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    Steve Vai 30 Hour Workout Completo PDF Free

    Uploaded by

    Ak S

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    © All Rights Reserved
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    of 16
    Rou a ie 7 HTENMENT” Li G N E PCa aS 3 A WORKOUT PHILOSOPHY ve always believed that everyone has the ability to dis cover and cultivate his or her ‘own unique voice on an instru- ‘ment; doing so requires that one listen o one’s inner voice and then find che courage to express. To that end, the ‘Workout is not meant to steer students into sounding like someone else but co equip them ‘wich some of the tools that are essential to iscovering their own voice, while simultane. ‘ously helping them become thoroughly bal- ‘anced musical beings. [should note that this program is geared for people that love the chellenge of dis: plined curriculum and truly want ro master the instrument. The concept behind doing so is easy: starcby playing something—a bend, a riff. scale, a song—very slowly; if you make ‘a mistake, start over; do this over and over, until you can play it favlessly—and 1 do ‘mean flawlessly —many times ina row. Next, ‘gradually increase the tempo. Eventually youll be flailing about ike a madman. ‘This doesn’t necessarily mean you will become a great musician or songwriter. Those are talents that can'tbe taught; you're either ‘born with them or need to discover them within yoursel? BEFORE YOU BEGIN Tune your guitar. Nover play outof tune unless for a desired effect, such WP es working ona quartercone scale...or playing alternative rack music for pop radio consumption, Focus. This is the most important element In this program. The way you mentally approach this or any other exereise is more {mpercant than putting in the hours and going chrough the motions. It is tremendously impor- rant that you gear up mentally for practice, i, rehearsal, songwriting —whatever youre going redo. Understand that the atdiude and frame ‘of mind you have when entering into a focused endeavor is one of the few things yon do have within your power. Remember: Ie all inthe ‘mind! You can basically convince yourself of anything and make it happen. CATEGORIES Tve divided the 30-Hour Workout into eight categories: 1. Exercises 2.Seales 3. Chords 4 Ear training, 5. sight-reading 6. Composing/songveriting 7. tusie theories 8, Jamming In addition, Tve arranged these categories into three 10-hour perday sessions. Bearin mind that the amount of time and focus you put into che program will be directly reflected sm your playing. 1 feel these categories provide a good mix of the various elements that go into becoming thoroughly rounded musician. Note, howev- er, that Iwill only be outlining concepts here; Is upto you to research and discover more on your ovn, There are plenty of instructional books, CDs and DVDs on the market, and ‘many schools offer home study courses that teach you al types of finger exercises, chords, seales, theory and ¢o on. In addition, guitar rejatad information is plentiful on the inter- net, Of course, I encourage you to explore oth ex categories, ideas and concepts not mentioned here. Thats one of the great things about playing the guitar—there are essentially no rules, and a person's ability tobe unique is only limited by their courage and imagination alchough the Workout is geared toward a rock tye of playing, you may want to subst ‘ute various elements that are moze appropri= ate forthe style of music you're interested in, Ifyou decide you don’t want ro learn conven: tional things, you may choose to replace one ‘or more of these categories with things that ‘you're more comfortable with. You'll have to ‘come up with them, though ‘One last note: When I was @ young practic {ng musician, I would keep a log of all the time I spenton the instrument, with a specific breakdown of everything I did. [guess was Juscanal that way. While this approach worked for me, it may not befor everybody. It does, however, help you to chare your progress. FINGER EXERCISES Finger exercises are great for developing dexterity and control. When performing them, pace yourselfwith’a metronome or drum. ‘machine and start very slowly. Itmight help to imagine how you want the notes to sound, then perform thera over and over until they sound exactly the way you bear them in your head, fused 10 do this, and ita great way to gain control over your pleying. I would also experiment with different pick postions, dynamics, and so on, Whatever you do, be sure tofocus on every single note you play. Ian sess enough the importance ofthis. There are literally thousands of finger exercises, and they can all help you achieve aifferent objectives. n this section, rilexplain the following categories of finger exercises: * Linear = Angular jammer-ons and Pull-offs * Alternate Fingers + Tapping + sweeping + Multiple Picking Linear/Alternate Picking Exercises Se ascuees eens eure Cem Vet The ideais to find things that are awkward to sane WV vse p—z—pe—, _Plavand then work on them slowly, unc you can play them perfectly. Uiimately, you want your playing tobe areflection of whae you hear in yourheaa LINERR ExERCISES FIGURE 1 depicts abasic in- tar finger exercise. Ifol- lows an ascending parern ‘wel simply cll“1.2.3-4 as this efersto the orcerin ‘wich the fret hand fingers (index, middle, ring, pinkc) are placed on each swing (fet hand fingerings are indicaced below the tab- stare) FIGURE 2 precnts an alternating variation on ths dri. The fingering petern follows the repeating sequence 1-2-3, 2- 41,9-412, 41-29. The alternating finger ing dea can also be played ona single string, ar demonstrated in FIGURE 2. Ifind this dei co bea grcetenercise in position siting. “Tae next step so exhaust ll acher per mutations ofthe 2-3-4 combination, such a84-3-24, 42941, 3-2-4 whatever four nove sequence you find awkwaré—and prac- tice them ina similar manner. if we apply this fingering approach to three note per string combinations, for example 1-3-4, the resule would be the cree txerczes show in FIGURES 4-6. OF course, Et re erg Re a ce nee aay sayin aman cyooeemecstiny patens Grubs aeobe used for linear picking exercises, as demon URES strated in FIGURES 7 and 8. The exercise shown in FIGURE 7 wil be beneficial 1 ‘those of you who may have problems switch- — ing strings with the same fretting finger. Roll ee the finger aver the strings as you switch from. Sec ‘one to the next o keep the notes from bleed. ing (ringing) into each other ANGULAR ExERCISES An effective way to improve your string eressng technique isto perform what | call “angular” exercises, FIGURE 9 cxemplifies what Pm talking about. The general Kea Is co take a fingering et a ouRe ea ae ls ‘oa eaican wows Angular/Economy Picking Exercises any “any Legato Exercises CURE 12 oun 16 ee) rouRE 1s pavtern, inthis case 4-9-2-1, and work it ‘acreas the strings ine single position, assign {ng one finger per string and using sweep or economy picking (consecutive downstrokes oF upstrokes on adjacent strings) wherever posi ble. Ive inchided picking strokes above the tablarure inthis exercise ro guide you. Each sweep (indicated by an upstroke or down- stroke symbol followed by a broken horizontal Jineand a bracked) should be performed as a single pick stroke, with the pick being dragged across the strings in a continuous movement. Since these are only ree groups of four adja cent strings (1-4, 2-5 and 3-6), the entire angular pattern doesn't manifes itself until it's played on one of these string groups. ‘When performing FIGURE 9, find it helpful to visualize three imaginary scrings on either side of the neck, as this provides a point of reference for fingering the first six and last six nores of this exercise. With this approach, the progression of notes seems very natural. When I fret the first note (F) ‘with my index finger, 'm thinking in erms of the complete 4-3-2-1 patzern, with the other thre Fingers (4-3-2) being on the imaginary strings. Thus, only che fist finger is used. As the pateern moves across the strings, all four fingers are eventually brought into pla. Like ‘wise, as you run out of strings in bar 3, all f= gers but the fourth move off the neck onto imaginary strings. FIGURE 10 isan angular exercise hased on a 1-2-3-4 fingering pattern. Again, Pve indud- ed picking strokes and fret hand fingerings above and below the tablarare to guide you Using the “imaginary strings” approach should make ita litte easier to devise exercis- fs based on other fingering patterns. For example, en angular exercise based on a 1-3- 2-4 fingering pattern would begin on the high Estringand go4, 2-4, 3-2-4, 1-3-2-4, as demonstrated in FIGURE 11. Allocate the first 30 minutes of your prac- tice session to linear exereises and the next 30 minutes to angular exercises. Try to come ‘up with your own exercises that suit your purposes and use them interchangeably. Due to the mathematical nature of these types of, exercises, they're more easly worked out on paper than in your head (more on nocating ‘music later). HANNER-ONS AND FULL-OFFS ‘The hammer-on ise technique wiereby you pick a note (either fretted of open), then sound a higher not on the same string by using one of your fretting fingers to tap the string ikea hammer. The pull ffinvolves picking anote, then sounding alow- ‘er note (either fretted or open) on the same string by releasing the first note's fretting finger, pulling the string slightly in toward your palm a you let goof tin order toheep it vibrating Hammer-ons and pulls seem tohappen aaturally when playing single-note ines, bot chere ae particulary effective ways to isolate and srengthen these techniques, One eiient ‘way todo thisis to practice performing eis. A urillisa rapid, continuous alternation between rwonetes on the same string, performed using hammer ons and pul fis in combination. An effective way osolate and perfect your haammer.on an pull-off technique sto prac- ‘ice playing til for an extended period of ‘time, such asa minute. Begin by tilling between anyrwo notes chat area half step (one fect) apart, wing your fretting band's index and ‘middle fingers, a: demonstrated in FIGURE 12. Now do the same thing, but adda fret between the two fingers (see FIGURE 13). The next cep ‘would be toinerease the distance beeen the Fingers by another fret, as shown in FIGURE 14, ‘Now go back and pay FIGURES 12-14 again this time using your index and ring fn gers (1 and 3), then will between your index finger and pine (1 and 4). Ofcourse, you could ezhaustall other finger combinations (23,24, 3-4) and try 0 putas many frets between the Fingers as posible (without hurting yourself). Each time you go back to these til drills try adding some ime to each ‘exercise (maybe another 10 seconds or so). ALTERNATING FINGERS ‘Try playing hammeronsand pull-offs in various combina- tions, using different fingers, 2s in FIGURES 15-17. The {goal in each case is make all the notes sound even and clear and maintain a seamless legato feel TAPPING If you'e interested in two- hand tapping, incorporate this into your hammer-on and pull- off practice time. The tech niques are essentially the same forcither hand, the only difference being that when you pulloff from a tapped nore (a note hammered with one ofthe fingers ofthe pick ing hand), you flick the tring slightly side- ‘ways, away from your chin. Use your imagina Tapping Exercises une 16 ps) oe) at) Tapping Exercises ure 18 ances rune (penis sal) Leaps RE as eae tion w create tapping techniques that suit your style, and try incorporating all the fin- ‘ersof your picking hand on the neck. FIGURES 18-20 are examples of tapping ‘exercises to get you started. FIGURE 18 is2 simple drill designed to help you master the basic technique of tapping on one string, while FIGURES 19 and 20 require that you toss sings, resulting i longer and more challenging patterns. In each of these latter two exercises, the key i to move the fingers of your fersing hand quickly from string to string in time to play cleanly the notes pulled off from the tapping finger. SWEEP PICKING ‘As sated eater, sweep pick: ing is technique whereby you play one note and then nother on an adjacent string in asingle upstroke or downstroke. When learning to sweep pick you have to star very slowly and make sure ou can hear every single note clearly (unless the effect you're going for sa sloppy ‘one), then gradually bring the speed up. The key isto let go ofeach nore with your fret ting hand immediately after you've picked it in order to keep it from ringing into the next note. Create exercises that outline various chord shapes that you can sweep across. FIGURES 21-23 are examples of sweep picking to getyou started. You'll find i's easier to sweep across an arpegzio shape and not have it sound like astrummed chord ifyou can finger each string individually with a different fingertip and avoid barring strings with your finger, which makes it more difficul to mute the notes ‘immediately after you've played them. NULTIFLE PICKING ‘AsI mentioned earlier, the best way to develop supert- rman chops isto find things thatare difficult and even ‘awkward to play and then perform them slowly and perfectly. As an ‘exercise, cy playing any given lick or phrase first by aleernate picking, then using only downstrokes end, last, using only upstroke. You can also devise your own drils wher you do any ofthe following: Sweep Picking Exercises SUREZT « & v. rune Scale Exercises FGURE 24 Theseven modes of he G major sele(G AB CDE FS) FIGURES G majorscals in thirds FIGUREZS G major seat in ourhs FIGURE G major salen thieds up the nee p33 Woe FIGURE G major sae in ths up the meek + Double picking (picking each note tice) «Triple picking (... three times) + Quaciruple picking (.. four times) + Quintuple picking (.. five times) Practicing scales has many benefits, bat the main focus of this actiity should be on ‘memorizing the sound of scale and the mood Cham me Daunte E Aran ne ae ae ae FIGURE 29 6 major scale in fourths up the neck Ses cor atmosphere itcreates. Sing the notes you play tohelp internalize the tonality of the scale, and ry to painta mental picture of \what the seale’s tonaliry sounds like to you. This is one of the things you might draw upon when you go to write or improvise music. Beware, however, that when the time comes to take an improvised solo and all you do s flail up and downa scale pattern because you know the notes Lect note ETT will work with che chord, you'll most likely sound like an idiot. Learn and play as many scales as you can, ‘nevery key and position, in one octave, two octaves or three octaves. Start from any note (on the low E string, then the A string, tc. “Make sure you play each scale forward and backward (escending and descending), FIGURE 24 illustrates fretboard petterns forthe Gmajorscale (G ABCD EF#) and its sever relative modes, allof which comprise the same seven notes. The only difference in each case isthe orientation of the notes around = different tonal center, orr00t. Practice any given seale/mode scale slowly acfirscand make sure i's perfect. Ifyou make a mistake, startover. Gradually increase the tem- oas you complete a evel. Listen carefully co each nove and foes on tone. Before moving 0 afaster speed, you should be able 0 runa seale up end down without fudging and notes. Don’t cheat yourself find it beneficial 0 watch my fingersin the mirrorand try to get ‘them to move graceful, elegantly, effortlessly rin whatever way looks and feels good. ‘There are many things you can co with a Seale and mode other than just run it aeross the frethoard. For example, you can play itn intervals, cither melodically, es demonstrated in FIGURES 25-27, or up and down the neck ‘on two strings atthe same time, 2s depicted in FIGURES 28-30. These fire three exercis: sare great for building technique in both hands, while the second three help you learn the scale on each string and gain carcraining ‘wisdom by hearing it played in harmony. To gettwice the mileage our ofthese patterns, bbe sure torun them in reverse order as well. “There are countless variations on these kinds of melodic and harmonte interval par. terns thatyou can practice. For example, you ‘could take the pattern of ascending diatonic fifths from FIGURE 27 and switch the order ‘of every other pei of notes o create a differ- cent and more interesting melodic eontour, Play various Kinds of harmonics and ‘experiment with palling and pushing the cwhammy o produce “outer space” sounds, * Try to create everything from nice, su vibrato on single notes and full chords ovio- lent sonic brutality and cheer warbling eacophony, (I seem to have made a career ox of doing this.) T could goon forever, but] encourege you tocreate your own techniques. Youronly guideline here isto do whammy bar th exclusively for a long period of time without stopping. Sooner or later youll come across litle treasures DYNAMICS (One of the thing that make the ita (Gotume) range Few people ulize the full

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