LEGATO

CONTENTS
1.1. Hammer-On (the topic is covered in Lessons 37-46 of Andrey Nosov's Guitar School);
1.2. Hammer-On with "Barre" Chords (the topic is covered in Lessons 38-47 of Andrey Nosov's Guitar School);
2.1. Pull-Off (the topic is covered in Lessons 47-56 of Andrey Nosov's Guitar School);
2.2. Pull-Off with "Barre" Chords (the topic is covered in Lessons 48-57 of Andrey Nosov's Guitar School);
3.1. Hammer-On/Pull-Off (the topic is covered in Lessons 57-65 of Andrey Nosov's Guitar School);
3.2. Hammer-On/Pull-Off with "Barre" Chords (the topic is covered in Lessons 58-65 of Andrey Nosov's Guitar School);
4. Scale Passages with "Legato" Technique (the topic is covered in Lessons 127-142 of Andrey Nosov's Guitar School);
5. Exercises for Developing Virtuosic Playing with "Legato" Technique (the topic is covered in Lessons 143-160 of Andrey Nosov's Guitar School).

PURPOSE

ht ov
Recommended for students of elementary, secondary and higher musical institutions. You can read about the particular features of exercises in
Lessons 37-65 of Andrey Nosov's Guitar School.
These materials will be useful not only for students of music schools, colleges and conservatories, but also for amateur guitarists if... they are
familiar with the "legato" playing technique, especially with the pull-off variation, which is quite difficult to learn to play CORRECTLY by yourself.
Andrey Nosov's Guitar School... Only the Best...

Inability to properly pull-off will lead to the failure to use the hammer-on/pull-off variation, which is a combination of the hammer-on and pull-off legato
techniques. As a result, you will also not be able to perform such grace notes as mordents, gruppettos and trills, which are based on the hammer- on/pull-

rig os
off legato variation. Without the above-mentioned grace notes, advanced guitar compositions that often utilize these music elements will be impossible to
play (for reference, exercises for learning grace notes can be found at this link: "Andrey Nosov's Guitar School" > "Useful Materials" > "Exercises" >
"Grace Notes"). That's what happens when you do not learn these techniques properly... The solution here is to learn exercises using the appropriate
knowledge or, more precisely, using the information from Lessons 37, 47 and 57, where legato variations are described, including their designations,
peculiarities, related instructions and a full set of exercises.

py N GOALS AND OBJECTIVES

The exercises (see Contents) that I would like to bring to your attention are included in the training program of my (Andrey Nosov's) guitar
school and are mostly exclusive. Their goal is to teach you the "legato" playing technique that is widely used in guitar practice, and grace notes which are
based on legato variations.
Co rey
SPECIFIC FEATURES OF LEARNING
Each exercise where THERE ARE NO barre chords:
A) is learned at a slow speed and then gradually sped up to the required tempo (the highest possible for a specific performer) without losing the quality:
accuracy, clear sound and volume sufficient for your potential audience to hear (the volume is of the same level, regardless of whether the sound is
extracted by means of "legato" or the standard way);
B) is first practiced on the 1st string (when learning the hammer-on technique) or on the 3rd string (in the case of learning pull-off and hammer-on/pull-off
nd

techniques). Then you play these techniques (for example, from the 1st string to the 6th-string and back) enough times to be able to play it blindfolded.
Exercises WITH "barre" chords are part of the exercises that began here: "Andrey Nosov's Guitar School" > "Useful Materials" > "Exercises" >
"Exercises" > "Barre". Thus, the features of the exercises remain the same:
A) Each exercise shall be learned at a tempo sufficient for analyzing a playing situation to eliminate any possible sound flaws in good time.
And the slower the tempo is, the more useful the exercises are (because, first of all, they are aimed at developing the strength and endurance of your finger
muscles). But this is just a theoretical assumption. In practice, it's enough to play at a speed equal to two sounds per second;
A

B) Each exercise starts on fret V (as described) and then is practiced on frets IV, III, II and I, after which you should take a rest. This will be
quite enough to develop the skills necessary for playing "barre" with the index finger. Continuous, uninterrupted playing of "barre" on frets V through I at
a slow tempo with the appropriate clear sound is the bare minimum you should achieve before moving on to the next exercise.
If the exercises are too easy for you, try to repeat the "barre" again and again or slow the tempo down. It will help you to learn advanced compositions
more quickly. But be careful! Such harsh, through very helpful, exercises can cause an injury. So be conscious of what is happening to your hand.
Stop playing AS SOON AS you feel that something is wrong with it.
I wish you success in learning the materials...
Andrey Nosov,
the author of the manual "Andrey Nosov's Guitar School"
and several hundreds of arrangements for guitar solo,
guitar ensembles, voice and guitar.

1.1. HAMMER-ON

1. Hammer-On: 0-1 (use this pattern to play from the 1st string to the 6th string and back)

1 1 1 1    
i

 0 0 0    
m i m

 
0

2. Hammer-On: 0-2 (use this pattern to play from the 1st string to the 6th string and back)

  2  2     
i

  0   
m i m



0 2 0 0 2

Legato from A.Nosov,

and many other interesting and useful materials can be found on the website
http://www.guitarnosov.com
 3. Hammer-On: 0-3 (use this pattern to play from the 1st string to the 6th string and back)

3 3 3 3    
i m i m

   0    
 
0 0 0

4. Hammer-On: 0-4 (use this pattern to play from the 1st string to the 6th string and back)

  4 4 4     
i m i m

   0   

4
0 0 0

ht ov
5. Hammer-On: 1-2 (use this pattern to play from the 1st string to the 6th string and back)
Andrey Nosov's Guitar School... Only the Best...

    1  1 2        
i m i m

rig os

1 2 1 2 2



1
i
3 py N
6. Hammer-On: 1-3 (use this pattern to play from the 1st string to the 6th string and back)

 1
m


3
1
i


3
1
m

3        
Co rey


7. Hammer-On: 1-4 (use this pattern to play from the 1st string to the 6th string and back)

  1  1  1 4        
i m i m


nd


1 4 4 4


A

8. Hammer-On: 2-3 (use this pattern to play from the 1st string to the 6th string and back)

   2 3 2 3 2 3        
i m i m


2 3

9. Hammer-On: 2-4 (use this pattern to play from the 1st string to the 6th string and back)

  2 4 2 4 2 4        
i m i m



2 4

10. Hammer-On: 3-4 (use this pattern to play from the 1st string to the 6th string and back)

   4     
  3 3   
i m i m


3 4 3 4 4

11. Hammer-On: 0-1-0-2 (use this pattern to play from the 1st string to the 6th string and back)

1   2 1 2     
i m i m

  0   

0 0 0

2
 12. Hammer-On: 0-1-0-3 (use this pattern to play from the 1st string to the 6th string and back)

1 3 1 3    
i m i m

  0 0    
 
0 0

13. Hammer-On: 0-1-0-4 (use this pattern to play from the 1st string to the 6th string and back)

1   4 1 4     
i m i m

  0   
 
0 0 0

ht ov
14. Hammer-On: 0-2-0-1 (use this pattern to play from the 1st string to the 6th string and back)
Andrey Nosov's Guitar School... Only the Best...

  1  1     
i m i m

   0   

rig os

2 2
0 0 0

  

0
i

2 py N
15. Hammer-On: 0-2-0-3 (use this pattern to play from the 1st string to the 6th string and back)


0
m

3 
0
i

2
m

0 3        
Co rey


16. Hammer-On: 0-2-0-4 (use this pattern to play from the 1st string to the 6th string and back)

    2 4      
i m i m

  0  
nd


2 4
0 0 0


A

17. Hammer-On: 0-2-1-2 (use this pattern to play from the 1st string to the 6th string and back)

  1 2 2 1 2       
i m i m

  

2
0 0

18. Hammer-On: 0-2-1-3 (use this pattern to play from the 1st string to the 6th string and back)

   1  3   2 1  3        
i m i m


0 2
0

19. Hammer-On: 0-2-1-4 (use this pattern to play from the 1st string to the 6th string and back)

 0   1  4 2 4      
i m i m

0 1  

2

20. Hammer-On: 0-2-3-4 (use this pattern to play from the 1st string to the 6th string and back)

3  4 3 4    
i

   
m i m

  2  

0 2 0

3
 21. Hammer-On: 0-3-0-1 (use this pattern to play from the 1st string to the 6th string and back)

3 1 3 1    
i m i m

   0    
 
0 0 0

22. Hammer-On: 0-3-0-2 (use this pattern to play from the 1st string to the 6th string and back)

3   2 3 2     
i m i m

  0   

0 0 0

ht ov
23. Hammer-On: 0-3-0-4 (use this pattern to play from the 1st string to the 6th string and back)
Andrey Nosov's Guitar School... Only the Best...

3   3 4     
i m i m

 0  0   

rig os
4


0 0



0
i

3 py N
24. Hammer-On: 0-3-1-2 (use this pattern to play from the 1st string to the 6th string and back)

1  2
m


0
i

3  1  2
m

       
Co rey


25. Hammer-On: 0-3-1-3 (use this pattern to play from the 1st string to the 6th string and back)

 1  3 1 3      
i m i m

   
nd


3 3
0 0


A

26. Hammer-On: 0-3-1-4 (use this pattern to play from the 1st string to the 6th string and back)

3 1  4 3 4     
i m i m

  1   
 
0 0

27. Hammer-On: 0-3-2-3 (use this pattern to play from the 1st string to the 6th string and back)

3  2 3 3 2 3      
i m i m

   
 
0 0

28. Hammer-On: 0-3-2-4 (use this pattern to play from the 1st string to the 6th string and back)

3  2  4 3 4     
i m i m

  2   
 
0 0

29. Hammer-On: 0-4-0-1 (use this pattern to play from the 1st string to the 6th string and back)

   4   
i m i m

0 1  0 1     

4
0 0

4
 30. Hammer-On: 0-4-0-2 (use this pattern to play from the 1st string to the 6th string and back)

  0  2  2      
i m i m

  0  

4 4
0 0

31. Hammer-On: 0-4-0-3 (use this pattern to play from the 1st string to the 6th string and back)

  3 4 3     
i m i m

 0  0   

4
0 0

ht ov
32. Hammer-On: 0-4-1-2 (use this pattern to play from the 1st string to the 6th string and back)

  
Andrey Nosov's Guitar School... Only the Best...

4 1  2 4 2    
i m i m

   1  


rig os
0 0



0
i
4
py N
33. Hammer-On: 0-4-1-3 (use this pattern to play from the 1st string to the 6th string and back)

 
m

1 3 
0
i


4
m

1 3        
Co rey


34. Hammer-On: 0-4-1-4 (use this pattern to play from the 1st string to the 6th string and back)

  4 4 4     
i m i m

 1  1   
nd


4
0 0


A

35. Hammer-On: 0-4-2-3 (use this pattern to play from the 1st string to the 6th string and back)

 4  2 3 4 3      
i m i m

   2  

0 0

36. Hammer-On: 0-4-2-4 (use this pattern to play from the 1st string to the 6th string and back)

    4 4 4      
i m i m

 2  

4
0 2 0

37. Hammer-On: 0-4-3-4 (use this pattern to play from the 1st string to the 6th string and back)

 4 3 4 4 3 4       
i m i m

   

0 0

38. Hammer-On: 1-2-0-2 (use this pattern to play from the 1st string to the 6th string and back)

  2 1 2 2      
i m i m

 0 0  

1 2

5
 39. Hammer-On: 1-2-0-3 (use this pattern to play from the 1st string to the 6th string and back)

  0  3 1  2 0  3        
i m i m



1 2

40. Hammer-On: 1-2-0-4 (use this pattern to play from the 1st string to the 6th string and back)

 1   0   2 4      
i m i m
4
1 0  

2

ht ov
41. Hammer-On: 1-2-1-3 (use this pattern to play from the 1st string to the 6th string and back)
Andrey Nosov's Guitar School... Only the Best...

   1  3 1  2 1  3        
i m i m

rig os

1 2

  1  
2
i

py N
42. Hammer-On: 1-2-1-4 (use this pattern to play from the 1st string to the 6th string and back)

1  4
m i

1 2
m

1 4        
Co rey


43. Hammer-On: 1-3-0-2 (use this pattern to play from the 1st string to the 6th string and back)

 3 0  2 1  3 0  2        
i m i m

 
nd


A

44. Hammer-On: 1-3-0-3 (use this pattern to play from the 1st string to the 6th string and back)

 3 3 1 3 3      
i m i m

0 0  

1

45. Hammer-On: 1-3-0-4 (use this pattern to play from the 1st string to the 6th string and back)

3 0   3 4     
i m i m

  4
1 0   

1

46. Hammer-On: 1-3-1-2 (use this pattern to play from the 1st string to the 6th string and back)

 3 1  2 1  3 1  2        
i m i m



1

47. Hammer-On: 1-3-1-4 (use this pattern to play from the 1st string to the 6th string and back)

3 1  4 3 4     
i m i m

  1 1   

1

6
 48. Hammer-On: 1-3-2-3 (use this pattern to play from the 1st string to the 6th string and back)

 3  2 3  1 3  2 3        
i m i m

 
1

49. Hammer-On: 1-3-2-4 (use this pattern to play from the 1st string to the 6th string and back)

3  2  4  1 3  2 4       
i m i m

  

1

ht ov
50. Hammer-On: 1-4-0-2 (use this pattern to play from the 1st string to the 6th string and back)

   
Andrey Nosov's Guitar School... Only the Best...

0    2    
i m i m


4
1 4
0  


rig os
1 2

  
1 4
i

py N
51. Hammer-On: 1-4-0-3 (use this pattern to play from the 1st string to the 6th string and back)


m

0 3
i

1 4
m

0 3        
Co rey


52. Hammer-On: 1-4-0-4 (use this pattern to play from the 1st string to the 6th string and back)

   4     
i m i m

 1 0 1 0   
nd

4 4 4

 
A

53. Hammer-On: 1-4-1-2 (use this pattern to play from the 1st string to the 6th string and back)

 4 1  2 4 2      
i m i m

  1 1  

1

54. Hammer-On: 1-4-1-3 (use this pattern to play from the 1st string to the 6th string and back)

   3  3     
i m i m
4
1 1 4
1   

1

55. Hammer-On: 1-4-2-3 (use this pattern to play from the 1st string to the 6th string and back)

   3  3      
i m i m

 1 2  

4 4
1 2

56. Hammer-On: 1-4-2-4 (use this pattern to play from the 1st string to the 6th string and back)

      4      
i m i m
4
1
4
2  

4
1 2

7
 57. Hammer-On: 1-4-3-4 (use this pattern to play from the 1st string to the 6th string and back)

  3   3 4       
i m i m

 1 
4 4


4
1

58. Hammer-On: 2-3-0-1 (use this pattern to play from the 1st string to the 6th string and back)

   0  1 2   0  1        
i m i m


2 3 3

ht ov
59. Hammer-On: 2-3-0-3 (use this pattern to play from the 1st string to the 6th string and back)

  3 3 3 3     
Andrey Nosov's Guitar School... Only the Best...

2 
i m i m

0 0  

2

rig os


 

2
i

3 py N
60. Hammer-On: 2-3-0-4 (use this pattern to play from the 1st string to the 6th string and back)

0  
m
4
2
i

3
m

0 4        
Co rey


61. Hammer-On: 2-3-1-3 (use this pattern to play from the 1st string to the 6th string and back)

 3  1 3 2 3 3       
i m i m

 1 
nd


2


A

62. Hammer-On: 2-3-1-4 (use this pattern to play from the 1st string to the 6th string and back)

3  1  4 3 4     
i i m

  
m

2 1  

2

63. Hammer-On: 2-3-2-4 (use this pattern to play from the 1st string to the 6th string and back)

 3 2  4 3 4      
i m i m

 2 2  

2

64. Hammer-On: 2-4-0-1 (use this pattern to play from the 1st string to the 6th string and back)

    4    
i m i m

0 1 0 1    

2 4 2

65. Hammer-On: 2-4-0-3 (use this pattern to play from the 1st string to the 6th string and back)

   3 4 3     
i m i m

0  0   

4
2 2

8
 66. Hammer-On: 2-4-0-4 (use this pattern to play from the 1st string to the 6th string and back)

  4 4 4     
i m i m

 0 2 0   

4
2

67. Hammer-On: 2-4-1-3 (use this pattern to play from the 1st string to the 6th string and back)

   3 4 3      
i m i m

  1  

4
2 1 2

ht ov
68. Hammer-On: 2-4-1-4 (use this pattern to play from the 1st string to the 6th string and back)

     
Andrey Nosov's Guitar School... Only the Best...

 4 4   
i m i m


4
 1  


rig os
4
2 1 2

  

i

2 py N
69. Hammer-On: 2-4-2-3 (use this pattern to play from the 1st string to the 6th string and back)

4
m

2 3 2
i

4 2
m

3        
Co rey


70. Hammer-On: 3-4-0-1 (use this pattern to play from the 1st string to the 6th string and back)

  3 4    
i m i m

 0 1 0 1    
nd


3 4


A

71. Hammer-On: 3-4-0-2 (use this pattern to play from the 1st string to the 6th string and back)

   3 4    
i

0  2  
m i m

0 2  

3 4

72. Hammer-On: 3-4-0-4 (use this pattern to play from the 1st string to the 6th string and back)

  4 3 4 4       
i m i m

 0 0 

3 4

73. Hammer-On: 3-4-1-2 (use this pattern to play from the 1st string to the 6th string and back)

  4  1  2 3 4      
i m i m

 1 2  

3

74. Hammer-On: 3-4-1-4 (use this pattern to play from the 1st string to the 6th string and back)

   4 3 4 4       
i m i m

 1 

3 4
1

9
 75. Hammer-On (use this pattern to play from the 1st string to the 6th string and back)

 0   1  3  2  4 3 4 3  4  2 4 3 4  1 4
i m i m i m i m


2

76. Hammer-On (use this pattern to play from the 1st string to the 6th string and back)

         3  4  2 4  1 4  0 4
i m i m i m i m


3 3 4
1 2 1 2 2

ht ov
77. Hammer-On (use this pattern to play from the 1st string to the 6th string and back)

3  4 3  4
Andrey Nosov's Guitar School... Only the Best...

3 3  1
i

 1  2
m m

2  1 2  2
i m i

 1


rig os
2 0



3
i

py N
78. Hammer-On (use this pattern to play from the 1st string to the 6th string and back)

   4
m

2   1
4
i

3
m

2 
4
 
i

1 2 3 1  0  1  2
m i m

0
Co rey


1.2. HAMMER-ON WITH "BARRE" CHORDS

nd

1. Hammer-On with "Barre" Chords: 1-2-1-2 (use this pattern to play from fret V to fret I)
V

                 
       
2 2 2 2
A

p    
m a a
i

2. Hammer-On with "Barre" Chords: 1-3-1-3 (use this pattern to play from fret V to fret I)

                    
V

      
3 3 3 3
a

p    
m a a
i

3. Hammer-On with "Barre" Chords: 1-4-1-4 (use this pattern to play from fret V to fret I)
V

                  
      
4 4 4 4
a

p    
m a a
i

4. Hammer-On with "Barre" Chords: 1-2-1-3 (use this pattern to play from fret V to fret I)
V

                    
      
2 3 2 3
a

p    
m a a
i

10
 5. Hammer-On with "Barre" Chords: 1-2-1-4 (use this pattern to play from fret V to fret I)
V

                  
      
2 4 2 4
a

p    
m a a
i

6. Hammer-On with "Barre" Chords: 1-3-2-3 (use this pattern to play from fret V to fret I)
V

                    
      
3 2 3 3 2 3
a

ht ov
p    
m a a
i
Andrey Nosov's Guitar School... Only the Best...

rig os
7. Hammer-On with "Barre" Chords: 1-3-2-4 (use this pattern to play from fret V to fret I)
V

                          
      
3 2 4 3 2 4
a

p
py N    
m a a
i
Co rey
8. Hammer-On with "Barre" Chords: 1-4-2-4 (use this pattern to play from fret V to fret I)
V

                  
      
4 2 4 4 2 4
a

p    
m a a
i
nd

9. Hammer-On with "Barre" Chords: 1-4-3-4 (use this pattern to play from fret V to fret I)
V

                    
A

      
4 3 4 4 3 4
a

p    
m a a
i

2.1. PULL-OFF
1. Pull-Off: 1-0 (use this pattern to play from the 1st string to the 6th string and back)

 0 1 0 1 0 1 0        
i

 
m i m
1

2. Pull-Off: 2-0 (use this pattern to play from the 1st string to the 6th string and back)

 0 2 0 2 0 2 0        
i


m i m


2

3. Pull-Off: 3-0 (use this pattern to play from the 1st string to the 6th string and back)

 3 3 3    
i m i m

0 0 0 0    

3

11
 4. Pull-Off: 4-0 (use this pattern to play from the 1st string to the 6th string and back)

 4 4 4    
i m i m

 0 0 0 0    

4

5. Pull-Off: 2-1 (use this pattern to play from the 1st string to the 6th string and back)

 1 2 1 2 1 2 1        
i m i m



2

ht ov
6. Pull-Off: 3-1 (use this pattern to play from the 1st string to the 6th string and back)
Andrey Nosov's Guitar School... Only the Best...

 1  1  1  1        
i m i m


3 3 3 3

rig os



4
i

py N
7. Pull-Off: 4-1 (use this pattern to play from the 1st string to the 6th string and back)

  1 4
m

1 4
i

1 4
m

1        
Co rey


8. Pull-Off: 3-2 (use this pattern to play from the 1st string to the 6th string and back)

   2  2  2        
i m i m


nd


3 2 3 3 3


A

9. Pull-Off: 4-2 (use this pattern to play from the 1st string to the 6th string and back)

   4 2 4 2 4 2        
i m i m


4 2

10. Pull-Off: 4-3 (use this pattern to play from the 1st string to the 6th string and back)

  3 4 3 4 3 4 3        
i m i m


4

11. Pull-Off: 1-0-2-0 (use this pattern to play from the 1st string to the 6th string and back)

 0  2 1 2     
i m i m

 0 0 0   

1

12. Pull-Off: 1-0-3-0 (use this pattern to play from the 1st string to the 6th string and back)

 3 1 3    
i m i m

0 0 0 0    

1

12
 13. Pull-Off: 1-0-4-0 (use this pattern to play from the 1st string to the 6th string and back)

 0  4 1 4     
i m i m

0 0 0   
 
1

14. Pull-Off: 1-0-3-2 (use this pattern to play from the 1st string to the 6th string and back)

 0  3   1 0  3  2        
i m i m


1 2

ht ov
15. Pull-Off: 1-0-4-2 (use this pattern to play from the 1st string to the 6th string and back)
Andrey Nosov's Guitar School... Only the Best...

0    2 4 2     
i m i m

  1 0   

rig os

4
1



 1
i

py N
16. Pull-Off: 1-0-4-3 (use this pattern to play from the 1st string to the 6th string and back)

0  
m
4
3
i

1 0 
m
4
3        
Co rey


17. Pull-Off: 2-0-1-0 (use this pattern to play from the 1st string to the 6th string and back)

  1  1    
i m i m

0 0 0 0    
nd


2 2


A

18. Pull-Off: 2-0-3-0 (use this pattern to play from the 1st string to the 6th string and back)

 3 2 3    
i m i m

0 0 0 0    
 
2

19. Pull-Off: 2-0-4-0 (use this pattern to play from the 1st string to the 6th string and back)

 0  4 2 4     
i m i m

 0 0 0   

2

20. Pull-Off: 2-0-2-1 (use this pattern to play from the 1st string to the 6th string and back)

 2 1 2 2 1      
i m i m

 0 0  

2

21. Pull-Off: 2-0-3-1 (use this pattern to play from the 1st string to the 6th string and back)

  3  1  2 3  1      
i m i m

0 0  

2

13
 22. Pull-Off: 2-0-4-1 (use this pattern to play from the 1st string to the 6th string and back)

0    1  2 4  1      
i i m

 
m

0 
 
4
2

23. Pull-Off: 2-0-4-3 (use this pattern to play from the 1st string to the 6th string and back)

 0   3 4 3      
i m i m


4
2 0  

2

ht ov
24. Pull-Off: 2-1-2-0 (use this pattern to play from the 1st string to the 6th string and back)
Andrey Nosov's Guitar School... Only the Best...

 1 2 2 1 2      
i m i m

 0 0  


rig os
2



 2
i

py N
25. Pull-Off: 2-1-3-0 (use this pattern to play from the 1st string to the 6th string and back)

1  3
m

0  2
i

1  3
m

0        
Co rey


26. Pull-Off: 2-1-4-0 (use this pattern to play from the 1st string to the 6th string and back)

  1  4 2 4     
i m i m

0 1 0   
nd


2


A

27. Pull-Off: 2-1-3-1 (use this pattern to play from the 1st string to the 6th string and back)

 1  3 1  2 1  3 1        
i m i m



2

28. Pull-Off: 2-1-4-1 (use this pattern to play from the 1st string to the 6th string and back)

  1  4 2 4     
i m i m

1 1 1   

2

29. Pull-Off: 2-1-4-3 (use this pattern to play from the 1st string to the 6th string and back)

    3 4 3      
i m i m

2 1  

4
2 1

30. Pull-Off: 3-0-1-0 (use this pattern to play from the 1st string to the 6th string and back)

 1 3 1    
i m i m

0 0 0 0    

3

14
 31. Pull-Off: 3-0-2-0 (use this pattern to play from the 1st string to the 6th string and back)

 0  2 3 2     
i m i m

 0 0 0   

3

32. Pull-Off: 3-0-4-0 (use this pattern to play from the 1st string to the 6th string and back)

 0   3 4     
i m i m

0 0 0   

3 4

ht ov
33. Pull-Off: 3-0-2-1 (use this pattern to play from the 1st string to the 6th string and back)
Andrey Nosov's Guitar School... Only the Best...

 0  2  1 3 0  2  1        
i m i m




rig os
3



3
i

0 py N
34. Pull-Off: 3-0-3-1 (use this pattern to play from the 1st string to the 6th string and back)

 3
m

1 3
i

0 3
m

1        
Co rey


35. Pull-Off: 3-0-4-1 (use this pattern to play from the 1st string to the 6th string and back)

 0   3 4     
i m i m

 1 0 1   
nd


3 4


A

36. Pull-Off: 3-0-3-2 (use this pattern to play from the 1st string to the 6th string and back)

 3  2 3 3 2      
i m i m

 0 0  

3

37. Pull-Off: 3-0-4-2 (use this pattern to play from the 1st string to the 6th string and back)

 0    2 3 4      
i m i m

0 2  

3 4

38. Pull-Off: 3-1-2-0 (use this pattern to play from the 1st string to the 6th string and back)

 1  2 0  3 1  2       
i m i m

 0 

3

39. Pull-Off: 3-1-2-1 (use this pattern to play from the 1st string to the 6th string and back)

    3 2     
i m i m

1 1 1   

3 1 2

15
 40. Pull-Off: 3-1-4-1 (use this pattern to play from the 1st string to the 6th string and back)

 1   3      
i m i m

 1 1 1   

3 4 4

41. Pull-Off: 3-1-3-0 (use this pattern to play from the 1st string to the 6th string and back)

 1 3 3 1 3      
i m i m

 0 0  

3

ht ov
42. Pull-Off: 3-1-4-0 (use this pattern to play from the 1st string to the 6th string and back)

1  4  
Andrey Nosov's Guitar School... Only the Best...

4 
 3  
i m i m

0 1 0   


rig os
3



  3
i

1py N
43. Pull-Off: 3-1-3-2 (use this pattern to play from the 1st string to the 6th string and back)

3  2
m

3
i

1 3
m

2        
Co rey


44. Pull-Off: 3-1-4-2 (use this pattern to play from the 1st string to the 6th string and back)

  4  2 3 4      
i m i m

   1 2  
nd


3 1


A

45. Pull-Off: 3-2-1-0 (use this pattern to play from the 1st string to the 6th string and back)

   3  2  1      
i m i m

 0 0  

3 2 1

46. Pull-Off: 3-2-3-0 (use this pattern to play from the 1st string to the 6th string and back)

  3 3 2 3      
i m i m

 0 0  

3 2

47. Pull-Off: 3-2-4-0 (use this pattern to play from the 1st string to the 6th string and back)

    3 4     
i m i m
4
0 2 0   

3 2

48. Pull-Off: 3-2-3-1 (use this pattern to play from the 1st string to the 6th string and back)

    1  2        
i m i m

 1 

3 2 3 3 3

16
 49. Pull-Off: 3-2-4-1 (use this pattern to play from the 1st string to the 6th string and back)

    3       
i m i m

 2 1  

3 4 4
2 1

50. Pull-Off: 3-2-4-2 (use this pattern to play from the 1st string to the 6th string and back)

   4 3 4     
i m i m

  2 2 2   

3 2

ht ov
51. Pull-Off: 4-0-1-0 (use this pattern to play from the 1st string to the 6th string and back)
Andrey Nosov's Guitar School... Only the Best...

 4  
i m i m

0 1 0 0 1 0      
 

rig os
4

 
 4
i

py N
52. Pull-Off: 4-0-2-0 (use this pattern to play from the 1st string to the 6th string and back)

0  2
m

0 4
i

0
m

2 0        
Co rey


53. Pull-Off: 4-0-3-0 (use this pattern to play from the 1st string to the 6th string and back)

  3 4 3   
i m i m

0 0 0 0     
nd


4


A

54. Pull-Off: 4-0-2-1 (use this pattern to play from the 1st string to the 6th string and back)

  0  2 4 2     
i m i m

1 0 1   

4

55. Pull-Off: 4-0-3-1 (use this pattern to play from the 1st string to the 6th string and back)

 3 4 3    
i m i m

0 1 0 1    
 
4

56. Pull-Off: 4-0-4-1 (use this pattern to play from the 1st string to the 6th string and back)

 4 4 4    
i m i m

0 1 0 1    
 
4

57. Pull-Off: 4-0-3-2 (use this pattern to play from the 1st string to the 6th string and back)

  3  2 4 3     
i m i m

0 0 2   

4

17
 58. Pull-Off: 4-0-4-2 (use this pattern to play from the 1st string to the 6th string and back)

   2       
i m i m

0 0 2   
 
4 4 4 4

59. Pull-Offо: 4-0-4-3 (use this pattern to play from the 1st string to the 6th string and back)

 4 3 4 4 3      
i m i m

 0 0  

4

ht ov
60. Pull-Off: 4-1-2-0 (use this pattern to play from the 1st string to the 6th string and back)

  
Andrey Nosov's Guitar School... Only the Best...

1  2  2    
i m i m

0 1 0   

4 4

rig os



4
i

py N
61. Pull-Off: 4-1-3-0 (use this pattern to play from the 1st string to the 6th string and back)

  1 3
m

0 4
i

1 3
m

0        
Co rey


62. Pull-Off: 4-1-4-0 (use this pattern to play from the 1st string to the 6th string and back)

 4 4 4    
i m i m

1 0 1 0    
 
nd


A

63. Pull-Off: 4-1-2-1 (use this pattern to play from the 1st string to the 6th string and back)

 1  2 4 2     
i m i m

 1 1 1   

4

64. Pull-Off: 4-1-3-1 (use this pattern to play from the 1st string to the 6th string and back)

 3 4 3    
i m i m

1 1 1 1    
 
4

65. Pull-Off: 4-1-3-2 (use this pattern to play from the 1st string to the 6th string and back)

 1  3  2 4 1  3  2        
i m i m



4

66. Pull-Off: 4-1-4-2 (use this pattern to play from the 1st string to the 6th string and back)

 4  2 4 4 2      
i m i m

 1 1  

4

18
 67. Pull-Off: 4-1-4-3 (use this pattern to play from the 1st string to the 6th string and back)

  3   3      
i m i m

1 1  
 
4 4 4 4

68. Pull-Off: 4-2-3-0 (use this pattern to play from the 1st string to the 6th string and back)

   3 4 3     
i m i m

0 2 0   

4
2

ht ov
69. Pull-Off: 4-2-4-0 (use this pattern to play from the 1st string to the 6th string and back)

   
Andrey Nosov's Guitar School... Only the Best...

     
i m i m

0 2 0   
 
4 4 4 4

rig os
2

 
 
4
i

2py N
70. Pull-Off: 4-2-3-1 (use this pattern to play from the 1st string to the 6th string and back)

3  1
m

4
i

2 3
m

1        
Co rey


71. Pull-Off: 4-2-4-1 (use this pattern to play from the 1st string to the 6th string and back)

   4  1 4 4      
i m i m

2 1  
nd


4
2


A

72. Pull-Off: 4-2-3-2 (use this pattern to play from the 1st string to the 6th string and back)

  3 4 3     
i m i m

2 2 2   
 
4
2

73. Pull-Off: 4-3-4-0 (use this pattern to play from the 1st string to the 6th string and back)

 3 4 4 3 4      
i m i m

 0 0  

4

74. Pull-Off: 4-3-4-1 (use this pattern to play from the 1st string to the 6th string and back)

 3 4 4 3 4      
i m i m

1 1  
 
4

75. Pull-Off: 4-3-4-2 (use this pattern to play from the 1st string to the 6th string and back)

  3 4  2 4 3 4       
i m i m

2 

4

19
 76. Pull-Off (use this pattern to play from the 1st string to the 6th string and back)

0  2 1  3  2  4 3     1   2 4
i m i m i m


i m

0
 
4 4 4
1 2

77. Pull-Off (use this pattern to play from the 1st string to the 6th string and back)

  3  1  4  2 4 3  3 4  2 4 3 4  1
i m i m i m i m

0

4
2

ht ov
78. Pull-Off (use this pattern to play from the 1st string to the 6th string and back)

3   
Andrey Nosov's Guitar School... Only the Best...

   3  2 3 3   2   1 
i m i m i m i m

 0

4 4 4

rig os
3 4 4
2 1

 
 4
i

py N
79. Pull-Off (use this pattern to play from the 1st string to the 6th string and back)

3  2 4
m

3
i

2  1 2
m

3  2  1
i

0  
m
4
3  2  1
Co rey


2.2. PULL-OFF WITH "BARRE" CHORDS

nd

1. Pull-Off with "Barre" Chords: 2-1-2-1 (use this pattern to play from fret V to fret I)
V

                  
      
2 2 2 2
a
A

p    
m a a
i

2. Pull-Off with "Barre" Chords: 3-1-3-1 (use this pattern to play from fret V to fret I)

                    
V

     
3 3 3 3
a

p    
m a a
i

3. Pull-Off with "Barre" Chords: 4-1-4-1 (use this pattern to play from fret V to fret I)
V

               

       
4 4 4 4
a
a a

p    
m
i

4. Pull-Off with "Barre" Chords: 2-1-3-1 (use this pattern to play from fret V to fret I)
V

                    
      
2 3 2 3
a
a a

p    
m
i

20
 5. Pull-Off with "Barre" Chords: 2-1-4-1 (use this pattern to play from fret V to fret I)
V

                  
      
2 4 2 4
a
a a

p    
m
i

6. Pull-Off with "Barre" Chords: 3-1-4-1 (use this pattern to play from fret V to fret I)
V

                    
      
3 4 3 4
a
a a

ht ov
p    
m
i
Andrey Nosov's Guitar School... Only the Best...

7. Pull-Off with "Barre" Chords: 3-1-4-2 (use this pattern to play from fret V to fret I)

rig os
V

                          
      
3 4 2 3 4 2
a
a a

p    
py N
m
i

8. Pull-Off with "Barre" Chords: 4-1-3-2 (use this pattern to play from fret V to fret I)
Co rey
V

                    
   
  
4 3 2 4 3 2
a
a a

p    
m
i
nd

9. Pull-Off with "Barre" Chords: 4-3-4-1 (use this pattern to play from fret V to fret I)
V

               
  
A

     
4 4 4 4
a 3 3
a a

p    
m
i

3.1. HAMMER-ON/PULL-OFF
1. Hammer-On/Pull-Off: 0-1-0; 1-0-1 (use this pattern to play from the 1st string to the 6th string and back)

                        
i m

 
0 1 0 1 0 1

2. Hammer-On/Pull-Off: 0-1-0; 1-0-2 (use this pattern to play from the 1st string to the 6th string and back)

                       
i m


 
1 1 2
0 0 0

3. Hammer-On/Pull-Off: 0-1-0; 1-0-3 (use this pattern to play from the 1st string to the 6th string and back)

                       
i m


 
1 1 3
0 0 0

21
 4. Hammer-On/Pull-Off: 0-1-0; 1-0-4 (use this pattern to play from the 1st string to the 6th string and back)

0 
                 
i m

     
 
4
0 1 0 1

5. Hammer-On/Pull-Off: 0-2-0; 1-0-1 (use this pattern to play from the 1st string to the 6th string and back)

                       
i m


 
2 1 1
0 0 0

ht ov
6. Hammer-On/Pull-Off: 0-2-0; 1-0-2 (use this pattern to play from the 1st string to the 6th string and back)

                          
Andrey Nosov's Guitar School... Only the Best...

i m

 
2 2

rig os
0 0 1 0

 
0
i
2
py N
7. Hammer-On/Pull-Off: 0-2-0; 1-0-3 (use this pattern to play from the 1st string to the 6th string and back)

                                
0
m

1 0
3
Co rey


8. Hammer-On/Pull-Off: 0-2-0; 1-0-4 (use this pattern to play from the 1st string to the 6th string and back)

0 
0 
                 
i m

    
 
4
nd

2 1
0


A

9. Hammer-On/Pull-Off: 0-3-0; 1-0-1 (use this pattern to play from the 1st string to the 6th string and back)

                        
i m

 
3 1 1
0 0 0

10. Hammer-On/Pull-Off: 0-3-0; 1-0-2 (use this pattern to play from the 1st string to the 6th string and back)

                       
i m


 
3 1 2
0 0 0

11. Hammer-On/Pull-Off: 0-3-0; 1-0-3 (use this pattern to play from the 1st string to the 6th string and back)

                       
i m


 
3 1 3
0 0 0

12. Hammer-On/Pull-Off: 0-3-0; 1-0-4 (use this pattern to play from the 1st string to the 6th string and back)

                          
i m

 
3 4
0 0 1 0

22
 13. Hammer-On/Pull-Off: 0-4-0; 1-0-1 (use this pattern to play from the 1st string to the 6th string and back)

0 
0 1 0 1                   
i m

 
 
4

14. Hammer-On/Pull-Off: 0-4-0; 1-0-2 (use this pattern to play from the 1st string to the 6th string and back)

0 
0 1 0  2                    
i m

 
 
4

ht ov
15. Hammer-On/Pull-Off: 0-4-0; 1-0-3 (use this pattern to play from the 1st string to the 6th string and back)
Andrey Nosov's Guitar School... Only the Best...

0 
0 1 0 3                   
i m

 

rig os
 
4

   0 

i
4

0 
1

0
py N
16. Hammer-On/Pull-Off: 0-4-0; 1-0-4 (use this pattern to play from the 1st string to the 6th string and back)

4                   
m
Co rey


17. Hammer-On/Pull-Off: 1-2-1; 2-1-3 (use this pattern to play from the 1st string to the 6th string and back)

                       
i m


nd

 
1 2 1 2 1 3


A

18. Hammer-On/Pull-Off: 1-2-1; 2-1-4 (use this pattern to play from the 1st string to the 6th string and back)

                       
i m


 
2 2 4
1 1 1

19. Hammer-On/Pull-Off: 1-2-1; 3-1-2 (use this pattern to play from the 1st string to the 6th string and back)

                       
i m


 
2 3 2
1 1 1

20. Hammer-On/Pull-Off: 1-2-1; 3-1-3 (use this pattern to play from the 1st string to the 6th string and back)

                            
i m

 
2 3 3
1 1 1

21. Hammer-On/Pull-Off: 1-2-1; 3-1-4 (use this pattern to play from the 1st string to the 6th string and back)

                       
m
i


 
3 4
1 2 1 1

23
 22. Hammer-On/Pull-Off: 1-2-1; 4-1-2 (use this pattern to play from the 1st string to the 6th string and back)

1  1  1 2                    
m

 
i


4

 
2

23. Hammer-On/Pull-Off: 1-2-1; 4-1-3 (use this pattern to play from the 1st string to the 6th string and back)

                       
i m


 
2 4 3
1 1 1

ht ov
24. Hammer-On/Pull-Off: 1-2-1; 4-1-4 (use this pattern to play from the 1st string to the 6th string and back)

                            
Andrey Nosov's Guitar School... Only the Best...

i m

 
2 4 4

rig os
1 1 1

 
i

1
py N
25. Hammer-On/Pull-Off: 1-3-1; 2-1-3 (use this pattern to play from the 1st string to the 6th string and back)

                            
3
1
m

2 1
3
Co rey


26. Hammer-On/Pull-Off: 1-3-1; 2-1-4 (use this pattern to play from the 1st string to the 6th string and back)

                       
i m


 
4
nd

3 2
1 1 1


A

27. Hammer-On/Pull-Off: 1-3-1; 3-1-2 (use this pattern to play from the 1st string to the 6th string and back)

                            
i m

 
3 3 2
1 1 1

28. Hammer-On/Pull-Off: 1-3-1; 3-1-3 (use this pattern to play from the 1st string to the 6th string and back)

                       
i m


 
3 3 3
1 1 1

29. Hammer-On/Pull-Off: 1-3-1; 3-1-4 (use this pattern to play from the 1st string to the 6th string and back)

                            
i m

 
3 3 4
1 1 1

30. Hammer-On/Pull-Off: 1-3-1; 4-1-2 (use this pattern to play from the 1st string to the 6th string and back)

                       
i m


 
3 4
1 1 1 2

24
 31. Hammer-On/Pull-Off: 1-3-1; 4-1-3 (use this pattern to play from the 1st string to the 6th string and back)

                       
i m


 
3 4 3
1 1 1

32. Hammer-On/Pull-Off: 1-3-1; 4-1-4 (use this pattern to play from the 1st string to the 6th string and back)

                            
i m

 
3 4 4
1 1 1

ht ov
33. Hammer-On/Pull-Off: 1-4-1; 2-1-2 (use this pattern to play from the 1st string to the 6th string and back)

                            
Andrey Nosov's Guitar School... Only the Best...

i m

 
4

rig os
1 1 2 1 2


 
1
i
4
py N
34. Hammer-On/Pull-Off: 1-4-1; 2-1-3 (use this pattern to play from the 1st string to the 6th string and back)

                       
1
m
2 1 3
Co rey


35. Hammer-On/Pull-Off: 1-4-1; 2-1-4 (use this pattern to play from the 1st string to the 6th string and back)

                       
i m


nd

 
4 2 4
1 1 1


A

36. Hammer-On/Pull-Off: 1-4-1; 3-1-2 (use this pattern to play from the 1st string to the 6th string and back)

                       
i m


 
4 3
1 1 1 2

37. Hammer-On/Pull-Off: 1-4-1; 3-1-3 (use this pattern to play from the 1st string to the 6th string and back)

                            
i m

 
4 3 3
1 1 1

38. Hammer-On/Pull-Off: 1-4-1; 3-1-4 (use this pattern to play from the 1st string to the 6th string and back)

                            
i m

 
4 3 4
1 1 1

39. Hammer-On/Pull-Off: 1-4-1; 4-1-2 (use this pattern to play from the 1st string to the 6th string and back)

                              
i m
4

 
4 2
1 1 1

25
 40. Hammer-On/Pull-Off: 1-4-1; 4-1-3 (use this pattern to play from the 1st string to the 6th string and back)

                       
i m


4

 
4 3
1 1 1

41. Hammer-On/Pull-Off: 2-3-2; 1-2-1 (use this pattern to play from the 1st string to the 6th string and back)

                       
i


m

 
2 3 2 2
1 1

ht ov
42. Hammer-On/Pull-Off: 2-3-2; 1-3-1 (use this pattern to play from the 1st string to the 6th string and back)
Andrey Nosov's Guitar School... Only the Best...

                       
i m


 

rig os
2 3 2 3 1
1


 
2
i

py N
43. Hammer-On/Pull-Off: 2-3-2; 1-4-1 (use this pattern to play from the 1st string to the 6th string and back)

                       
3 2
m

1
4
1
Co rey


44. Hammer-On/Pull-Off: 2-3-2; 3-2-3 (use this pattern to play from the 1st string to the 6th string and back)

                          
i m
nd

 
2 3 2 3 2 3


A

45. Hammer-On/Pull-Off: 2-3-2; 3-2-4 (use this pattern to play from the 1st string to the 6th string and back)

                            
i m

 
3 3 4
2 2 2

46. Hammer-On/Pull-Off: 2-3-2; 4-2-3 (use this pattern to play from the 1st string to the 6th string and back)

                       
i m


 
3 4 3
2 2 2

47. Hammer-On/Pull-Off: 2-3-2; 4-2-4 (use this pattern to play from the 1st string to the 6th string and back)

                       
i m


 
3 4 4
2 2 2

48. Hammer-On/Pull-Off: 2-3-2; 4-3-4 (use this pattern to play from the 1st string to the 6th string and back)

                            
i m

 
3 4 3 4
2 2

26
 49. Hammer-On/Pull-Off: 2-4-2; 1-2-1 (use this pattern to play from the 1st string to the 6th string and back)

                       
i


m

 
2 4 2 2
1 1

50. Hammer-On/Pull-Off: 2-4-2; 1-3-1 (use this pattern to play from the 1st string to the 6th string and back)

                              
i m

 
4 3
2 2 1 1

ht ov
51. Hammer-On/Pull-Off: 2-4-2; 1-4-1 (use this pattern to play from the 1st string to the 6th string and back)

                       
Andrey Nosov's Guitar School... Only the Best...

i m


 
4 4

rig os
2 2 1 1

 
2
i

py N
52. Hammer-On/Pull-Off: 2-4-2; 3-2-3 (use this pattern to play from the 1st string to the 6th string and back)

                            
4
2
m
3 2 3
Co rey


53. Hammer-On/Pull-Off: 2-4-2; 3-2-4 (use this pattern to play from the 1st string to the 6th string and back)

                       
i m


nd

 
4 3 4
2 2 2


A

54. Hammer-On/Pull-Off: 2-4-2; 4-2-3 (use this pattern to play from the 1st string to the 6th string and back)

                       
i m


4

 
4 3
2 2 2

55. Hammer-On/Pull-Off: 2-4-2; 4-2-4 (use this pattern to play from the 1st string to the 6th string and back)

                            
i m
4

 
4 4
2 2 2

56. Hammer-On/Pull-Off: 2-4-2; 4-3-4 (use this pattern to play from the 1st string to the 6th string and back)

                            
i m
4

 
4 3 4
2 2

57. Hammer-On/Pull-Off: 3-4-3; 1-2-1 (use this pattern to play from the 1st string to the 6th string and back)

                       
i


m

 
3 4 3 1 2 1

27
 58. Hammer-On/Pull-Off: 3-4-3; 1-3-1 (use this pattern to play from the 1st string to the 6th string and back)

                       
i m


 
3 4 3 3
1 1

59. Hammer-On/Pull-Off: 3-4-3; 1-4-1 (use this pattern to play from the 1st string to the 6th string and back)

                       
i m


 
3 4 3 4
1 1

ht ov
60. Hammer-On/Pull-Off: 3-4-3; 2-3-2 (use this pattern to play from the 1st string to the 6th string and back)

                       
Andrey Nosov's Guitar School... Only the Best...

i m


 
4

rig os
3 3 2 3 2


 
3
i
4
py N
61. Hammer-On/Pull-Off: 3-4-3; 2-4-2 (use this pattern to play from the 1st string to the 6th string and back)

                       
3
m

2
4
2
Co rey


62. Hammer-On/Pull-Off: 3-4-3; 4-3-4 (use this pattern to play from the 1st string to the 6th string and back)

                       
i m


nd

 
3 4 3 4 3 4


A

63. Hammer-On/Pull-Off: 3-4-3; 4-1-2 (use this pattern to play from the 1st string to the 6th string and back)

                       
i m


 
3 4 3 4
1 2

64. Hammer-On/Pull-Off: 3-4-3; 4-1-4 (use this pattern to play from the 1st string to the 6th string and back)

3 
  4  1 4                    
i m

  
4 3

65. Hammer-On/Pull-Off (use this pattern to play from the 1st string to the 6th string and back)

1  2   3  3   3
i

1 1 2  1 2
i

 
m m

0 1

2 4
0 2

66. Hammer-On/Pull-Off (use this pattern to play from the 1st string to the 6th string and back)

   3   3  3 3  2 2
i m

2 1 1 1
i m

0 0

4 4
1 2

28
 67. Hammer-On/Pull-Off (use this pattern to play from the 1st string to the 6th string and back)

  3 3    3  4 3
i m

2  1 2 2
m i

 1 1

4
2 0 1 2

68. Hammer-On/Pull-Off (use this pattern to play from the 1st string to the 6th string and back)

 1  2 3 2  1  0  2 3 4  1 3  2
i m i m

0 0

3 4

ht ov
69. Hammer-On/Pull-Off (use this pattern to play from the 1st string to the 6th string and back)
Andrey Nosov's Guitar School... Only the Best...

    3  3 3 3
i

1  2 2  1
m

2
i m

1 0 0

rig os
4


4
1 2

py N 3.2. HAMMER-ON/PULL-OFF WITH "BARRE" CHORDS

Co rey
1. Hammer-On/Pull-Off with "Barre" Chords: 1-2-1; 2-1-2 (use this pattern to play from fret V to fret I)
V a a a a

  m2  2  2   m2  2  2                
 
  i  i   
p  p   
nd

2. Hammer-On/Pull-Off with "Barre" Chords: 1-3-1; 3-1-3 (use this pattern to play from fret V to fret I)
V a

                              
a a a
A

      
3 3 3 3 3 3

    
m m
i i
p p

3. Hammer-On/Pull-Off with "Barre" Chords: 1-4-1; 4-1-4 (use this pattern to play from fret V to fret I)
V a a a a

   m4  4  4   m4  4  4                 
   i  i   
p p   
4. Hammer-On/Pull-Off with "Barre" Chords: 1-2-1; 2-1-3 (use this pattern to play from fret V to fret I)
V a

                               
a a a


      
2 2 3 2 2 3

    
m m
i i
p p

29
 5. Hammer-On/Pull-Off with "Barre" Chords: 1-2-1; 2-1-4 (use this pattern to play from fret V to fret I)
V a a a

  m2  2  4   m2  2  4                
a

 
  i  i   
p  p   
6. Hammer-On/Pull-Off with "Barre" Chords: 1-3-1; 2-1-3 (use this pattern to play from fret V to fret I)
V a

 m3  2  3   m3  2  3                
a a a


   i  i   

ht ov
p  p   
Andrey Nosov's Guitar School... Only the Best...

rig os
7. Hammer-On/Pull-Off with "Barre" Chords: 1-3-1; 2-1-4 (use this pattern to play from fret V to fret I)
V a

 m3  2   4  m3  2   4                
a a a

  
   i  i   
p
py N  p   
Co rey
8. Hammer-On/Pull-Off with "Barre" Chords: 1-4-1; 3-1-4 (use this pattern to play from fret V to fret I)
V a a a a

                                
      
4 3 4 4 3 4

    
nd

m m
i i
p p
A

4. SCALE PASSAGES
WITH "LEGATO" TECHNIQUE

 
1. G(SOL)-MAJOR scale passages (use this pattern to play on all possible frets starting from fret II)

4 3 4  1 
   4 3
i

 
m

  1 
 1  
i m i

2  2   3  
m i m


i

        
2 1 2 4  
2 1   
i m i m 3 1
1 1 3 3
4 4 4 4 4
1 2 4 1 
     
 

 4  4   1    1 4 2
  i

2  4 2  2  2 
m i m

4 3 4  
2 1 

m i

   
i

 4 3 4   4      
m i m 2 2 4 2
4 4 1 1
1 3 1 3 
 

  

  4   1 4 2 4 4 2 4 1 4 2 4 3 2 4 2 4 2 4 3 1 4 3 4 2 4 3 1
m i m i m i m i m i m i m i
m i

   4
1 1 2

    
     
  


  
                       
m

 
i m i m i m i m i m

  
3 3 4 3 3
1 1 4 1 4 1 1 4 4 4 1 4 4
3 3 1 3 3 1 3 1 3 3 1
4 4 2
    
   
 

30
  
 
   
i m i m i m i m i m i m i

 
1 4 1 3 1 4 4 2 4 1 4 2 4 2
2 1 1 4 2 1 2 1 4 2 1 4 1 2 1 4 2 1 2
   
     
 


 
 
2. G(SOL)-MINOR scale passages (use this pattern to play on all possible frets starting from fret II)

4  4 3 1 4 3   4 3 1 4 3
i


i m m

   4    1
i m i m

  
1 4 1 3
1 3 1 3

ht ov
1 4 3
  
  




     
i

    3 1 4 1 3     3
m
Andrey Nosov's Guitar School... Only the Best...


m m

3 4 1 
i i i i 2


1 1 m
3 1 1 3 1 3 1
4 4 4

rig os
3 4
    
  

  3  3 1 4 2
m

  

m i i

       1
4 1    1 
i i

py N
m 4


m 1 1
2 4 4 2 2 4
1 31 3 3 1
 
 
 


  
Co rey
m


 3     
i

 1 3 1 4 1 3 1   1 3 1 4i 3
m i m i m
i

     
1 1 m 3
4 1 4 2 2 2 4 2


     

 
nd

    
m

    
m m

1    4 3 4    1 4 3 1
i i i
m 1 m
3


1 1 3 1
3 4 4 3 3 4 4 3
 1 1
 
  



 


A

 1  1
i

4 4
m

4 1   1 4
i m i

3 1 
3
3 3
 
  

5. EXERCISES FOR DEVELOPING VIRTUOSIC PLAYING

WITH "LEGATO" TECHNIQUE

1 2 4 1 2 VII
VIII

  III   4 1
  2 1 4 2 1       
Exercise 1 (i-m; p) V

2
2
4

 1 4 2
 V

  
4
 




4  3 4 1 VII



VIII

  III 3
  3 4
 
2


Exercise 2 (i-m; p) V


  1 4 3     1 3V
1

 4 3
4 

   


 
1

 1




31
 1   4 1 1 VI
VII


VIII X

2 
3 
 2  3 4
  III 4 
3V

  
Exercise 3 (i-m; p)

 
1

  2 1 4  2     
III

 1 4 2
 1

  
1  


2 2 2
 4



4 1 4 VI


1 
XI 

4 
VIII X

2 
  1 2 3
  III 3 
2 V

4  
1 1 3 4 3  1
Exercise 4 (i-m; p)


  1 4 3 1 1  
1
III
 4

     
 


ht ov





1 
4 
4 1 4 2 VII
VIII

2 
Andrey Nosov's Guitar School... Only the Best...

  III 
1  
 4

Exercise 5 (i-m; p) 2 V

4  1 4 2 4V
  2 4 1 4 2  

rig os
4

 1 4  3 2


   







py N
 

4 
3 
3 4 3 1 VII
VIII

  III 3 
  3 4
4  
1 V


Exercise 6 (i-m; p)

3 
  1 3 4 3       
1

 4 3  2 1
 V

    
Co rey
 3 1


1 
3




1  4 1 1 4
 X VII

4 
   1 1
  V 1 
1 
3 VII

  
Exercise 7 (i-m; p) 1

1  3 1
nd

  4 1 4 3    3 4
IV I

 1  1 4 
 

  
3 




     
  
A

  
   
4


VII 1 3 VI


1

    
Exercise 8 (i-m; p)


3 3

  
1 1


V 4 3 3 4 III I

      
1   1
4  4
2 2
4  4
4 1   1 1 4

   

      
VIII IX

   
4 VII

     
2


V 3 2 3
Exercise 9 (i-m; p) 1 1

    
2 2 V
4 4


     
III 3 3
2
1    1
2
3 4  4 3
1 1
2    2

 

2  4 3 4 1 VII


4 
 VIII

3 
  3 2 4 V
  III 2 
4     1 
3


Exercise 10 (i-m; p) V

  1 4 2 3   
1

   4 3 1
    
  


1
 3 2

 

 4  2
 VIII XIII IX

          
V 2 VI

    
Exercise 11 (i-m; p)


3 3


1 1

   
2 2


III 4 4 III

  
4 4





2  2

3 



3 3 3 3
3 2 4   4 2
 
 
 

32
     
XI


     
3 4

 
3 VIII VI

   
VI


4


Exercise 12 (i-m; p) 4
1


1

 
4


4

 
III 2 2 IV

  
III 4  4
 1

 
1


1 3  3 1
4 4
3 1   1 3
 


 3 1 4 2


4  
 VIII VIII X 

2 
   4 2
  III
4 VII

2   
1 3

 
Exercise 13 (i-m; p) V

  2 4 2 4 2     2 4
4 V

  4 2

4 4

   



 2


ht ov


4 1 3 4 VIII
XV XI

3 
 VIII XIII 

4 
1     1 4
  III
Andrey Nosov's Guitar School... Only the Best...

 
1

1 4 1 4  1
Exercise 14 (i-m; p) V

4  
 
4

  1 4 1 4 1 
VI

rig os
1   1 4

      






XV IX

3  


py N 2  
1  3 1 2
 VIII XI

  III    2 4 2
4 IV

4 
1

2   
Exercise 15 (i-m; p)


V

 
1

  3 2 4  1 3   
I

   
    
2


 
3
Co rey
1 4 2
 3

4 1  4
XV X

4 


 
 VIII XIV 

4   3 1 4 2
VIII

  III 2 
1

     1 4 2 
Exercise 16 (i-m; p) V

  1 3  2 4 1   
1 3 VI

  3 1
 
nd

3 3

    




3 
3 2 3 2 VII
VIII XIV XV X 

2 
   1 4



A

  III 4 
3   3  2 IV
V 2

2 
 1 2 3 2  1
Exercise 17 (i-m; p)

  1  2 3 2 1   
1

 



  




XV IX 

2    2  4 1
1  
 VIII XII 

  4 1 4 VII VI
4 IX VIII

 1 
1 1

4      1 4 
Exercise 18 (i-m; p) V VI

 
4

  1 4 1 4 1  
4


IV

         4 1 
III 

 1

 


If you have downloaded this materials from somewhere on the Internet, now is the time to visit their home website
and take a closer look at all the other interesting and useful materials.

Andrey Nosov's Guitar School presents:

1. Sheet music for guitar solo;

2. Sheet music for voice and guitar;
3. Sheet music for guitar ensembles;
4. Guitar lessons (learning the art of guitar playing and musical notation, analysis of musical compositions, know-how, and so on);
5. Vocabulary, reference materials;
6. Exercises for developing guitar playing techniques, guitar software and more.
I'd especially like to draw your attention to the online store where you can find a wide range of world-class compositions
for guitar solo, guitar ensembles, and voice and guitar. Access to the website is free... The first page of the sheet music for any composition is available
free of charge for listening and viewing... The prices will pleasantly surprise you...
I look forward to welcoming you to my website http://www.guitarnosov.com
Andrey Nosov

33