Example 5 (Part 1) ‘Aor focusing on the right and lek honds individually, the rext slop is to werk on the synchronizetion of both honds by practicing exercises where each is implemented equolly. The firs! exercise invalves tome ofthe “mirror shapes” discussed ‘arlier, ond alternate picking through string skips similor fo those encountered in Example 3. This challanges both hands because the pick needs fo choose the correct string to strike, and the let hand fingers need fo be there to fret the note ot the ‘exact moment its struck. This is called “eHficiency of motion.” This exercise should be token ail the way up to the 12th fret or bigher. =e “ll vom Vv simite + Example 5 (Port 2) Example 5 (Par 2) is o descencing, rerograde of Pat 1. Insiead of beginning the patern withthe 1s finger onthe th sting, the paternstors on the I! string withthe dh finger. Again, a one-bar poten is used and repeated os it ascends chromatically. The higher the starting point for this exercise, the more of the fingerboard beth hands will have to traverse, providing o therough addition 1 any warm-up routine. To further hone picking chops, rry performing both parts of this exercise ving oleate picking beginning with on upstroke os discussed in Excmple 4 £ ete ges ate rte aie Co SSS nv ny sie k ry 6-8 Pe et ae SSS22 Part Ul; Warm-Up Ex Example 6 (Part 1) This example uses the same fournoteshope bt re-erranged to provide a much more complex workoue for both hands because ofthe string ships. Once he first ba is under control, start moving itup chromtclly to the higher Frets. Nove that the fingering is consistently 1 - 3-4-2. Example 6 (Part 2) Fert 2s 0 rokogrece of Part 1 descending chrematcally. Nol thatthe Fingering is cerwstntly 4 2-1-3.