B Minor b5 B Minor 7 b5 B Minor 7 b5 b9
Practice Suggestion: First, learn a mode, practice it with alternate picking and
legato. When you can play it from memory in any key, learn the arpeggios derived
from that mode with sweep picking and alternate picking. Do this with all of the
modes. For more practice ideas go to Scale, Mode And Arpeggio Practice
Suggestions section later in this chapter (page 194).
C Ionian (Major scale) 1 2 3 4 5 6 7
C Major C Major 7 C Major 9
175
D Dorian 1 2 b3 4 5 6 b7
D Minor D Minor 7 D Minor 9
E Phrygian 1 b2 b3 4 5 b6 b7
E Minor E Minor 7 E Minor 7 b9
176
F Lydian 1 2 3 #4 5 6 7
F Major F Major 7 F Major 9
G Mixolydian 1 2 3 4 5 6 b7
G Major G Dominant 7 G Dominant 9
177
A Aeolian 1 2 b3 4 5 b6 b7
A Minor A Minor 7 A Minor 9
B Locrian 1 b2 b3 b4 b5 b6 b7
B Minor b5 B Minor 7 b5 B Minor b5 b9
178
2 Note Per String Pentatonics
Here are the 5 shapes of the Minor Pentatonic scale. This scale is the backbone
for lead guitarist players. It is easy to learn and easy to apply to both rhythm and
lead playing.
These shapes will also help you cover the entire neck when soloing.
Learn all 5 shapes, in all 12 keys.
All of the following shapes are in A Minor Pentatonic.
Shape 1
Shape 2
Shape 3
179
Shape 4
Shape 5
180
3 Note Per String Pentatonics
This is the same A Minor Pentatonic scale but played with 3 fingers on each string.
These shapes are harder to learn and apply, but they are great for playing fast
lines.
You should learn the 2 note per string pentatonic shapes thoroughly before
moving on to these shapes.
Shape1
Shape 2
Shape 3
181
Shape 4
Shape 5
182
4 Note Per String Major Scale Shapes
4 note per string scales often have very wide stretches which can make them hard
to play and even harder to apply to music. However, they are very good technique
builders and will also help visualise scales on the neck.
These are all in the key of C major
Shape 1 F Lydian
Shape 2 G Mixolydian
Shape 3 A Aeolian
183
Shape 4 B Locrian
Shape 5 C Ionian
Shape 6 D Dorian
Shape 7 E Phrygian
184
Modes Of The Melodic Minor Scale
Here are the modes and arpeggios of the C melodic minor scale.

C Melodic Minor C Minor C Minor (Major 7) C Minor (Major 9)
D Dorian b2 D Minor D Minor 7 D Minor 7 b9
Eb Lydian #5 E Augmented Eb Major 7 #5 Eb Major 9 #5
F Lydian b7 F Major F Dominant 7 F Dominant 9
G Mixolydian b6 G Major G Dominant 7 G Dominant 9
A Aeolian b5 A Minor b5 A Minor 7 b5 A Minor 9 b5
B Super Locrian B Minor b5 B Minor 7 b5 B Minor 7 b5 b9
C Melodic Minor
C Minor C Minor (Major 7) C Minor (Major 9)
185
D Dorian b2
D Minor D Minor 7 D Minor 7 b9
Eb Lydian #5
Eb Augmented Eb Major 7 #5 Eb Major 9 #5
186
F Lydian b7
F Major F Dominant 7 F Dominant 9
G Mixolydian b6
G Major G Dominant 7 G Dominant 9
187
A Aeolian b5
A Minor b5 A Minor 7 b5 A Minor 9 b5
B Super Locrian
B Minor b5 B Minor 7 b5 B Minor 7 b5 b9
188
Modes Of The Harmonic Minor Scale
Here are the modes and arpeggios of the C harmonic minor scale.

C Harmonic Minor C Minor C Minor (Major 7) C Minor (Major 9)
D Locrian ♮6 D Minor b5 D Minor 7 b5 D Minor 7 b5 b9
Eb Ionian #5 E Augmented Eb Major 7 #5 Eb Major 9 #5
F Dorian #4 F Minor F Minor 7 F Minor 9
G Phrygian G Major G Dominant 7 G Dominant 7 b9
Dominant
Ab Lydian #2 Ab Major Ab Major 7 Ab Major 7 #9
B Super Locrian b7 B Minor b5 B Diminished 7 B Diminished 7 b9
Notes of the C Harmonic Minor Scale: C D Eb F G Ab B
C Harmonic Minor
C Minor C Minor (Major 7) C Minor (Major 9)
189
D Locrian ♮6
D Minor b5 D Minor 7 b5 D Minor b5 b9
Eb Ionian #5
Eb Augmented Eb Major 7 #5 Eb Major 9 #5
190
F Dorian #4
F Minor F Minor 7 F Minor 9
G Phrygian Dominant
G Major G Dominant 7 G Dominant 7 b9
191
Ab Lydian #2
Ab Major Ab Major 7 Ab Major 7 #9
B Super Locrian b7
B Minor b5 B Diminished 7 B Diminished 7 b9
192
Whole Tone Scale
G Augmented arpeggio
Half Whole Diminished Scale
G Diminished arpeggio
193
Scale, Mode And Arpeggio Practice Suggestions
The following practice ideas will help you memorise, understand and apply the
scales, modes and arpeggios.
Modes From The Same Root Note
Playing all of your modes from the same root note is a great way to get used to
the different fingerings.
C Ionian
C Dorian
C Phrygian
194
C Lydian
C Mixolydian
C Aeolian
C Locrian
195
Sweep Picked Arpeggios From The Same Root Note
Apply the same method using arpeggios as well. First using the triadic arpeggios,
then seventh and finally ninth.
Use the Arpeggio Sequences section of the Sweep Picking Chapter for additional
practice (page 194).
C Major – C Minor
C Major 7 – C Minor 7
C Major 9 – C Minor 9
196
Scales, Modes And Arpeggios Through Sequences
There are many sequences in this book that you can use to practice your scales,
modes and arpeggios.
 Vary the rhythm

 Play all of your scales through sequences, not just your favourite ones
 Combine techniques legato, picking, tapping and sweep picking to make
longer sequences
Here are some examples with the C Ionian Mode:

These sequences can be found on (page 47) in the 3 Note Per String Sequences
section.
Groups of 4, ascending and descending
Groups of 5 played as quintuplets
Groups of 5 played as sixteenths
197
Sequence of 4
String skipping sequence of 12
Single string groups of 3 ascending the scale
Group of 12
Practice Suggestions:
 Play your scale and modes ascending and descending across 1, 2, 3, 4, 5
and 6 strings
 Use legato and alternate picking
 Combine lots of different sequences from the book as well as making your
own
198
Here are some examples with sweep picking, using a C Major 7 arpeggio.
Practice these ideas with sweep picking and alternate picking.
More arpeggio shapes and sequences can be found in the Sweep Picking
Chapter (page 70).
Ascending groups of 3
Groups of 4
199
Combining Scales And Arpeggios
These are suggestions only, it is up to you to create your own ideas.
The following examples use the C Major scale.
Ascend the scale, descend the arpeggio (C Major 7).
This is the same idea up 2 octaves.
Ascend the arpeggio, descend the scale.
200
This exercise descends the C Major scale and ascends a C Major 9 arpeggio.
You could try the same thing with tapping, for example:
This exercises ascends the C Major scale in groups of 4 with alternate picking,
then 16th note triplets with legato followed by a descending tapped C Major 7
arpeggio.
Combine these techniques when you practice your scales and arpeggios:
Alternate pick scales – sweep pick arpeggios

Legato scales – sweep pick arpeggios
Alternate pick scales – tap arpeggios
Legato scales – tap arpeggios
Tap arpeggios – sweep pick arpeggios
Tap scales – sweep pick arpeggios
Alternate pick arpeggios – sweep pick arpeggios
Combine them with as many sequences, subdivisions, scales, arpeggios,

inversions that you can. You can always improve!
201
Conclusion
Improving your skills on guitar is a

slow process, particularly if your
main goal is to have great technical
prowess. Of course, this does not
happen overnight and you are going
to have to be patient. Progress will
come if you work hard and stick at it.
It is very important to spend time

working on other elements of music,
and not just technique. Compose,
improvise, play in bands, train your
ears, record music. All of these
things are just as important as
picking at 250bpm.
I like to hear peoples thoughts on

my instructional material, give me an
email and let me know how you are
getting on.
Webcam Lessons
I am available for lessons on webcam via Skype and MSN.
I can help you with all aspects of guitar playing: technique, theory, improvising,
goal setting, general musicianship.
If you would like to know more, give me an email.
Online Video Lessons
My website has an instructional section. The video lessons cover all aspects of
technique as well as licks and theory. The DVDs are available from my website.
For more information visit: www.ShredTraining.com
202
203

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Thank you for buying my book, I really appreciate the

Please do not share this book with anyone. The modest

Would you like me to be your guitar teacher? I teach on

For more products including apps, downloadable workouts,

Shred Training Publishing Co., Inc.

More instructional products available at:

RIFF TRAINING LEVEL 1

Copyright © Jonathan Strange 2010

Thanks to my parents for putting up with me over the years.

Also thanks to: Iris Littleby and my rabbit Malmsteen.

Johanna with her cat Lestat Margaret and Tim Strange

About This Book

I hope this book provides you with years of creative practice.

Metronomes help gain perspective and timers reinforce accuracy and

Monitoring Your Progress And Setting Goals

Short term = 6 – 12 months

Short term goals:

Long term goals:

Progress goes hand in hand with organisation, perseverance and

Important things to bear in mind:

1. Be organised: Your practice environment should be well organised with

The numbers below the tab indicate the

Hammer on Pull off Slide up

Slide down Pick stroke down Pick stroke up

Remember to watch the DVD!

Do not play like this:

Play like this:

Play each exercise for 1 minute. Use your stopwatch.

The hand is muting the lower strings

Starting position Finger 1 Finger 2 Finger 3 Finger 4

This is how it should look on the guitar:

Finger 1 Finger 2 Finger 3 Finger 4

Finger 1 Finger 2 Finger 3 Finger 4

And finally the high E string

Tracking Your Progress

 Metronome. This is absolutely vital if you want to accurately measure your

Remember to watch the DVD!

Each exercise will be played two times for 2 minutes each.

Important things to bear in mind:

Practice Suggestion: This routine should take approximately 40 minutes to

During the rests is an excellent opportunity to work on another technique such as

This workout will develop your:

Practice Suggestion: This routine should take approximately 45 minutes to

Exercise Duration Tempo

Exercise Duration Tempo

I consider the following exercises to be the equivalent to rudiments that a

These exercises will improve your:

Play each exercise using down strokes

Play each exercise using up strokes

Play each exercise using alternate picking

Coordination Exercise 1 Coordination Exercise 2

Coordination Exercise 3 Coordination Exercise 4

Coordination Exercise 5 Coordination Exercise 6

Coordination Exercise 7 Coordination Exercise 8

Coordination Exercises 1 and 4 Coordination Exercises 8 and 4

Coordination Exercises 1 and 2 Coordination Exercises 6 and 5

Coordination Exercises 3 and 5 Coordination Exercises 7 and 2

Try combining 4 of the exercises, here are exercises 1,2,3 and 4.

Practice Suggestions: Play these examples then combine coordination exercise

Coordination exercises 6 and 5 with rudiment 1

Coordination exercises 6 and 5 with rudiment 16

Coordination exercises 6 and 5 with rudiment 8

Coordination exercise 1 with rudiment 7