FORWARD Have you ever wondered about those young students of, say, the yiclin or piano. who acquire a very high level of technical eit in Pareen eeadime! Have you noticed that guitar players, by Cane Faucons Generally do not reach that level in the same time soc? “ave you ever wondered why this difference existe? wee table reason is often taken for granted. Violinists, for ex- inte. inherit @ tradition of disciplined training regimens Begin- 9 violin studies are made up of seemingly endless exercises of whee neintertupted eighth-notes, sixteenth-notes, or trigkis, ete., Tange {he student practices faithfully every day. Grest cre ig tinea to make each note sound perfect. It Is through thae dicci- plined and uninterrupted practice regimens that grest technique is Im general, those who do it, get it, and those whe cenit, of programmed project lessons designed to give eiiamProvising guitarist such a regimented program. Wey the impr yising guitarist?” In most cases, the violin or plano stuye te working Te studies onuchwas written by someone alse, The psychology velned BE atules puts him in a relatively safe place. “If you deme Pee it, sere Blame me, Paganini wrote it; I didn't". The improwical hits choice or cone gate oOF criticism not only of his techniques tae Gece ER etna Saige eelle This Working conditich ean eeuntarecre nto antgct, causing @ sort of mental paralysis which quickly cee ates OG GPa ae Sey Out the motor: skill: «iets towdrad ttle cece tion of this problem that this book is directed. \n addition, those guitarists who already have an established technique will find this book useful in maintaining it. Doing the Project lessons Sa peers tebook- sO minutex/per day, & days per weciet cal keep your chops in shape during the periods when yourare nor actively play- itis, Program has been tested in numerous group and individuel situa- Hons, and without exception has worked for these wha actually followed through and did the work as it is laid out here. Read she instructions fagetuly. Follow the directions. Do the work and it will work pet you ‘too.TABLE OF CONTENTS f Fomnard ies gigi tees. c. 5 cue me EMO cee ogee «mac cee ee hen BickIpayelngeringepeees ee! co) ery eet eg BeysContarsn hinder tigen se ay ns ee wo. 6 hsininostboard ee tee se eet. a - Unaishapingh ae tem et a ay The Aroprems- secgeeks th Polneisiie ieee me is sce Se 16 How to do project lessons for weeks one through six... .19 Week Ons Project Lesson I-A... . . 2 1 w . 2O Week Two Project Lesson 1-B 7). ] ] 1! 22 Week Three Project Lesson 2-A 28 Week Four Project Lesson2-B. |) ) ) oe Week Five Project Lesson A | | Q en eee 3 Week Six Project Lesson 3B. . 1 1 fl 1 1 1 tao Week Seven Project Lesson Review: . 1) |]! las = How to do weeks eight through thirteen... 2... vay Week Eight Project Lesson A. . 2. |... wwe Week Nine Project Lesson &-B > > 1] 1 lo] 2 isa Week Ten Project Lesson 5-A . | ee i ete Week Eleven Project Lesson 5-B | Sheen Wee een Week Twelve Project Lesson 6A. | Solaeee ec ee Week Thirteen Project Lesson 6-8 eee 2 eee Week Fourteen Project Lesson Review costae 7 eee How to do weeks fifteen, sixteen and seventeen . 78 Week Fifteen Project Lesson Review. . 2 . . +73 Week Sixteen Project Lesson Revies | |.) ] | 780 Week SeventeenProject Lesson Review. | |] 281 Rape CUbiracetrren: < . 3. 5 gee a POC. ee | Slideccgse ee. +e MI ee gs | Week Eighteen Project Lesson Review. . . . . 2. .86 Week Nineteen Project Lesson Review. | |. 7 287 Week Twenty Project Lesson Review | | oe 288 |EQUIPMENT YOUR GUITAR The set up of your guitar plays a very important role in the deve- lopment of accuracy and strength. Speed comes as a by-product of accuracy. Without accuracy, speed is unattainable. Extremely nar- row gauge strings do not create enough resistance or "return" to their center position quickly enough to permit the right hand to de- velope predictable accuracy, or to strengthen the left hand. So, use 2 medium-heavy set of strings; nothing smaller than an .012 first string, etc. The strings should be raised to a medium-high action. There are three reasons for this: (1) to eliminate buzzes, (2) to help strengthen the left hand, and (3) to develop accuracy for the right hand. The neck should be inspected to assure that it is straight. The frets should ke dressed down, eliminating high and low spots to avoid buzzes. An acoustic-electric guitar or straight acoustic are best suited for this job. For those who pley a classical guitar, your instrument will be fine taking into consideration the necessary adjustments. On the practical side, a large percentage of us must play with very small gauge strings, with low action, solid body, etc., to meet the re- quirements of today's popular music. Since It 1s not practical to chenge strings every day to practice, it may become necessary to have one guitar foF the gig and another one to practice on. After adjusting your guitar, make sure that each note rings loud and clear; just like a grand piano, over the entire range of the fingerboard. YOUR Pick Your pick should be of medium size, and medium to heavy in thickness. Avoid very large or odd shaped picks. Standard celluloid picks are well suited to this purpose. HER IMPORTANT EQUIPMENT. Also essential to the studies in this book will be: (1) a metronome, (2) Tor cassette tape recorder, and (3) an alarm clock or timer.KEY CENTERS The exercises comprising the main body of this book consist of selected chord progressions representing common harmonic movements. They reflect a broad cross-section of chord progressions common to the diatonic system, the kind of progression we must deal with on 2 daily basis. The trained improvisor would ordinarily be knowledgeable about the diatonic harmonies and relative minor for any key, and would be able to properly identify the key centers resident in a chord progression. The study of this subject falls under the general heading of diatonic harmony and theory, a complete study of which would range beyond the scope of this book. However, I will describe briefly what @ key center is and how to deal with it in the sense of creating an improvised solo line. }+ oust he remembered here that the main purpose of this book is to build up technical is, «ihn the attitudinal sphere of improvisation and not to give an additional load or theoretical data civen major or minor scale is stacked upon Itself In thirds as shown in Example 1, esles harmony characteristic of that scale. SAMPLE 1. 5 TRE HARMONIZED C MAJOR SCALE = Il $ —s : a a z a 4 I s 6 *. & 1 3 ’: Cea. Don Em FMaj. | Giisj. Am Boe CMa. : = 2 z aie imas $ i= — a =x x a a 1 = = mar = ! Oo Cm Dw Em Fea. 1 Gea. Am Bl Comaj. = = cp. at ce er Bt Bal creas, fa £ Se, SUE”. # NOTE: The VII Chord, Bm7b5 Is also known as B¥ (B half-diminished seventh)KEY CENTER§ THE HARMONIZED F MAJOR SCALE | 2 z ——— = = = | Zz s a s ce 7 8 I Fa? Get Amt Bhai od | & : = — JS gone meee aes Finding The Key Center for the Chord Progression Below, The Line of Reasoning is, since ... 1. F min 7 could belong to any one of three keys. It could be the Il chord of Cb, the III chord of Bb. or the VI chord of Ab. (The possibilities are listed soeve tne frord symbols below.) 2. Bb min 7 also could belong to any one of three keys: the II chord of Ab, the Ill chord of Gb and the VI chord of Db. : Fay 2 chard (Dominant 7 type) which only appears once in any given major key, always as the V chord, and therefore, only one possibility. the V ef Sh, 4. Ab Maj 7 could be the I chord in the key of Ab or the IV chord of Eb. The possibilities are noted. 5 Now we examine the entire progression to isolate whole sections in which the chords cieclennen tone key. As In the case below, the key of Ab is evident, (shown in { circles}. ; EXAMPLE 3 = = xi-o eo mr noe On 1. ' fel Bh eb7 & :she : — KEY CENTERS ne same thing would be true of Harmonic and Melodic Minor scales. Each type of le generates its own scale harmonies that remain the same regardless of the key. THE HARMONIZED HARMONIC MINOR SCALE (Key of A minor) | 6 TO LAY WITHIN KEY CENTERS i \ | { | tay ice the scale is the mother of the chords, it naturally follows that once the mother scale ee | heen discovered for a sequence of chords, that the notes of that scale can be weed te | 2 sola line. In all studies to follow, the key centers have been bracketed above the i i ; { 1G progression. Observe these key centers with care and for each new one, move your vito * convenient fingering pattern for that particular scale and do your improvising ‘het region of the guitar. There are five such patterns for any given scale, And cach these five are movable up or down the neck to the selected key or. they may be connected increase’the range. ~~ addition to being able to logically calculate key centers fron an analysis of the progres- on, the ability to play over changes by ear, can be viewed as the ideal end result. The i cject lessons offer a pérfect vehicle for the development of this ability. Se eee: THE FINGERBOARD In the event that the layout of scales on the fingerboard are not all together clear to the reader, the following is a brief description. There are five tone patterns for the diatonic major scale. The mechanics of the fingerings center around the use of a finger per fret, although in most cases it becomes necessary to reach out of position one fret either above or below the basic position with the first or fourth finger. This is no big deal. Each pattern may be moved up or down the fingerboard for access to any key, including the open positions. When these patterns are laid end to end, they cover the entire finger- hoard for any one key. The available working range can be extended by connecting one pattern to another, All other scales can be produced through modifications of these diatonic patterns, (using the same five basic forms.) For example, the relative harmonic minor scales can be quickly learned by simply sharping the fifth scale step of the diatonic scales, which is the same as sharping the seventh of the relative minor scales. Also, arpeggios will be easier to handle if they are played within a scale pattern that cor responds to the key center from which the chord is derived, e.g, the progression Dm? Gm?, Cm7, F7 is 2 Ill, VI, I, ¥ Progression in the key of 8b. ‘Therefore. one would select one of the five patterns for that key and play the arpeggios in that pattern. Each pattern shown here starts with the lowest available in the range of the pattern going to the highest, (not from tonic'to tonic). The tonics are circled for clear visual targeting. For identification, I haveiarbitrarilly numbered the patterns one through five in the key of C Major, starting with the open position as number one, the progressing to the next higher pitched patiern as number two end so forth. Each disgram Is accompanied by an example in music notation, with some suggested fingerings shown above the notes, and the string numbers below in circles. Feel free to change the fingerings to anything more comfortable. ee ml |i i “= fingerings may be open to change at any time. THE FIVE FINGERING PATTERNS i Move this pattern out of the open position to other keys using the first finger as a cepo. Fingering Pattern Number One © § 3023023 02013013 sosdae 000000 Fingering Pattern Number TwoFingering Pattern Number Three Fingering Pattern Number Four Fingering Pattern Number Five ‘NECTING THE FIVE PATTERNS. c There ere essentially three "moves" involved in moving from one pattern to another. (1) Position skips, i.e. from pattern one to pattern four, done smoothly without a break in rhythmic or melodic continuity. (2) Stretching from one psttern to the next, ascending or descending; or (3) Sliding on the half steps, as demonstrated below.LINE SHAPING ; : f * i In that the studies in this book are deliberately limited to rhythms of uninterrupted i Guple and triple time, interesting rhythmic figures or motifs cannot be used to brighten i Upithe solo lines. ‘Therefore, your choice of melodic tone sequences will become the i insjor device for creating interesting lines. So to help form a perspective on this subject, the following fs @ brief outline of some basic Tine shaping elements for consideration. \ (Scales, Interval Skips, Arpeggios) | i co WON TONES ‘A common tone is 2 note that is common to two or more chords, a very simple technique but not to be overlooked, i-e. when playing non-stop eighth notes, or triplets, etc., it _ ‘not necessary to keep the line moving at all times. The line ‘can be flattened out ice relief from excessive vertical movement. Example 5 Bhing7 Ded Font thant brs ! eet peppers z =e i HSS Ee pees SCALES Create smooth rolling lines. Some of the more common scales you may use are: The Chromatic Scale (Symetrical, consecutive } steps) Example 6 z | 2 ner i | —— ee aa 7 ae The !istonic Major Scale (with } steps between the 3rd/4th and 7th/Bth scele steps ai co with lines between the notes ( o————o . Example 7 (C Major) eS i : | a ; 2 i The Natural Minor Seae | Example 8 (A minor) . t ! } oes = i~ LINE SHAPING he Relative Harmonic ieps.) nor Scale (with $ steps between the 2nd/3rd and 7th/sth scale xample 9 (A harmonic minor) ' z 3 + s 6 7 & Scale (with 4 steps between the 2nd/3rd and 7th/ath scale steps 1g back to the natural minor descending. NOTE: The ascending and nding rules here are a technicality, which in the final analysis may be disregarded ‘ f the existant bar harmony, e.g. the key A minor, the bar harmony is E759 © nyulu more than likely use F ascending or descending. xomple 10 (A melodic minor) = - go 4 6 s 4 3 zz he Diminished Scale (symetrical, consecutive whole step and half steps) most commonly seo over dominant 7th chords or diminished chords. xample 11 The Whole Tone Seale (symetrical, consecutive whole steps) most commonly used over Jominant 7th chords, Example 12 9 = — 2 SSS oLINE SHAPING The Major Pentatonic Scale (same as diatonic major with the active tones 3rd and 7th left cul), When harmonized creates inversions of a Major 6/9 chord, with little gravi~ tational pull toward any key center "depending on the usage". Examsle 13 { Arpeggios are specifically chords, broken up into single notes. They are effective in out fining the bar hermony and offer a nice contrast to scale movement as they create smooth rolling lines, at sharper angles than scales. Example 14 Dent Pe tea cmaj z : atte, 5 Bete reeset titted eee ape 1a) INTERVAL SKIPS Interval skips create sharp, dramatic lines. An intervel is the distance between any two ci. Large interval skips can be 2 valuable tool for creating interesting lines and can heve 2 crematic effect in breaking up the monotomy of excessive scale movement. Any = once of interval skips, 3rds, 7ths, sths, etc., can easily be applied to z key center ying scale intervals that take into account the half steps of the scale, thus, resulting in combinations of major and minor 3rds or major and minor 7ths (not, pereliel 3rds, 7ths, etc.) f % Example 15 bis A most common complaint of beginning improvisors is thet their playing tends to become too stale-like. One solution to this could be to stop playing things that "sound" like seales, for example, as an exercise, don't play more than 3 or 4 scale tones in the some Girection, e.g. this type of scale movement cfeates interval skips, small and large, thus breaking up the scele effect. : Example 16 tte itstep 3 50 MINUTE PROGRAM Step 4 Step 5 Step 6 step 7 step & Step 9 - Step 12 Total 2 min 10 min 2min 10 min 2 min #0 min 2 min 10 min 2min 50 min WEEK ONE PROJECT LESSON I-A f Soa cnditenpe Cbiectve: a =-60) Clear your work area of all things not pertaining t° thislesson. Tune your guitar. Warm up. Play notes slowly at all parts of the fingerboard. Herm ve: To eliminate any ‘flams™ between the right and left hands. e play eighth notes once through the progression *e esteblish your fempo of the day ~ the speed at which you can play through the piece without mistakes. Mark down the day's tempo in the appro- priate box below. L0G OF DAILY METRONOME SETTINGS Day1 Day 2 Day 3 Day 4 Day 5 _Day 6 Day 7 L Pace Pre-record yourself playing the chord changes (sustained - no Thythms), with the metronome nearby 30 h3t It ‘will sound on the ~ Tvellike a click track. Repeat the progression non-stop for 10 minutes. > [42 preak! Set the qullar down. Stand up and rewind the nacht Break Bet notion on the chord progression. | Know te ood Fees erie the prnuressigm, oat st ot" URaes PY into your head". : Play uninterfupted eighth-notes over the progression as it is played back, to the conclusion of the pre-recording. ** Breck! Set the guitar down, stand up and stretch, etc: Play uninterrupted eighth-notes to the conclusion of the Pre recording. 5 Break! Rest away from the guitar. Lie down, etc. Play uninterrupted eighth-notes to the conclusion of the pre- recording. Break! Lie down, ‘Relax all parts of the body. Close your eyes: Bra te vand rhythmicsily. Practice visualizing yoursel! Blaying the project the way yeu wish you hed Check off each step as It Is finished. 20oma? sh tngitin © aeat my, PLAMELE FOR PROJECTLE ss 5) The following is a model of the type of solo line to ie vised In this project lesson. ‘It ts source material (2 beer BE peference only. The idea of the project lesson is for want TRumerovise your own line on the spot and not to memorive this example. It's fine If you want to analyse and menorice this for your own purposes but it is not the objective of the ! Project laeson. ~~ gbpca) ae 2 Meese 24848 3 oleh Slap tt SERPS Ics eaRE ARATION Step 2 Step 3 50 MINUTE PROGRAM Step 4 Steps Step 6 # step 7 Step 8 Step 9 Step 10 Step Total 2 min 10 min, 2 min 10 min 2min 10 min 2 min 10 min 2min WEEK TWO PROJECT LESSON 1-8 Week End Tempo Objective J = 72 Clear your work area of all things not pertaining to thislesson. Tune your guitar. Warm up. Play notes slowly at all parts of the fingerboard. Objective: To eliminate any "flams" between the right end left ~ hands. Play eighth notes once through the progression to establish your tempo of the day - the speed at which you can play through the Piece without mistakes. Mark down the day's tempo in the appro- Priate box below. 4 LOG OF DAILY METRONOME SETTINGS LOG OF DAILY METRONOME SETTIN Day 1 Osy/2_Day 32 Day 4 WDayi5) Day 6 Day.7 C2l6o let Pre-record yourself playing the chord changes (sustained - no rhythms), with the metronome nearby so that it will sound on the tape like a click track. Repeat the progression non-stop for 10 minutes. Break! Set the guitar down. Stand up and rewind the machine Focus your attention on the chord progression. Know the key fegteré and memorize the progression. "Get it off the paper and into your head” Play uninterrupted eighth-notes over the progression as-it Played back, to the conclusion of the pre-recording. Break! Set the guitar down, stand up and stretch, etc. Play uninterrupted eighth-notes to the conclusion of the pre- Break! Rest away from the guitar. Lie down, etc. Play uninterrupted eighth-notes to the conclusion of the pre: recording. Break? Lie down. Relax all parts of the body. Close your eyes. Breathe deeply and rhythmically. Practice visualizing yourself playing the project the way you wish you had. Check off each step as it is finished, 24 Pe OUN Ee enittD ee ce ite aaaae : —zini—0 ohio Se is Soars cha 36° 3h. ae DA(-s) D0. Perehefat 226006 @ Of WEEK THREE PROJECT LESSON 2-A : Week End Tempo Objective d = 84 PREPARATION Step 1 Clear your work area of all things not pertaining to thislesson. Step 2 ai (eur gular, Step 3 Werm up. Play notes slowly at all parts of the fingerboard. Objective: To eliminate any "flams! between the right and left ee 50 MINUTE PROGRAM Step 4" 2sin Flay eighth nates onc through the progression to establish your fempo of the day - the speed at which you can play through the Piece without mistakes. Mark down the day's tempo in the appro Priate box below, LOG OF DAILY METRONOME SETTINGS OF DAILY METRONOME Si payl Day 2 Day 3 Days Days Day6 Day7 7 TSA StepS 10 min re-record yourself playing the chord changes (sustained - no rhythms), with the metronome nearby so that it will sound on the tops ike 2 click track. Repeat the progression non-stop for 10 minutes. : Step 6 2 min Break! | Set the guitar down. Stand up and rewind the machine. Focus Your attention on the chord progression, Know the key fiulers and memcrize the progression. "Get it off the paper cad into your head", terrupted eighth-notes over the progression as it I» Step7 10min Play ui Played beck, to the conclusion of the pre-recerding, Step8 2 min Break! Set the guitar down, stand up and stretch, etc. Step 2 10min Play uninterrupted elghth-notes to the conclusion of the pre- recording, : Step 10 2min Break! Rest away from the guitar. Lie down, etc. i Step 1110 min Py uninterrupted eighth-notes to the conclusion of the pre- i recording. Step 122 min Breathe Gio Gown: | Relax all parts of the body. Close your eyes. prvi’ Geeply and rhythmically. Practice visualizing Yourse? Playing the project the way you wish you had. Total 50 min Check off each step as it is finished, 28= 2 33 aed ahs. 3 $5 4S oe ——— =| @ = el eae t adn? aba I aha aban See 3 20 2bP ee ae So =| @ ©pry.) pir Bt ths ihe “ee se ge Bat Bi bc ©f 4 Dai? Lig Meaty ri ethe ty 4 ae bo 4 44,! iets ee nbd Eis =¢ — +E 00 sooo vag ogCon eee ‘ WEEK FouR PROJECT LESSON 2-8 Week End Tempo Objective J = 9% PREPARATION Step 1 Clear your work area of all things not pertaining to thislesson. Step 2 Tune your guitar, Step 3 Warm up, Play notes slowly at all parts of the fingerboard. Objective: To eliminate any “flams" between the right and left hands. 50 MINUTE PROGRAM tempo of the day - the speed at which you can play through the Blece without mistakes. Mark down the day's tempo in the appro~ Priate box below. Z LOG OF DAILY METRONOME SETTINGS . EOC OF DAILY METRONOME SETTINGS payl _Day2 Day 3 Days Days bay6. Day7 eat > ake Steps 10 min" Fre-record yourself playing the chord changes (sustained ~ ne rhythms), with the metronome nearby so that it will sound on the tape like a click track. Repeat the progression non-stop for 10 minutes. De Steps evan Break! | Set the quitar down. Stand up and rewind the machine Focus your attention on the chord progression. Know the hey fenters and memorize the progression. "Cet it off the, paper ind into your head". a Step 7 10 min Play uninterrupted eighth-notes over the progressioi as it Is Played back, to the conclusion of the pre-recerding. Step8 22min Break! Set the guitar down, stand up and stretch, etc. Sip © 10min * Play uninterrupted eighth-notes to the conclusion of the pre- recording. {Step 10 2 min Break! Rest away from the guitar. Lie down, ete. Step 1110 min Flay uninterrupted eighth-notes to the conclusion of the pre- recording. 2 Step 12 2min Break! Lie down. ‘Relax all parts of the body. Close your eyes. plain’ Geeply and rhythmically. Practice visualizing Yourset? : Playing the project the way you wish you had. i ; Total 50 min Check off each step as it is finished. 32 ieee name Se = a ninef aon = j Slit Cnt is a apt 33“Dut beeen) @O® Daw ‘at AG Ma feet “Fen Le 4G eet L..Bust i: Gm” sen 4 ae a4 el i cptseetle fistseek Five Clear your work area of all things not pertaining to thislesson. Step 2 Tune your guitar, Step 3 Geis, ity potes slowly af all paris of the fingerboard. haleetive: To alininate any Tamer eee the right and eft wands: Step§ 2 min Tat eighth notes once through ‘the Progression to establish your tempo of the day ~ Briste eenout mistakes. Mark down the dey! Priate box below, LOC OF DAILY METRONOME SETTINGS peel _Deyd Day 3" Day § Boys Day Day 7 ! LOOP Ca Los es | sep 5 10 min Pre-record-yourself Playing the chord changes (sustained rhythms), wi ith the metronome nearby so thetit will sound on the tape like a click track. ession non-stop for 19 minutes. Repeat the progr; 2 min Beco (Setithe Guitar down. stargi Focus your attention on theses P centers and me; { into your head! UP and rewind the machine. Togression. Know the key morize the progression. "Get It off tre Paper and Step7 10 min Pray uninterrupted eighth-notes ever the progression‘as it is Played back, to the conclusion of vie pre- recording. eee one Breaky) Sstithe, guitar down, stand UP and stretch, etc. este o). toms Fatd uninterrupted eighth-notes to the conclusion of the pre- ; " : recording, Step 102 min BAGH) Rest atlay trom the guitael gi down, ete. Step 11 10 min Play uninterrupted eighth-notes to the Conclusion of the pre recording, ; Step 12 2min Break! ile down. Relax all parts of the body. plantihe deeply and rhythmicaily . isving {he'Project the wey, yeu Close your eyes Practice visualizing yourself | ish you had. Total 50 min Check off each step as it is finished,a ee tae a ee ee. Dmg, 4743 fl pa Seles soo et Oo- bm? pa + a 1341 1 3143 38a tk —— osama mas as f a WM) / Ba Aca a : 2 is > . ee ey ee : ‘en? “Be 5 shee ate 4.1! 3ithe Himes 342 ot ts CEOS he ti ene rtrd) = er 2 Sone eee O06 0 re) © DOK 30 Bons © © © 39Tae ery Re ae paaseer Elson #5 Week End Tempo Objective ai 420 50 MINUTE PROGRAM Step$ 2 min reby, cighth notes once through the progression ‘o esteblish your tempo of the day - the speed at which you can play through tne Plece without mistakes. Mark down the day's tempo in the appro- Priate box below, LOG OF DAILY METRONOME SETTINGS peyl Day? Day 3 Day¥ Days Days Day 7 I& Elia, ie StepS 10 min ‘Pre:record yourself playing the chord changes (sustained - no fhythms), with the metronome nearby so that it will sound on the ape like 2 click track. Repeat the progression non-stop for 1 minutes. aon Step6 2 min Foca! joottht guitar down. Stand up and rewind the machine. Focus your attention on the chord progression. Know the hey fanters and memorize the progression. "Get it off the panes tnd into your head". Step 7 10min Play uninterrupted eighth-notes over the progression’ as it is Played back, to the conclusion of the pre-recerding, Step 8 2 min Break! Set the guitar down, stand up and stretch, etc. Step 810 min Fay uninterrupted eighth-notes to the conclusion of the pre- recording, Step 10 2 min Break! Rest away from the gultar. Lie down, etc. Stép 1110 min Play uninterrupted eighth-notes to the conclusion of the pre- recording. 3 Step 12 Broek! Lie down. ‘Relax all parts of the body. Close your eyes. Breathe deeply and rhythmically, Practice visualizing yourself Playing the project the way you wish you had. | Total 50 min Check off each step as It Is finished. 40 EEEAn Big Ga F 7 p—_.pb4_ = £a a gq | 4 a STG ae a (EMA at 2 c ®° -60 oo eft 4 o ea i a g i i j & cr pb ; Fo Ba 4 fad aa —— 4 | k £ é F. .es ne LARS wow TO DO THE PROJECT LESSONS FOR THE SEVENTH WEEK (REVIEW) A six day series of Project Lessons. Each day we will deal with one of the Chord progression form the preceeding studies. DAY ONE Review Project Lesson 1-A DAY TWO Review Project Lesson 1-B DAY THREE - Review Project Lesson 2-A DAY FOUR Review Project Lesson 2-B DAY FIVE Review Project Lesson 3-A DAY SIX Review Project Lesson 3-B The reasons for this review are two-fold. To reinforce our memory of the chord progressions themselves and also of the devices we used to get through them. B. To do some clean-up Work on our tempo objectives and really focus on precision. This will help firm up our technique as it exists at this point in time. ine method of going about doing this, as before, a matter of regular disciplined iitay periods 25 outlined. Remember, however, that it's no big deal to outline it, the big deal is doing ayeee Te cee i PREPARATION Step 1 Step 2 Step 3 50 MINUTE PROGRAM Step 4 Step 5 Step 6 Step 7 Step & Step 9 Total 2 min 10 min 2 min 10 min 2 min 10 min 2 min 10 min 2min WEEK SEVEN PROJECT LESSON REVIEW Week End Tempo Objective J = /3.2 Clear your work area of all things not pertaining to thislesson Tune your guitar. O2rm up. Play notes slowly at all parts of the fingerboard, Pbjective: To eliminate any “flamsM between the right ond feft hands. Play eighth notes once through the progression to establish your tempo of the day - the speed at which you can play throvgn the aeecee Taout mistakes. Mark down the day's tempo in the oprre- Priate box below, LOG OF DAILY METRONOME SETTINGS payi Day 2 Day 3 Days Days Day 6. Day 7 l7z 24 lag a » Freirecord yourself playing the chord changes (sustained — no tpythms). with the metronome nearby so that it will sound on zhe fape like a click track. Repeat the progression non-stop for 10 minutes. Fenn costthe guitar down. Stand up and rewind the machine. Focus your attention on the chord progression. ‘Know the key fare gauandl Memorize the progression. "Get it off the paper dnd into your head". Figy uninterrupted eighth-notes over the progression as it is Played beck, to the conclusion of the pre-recording, Breok! Set the guitar down, stand Up and stretch, etc. Flay uninterrupted eighth-notes to the conclusion of the pre- recording, Break! Rest away from the guitar. Lie down, etc. i Play uninterrupted eighth-nctes to the conclusion of the pre- recording. Bresk! Lie down.. Relax all parts of the body. Close your eyes, Breathe deeply and rhythmically. Practice visualizing yourself Playing the project the way you wish you had. Check off each step as it is finished, 45CONTEMPLATE : YOUR PROGRESS TO THE END OF WEEK SEVEN YOU SHOULD FEEL A NOTICEABLE NEW CONFIDENCE AND SURENESS IN YOUR PLAYING TECHNIQUE CONTINUED PERSISTANCE TO THE END OF THE PROGRAM, EVEN THOUGH SOMEWHAT TEDIOUS AT TIMES, WILL RESULT IN THE FULFILLMENT OF YOUR GOAL IN ONLY THIRTEEN MORE WEEKS. GIVE YOURSELF A WELL-DESERVED PAT ON THE BACK FOR DILIGENCE, AND A SPECIAL REWARD FOR YOUR SUCCESS THUS FAR. x THEN, WITH RENEWED MOTIVATION, GO ON TO WEEK EIGHT. 5 a i { 46. pei etVe 2 f | HOW TO DO WEEKS EIGHT THROUGH > Play only eighth-note triplets, continuous « rests, No Phrasing. No hammer-on's. No p. ornamentation. Use Alternate Picking only. No two strokes in the s, €. strive to make up strokes sound as strong as dew. This will cause every other set of triplets to begin with a, stroke. C. _ Warning: De not set your metronome to a desired speed and try rise to meet it. Rather, use the metronome only to track your fro gress. Keep a daily record of your tempos in the boxes provided, (NOTE: Your tempo may vary slower or faster from day to day. This is to be expected.) \ D. Do each project lesson for six consecutive days, with one day off, Avold skipping = day, for whatever reason. The effect is very hazardous to progress. Regularity is essential. Now, follow the Peps feithfully ag given,PREPARATION Step 1 Step 2 Step 3 Step 5 Step 6 Step 7 Step 8 Step 9 Step 10 Step 11 Step 12 Total 10 min 2 min 10 min 2min 10 mi 2min 2min 50 min WEEK EIGHT PROJECT LESSON 4-A Week End Tempo Objective. eae Clear your work area of all things not Pertaining to this lesson. Tune your guitar. Warm up. Play notes slowly at all parts of the fingerboard. Pbiective: To eliminate any "flams” between the right and left hands. Bie yant note triplets once through the progression toveste- fish your tempo of the day - the speed at wivch veces play {rough the piece without mistakes. Mark down the day's tempo in the appropriate box below. LOG OF DAILY METRONOME SETTINGS SSS OF DAILY METRONOME SETTINGS Day1 Day 2 Day 5 ao a Fre fecord Yourself playing the chord changes (sustained - no (hythms), with the metronome nearby so tho it ail sound on the tape like a click track. Repeat the progrescion non-stop for 10 1 minutes. pecak! Set the quitar down. Stand up and rewind the machine. Focus your attention on the chord progression tegh the key fate eeuand Memorize the progression. "Get it off the Paper and into your head", pay, uninterrupted eighth-note triplets over the Progression as it i 's played back, to the conclusion of the preneoen ng. Break! Set the guitar down, stand up and stretch, ete. pisy uninterrupted eighth-note triplets to the conclusion of the Pre-recording, Break! Rest away from the guitar. Lie down, etc. pra Uninterrupted eighth-note triplets to the conclusion of the re-recording. Breathe Git, down. Relax all parts of the body. Close your eyes. Breathe deeply and rhythmically. Practice visualizing yourself Playing the project the way you wish you had’ Check off each step as it is finished. 2Bay nat ls Bran Yen a Pane :d Lm fo 4 5 j G See a 30 BUT tn — pitsrO-6 am oe A Si Bou LE ==pale Deuba) I Ca! a a ft see oe eae tia i, @ ©d6o > Diya’ E (= Ga 4 7 fete a 2 as aoe ‘ ES Seto tes q ——— Peete eee wD 080 St cs a sar =e Vr é cant se eed she bes 4 Ras ei 0G Of90°8 oe= 7 Com : "BBGa) = Hi Fede aster tts ee aaa: eePREPARATI Step 1 Step 2 Step 3 50 MINUTE PROGRAM Step 4 2 min Step 510 in Step 6 2 min B Step7 10min Step 8 2 min Step.9 10 min Step 10 2 min Step 1110 min Step 122 min Total 50 min teen WEEK NINE PROJECT LESSON 4-B Week End Tempo Objective 10# Clear your work area of all things not pertaining to this lesson, Tune your guitar. Warm up. Play notes slowly at all parts of the fingerboard. Objective: To eliminate any "flams" between the Fight and left hands. Cidy, tighth-note triplets once through the progression to esta- flish your tempo of the day - the speed at which you con play through the piece without mistakes. Mark down the day's tempo inthe appropriate box below. LOG OF DAILY METRONOME SETTINGS pevt Day 2 Day 3 Day ¥ Day$ Day 6 Day? Pe viiescie yourself playing theicherdjchsnges. (sustained — no cayshine), with the metronome nearby s0 that It will sound on the tape like a click track. Repeat the progression Ron-stop for 10 minutes. Pecak qgatthe quiter down. Stand up and rewind the machine. eee 2 inion ott the chord aracsion” Krge we ee Ti oenterze the progressipatl *Get ft off the panes ind | into your head", iy tininterrupted eighth-note triplets over the progression as It 's Played back. to the conclusion of the pre-recordin, Break!’ Set the guitar down, stand up and stretch, ete. Brey uninterrupted eighth-note triplets 10 the conclusion of the Pre-recording, Break! Rest away from the guitar. Lie down, etc. Play uninterrupted eighth-note triplets to the conclusion of the pre-recording. Break! Lie down. Relax all parts of the body. Close your eyes. Plagne Geeply and rhythmically. Practice visualizing sourwat Playing the project the way you wish you hed> Check off each step as it is finished, 54js te€ —— = — EXAMPLE FOR PROJECT LF b 7 3 1 SSS Ue ae Oo 760 . ©fetomesesasy tt t q - y D ies (8) "he3 Bah tied og. pe cS pereupres esuaanTn Hes O° E80 S00 SS soS oo = — D 4 4 si epg eva nigh Ure ee iia sae aera ett PS OBOOO = Oe ae p fea) ae A abeua any 3.4 4 Fier fd beeh ppt 1 a eS oe ary =1 5 i r eB praca iePREPARATION Step 1 Step 2 Step 3 INUTE PROGRAM WEEK TEN PROJECT LESSON S-A Week End Tempo Objective 2 Clear your work area of all things not Pertaining to this lesson. Tune your guitar. = orm UP: Play notes slowly at all parts of the fingerboard. palgctive: To eliminate any "flame" betneet and right and left hands. Step 4 2 min Piid, Sighth-note triplets once through the Progression to esta~ fish your tempo of the day. the sted which you can play irguah the piece without mistakes’ Mark Gout the day's tempo : in the appropriate box below, LOG OF DAILY METRONOME SETTINGS Da METRONOME SETTINGS Da: Da Step5 10 min Fre-record yourself playing the chord changes (sustained - no taxhims). with the metronome nearby se ange it will sound on the tips memelick track. Repeat thaipaase reise Ron-stop for 10 minutes. Step 6 2 min Pecan post the guitar down. Stand up and rewind the machine. Focus your attention on the herd Progression. Know the key mize the progression. "Get it off the pons ond Step7 10 min e2y uninterrupted eighth-note triplets over the progression as it 's played back, to the conclusion of the Pre-recording. Step&, 2min “Break! Set the guitar down; stand UP and stretch, ete, Step 9 10 min Pay uninterrupted eighth-note triplets to the conclusion of the Pre-recording. Step 10 2 min Break! Rest away from the guitar. ‘Lie down, etc. Step 11 10min Pay uninterrupted eighth-note triplets to the conclusion of the Pre-recording, Step 12 2 min Be {oN Relax all parts of tha body. Close your eyes. Prreathe deeply and rhythmically. ‘Prectiens ualizing yourself Playing the project the way you wish young’ Total 50 min Check off each step as It is finished, 60Cr G Vr Arm — 1 Saree , Bete! A Coa? Bits) 29) Aru” — Aba? yy? GD7LSD 43B- Ba ed td — ed = I Sore mere oc | a mo 3 ele ao —#— a St ee tna” cael 2h! a? ea abs i. ites : A —— Ee ———— ea = 2 Tee"RENEE 5 gegen L REMINDER In the Growth Process, we all go through Periods in which we are activating new Nerve junctures, both in the brain and throughout other parts of the body. This type of growth work draws a tre- mendous amount of systemic energies. The overall physical feeling is like Pulling a train uphilland the psych= oloyicai spin-off is the feeling that we are getting nowhere. This will persist for some period of time. We then tend fo go into @ natural state of rest, a “plateau”. During this rest period, we tend to feel that we have the world by the tail and great progress is ta king place. Actually, the reverse is trué. The progress was made dur- ing the uphill climb, not during the rest period. The rest period will con- tinue for some period of time. Don't worry about it. Then the road will become very rough again,and we will begin to become aware of our weak- nesses. This will last until we select the specific area to attack first. will then begin the same uphill climb again and plateau again only to meet gur deficiences face to face again. So.on and on it goes, but your prac tice regimen must remain constant,tse PREPARATION Step 1 Step 2 Step 3 5. GNUTE PROGRAM Stop 4 2min + Step5 10min Step6 2 min Step 7 10 min Step @ 2 min Step 8 10 min Step 10 amin Step 1110 min Step 12 2 min Total 50 min WEEK ELEVEN PROJECT LESSON 5-8 Week End Tempo Objective J = /29 lear your work area of all things not Pertaining to this lesson, Tune your guitar. 2 Ootm uP. Play notes stowly at all parts of the fingerboard. Sbiective: To eliminate any "flams" between she Fight and left bands. Piay Cighth-note triplets once through the Progression to esta~ Tah your tempo of the day ~ the speed st oreey you can play nrguoh the piece without mistakes. Mark Gewniye day's tempo in the appropriate box below. LOG OF DAILY METRONOME SETTINGS pext Day 2 Day 3 Day 4 Day 5Day 6 Day 7 im {iz Tizelize Ponty tier aN Pleying the ENB Lhanices (sustained _ no. HARRY. with the metronome nesrbyite thas ft ce on the {pe like a click track. “Repest the progres non-stop for 10 minutes, Pycak! Set the quitar down. Stand up and rewind the machine CocuS Your attention on the chord propran io" Know the key Into youn W memorize the progression. "Get i off the paper and PY Uninterrupted eighth-note triplets over the progression as it is played back, to the conclusion of the Pre-recording. Break! Set the guitar down, stand up and stretch, etc. SEE LUE TURted cighth-note tetpletdte the conclusion of the Pre-recording, Break! Rest away from the guitar. Lie down, etc. Pay uninterrupted eighth-note triplets to the conclusion of the Pre-recording, Break! Lie down. Relax all parts of the body. Close your eyes. Breathe deeply and rhythmically. Precties visualizing yourself Playing the project the way you wish you nog? Check off each step as it Is finished,I i I r— G =. sete gD ania Mea A Ee ee pe Caaet) Af emt Dink ais! Dy = ne IB cata abe . ——— + 1 6 1 i j 5 | aha Pra! Pee oe! a G Aisi ptit-a) a a ye" aon" 5s Ee) gy Abeta bt Ue Ea aE Se I = FH = 3 es Hee io ° aeae = reeeraee at HY Ley — aan DREMINDERS swarm up for § minutes Riypleving notes all over the fingerboard. “Play very slowly, low, i bm elite, to develop 5 fetter warts at PAE oy eens, Notes plzycd Hohlup en ine neck Revert Bete Seino travel shanishailowlonteragese sae co- Stegttion problems between the left and righ attack the string simultaneously, Rare aaeeERE: trans Program, you will reach many moments in which you hate Tethe mE CH MER you always play". Beaune faye point in the tune and the next time around do something else,no stops Yes. the tape is running, and the next tine te coming right up. So welcome to the world of a hot improvisee NRO ORsnasmanewteee i PREPARATION Step 1 Step 2 Step 3 50 MINUTE PROGRAM Step 4 Step 5 Step § Step 9 Step 10 Step 11 Step 12 Total 2 min 10 min 2 min 10 min WEEK TWELVE Week End Tempo Objective J = /28 PROJECT LESSON ¢-A Clear your work area of all things not pertaining t Tune your guitar. Warm up. Play notes slowly at all parts of the Objective: To eliminate any "flams" between the ri hands. Play eighth-note triplets once through the pregre. blish your tempo of the day - the speed ut which y through the piece without mistakes. Mara cows th in the appropriate box below. LOG OF DAILY METRONOME SETTING Pre-record yourself playing the chord changes (si rhythms), with the metronome nearby so th.t it wil tape like a click track. Repeat the progression, nor minutes. Break! Set the guitar down. Stand up end rewind Focus your attention on the chord progression. Ks centers and memorize the progréssion. "Get ft into your head". Play uninterrupted eighth-note triplets aver the + fs played back, to the conclusion of the pru sc Break! Set the guitar down, stand up and stretch Play uninterrupted eighth-note triplets to the concl pré-recording, Break! Rest away from the guitar. Lie down, etc. Play uninterrupted eighth-note triplets to the conc Pre-recording, Break! Lle down. Relax all parts of the body. Clo. Breathe deeply and rhythmically. Practice visual Playing the project the way you wish you had. Check off each step as it Is finished,On , ee aia i 5 Da l-4005 Cor’ ght (ga gh? zu : — = = ' ae is a: : i= OD) Peete ce ee d ‘ ae 1 aie. 2h o } - 4{ i i EXAMPLE FOR PROJECT LESSON-GA wreSAY re PREPARATION Step 1 Step 2 Step 3 50 MINUTE PROGRAM Step 4 Step § Sten Step 7 Step 8 Step 9 Step 10 Step 11 Step 12 Total 2 min 10 min 2 min 10 min, 2 min 10 min 2 min 10 min 2 min 50 min WEEK THIRTEEN PROJECT LESSON «-B Week End Tempo Objective _d = /34 Clear your wark ares of all things not pertaining to this lesson. Tune your guitar. Oe UP: Play notes slowly at all parts of the fingerboard Padectives Tejsliminate any "risftstitiwean'the sent ca left hands. pipes cighth-note triplets once through the progression to este- tran Your tempo of the day - the speed at which you ean play TOTGUSR the Plece without mistakes. Mark down the day's tempo inv the appropriate box below. LOG OF DAILY METRONOME SETTINGS HSS OE DAILY METRONOME SETTINGS, Day! Day2 Day 3 Da Day5 Day 6 Day 7 a | Ee Fre;tecord yourself playing the chord changes (sustained — no | iythms), with the metronome nearby so that it will seord on che ipo cue IReK- Repent the’ei@grension non-stop for ve minutes. __ Feetiueeee tbetauiter down. Standlaetand rewind the mechine center rang ntantion on the chord progression. Know the Ker into youn ramemorize the progression. “Get It off the pence ond i into your head", Play uninterrupted eighth-note triplets over the Progression as it 1s played back, to the conclusion of the pre-recording. Break! Set the guitar down, stand up and stretch, etc. Firy uninterrupted eighth-note triplets to the conclusion of the Pre-recording, Break! Rest away from the guitar. Lie down, etc. s PRY uninterrupted eighth-note triplets to the conclusion of the Pre-recording. RONEN Breathe Ge Gown: Relax all parts of the body. Close your eyes. + plawitne (eeply and rhythmically. Practice visualizing yourself Playing the project the way you wish you had, Check off each step as it is finished.(a r eb ' scm? Dal = a | b= +g eer Al Dai? i =e =| fe oe = ! Te To oe Spe \ o ey Le ' I Gra Cir) Biuts Scaue 07 Gm Cm? C__ a ae 4 : = a f=——pO Go e f ® OOO SF 0 OOO ——s z ° a a uw zi = v uw ° % o « ° w uw 5 a = < xC1 aes SeaLk ng se Se co? pues O@ OO O8®O eGo + £ Pos seal Goa” ‘i = Se : : po SS eae: .. @ S6n 2 © § =a 7 c on 4 : c Gm im a 4 4 ts ei H i faa et 300 069 06@0 GO OOO @Sena e FO TO DO PROJECT LESSONS FOR THE FOURTEENTH WEEK (REVIEW) Gob Cay Series of Project Lessons. Each day we will deal with one of the chord progressions from the preceeding studies, DAY ONE Review Project Lesson u-A DAY TWO Review Project Lesson 4-8 DAY THREE Review Project Lesson 5-A DAY FOUR Review Project Lesson 5-8 ’ DAY FIVE Review Project Lesson 6-A DAY SIX. Review Project Lesson 6-B Play only eighth note triplets, continuous and uninterrupted. Me gests. No phrasing. No hammer-on's. No pull-off'cr ing ether ornamentation. "Nothing" but steady eighth note triplets. pie Alternate Picking only. No two strokes in the same direction, Ive. strive to make up’ strokes sound as strong.as down stan t2rning: De not set your metronome to a desired speed and try to sise to meat it. Rather, use the metronome only to teock your Tised. OED 3Gally record of your tempos in the boxes pron Wide. (NOTE: Your tempo may vary slower or fester fran day today. This is to be expected.) fyoid skipping a day. for whatever reason. The effect is very hazardous to progress. Regularity is essential. No, fallen are steps faithfully as given, Virrreesorm rani ieneWEEK FOURTEEN — PROJECT LESSON REVIEW Week End Tempo Objective d ite ciap Clear your work area of all things not pertaining to this lesson, : Sep 2 Tune your guitar. Step 3 Merm up, Play notes sloivly at all parts of thé fingerboard. ; Qbiective: To eliminate any “flams* between the right end left hands. } UTE PROGRAM 2 min Flay eighth-note triplets once through the progression to esta~ { si tnah Zour tempo of the day - the speed at which you can ploy Ie Ree the plece without mistakes. Mark down the day's terpo in the appropriate box below. | LOG OF DAILY METRONOME SETTINGS : ‘ patPev2 Day 3 Dey 4 Bays Dey 6 Day 7 | ote on Tinin’ fra tecard yourself playing the chard changes (sustained - no (pyths), with the metronome nearby so thst it will seued on che tape jike 2 click track. Repeat the progression non-stop for 10 | minutes. Step 6 2 min Breal Set _the_quitar down. Stand up and rewind the machine Foes your aitention on the chord progression. Know the hep Septers and memorize the progression. “Gel it off the paper ind into your head". Step 7 10 min Play uninterrupted eighth prea q ie triplets cver « sion os it 2 's played back, to the conclusion of the pre-vsco ding: F StepB ~ 2min Break! Set the guitar cown, stend up -+ h, ute. = tep.2. 10 min Play uninterrupted eig Iplets fo the +onchisfon of the } re-recording, i a Step10 2inin Break! Rest away from the euitar. Lie dawn, ote. | Doge ee ot nce | a Pre-revording. 2 Sip 12 ain Br come Actax alllptuIeeMibe foxy. Close your cys. Breathe deeply and rhythinically, Practice v Playing the project the way you wish you had. liking yourself Teal 50min Check off each stop as it is fintshid, n—— ee ee Oe ne ) gee {HOW TO DO PROJECT LESSONS FOR WEEKS F . : (21 DAY REVIEW) 5 Up to now, our goal has been to gradually rach a tempo of d= /4# with clean execution BP theend of the fourteenth week. Whether you hat or have not attained this tempo, by the ene the present maximum metronome setting (the setting at which you can play Through the project lessons free of mistakes). Now, using combinations of duple and triple time (see Ex. 18) $0 back and review PealectiVaneontsi1=A; thyooah/6-B. Do not allow yaur tenia 1 ‘become slower than your crest maximum metronome setting, but if your tempo inereeses during this period. i's just fine. 4k ee ea a oe example, 17 . Ae c rk Bra’ 4 oe 4 ‘ ‘ qs (upubhisend pee 28 £ ea en te = a == f ——= zi Poo ee O° ee Following is 2 2) day “gestation” period aimed toward affixing your present maximum Cetimique aa_a permanent reflex capability, 2 point et which ene tay 99 without playing Ter niong periods of time, but with about two to three weeks of practice, regain the full technique. ‘the following here Ig a suggested schedule (you may change the order at will WEEK FIFTEEN Day One Review Project Lesson I-A Day Two Review Project Lesson 1-B Day Three Review Project Lesson 2-A Dey Four Review Project Lesson 2-B Day Five Review Project Lesson 3-A Day Six Review Project Lesson 3-B'* WEEK SIXTEEN Day One Project Lesson 4-A Day Two Project Lesson 4-B \ Day Three Project Lesson 5-A f Day Four Project Lesson 5-B ; Day Five Project Lesson 6-A Dey Six Project Lesson 6-B || WEEK SEVENTEEN Day One Review Project Lesson 1-A \ Day Two Review Project Lesson UA { Day Three Project Lesson 2-A, : Day Four Review Project Lesson 5-A Day Five Review Project Lesson 3-A Day Six Review Project Lesson 6-A 2B{ Se aE te aE PREPARATION Step 1 Step 2 Step 3 Step 5 Step 6 Step 7 Step & Step 9 Step 10 Step 11 Step 12 Total 10 min 2 min 10 min, 2 min 10 min 2 min 10 min 2 min 50 min WEEK FIFTEEN PROJECT LESSON REVIEW Week End Tempe objective J = 2 Clear your work area of all things not pertaining to this lesson. Tune your guitar, Warm up. ‘Play notes slowly at all parts of the fingerboard. Objective: To eliminate any "flams" between the right snd left hands. Flay cumbinations of eighth notes and eighth note triplets once fhrough the progression to establish your tempo of the day ~ the gpeed at which you can play through the piece without miviaker Mark down the day's tempo in the appropriate box below Pay1 _Day2 Day 3 Day 4 Days bays oe Pre record yourself playing the chord changes (sustained - no rhythms), with the metronome nearby so that it will sound on the fape like ® click track. Repeat the progression non-stop for 10 minutes. LOG OF DAILY METRONOME SETTINGS HOC OF DAILY METRONOME SETTINGS Break! Set the guitar dawn. Stand up and rewind the machine Focus your sttention on the chord progression. ‘Know the key fate anand manorize the progression. "Get it off the paper snd into your head". Play uninterrupted eighth notes and eighth note triplets over the Progression as It Is played back, to the conclusion of the Pre-recording, Break! Set the guitar down, stand up and stretch, ete. Flay uninterrupted eighth notes and eighth note triplets to the” conclusion of the recording. Break! Rest away from the guitar. Lie down, etc. Flay uninterrupted eighth notes and eighth note triplets to the conclusion of the pre-recording, Break! Lie down. Relax all parts of the body. Close your eyes. Breathe deeply and rhythmically. Practice visualizing yourself Playing the project the way you wish you had. Check off each step as it is finished.y é coer PREPARATION Step 1 Stan? 20 MINUMESEROGRAM, Step 4 2 min Step 5 Step 6 2 min Step 7 10 min Step8 2 min Step 9 10 min Step 10 2min Step 1110 min Step 12 2min Terai 50 min WEEK SIXTEEN PROJECT LESSON REVIEW 160 Week End Tempo Objective_d Clear your work ares of all things not pertaining to this lesson. Tune your guitar. Werm up. Play notes slowly at all parts of the fingerboard. Objective: To eliminate any “flams" between the right and Icft hands. Play combinations of eighth notes and eighth note triplets once through the progression to establish your tempo of the day ~ the speed at which you can play through the piece without mistskes. Mark down the day's tempo in the appropriate box below. LOG OF DAILY METRONOME SETTINGS Day Day2 Day3 Day4 Days Days Day7 Pre-record yourself playing the chord changes (sustained ~ ro rhythms), with the metronome nearby so that it will sound on the tape like a click track. Repeat the progression non-stop for 10 minutes. Break! Set the guitar down. Stand up and rewind the machine. Focus your attention on the chord progression. Know the key centers and memorize the progression. "Get it off the paper and into your head". Play uninterrupted eighth notes and eighth note triplets over the Progression as it is played back, to the conclusion of the Pre-recording. Break! Set the guitar down, stand up end stretch, etc. Play uninterrupted eighth notes and-eighth note triplets to the conclusion of the recording. Break! Rest away from the guitar. Lie down, etc. Play uninterrupted eighth notes and eighth note triplets to the Conclusion of the re-recording. Break! Lie down. Relax all parts of the body. Close your eyes. Breathe deeply and rhythmically. Practice visualizing yourself, playing the project the way you wish you had. Check off each step as It Is finished. 80ae Bid a : 3 WEEK SEVENTEEN PROJET LessoN REVIEW Week End Tempo Objective a =/68 PREPARATION F Step 1 Clear your work area of all things not pertaining to this lesson. Step 2 Tune your guitar. Step 3 Warm up. Play notes slowly at all parts of the fingerboard. Objective: To eliminate any "flams" between the right and left | hands. 2 | 50 MINUTE PROGRAM i Step 4 Play combinations of eighth notes and eighth note triplets once through the progression to establish your tempo of the day - the speed at which you can play through the piece without mistakes. Mark down the day's tempo in the appropriate box below. LOG OF DAILY METRONOME SETTINGS Day1__Day2 Day 3 Day § DayS Day 6 Day a Lad TT enemas aeeaeeiee: Step 510 min Pre-record yourself playing the chord changes (sustained - no 4 rhythms), with the metronome nearby"so that it will sound on the tape like @ click track. Repeat the progression non-stop for 10 minutes. Step 6 2 min Break! Set the guitar down. Stand up and rewind the machine. Focus your attention on the chord progression. Know the key i centers and memorize the progression, "Get it off the peper and | into your head". Step 7 10 min Play uninterrupted eighth notes and eighth note triplets over the Progression as it is played back, to the conclusion ofthe Pre-recording, ep 8 2 min Break! Set the guitar down, stand up and stretch, etc. Step $10 min Play uninterrupted eighth notes and eighth note triplets to the conclusion of the recording. Step 10 2 min Break! Rest eway from the guitar. Lie down, etc. © Step) 10 min Play uninterrupted eighth notes and eighth note triplets to the conclusion of the pre-recording. Step 12 2 min Break! Lie down. Relax all parts of the body. Closé your eyes. Breathe deeply and rhythmically. Practice visualizing yourself playing the project the way you wish you had, Total 50 min Check off each step as It is finished.WEEKS EIGHTEEN, NINETEEN AND TWENTY (REVIEW) HAMMER-ON'S, PULL-OFF'S, AND SLIDES Hout and cant in the program. our technical resources have been limited to {a) alternate te inchanie fey trokes and (b) duple time and triple time. Now let's expand the estan to include (a) hammer-on's, (b) pull-cff's and (c) glissandi or slides, By introducing these devices into your work studies, you can expect an almost immediate, seamen ic, acceleration af technique In general. Ons main reason for this le that the Guties of the picking hand are greatly reduced, in that 2 or more tones cant tat played with only one picking stroke. In Example 15, seven notes are sounded with eat yack Bee AG tecbin chomn as { } ) means otitecantonn ar up areke aoe be used. Exemple 18 Fradere of you who have been playing for sometime, hammer-on's pull-off's, and fides are nothing new. But for those who may not be so familiar with tage ten following examples briefly describe and demonstrate the baste princinies, sitesee ee “] enue sage 2 HAMMER-ON'S The Hammer-on technique Hself Is a very straight ahead move. (a) Strike a note being pressed with the 1st, 2nd, or 3rd finger (b) while the string is still vibrating, slam (hammer) your 2, 3, or 4th finger down on the same string. This "strong hammer-like action" produces another tone (higher in pitch) without having to strike the string again. Thus we are able to sound 2 or more notes for the price of one picking stroke, NOTE: Not only is It important to hammer-on strongly enough to sound like 2 plucked string, but the rhythmic character of the passage must be precise. : Example 19 tue tno t wo t we 77500. ae pe ela iS tone Tu. fe oe oe 1 ego oe fae @ It should be pointed out that It is possible to sound any tone, group of tones or chords without any initial pick stroke at all, if the hammer-on is forceful enough. This is especially true If the amplifier is turned up to a high volume setting.ab(7% ee ld Ub = da had iy ae ae ee PULL-OFF'S Tene of yous technique involves fingering preparation. (a) Press down the primary TREE GREE Teac ae muinetnetst, 2nd or ard fiduerey these core holding Mian teeing) Press down a preparatory tone (higher in pitehon tre same string) Hera arn oeaunfingers:_(c): Pluck thei pesnarseecr (higher) tone and Phil the string Is vibrating, (d) pull the finger (playing the higher pitch) away from the string, toward the side of the fingerboard Ic Plucking action. This stows tne jower note (still being held) to sound. In othr ann, pick the string @ second time with the fingering hand. The pull-off checid’ ee strong enough to. Rica eg, falld tone approximating the loudness of the originel (picked string) spss aTeat care should be taken to maintain rhythmic comet of the pull-off “Don't rush, or drag the time.” Keep the rhythmic cherecter ot the phrase precise. Example 20, ro. eo ea. eo. Pa. ee eae eee ape eS £ay i —~, wow Kit ERE eer po Example 21” Combinations of Hafmer-on's and Pull-off's. EE ee yam : zt ELSE ¢ 4p Litt =er ee The execution of the gliss (or glissando) simply involves sliding from one note to another. The slide may cover one or more frets, either ascending or descending and may be used for chords as well as single note playing. Pick the first note or notes and, without lifting the finger(s), slide up or down to a new note or notes. The slide is indicated as 2 Tine connecting one note to another. Example 22 HOW TO BO PROJECT LESSONS FOR WEEKS EIGHTEEN, NINETEEN AND T Review the following Project Lessons incorporating hammer-on's, pull-off's and slides. Do not break away from the program or time frames. The following is a suggested schedule (you may change the order at will). WEEK EIGHTEEN ‘Day One Review Project Lesson 1-A Day Two Review Project Lesson 1-B Day Three Review Project Lesson 2-A Day Four: Review Project Lesson 2-B Day Five Review Project Lesson 3A. Day Six Review Project Lesson 3-B WEEK NINETEEN Day One Review Project Lesson &-A Day Two Review Project Lesson U-B Day Three Review Project Lesson 5-A Day Four Review Project Lesson 5-B Day Five Review Project Lesson 6-A Day Six Review Project Lesson 6-5 WEEK TWENTY Day One® Review Project Lesson 1-B Day Two Review Project Lesson 4-B Day Three Review Project Lesson 2B * = Day Four _ ° Review Project Lesson 5-B Day Five Review Project Lesson 3-8 Day Six Review Project Lesson 6-8 85PREVAKATION } Step 1 50 MINUTE PROGRAM Step 4 2 min Step 5 10 min Step 6 2 min Step 7 10 min Step8 2 min Step g 10min Step 10 Yimin Step 11 10 min Step 12 2min Total 50 min v8 98 — ee 1 web EIGHTEEN PROJECT LESSON REVIEW Week End Tempo Objective, d= 176 | Clear your work area of all things not pertaining to this lesson. Tune your guitar. i Warm up. Play notes slowly at alll parts of the fingerboard. Objective: To eliminate any "flams” between the right and left hands. Play combinations of eighth notes and eighth note triplets using hammer-on's, pull-off's and slides once through the progression to establish your tempo of the day - the speed at which you can play through the piece without mistakes. Mark down the day's tempo in the appropriate box below. LOG OF DAILY METRONOME SETTINGS Day! Day2 Day 3 Day § DayS Day6 _Day7 ie Pre-record Yourself playing the chord changes (sustained - no rhythms), with the metronome nearby so that it will sound on the tape like a click track, Repeat the progression non-stop for 10 minutes. Break! Set the guitar down. Stand up and rewind the machine. Focus your attention on the chord progression. Know the key i centers and memorize the progression. "Get it off the paper and into your head! Play uninterrupted eighth notes and eighth note triplets using hammer-on's, pull-off's and slides over the progression as it is ' played back, to the conclusion of the pre-recording. Break! Set the guitar.down, stand up and stretch, ete. Play uninterrupted eighth notes and eighth note triplets using hammer-on's, pull-off's and slides to the conclusion of the i pre-recording. Break! Rest away from the guiter. Lie down, etc. Play uninterrupted eighth notes and eighth note triplets using hammer-on's, pull-off's and slides to the conclusion of the pre-recording. Break! Lle down. Relax all parts of the body. Close your eyes. Breathe deeply and rhythmically. Practice visualizing yourself Playing the project the way you wish you had. Check off each step as It is finished. 86WEEK NINETEEN PROJECT LESSON REVIEW Week End Tempo Objective d = /84 PREPARATION Step 1 Clear’ your work area of all things not pertaining to this lesson. Step 2 Tune your guitar. Step 3 Warm up. Play notes slowly at all parts of the fingerboard. ! Objective: To eliminate any "flams" between the right and left} hands. ! 50 MINUTE PROGRAM i Step 4 2min Play combinations of eighth notes and eighth note triplets using hammer-on's, pull-off's and slides once through the progression to establish your tempo of the day - the speed at which you can play through the piece without mistakes. Mark down the day's tempo in the appropriate box below. LOG OF DAILY METRONOME SETTINGS Day! Day2 Day 3 Day ¥ Day$ Day6 Day 7 od Step 510 min Pre-record yourself playing the chord changes (sustained - no rhythms), with the metronome nearby so that it will sound on the tape like a click track, Repeat the progression non-stop for 10 | : minutes. I Step 6 2 min Break! Set the guitar down. Stand up end rewind the machine. Focus your attention on the chord progression. Know the key centers and memorize the progression. "Get it off the paper and to, your head". Step? 10 min Play uninterrupted eighth notes and eighth note triplets using hammer-on's, pull-off's end slides over the progression as it is Played back, to the conclusion of the pre-recording. Step 8 2 min Break! Set the guitar down, stand up and stretch, etc. } Step 9 10 min Play uninterrupted eighth notes and eighth note triplets using hammer-on's, pull-off's and slides to the conclusion of the re-recording. Step 10 2 min Break! Rest away from the guita-. Lie down, etc.’ Step 1110 min Play uninterrupted eighth notes and eighth note triplets using hammer-on's, pull-off's and slides to the conclusion of the pre-recording. Step 12. 2 min Break! Lie down. Relax all parts of the body. Close your eyes. | Breathe deeply and rhythmically, Practice visualizing yourself | playing the project the way you wish you had. 50 min Check off each step as it is finis‘ed. i 87