r The Howand Robents

Guitan Manuals

nTechnique in 20 \Aleeks
r, bV HOWAF|tr, F|OBEF|TS

Copyright 1978. HowardM. Roberts O by , r Published Playback by MusicPublishing Company P.O. Box 15,Edmonds, Washington 99020 RightsReserved Printed and published u.S.A. lafiemational in copyrigfttsecurcd

FORWARD Have you ever wondered about those -y9ul9 students of, 9ay,--!h9 a very hig.h level.of technical skills in br piano, *no ""quire notiied that guitar players, by com"i"lin tlme? Hav'e you i'"li.ilfirt g""""ifiy do not r-eac!that level in the sametime span? p"ti"J", i{ave you-ever wondered why this difference exists? one notable reason is often taken for granted. violinists, for exinherit a tradition of disciplined.tra.ining.:'-t-g-ti-"-1:'^,-l:9jlendless exerc'ses or "tpf", violin studies are made up of seeminglynirig €tc" ridAy uninterrupted eighth-notes, sixteenth-notes, or triplets, is which the studeni practi-cesfaithfully every day. Great care taken to make *"n note sound perfect. lt is through these discipii""a and uninterrupted practice regimens lhat 91e1t technlqu.e is SctJireO. ln gener"[, tno"" who do It, get it, and those who donrt, donrt. to-give Thls book is a series of programmedproiect lessons designedguitarist sulh a reglmented program. ltltV the imqloitr"hprovislng .ri"ino'quitaris-t? In most cases, th-eviolin or piano student ls workingbehind *i.t-i"h was written by someoneelse. The psycho.log.y iffr;;f in a relatively safe--place' l.f V9" don]1-liklit' hls studies puts him dontt blame'me. Paganinniwrote it; I didnrt". The improvisor,-nowfaces the risliof criticism not only of-his technique, bul of his """r, of notes as well. This working iondition can create a double choice bind effect, causing a sort of mental paratysis which quickly translates -""rry out the motor skiil. lt is toward the resoltr f na6ifity to inio "n this prdblem that this book is directed' tion of an In addition, those guitarists who already hav_e established technique -useftrl in maintaining-it. Doing the proiect les.sons rill Rna this book as outllned in the book, 50 minutes pei day, 6 days per week-,will keep you are not actively playiiu" -nop. in sfrapeduring the periods wlien ing. This program has been tested in numerous grouP and individual situations, an-dwlthout exception has worked foi those who actually followed ih-iougn and did the work as it is laid out here. Read the instructions Follow the directions. Do the work and lt will work for you ""r"iilfy. too.

TABLE

OF

CONTENTS

Forward Equipment . .'.rcking /Fingerings Key Centers The Fingerboard . Line Shaping . The Program . Pointers. How to do project lessons for weeks one through six. Week One Project Lesson l-A YVeek Two Proiect Lesson l-B Week Three Project Lesson 2-A Week Four Project Lesson 2-B . . Week Five Project Lesson iFA Week Six Project Lesson 3-B Week Seven Project Lesson Review How to do weeks eight ' ek Eight Project Nine Project _ek Week Ten Project Week Eleven Proiect Week Twelve Project Week Thirteen Project Week Fourteen Project through thlrteen Lesson Lesson Lesson Lesson Lesson Lesson Lesson 4-A 4-B . 5-A FB 6-A 6-8 Review

.2 .rt .5
.6 .9 t1 .t4 .t6 .19 .20 .2lt .28 .32 .35 .40 .lt5 .,t7 . ttg

.s4 .60
.60 .68 .72 .77 .78 .79 .80 .81 .82 84 85 .86 .87 .88

How to do weeks fifteen,

sixteen and seventeen . . .

Week Fifteen Project Lesson Review . lYeek Sixteen Project Lesson Revies . Week SeventeenProject Lesson Review . Hammer-Onrs . Pull-Offls . Slides . Week Eighteen Project Lesson Review Week Nlneteen Proiect Lesson Review Week Twenty Project Lesson Review

EQU YOUR GUITAR

PMENT

The set up of y.ournguitar plays a very furportant role in the development of accuracy and strength. speed comes as a by-product of ascuracy. lTithout accuracy, speed is unattainable. Extremely nar- '*' now gauge strings do not create enough resistance or $returnri to their center position quickly enough to permit the right hand to develope predictabfe accuracy, or to strengthen the left hand. so, use a 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: (l) 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 be dressed down, eliminating high and low spot- to avoid buzzes. An acoustic-electric guitar or straight acoustic are best su'ited for this iob. For those who play a classical guitar, your instrument will be fine taking into considcration the necessary adiustments. 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 rcquirements of todayfs popu-lar music. Since it is not practical to change strings^every day to practice, it may become necessary to have one guitar for the gig and another one to practice on. A-fter adiusting your guitar, make sure that each note rings loud and clear; just like a grand piano, over the entire range of ttrl flngerboard.

YouRPlgt(
Your pick should be of medium size, and medium to heavy in thickness. Av-old very large or odd shaped picks. standard ceiluloid picks are well suited to this purpose. OTHER IMFORTANT EQUIPMENT Also esgential to the studies in this book will be: (t) a metronome, (zl a reellGTEf or cassette tape recorder, and (31 an alarm clock oi grer' P CK NG

lf you will be using finger-style picking, I recommend the standard classical techniques. lf you will be using a pick, a word-of caution might be appropriate. Since the birth of modern electric Auitar, ?pproximately 1937, many styles of plectrum technique have emerged. Some successfully met the challenges of new music, and others became burdens as a result of inadequate or 'nonrr-training. Since this book focuses on the total development of single-string technique for improvising, and not specifically on picking, the reader must make it a point to develop a functional picking style on his or her own. seven p!9es of the Howard Roberts Guitar"Book are devoted to the subject of picking and an even more in-depth study can be found in the Howard Roberts Guitar Manual Picking. I can, however, point out some things to avoid.

1i

The big thing to avoid is any kind of anchor svstem that inhibits freedom of movement. lt appears that once a style of picking ' r b€come habitual. concentrating on the upper three or four notes. NGER NGS F --. No Flams! 1f the finger attacks first and the pick follows. but not so high as to become wasted motion. . -. it is very difficult to change. it becomes more difficult to hear the differential of attack.:11 The right hand seems to be the greatest limiting factor for most rnodern-day guitar improvisors. one strould strive to play the whole chord as soon as possible. Under any circumstances. but should be viewed with caution when considered as the basis of an overall right hand technique. The fingers should operate straight up and down on the strings. I recortt mend that you leave the lowest note out of the chord. But. lf there ls any rigidness in your picking leverage system. To do so. . like hammers in a piano. play tones very slowly at all points on the fingerboard. there will be two sounds instead of one. at the wrist. lf the pick attacks first and the finger follows. again. two sounds instead of one. Remember: Isgj! loose!.ne thumb of the left hand should ride along the approximate center of the back of the neck. The key here is to close the gap so that therrflamrr effect is unnoticeable. both cutting down on accuracy and also stretching the string to sound out of tune. all of which may be functional for a specific sound.al retraining is required. So. we must constantly remind ourselves that flexibility-the ability to adapt the right hand to a variety of moves-is the key to longevity. at a right angle to the fingerboard. it can stop you like a brick wall when the tempos get fast. SPECTALNOTE: Some of the cbrds in the following studies may require a greater stretch than you are accustomed to. So in srch cases. Observe anchors at the elbow.like a guy strumming a ukelele in a pineapple field. rather than substitute another voicing. The fingers should be lifted only high enough off the string to avoid string noise when moving. Avoid severe arching of the left wrist as this can produce undesirable strains. the left and right hands must be in perfect synchronization. etc-. The wrist should maintain a fairly flat posture. grasping the pick-guard with the little finger. lf we play fast in warmlng uP. Only in this way can we hear the flam effect. Attacking the string at an angle will move the string from its center position. taking into consideration that there ife many techniques one may use to execute a given passage. and frequently.

.*ft9 ". Howanrer.CEH-T. The trained lmprcvisor would ordinorily be knowledgeable about ttre diatonic harmonies a-nO for any-key. T Itr Dr.*t xxf. it srantee harmony chiructGrlstic of thrt rcale. a complete study of whlch would ranqe bev6nd t_hesc-op of this book. fr*{"t uf I 8rtry.h€lf*dft*i*lshed swenth! . I I #f. the kind of progression we must deal with on a drity basis.n * tr*. : The exercises comprising the main Frdy of this book consist of selected chord proqre$sions representing conrmon harrnonic movenrstts. I I I I & A*r Br.- cryt{Jt tilt f flisi:l fiqndl Il'I5tD f***ii A1 xl ffit xt 15f :H' rut ift NOTE: The Vll Chsrd.tlrl.l -.minor cGnt€rs rcsident In a chord progression. I wllf descrlbe briefly what a key canter islnd how to deal rith lt in ths ssn*€ of qr"stlng an lmprovised s*to iine.i Kf. The study of this subiect falli under ihe qeneral heding of diatonic harmony and thory. It must be remembered here that the main purpose of this book is to build up technical flstlitY *ithin the attitudinal sphere of imprcvisation and not to give an additional foad cf theratlc*l &ts. EXAMPLEI THE HARilfiOt. Bn?b5 is also known as B/ fts .TITEDMAJOfr $CALE C 1B s f'. Ftdri..*and would be able to properly identlfy the key 1lative.Y.. If :r Ibz. They reflect a broad cross-ssction of ctrorC prograssions odrtmon to the diatonlc tystem. L* mi F.. A KEY CEHTER IS: Itlhan a gilen m*ior or mlnor -**_*le!-sgtackd upon itratf in thtrds as shown in Example l..

the v o? Ab. 3.) Bb min 7 also could belong to any one of three keys: the tl chord of Ab. EXAMPLE 3 u-@ [./ Ab Maj 7 could be the I chord In the key of Ab or the tV chord of Eb. the lll chord of Gb and the Vl chord of Db. The Line of Reasoningls.et U..et t:@ Ab in 'l . lt could be the ll chord of Eb. Finding The Key Center for the Chord Progression Below. since . Fmln 7 could belong to any one of three keys. only one possibillty. 5. the key of Ab ls evident. 2.*-'t 'r:@ €rl fr. the lll chord of Bb. (shown In to c lrcl e s ) .. Now we examlnethe entlre progression to isolate whole sectlons in which the chords are common one key.-u fr. Dil" E*Pq q. or the Vl chord of Ab. . l.-DD m. Eb 7 is a V chord (DomlnantJ typgt whlch only appears once in any given mafor key always as the V chord. As In the case below.-Q 8tn'l o:@ c.KEY EXAMPLE 2 CENTERS T H E H A R MON IZED M AJORSCALE F Gr4? H Mt *mql Cr'.refr-'|. and therefore. +. The posslbiliti€s are noted. (The possibillties are llsted above the chord symbols below.

it naturally follows that once the mother scale has been discovered for a sequence of chords.1li g*-t enl@" :E I Example4A .rJf Fr. that the notes of that scale can be used to form a solo line. The project lessons offer a perfect vehicle for the developmentof thls ability. And each of these five are movable up or down the neck to the selected key or.The HarmonizedMelodicMinor Sclae (Key of A minor) crsalp*5 oe r*. the key centers have been bracketed above the chord progression.F-r/ltuizl gdtl' sqlt D. There are five such patterns for any given scale. Observe these key centers with care and for each new one. . EXAMPLE 4 T H E H A R MON IZ E H A R MONIC MINORSCALE ( Key of A m inor ) D f. they may be connected to increase the range. Each type of scale generates its own scale harmonies that remain the same regardless of the key. can be vlewed as the ldeal end result.KEY CENTERS The same thing would be true of Harmonic and Melodic Minor scales.fs e**.f H O WT O P L AY W I TH INK E Y C E N T E R S Since the scale is the mother of the chords. move your hand to a convenient fingering pattern for that particular scale and do your improvislng in that region of the guitar. In addition to being able to logically calculate key centers fron an analysis of the progression. the abillty to play over changes !y ear. In all studies to follow.

F7 is a lll. The tonics are circled foi clear visual targeting. coupled with the tone sequence it produces (the sound) with the view that when improvisin the fingerings may be open to change at any time. The available working range can be extended by connecting one pattern to another.4Jlr t g'6* . Also. This is no big deal. although in most caffiEGmes necesEary [o reach out of position one fret either above or below the basic position with the first or fourth finger.starting with the open position as number one. T H E F I V E F I N G E R I N GP A T T E R N S Move this pattern out of the open position to other keys using the first finger as a capo. relative harmonic minor scales can be quickly the learned by simply sharping the fifth scale step of the diatonic scales..g. The qrechanics of the fingerings center around the use of a finger per fret. the progression DmZ. Cm7.-leel free to change the fingerings to anything more comfortable. (not from tonic to tonic). There are five tone patterns for the diatonic major scale.41 2. €. z a t a +J2. which is the same as sharping the seventh of the relative minor scales. The most lmportant thing here is to develop a strong visual imprint of the pattern itself. with some suggested fingerings shown above the notes. All other scales can be produced through modifications of these diatonic patterns. E-achpattern may be moved up or down the fingerboard for access to any key. (using the same five basic forms. Vl. Thereiore-. i \. For identification.THE FINGERBOARD In the event that the layout of scales on the fingerboard are not all together clear to the reader.) For e-x-ample-.. ll. lllhen these patterns are laid end to end. the progressing to the next higher pitched pattern as number two and so forth. the following is a brief description. Each diagram is acc€mPanied by an example in music notation. I have arbitrarilly numbered the patterns one through five in thJkey gf 9 tvt"iqr. Gm7. V Progression in the key of Bb. one would select one of the five patterns for that key and ptay the arpeggios in that pettern. Each pattern shown here starts with the lowest available in the range of the pattern going !o tle highest. they covei theentire fingerboard for any S key. + | 3 4 2. Fingering Pattern Number One lst O 2nd O 3rd O rRh o 5th o 6th o Fingering Pattern Number Two I o o 29ozit oz-0 r30. inctuding the open positions. and the string numbers betow in circles. arpeggios will be easier to handle if they are played within a scale pattern that corresponds to the key center from which the chord is derived.

done smoothly without a break in rhythmic or melodic continuity.| + . I t *-t | / +-* r L-L + I 3-3 + t. ascending or descending.o 2 2 c222 ?ei 67 r0 . from pattern one to pattern four.22* 2 C O N N E C T I N GT H E F I V E P A T T E R N S There are essentially three ttmovesttinvolved in moving from one pattern to another (1) Position skips. as demonstrated below. i..e. I I t t .Fingering Pattern Number Three a{ 3r-t I I t2 3. (2) Stretching from one pattern to the next. or (3) Sliding on the half steps.1 4t+ @ Fingering Pattern Number Four slL*tL+ -:l i Fingering Pattern Number Five r3lrJt-l 3r-r3r t+ t3 + f.

Example 7 (C Majorl C I The Relative Minor Scale The Natural Minor Scale Example8 (A minorl 1l . Some of the more common scales you may use are: The Chromatic Scale (Symetrical.ig tgne seq-iiEii-ces wilt become tire up the solo lines. etc.e.smtiveonthissubject. v+ following is a brief outline of some basic line shaping elements for consideration.4 grb'. interesting rhythmic figures or motifs cannot be used to brighten -melod. Therefore. or triplets.*7 *rc G11 Eba. The line can be flattened out --a nice relief from excessive vertical movement. F. (Scales. Example 5 DT. lnterval Skips. Arpeggios) COMMONTONES A common tone is a note that is common to two or more chords. SCALES Create smooth rolling lines. when playing non-stop eighth notes. i. a very simple technique but not to be overlooked. consecutive * steps) Example 6 The Diatonic.\ilaiorScale (with * steps between the 3rd/4th and 7th/8th scale steps o indicated with lines between the notes ( s r ). it is not necessary to keep the line moving at all times. yJur choice of iordeviceforcreatinginter6sting|ines..L NE SHAP NG In that the studies in this book are deliberately limited to rhythms of uninterrupted duple and triple time.

the bar harrnony ls E7b9.LINE SHAPING The Relative HarmonicMinor Scale (wlth * steps betweenthe 2nd/3rd and 7th/Sth scale steps. We would npre than llkely use F ascendlngor descendlng. whlch In the flnal analysls may be disregarded In favor of the exlstant bar harmony. the key A mlnor.t The DiminlghedScale (symetrical.NoTE:Theascendlngand descending rules here are a technicallty. ffih Examplel1 The WholeTone Scale (symetrical. consecutlve whole steps) most commonly used ov€r domlnant 7th chords.g. Example12 12 . Example10 (A melodicminor) 2. e. congecutlvewhole step and half rteps) most comrmnly c-hordsor dlminlshed chords.) Example (A harrnonlc mlnor) 9 Lhs Relatlve Meloldic Minor Scale (with I steps betweenthe 2nd/3rd and 7th/8th scale steps thenatura|minordescend|ng.

) Example 15 A mostcommon complalntof beginnlng improvisors is that their playing tends to become too scale-llke. 9ths. at sharper angles than scales. 7ths. An interval is the distance between any two notes. parallel 3rds. dramatic lines. for example.7 LINE l\-/ SHAPING t l t i The M?io_q. etc. Large interval skips can be a valuable tool for creating interesting lines and can have a dramatic effect in breaking up the monotomy of excessive scale movement. One solution to this could be to 9!og playing things that rrsoundrr like scales. thus. When harmonized creates inversions of a Maior 6/9 chord. Bentatonic Scale (same as diatonic major with the active tones 3rd and 7th left out). as an exercise. t Example 16 . 3rds. broken up into single notes. small and large. wlth little gravltational pull toward any key center rrdepending on the usage'r.. Any sequence of interval skips. thus breaking up the scale effect. resultinl in combinations of major and minor 3rds or major and minor Tths (not. l4 Example D.g. dontt play ffi inah for * scale tones ln the same directionl €.4s cb/q INTERVALSKIPS lnterval skips create sharp.n:' &q et. 7ths. They are effectlve in outllnlng the bar harnrony and offer a nlce contrast to scale movementas they create smoth rolling lines. Example l3 t I ARPEGG IOS Arpeggios are speclfically chords. this type of scale movement creates interval skips. etc. can easily be applied to a key center by playing scale intervals that take into account the half steps of the scale.

Z-A. Project Lesson l-B uses the same chord progression transposed to another key. running six consecutive days per week. 5-B. sixteenth notes.THE A. licks. Proiect Lesson 4-B uses the same progression. as representative of duple time. l-B..e. Project Lessons 4-A. 3-A. The First Six Weeks. 14 . 6-8 focus on trlple time via eighth note triplets as representative of their relative divisions and sub-divisions. Lesson 2-A is a new chord progression and Lesson 2-B is the same progression transposed to another key. The first lesson (1-A) deals with a common chord progression. 3-8. thirty-second notes. etc. tl-B. D. Project Lesson 6-A is a new progression and Lesson 5-B is the same progression transposed to anothCr key. each project lesson is broken down into a series programmed steps with corresponding time frames. etc. each lasting 50 minutes per day. Lesson 0-A presents a new progression. Each project lesson is broken down into a series of steps to be carried out within specified time frames. 2-8. sixteenth note triplets. thus requiring a change of fingering patterns.Review. 6-A. I Review Project Lesson 2 Review Proiect Lesson 3 Review Project Lesson 4 Review Proiect Lesson Review Proiect Lesson 5 6 Review Project Lesson t-A 1-B 2-A 2-B 3-A 3-B B. showing the key centers bracketed above the chords. Project Lesson 3-A uses a new progression and Lesson 3-B uses the same progression transposed to another key. PROGRAM The Program is made up of a series of proiect lessons. quarter note triplets. As before. transposed to another key. This also tends to stimulate fresh approaches and ideas. i. Weeks Eight Through Thirteen. The objective is to gradually increase the tempo over the course of 20 weeks maintaining precision and accuracy at all times. with key centers bracketed above. S-A. etc. Lesson 5-A is a new progression and Lesson 5-B is the same progression transposed to another key. c. Project Lessons l-A. The Day Day Day Day Day Day Seventh Week . focus on the use of eighth notes. with one day off.

l-8. The Day Day Day Day Day Day Fourteenth Week . as compared to joining a health spa. G. The proiect lesson steps and time frames are to be followed as before. 1-A. 2-A.Review. l . You should see dramatic progress within about six weeks. 17 . The Appendix in the back of the book consists of examptes or models of the kind of lines intended for the project lessons and are numbered accordingly. t Review Project Lesson 2 Review Proiect Lesson 3 Review Project Lesson tl Review Proiect Lesson 5 Review Project Lesson 6 Review Project Lesson 4-A 4-B 5-A FB 6-A 6-8 F. Do the work exactly as prescribed. Review the proiecat lessons in any order to establish your present maximum tempo as a permanent reflex. Review the project lessons as before using (a) hammer-onrs (blpull-off's (c) glissandi (slides). H. Weeks18. The introduction of these techniques should cause your technique and speed to increase dramatically in that via these devices several notes can be pnoduced with one picking stroke. NOTE: Think of this program as training with the Chicago Bears. i. Trust the program. 2-[|. etc. Weeks15. 19.Review.Review. then stand back and watch lt work. 16. 20 .e.THE PROGRAM E.

When this Q/A routini?Foccurs. after your one hour per day of controlled practice. D. Listen to the "pre-recorded changesrr and sing the solo the way you would like to play it. NTERS It is true that the rnore you practice. no stops. the nape of the neck. breath deep. quarter notes. not crossed. ul wiil-retax now. not crossed. Be aware of this point in the tune and the next time around. Let this line run through your head as a basic melody and play "fillsu around it. if you feel like playing for l2 more hours. 16 . like the small of the back. learning tikes place while watffinffilevision like it. do it. The Warm-Up. Naturally parts of your body wlll not want to do this. Yes. Both must attack the string simultaneously. interval skips. Be in tune with your physical and psychological hights and lowrs and use them appropriately. This will at least get your line started with some form. half note. At the beginning of each practice session. the more quickly you will progress. halves. legs flat. so much the better.e. high. tio it when y6u feet B ." BE_qf : Stand with your back up against a wall. F. etc. Notes played high up on the neck have a much greater string travel than the low ones and can create coordinatlon problems between the left and right hands. to develop a feel for string travel at a given picking area. warm up for 5 minutes by playing notes all over the fingerboard. etc. A very common form for building a solo line is: QUESTION AND ANSWER. Do this on one of the 3-minute breaks.PO A. J. In this program you will reach many moments in which you hate that rrsameold licktl you [always playrr. ebse your eyes. H. l. When you feel like doing it. SEQUENCE ct E . the tape is running. Hands flat. Now reverse to all up (on the down beat) and down (on the up beat) strokes. Make each note sound as loud and strong as any other. and medium pitches. So welcome to the world of a hot improvisor. and say to yoursetf. G. and I think that a very effective type of c. REST: Lie flat on the floor. HANGUPS: Play very slowly and listen carefully for any flams. do something else. Use all up strokes. Play very slowly. Now use all up strokes. and the next time is coming right up. So. Guitar players are inveterate n@dlers. scales. Press each part of your body agalnst the wall. i. and noodling. Sometimes it's helpful to sketch out a very simple melody line over the changes. low. Now use consecutive down and up strokes. But the idea is to attempt trreal hard" for about 30 seconds. it ii generally called a sequence.

not durlng the rest period. before stated. We then tend to go Into a natural state of rest. Get the progression off the paper and Into your head as 3oon ar posrlble. you donrt. Then the road wlll becomevery rough agaln. we tend to feel that we have the world by the tall and great progress ls taking place. The rest perlod wlll contlnue for someperlod of time. etc. we all go through perlods in which we lre actlvatlng new nerve fwrctlonr. Memorizlng the chord changes allows you to focus all of your attentlon on what you are playing rather than readlng the muslc. SelfRest Plateau Questlonl SelfQuestlonl . Thls will perslst for some perlod of tlme. The overall physlcal feellng ls llke pulllng a traln uphlll. on and on lt goes.) lf you do it. N.. We wlll then begln the uphlll cllmb agaln and plateau again only to meet our deflclencies face to face agaln. etc. M .- POINTERS K . A most commonmlstake ls to blame the left hand when the rlght hand lc at fault. tlmc frames dlsobeyed. The objectlves put forth In this book are attalnable only lf the reader follows each step of the pnogram without deviation from the schedule (that means no mlssed days. and we wlll begln to becorneaware of our weaknegt€g.rl During thls rest period. both ln the braln and throughout other partr of the body. Watchout for this. L . Thls type of grcwth work drawr a tremendou3 amount of systentlc energles. you get lt. This wlll last untll we select the speclflc lrea to attack flrgt. key centerl mlsr€d. and the psychologlcril spln-off ls the feellng that we are gettlng nowhere. Donrt worry about lt. Introduclng hammer-onrs. The progress was madedurlng the uphill climb. or vice versa. but your practlce reglmen must remaln congtant.pull-offls. Actually the reverse ls true. fra plrteau. ln the Growth Process. hourr shortened. lf you donrt. So. playlng dotted elghth cixteenth notes instead of elghth noter.

Trade off in sequence. seem to be going wrong. You will find that once you reach a given level of speed. Also be aware of your bio-cycles. Every person has natural high and low points running in approximately monthly cycles. etc. medium and fast tempos that are just right for that particular rhythm feel and any other tempos inbetween feel awkward and difficult to play on.PO NTERS o. T . the rest is mostly a matter of muscular strength and agility. during the process of building up your speed. An'Accelerator -. Practicing an hour a day 6 days a week is great. This is great when you feel like it.form a group of other guitar players. come back and practice hard for about 2-3 weeks and it will come right back. You must continue to practice with controlled discipllne.. Coping ttith The Mental Hazards Of Developing A High Degree of Facility ln lt is extremely important to cerrectly place the blame when things lmprovising. Exchange solos and comping. from time to time. the natural reflex is to stop playing. For example. A certain amount of this is okay and selfquestioning is essential to oners progress. sixteenths (shuffle) or triplets (12181 . During low periods. you may feel very down and discouraged. lt seems that once this ability is programmed clearly. s. at least for the serious performer. This applies even to the most experienced players. as this will not cure hidden problems. So before you blame yourself for a problem. but donrt force it. When your music sounds bad to you. make sure that you have accounted for elements in your environment that may be superimposing a subliminal orchestration over what you are playing. your guitar may sound out of tume. There will be some days when you may feel like playing for long periods of tlme. but out of tune with an air conditioner. Learn to ferrot out the real problems. steady eighths or dotted eighths. -. Another hazard to watch out for -. But do not fall into the trap. refrigerator motor. i. a.the ability acquired during that period of time will be permanently imprinted and assimilated by your nervous system. but this must not interrupt the regularity of your practice routine. The group dynamics is superior to private study for a program of this sort. you will encounter long periods when the tempo feels awful and. points where the tempo is just right. no matter how you feel about things from day to day. However. You should expect that.when tunes are played with a specific feel. or traffic noises--' from outside. which is certainly possible. of blaming yourself when something else is wrong. and maintain playing at that level or faster. keep in mind that it may actually be in tune with itself. 18 . R . but 12 hours is better. There seems to be something about the guitar. they tend to have slow. on a daily basis. Donrt blame yourself -.e. as far as the project lessons in this book are concerned. U .just be aware of the real problem. as many do. You could lay off for six months. for approximately 2l days. P. that creates an overload of humility.

ilt encounter key center brackets in which a given chord could be viewed a's a lll orVl chord of one key. Avoid skipp.. lt'may be good to remember that these are only obiectives. may serve as a good. No two strokes in the same direction. In these situations oners individua-l preference can. Rather.e.H O WT O D O P R O J E C T L E S S O N SF O R W E E K SO N E T H R O U G H qtx A. Keep a daity record of your (NOTE: Your tempo may vaiy stower or faster expected. continuo'rt: and uninterrupted. This is to be desired speed and try to rise to meet it. strive c. No rests. D. for whatever reason. No pull-offls. No phrasing.re wron!. F.o-ea9h proiect lesson for six consecutive days. No other ornamentation. Feel free^to use any harmonic devices at your dlsposal. The effect is hazardous to progress. they will sound right and if ihey. Follow the steps faithfully as given. These will always come in time. Do nol set your metronome to a use the metronome only to track lempos in the boxes provided. However. Play only eighth notes.ing .prevait. 6ut the learning curve'is not. lf theyrre_rlght. ltts just a matter of where you want the change of tonality to occur. in aldition. E .) D . ttNothingr but stead-y eighth notes. but indicated as a ll chord of another. your progress. other voicings may be used at your own. from day to day. Use Alternate Picking only. The chord voicings shown in the proiect lessons are comrnonguitar voivings which are intended to assure a clear understanding of the progressi-on and. there are ilmost unlimited scale and chord substitution possibilities. No hammer-onrs. Hold each note as tong as possible Do not rush or drag Great attention should be given to holding steady time. T!re-key centers bracketed in the chord prog-ressions represent only one analysis of the progression. Play Legato. G . other views may be apptiea as welt. the tempo. and precision in order to meet the tempo goals. " 9"y Regularity is essential. to make up strokes sound as strong as down strokes. t9 . *. """u""ry The tempo obiective plan is symmetricar. Also.study in the application of I'garden-variety'r guitar chords. The week end tempo obiectives shown at the top of each project lesson are scheduled to increasg by two metronome points'daily.discretion. Care shoutU be takin not to sac"i"fi". you wifl know ii immediately. with one day off. ror exarildlo. .

WEEK ONE PROJECT LESSON I-A J Week End Tempo Obiective PREPARATION = 60 Step I Step 2 Step 3 Clear your work area of all things not pertaining to thislesson. eighth-notes to the conclusion of the preLie down. etc. 50 MINUTE PROGRAM Step 4 2 min Play eighth notes once through the progression to establish your tempo of the day . LOG OF DAILY METRONOME ETTINCS S Step 5 10min Pre-record yourself playing the chord changes (sustained .the speed at which you can play through the piece without mistakes. to the conclusion of the pre-recording.no rhythms). Break! Set the guitar down. Break! Set the guitar down. Focus yoffihord prdgression. eighth-notes to the conclusion of the pre- Break! Lie down. Relax all parts of the body. etc. Warmup. Play uninterrupted recording. Break! Step r 0 Step l l Ste p 1 2 Rest aw6y from the guitar. Tune your guitar. Close your eyes. Practice visualizing yourseif playing the project the way you wish you had. Know the key centers and memorize the progression. Stand up and rewind the machine. r'Get it off the paper and into your head'r. Mark down the day's tempo in the appropriate box below. stand up and stretch. Objective: To eliminateany Iflamstr between the right and left h a n d s. Play uninterrupted eighth-notes over the progression as it is played back. Rcpeat the progression non-stop for l0 minutes. Play notes slowly at all parts of the fingerboard. Breathe deeply and rhythmically. Step 6 2 min Step 7 Step I Step 9 10 min 2 min l0 min 2 min 10 min 2 min Play uninterrupted recording. Total 50 min Check off each step as it is finished 20 . with the metronomenearby so that it will sound on the tape like aplick track.

I r+tl .r|.e- €frS I itr _E fGq gel .r-€h t Ftlll gbnf-e) ltf .t-' {-r}-t '*'gfi.

g . I t @@@ g+q@) I r-a I ?zt? Lmr4 2l $ @ot 22 ... ltrs fine if you wsnt io memoriae this for-your own purpos6s but it ir ""iiyrf*LouGtive of the project lesson. "oith" 4h W*it GXE O Y m ^a t 1"1-L " '-) gbp(-+l 4.improvls.?+. The idea of the proie.ta1-l . rrO9 @--6 (E Lnl+ t Db Abrg @ v4 ti @@@ ----__-l .EXAMPLE FOR PROJECT LESSON I-A The following is a mogerof the type of soro rine to vised-in this project resson..e your own line on tlre spt and not to is ror you memorlze this example.. i. -6ffi-ut#l. tt is souncemateriat be improto be used as reference onry. to.

* f :biy ga[+r)^ 6'e 6 @ s&& .a7i :T'-.*#*r*&-l.r m{*nl.tt42t-?z.g.-r^.3...P # 1#.@F-re w-2.nq 0s @@b6 I r *+4 bso6@ 6mf a4 i.!* o#:g' la @ l$^ 4 o . o6@ .tq il.fu" .rykffi' l'r I r 60 qffi'"il1 @&6 b*.6s * 4 s fil s t s. . a3 .j @ @''@ @ b.{'. 4 l.-Bt rr!- 6.{ @@O0 ..o_' gfis ..!-ft r_r 5))n &rrt4.-.l .

Repeat the progression non-stop for 10 minutes. Total 50 min Check off each step as it is finished 2t. Stand up and rewlnd the machine. Relax all parts of the body.: 7 2 PJTEPABATION Step I Step 2 Step 3 Clear your work area of all things not pertaining to thislesson. progression.no rhythrns).the speed at which you can play through the Mark down the dayrs tempo in the aPproffitakes. elghth-notes to the conclusion of the prr Break! Lle down.TVEEKTWO PROJECT LESSON I-B WeekEnd TempoObiective I t . Play notes slowly at all parts of the fingerboar!.. Play uninterupted recording. priate box below. Tune your guitar. . Know the key Focus yoffihord centers and memorize the progression. etc Stcp 6 2 min Step 7 Step 8 Step 9 Step 10 Step I I Step 12 t0 nin 2 min 1 0m i n 2 min 10min 2 min Play unlnterrupted recording. playing the proiect the way you wish you had. Break! Set the guitar down. Break! Set the guitar down. "Get it off the paper and into your head". Ptay uninterrupted eighth-notes over the progression as it is played back. Objective To eliminateany "flamsrrbetween the right and left h a n d s. etc. Close your cyes. Practice visualizing yourself Breathe deeply and rhythmically. stand up and stretch. S LOG OF DAILY METRONOME ETTINGS Step 5 1 0m i n Pre-record yourself playing the chord changes (sustained . Break! Rest away from the guitar. 50 MI NU T EP R O G R A M Step 4 2 min Play eighth notes once through the progression to establish yo{r tembo 6f tfre day . eighth-notes to the concluslon of the preLie down. to the conclusion of the pre-recording. Warmup. with the metronome nearby so that it will sound on th€ tafe like a click track.

..a'. tFn.so A{{(rq} --Eb' | (ntq . CtgA .tttr -T *t-qh ln'r ff -!--r.O- flmA'Ya.ffiq * t'orr I #btq q hn- #"'t-'d t.Arf* I r*o r*.t/*p frb/tt+\ s. . A.r j**o gf'a-rt wl?r iltfTt. '. .

21r tb Ctr! t3 ?r. -h Wb r'alt1t 1t ^r*i @ r. _i t Lt o 2Lt.! I tn{ + I '-.2l! r. The point of the project lessons is to hone y6FtEch: nique to a level that will facilitate and not hinder the tmmediate reproduction of any and alt of your musical ideas. itts rrevery man for himselft. The lmportant cdfrGiiiEiatlonis ine spontaneous Invention of your own solo line.Gt c.rr 4 t z tb"f '!*..EXAMPLE FOR PROJECT LESSON I-B Remembert This exampte and alT other examples for the prciect lessons are qqdels of ttre type of solo line to be improvised. ob t44 f^t.. Use the examples as source material and for reference. 26 .oIIEJ I Fr t^lhl f- += I * dot'rl t. but when doing the proiect lessons. I I trrz* a L: 4D *ot . I d" .z .n.+ I 2. ttz^ r Ctblaf .

t^r.1 .t +4tl'HA 0&@ nlro. inl"l '.. r t .t z.:lli.SS o- ih. ri't pto I 0 Cnrq fr @)@ hbulq 1td' !.l 0-6 o@ @ .+ 1r fis f-lt fh it+ $*lqb/q D. + !f '* . ffiffi.2.l IfiS s*Srrt* - Fttt -Z' Sb t rr + gh t! 9-^l'^-. l l E.i*i 'i.+ .! . *nf4 4' ] 0@ W f-t* F?t?? {7\\l g' F-.i.i s#.YL1trif-t'.*nQ .lL* + 3 ... t * .tryi .u gb + *.I. +.q lPt t.4 * llhi.r*l t*t f. .S*-.t..0@ 66-6 f$l' ft". l.tu!1ur4f . Crua I ol lf ot l"r?n l.

etc. Breathe deeply and rhythmlcally.n'po 6t tne day . with the riretionome tafe like a click track.. progression. Break! Lie down. Play uninterrupted eighth-notes to the conclusion of the prerecording. OUlective: toLliminate any "flams'i between the right and left hands. stand up and stretch. Practice visualiling yourself playing the proiect the way you wish you had- Total 50 min Check off each step as it is finished. to the conclusionof the pre-recording. Break! Rest away from the guitar' Lie down. Stand up and rewind the machine. Relax all parts of the body. 50 MINUTE PROGRAM Step 4 2 min Play eighth notes once through the progression tg establishyo-ur t". Step 6 2 min Step 7 Step 8 Step 9 Step l0 Step t I Step 12 t0 min 2 min l0 min 2 min l0 min 2 min Play uninterrupted eighth-notes to the conclusion of the prerecording. L OGOF D A IL Y METRONOMESETTINCS Step 5 l0 min Pre-record yourself playing the chord changes (sustained no nearby so that it will sound on the rhythms). Know the key Focus yoffihord centeri and memorizethe progression. Close your eyes. 28 . priate box below. Play notes slowly at all parts of the fingerboatd. Play unlnterrupted elghth-notes over the progrggsion as it is played back. Repeat the progression non-stop for 10 minutes Break! Set the guitar down. "Get it off the paper and into your head".the speed at which you can play through the Mark down the dayts tempo in the approffitakes.WE E K T H R E E PROJECT LESSON 2-A d Week End Tempo Obiective I =8+ P REP AR A T I O N Step I Step 2 Step 3 Clear your work area of all things not pertaining to thislesson Tune your guitar. etc. Break! Set the guitar down. warm up.

$rr ry$"'*E*S qFrqi-l bn-*nq-r .6) 6b ElrTgre- -t$ {t.?.A+'I $rrlq u'f. 'nt& '-J t*I .e. ?W rI&pn@r 1*'J?r-r**Ji 0-tr 3.nT ZE '@ u* D+ fil tt*.

'j* -5ff-t mw'in r L%.*T$d o .ll I g'h nrnr*1 r.. t +.fli* {rr..-f. :tr:.' fil Hn.l: gbn(.3d. f @ ?i L 4 4l s #Y!**'-r.rh} eb $i.4*l .o frl.l*hl r tr.t ll o ( fr-r r-:g-l I' ?f*!'i.'* alrr r lD -' . r rhi L. -r |.u t+!1irr bf:l.{} r ...

.it'i . I n!n rse* Fni:r{T s f * | 4 Ewfm @ offitu o .F -r [{&r'.2.-"El -' Sam{ r4 r{ p' q L1' L.. J#. f$ .* J I 2.lr r.i.r .ft L CI D f': 3 l 3..4Tio. Lt .3! f.1''bl c**4 t""n- i.

Close your eyes. Ptay notes sto*ty at all_parts of thg filggrboard. LoG oF DAILY METRONOIIE-SEJTINGS I Day2 Step 5 l0 min .ession. ttrislesson' warm trp.no Pre-record yourself ptaying the clrord changes (sustained rhythms). stand up and stretch' eighth-notes etc' Step 6 2 min Step 7 Step 8 Step 9 Step l 0 Step I I 10 min 2 min l0 min 2 min 10 min 2 min Play uninterrupted recording. progr. Total 50 min Check off each step as it is finished 32 . Rest away from the guitar. €tc.l lb WeekEnd TemPoObiective a PREPAR+TloN Step t Step 2 Step 3 Gtear youf wor"k area of afl things not Pertainingto Tune your guitar. with the metionome nearby so that it will sound on the tafe like a click track. Practice visualizing yourself playing the proiect the way you wish you had. priate box below. 50 MINUTE PROGRAM Step 4 2 min Play eighth notes once through the progressio+ te establish your ter'po 5f tne day . Know the key Focus yoffihord t'Get it off ttle paper and memorize the progression.tiu": toLtiminate afty"flamsd between the right and left hands. Break! to the conclusion of the preLie down. Play unlnterrupted eighth-notes over the progre-ssion as it is played back. OUi". Break! Set the guitar doJyn. Breathe deeply and rhythmically.the speed at which you can play through the Mark down the day's tempo in the aPProffitakes. Relax all parts of the body. Repeat the progression nglr-slop fisr 10 minutes. eighth-notes Play uninterrupted recording. centeri and into your headt'. to the conclusion of the pre- Step 12 Break! Lie down. -Stand up and-rewind the macNne.WEEK FOUR PROJECT LESSON ?-B J : e. to the conclusion of the pre-recording. Breaki Set the guitar down.

r*{urfi" 0& {-dts8i"rgr T Ttra..fD''fi' gb!t.l k"T.ft .#F .

EXAMPLE FOR PROJECT LESSON 2*B t ffi lriifui tb l.tr A Srrr*t II t.l 7F -r rEl- t"1 1r t& Fn'^' ]*. l2 $ot'l F1'". I -@ s@ p Sru4 " t rt ll '^t lrq*t i: t4 ffi@w o { !.F'} --*-66-*6@T iir. (-{ A4 1 I s ll 1. . 3Ir ..psti[ hQ'n tr5..! r!n'n t t L.1.

: f\"+r2 P^: ..1 t r:*c!*t 6 6 0. 4 .f.?.\ O '^ .t .aJ*. . l l n'l #?* tL .4 '^. r3. tb t\ ch f' ' LL t...{ Tq.?'1 . $Ftr.t.t': .3r'Lba tefa 3 rL+gt"" t^t'-t t+* 4tt* *rt. et I 1.L t +'t-!3rL Sba.

Repeat the progression non-stop for l0 minutes. Obiective hands. _ To eliminate any rrflamstr between the rigrht and left 5 . Relax ail parts of the body.no rhythms). Stand up and rewind the machine. Practice visualizing yourself playing the project the way you wish you had. Know the key Focus yoffihord centers and memorize the progression. Play uninterrupted recordlng. eighth-notes to the conclusion of the pre- Break! Lie down. to the conclusion of the pre-recording. Break! Step 1 0 Step I Step 2 Rest away from the guitar. Play notes slowly at all parts of the fingerboard.the speed at which you can play thro-ugh the illark down the day's tempo in the approffitakes. r'Get it off the paper and into your headt'. etc. Play uninterrupted eighth-notes over the progression as it is played back. etc Step 6 2 min 7 Step I Step 9 l0 min 2 min t0 min 2 min l0 min 2 min Play uninterrupted recording. priate box below.0 MINUTE PROGRAM Step 4 2 min Play eighth notes once through the progression to establish your tem-po of thq OaI . eighth-notes to the concluslon of the preLie down. wlth the metronome nearby so that it will sound on the tape like a click track. 36 . progresslon. Close your eyes. 50 min Check off each step as it is finished.FIVE YUEEK PROJECT LESSON 3-A VUeek End TempoOujective J : /09 PREPARATIOry Step I Step 2 Step 3 Clear your work area of all thingrs not Pertaining to thislesson Tune your Euitar Warm up. Break! Set the guitar down. Breathe deepty and rhythmically. stand up and stretch. S LOG OF DAILY METRONOME ETTINGS Step 5 10min Pre'record yourself playing the chord changes (sustained . Break! Set the guitar down.

Iln,&a

.O,rrr4

A4{-q}

h.,.4

^ Onrrl

Drrt -g$l
.- a

Glit

-?Ft-'

*fr-m4

b+"

hh
r {} ts L
L-r f tl-l

llrl

l-

,t'-!n,

... , f"l"AL '/,,Lb*^Wr,-

EXAMPLE

FOR

PROJECT

LESSON

}A

D tr,

, Pl'*

3rL

,,c

t,l?

,. f s

hl r,
t?

,,11 2 ,r\li ^c
,hr4

Ae.l'ql

a
D,,

@o

{t,,+ lr,

#Lsl

L5 +li', I
@@@o

A+4 ^l
qi tPl

!.| , t

st
I,L

-l

'rl, t

($

r',*Cftl

o

, t. {n,,r+Alil'+r:+ltf',",'Ffl

t-;']' | : , il
0@@
I

s,u,{

',, fri:aiua, ;F'n': P,n'
t"Llrfiil$r

I

fan
l'E,

C*,r,4

- |

*.LthLg"I
**"ffi"

l Itfi,
0# s -&@s

*+4 4'L I

Cmrl r r 4$

++* J

4f '-

(+*) Sb
$bnrna
&lr 4l

t t*f

*

r, ,ft., 1*3
@

!t, r fli'l*
2 rr
A

0
r--

g,ni

n

-l
I

,4

I,,, ffipg

t&*tLt*)
o @

Cfrol . ,

f**,1

i-i e'l , r rL

@ @

t [.b,n,"
$

'[o,u

*'#
*L jrt +
tfi

ii,-.zt; i:j'*JJ--#d+l

6-6--o*]*p;E;TEi #

WEEK SIX

P R O J E C TL E S S O N } B ) a /2 O

Week End Tempo Obiective objectiv "

PR EP A R AIT N O Step I Step 2 Step 3
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. Obiective: To eliminate any "flamsrr between the right and left hands.

50 MINUTE PROGRAM Step 4 2 min Play eighth notes once through the progression to establish your tempo of the dav - the speed at which you can play through the piece without mistakes. Mark down the dayrs temp in the appropriate box below. LOG O.F DAILY METRONOMES-ETTINGS

Step 5

10 min

Pre-record yourself playing the chord changes (sustained - no rhythms), with the metronomenearby so that it will sound on the tape like a click track. Repeat the progression non-stop for l0 minutes. Break! Set the qu1!9r down. Stand up and rewind the machine. Focus yoffihord progression. Know the key centers and memorize the progression. rrGet it off the paper and into your headtt. Play uninterrupted eighth-notes 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. eighth-notes to the conclusion of the preLie down, etc.

Step 6

2 min

7 Step 8 Step 9 Step l0 Step I t 12

t0 min 2 min l0 min 2 min 10 min 2 min

Play uninterrupted recording. Break!

Rest away from the guitar

Play uninterrupted recording.

eighth-notes to the conclusion of the pre-

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.

Total

50 min

Check off each step as it is finished. u0

fu*+ E{{+l u"f fl* !-F +tl{+*}** -rq# ffi ?:{} A"T r I ..q {fuq }- L.*^go. f .Bgryi 3 r1*****h{-l * #fi} .llF em I Ig.li *l. dr *uJ {f.{*.*\ I b lTr I ffrrt* I $.ffr*F .9..

t. l-r tLarl .*j l.f14 l$l+J Lt-| bn1 tr | t tl sl ?li E# .. trtrl t3.4 t" t rit} 't' f.EXAMFLE FOR PROJECT LESSON 3-B ffi I { A*rf ll*r A*rra .a An.! t+'t{$ I f .:** 6 snft-qt {+'tt*i ll I 0 6& . I @ I et{4} r&l n4 \! I I q. 44.L4 ?b -r ilN I t. ..trt I l.

.rr r l. {ryi ttl ^ I Ct$. 06 rr?f..l* r 0 0 nD tbltl r t 1t-$* s r 3t$rtt I ut3 .'+. -'r I].t$tl L r 4 r..! f.rtr{r ?.r 4E! ..'l{*l trS l4 #0#0 -f r 3 6h*t ++ l1 1! zL t i.P3+ I 4*! +4 + r.*nn1 r r$.F t * t ry { { il' t gr.

To reinforce our merrery of the chord progressions atso of the devices we used to get through them' themselves-and focus To do some clean-up work on our t€mpo obiectives and r€ally on precision. I matter horvever. point in time' This will help firm up ouf technlque as lt exists at this of regu-lar disciptin€d The method of going about deing this is. Each day we will deal preceeding studies' ctrorO prbgression form the DA Y O N E DAY TWO DAY THREE DAY FOUR DAY F I V E DA Y SI X Review Proiect Lesson Review Proiectlesson Review Proiect Lesson S€viery P{'oiect Lesson Review Proiect Lesson Seviery P-roiect LeEsen 1-A H 2-A }B 3-A S The reasons for this review are two-fgld' A. RenEmber. B.WEEK (REVIEW} HOW TO DO THE PROJECT LESSONSFOR THE SEVENTH with one of the A six day series of Proiect Lessons. 44 . the big deal is doing it. that itrs no big deal to outllneit' study periods agou-tlined. as before.

stand up and rewind the machine. stand up and stretch. Break! Rest away from the gultar.aar --the speecLatwhi. Break! Lie down. with the metronome nearby so thit it wilt sound on the tape like a click track.Get lt off the paper lnd into your headtt.ninterrupted eighh-notes to the conclusionof the prerecording. Rerax a|l parts of the body. .no rhythms). Play.. etc. Tune your guitar.tne. Break! Set the guitar down. to the conctusion of the p""-'"*irJing. Know the key centers and memorizethe progression. practice visuarizing v"""r"iiplaying the project the way yoti wish you had.f. Mark down the day's tdmpb in thJappropriate box below. Focus your attention on the chord progression.gyitar dgwn. Il1m yp.h fou can play through'the piece without mistakes. Step 6 2 min Step 7 Step 8 Step 9 Step | 0 Step I I Step 12 l0 min 2 min l0 min 2 min 10 min 2 min Play u. crose your eyes.notes slowlyr'flamsri obiective: To eliminate any between the riiht and left hands. Play u-ninterrupted eighth-notes to the conctusionof the prerecording. at all parts of the fingerboard. etc. Play uninterrupted eighth-notes over the progresslon as it is played back.deeptyand .. Repeat the progression non-stop to" ro mi n u te s. Lie down. . Breathe -.WEEK SEVEN PROJECTLESSONREVIEIV I J : /3 2 Week End Tempo Objective PREPARATION Step I Step 2 Step 3 clear your work area of alt things not pertaining to thislesson. 50 MINUTE PROGRAM Step 4 2 min Play eighth notes onge through the progression to establishyour tgqnpoo. Break! set the.rhythmically. L OGOF DAILY METRONOMSETTINGS E Step 5 l0 min Pre-record yogrs-etf playing the chord changes (sustained .

CONTEMPLATE YOUR THE PROGRESS END OF ITEEK TO SEVEN YOU SH O U L D EE LA N OT IC E A B L E F N EWCON F I D EN C A N D S U R E N E S S E I N YO U R PL AY I N C T E C H N IQU E C O N T I N U E D P E R S I S T A N C ET O T H E END OF THE PROGRAM. W I T H R EN E WE MOT IV A T ION . 46 . GIVE YOURSELF WELL-DESERVED A PA T O N T H E BA C K F OR D IL IGE N C E . D GO O N T O W E E KEIGH T . THE N. AND A SPECIALREWARD FOR YOUR SUCCESS THUS FAR. EVEN THOUGH SOMEWHAT EDIOUSAT TIMES. WILL T R E S U L T I N T H E F U L F I L L M E N TO F YOUR GOAL IN ONLY THIRTEEN MORE WEEKS.

use the metronomeonly to track your progre. B. with one day off. Keep a daily record of your tempos in the boxes providld. This will cause every other set of triplets to begin with an up stroke.H OWT O DO W EEKS EIGHT THROUGH THIRTEEN A. No Phrasing. strive to make up strokes sound as strong as down strokes. (NOTE: Your tempo may vary slower or faster from day to day. No two strokes in the same direction.set your metronometo a deslred speed and try to rise to meet it. The effct is very hazardous to progress. follow the steps falthfully as given. Thls is to be expected.s!. c. Play only eighth note triplets. warning: D9 not. No other ornamentatlon. No hammer*onrs. D. Regularity is essentlal. continuous and uninterrupted. Rather. use Alternate Picking only. ) !o 9a9h project lesson for six consecutive days. No pull-offls.e. I . No rests. f. for whatever reason. Avold sklpping a day. Now.

Know the key centers and memorize the progression. Close your eyes. etc. Break Rest away from the guitar. Break! Set the guitar down. eighth-note triplets to the conclusion of the Break! Lie down.the speed at which you can play through the piece without mistakes. Tune your guitar. with the metronome nearby so that it will sound on the tape like a click track.tlIEEK EIGHT PROJECT LESSON 4-A I WeekEndTempoObjectivJ " I P R E P A R A TO N Step 1 Step 2 Step 3 : ?6 Clear your work area of all things not pertaining to this lesson. Play uninterrupted pre-recording. Breathe deeply and rhythmically. Break! Set the guitar down. Step 6 2 min Step 7 Step 8 Step 9 Step t 0 Step 1 t Step 12 l0 min 2 min l0 min 2 min 10 min 2 min Play uninterrupted pre-recording.no rhythms). trGet it off the paper and into your headtr. 50 MINUTE PROGRAM Step 4 2 min Play eighth-note triplets once through the progression to establish your tempo gf thq dav . Focus your attention on the chord progression. eighth-note triplets to the conclusion of the Lie down. Warm up. etc. Play notes slowly at all parts of the fingerboard. Stand up and rewind the machine. PIay uninterrupted eighth-note triplets over the progression as it is played back. Practice visualizing yourself playing the project the way you wish you had. Repeat the progression noJ-stop for l0 minutes. stand up and stretch. Mark down the dayrs tempo in the appropriate box below. Check off each step as it is finished Total 50 min tl8 . Objective: To eliminate any "flamsrr between the right and left hands. Relax all parts of the body. LOG OF DAILY METRONOME ETTINGS S Step 5 10 min Pre-record yourself playing the chord changes (sustained . to the conclusion of the pre-recording.

t_.s rfi nb. &nla +qe qu'H{ *l $btr n! . rt .#*i *4h -4{*.fu"f * _+$s_ ..t '** tli+*] n/fi-EryT.u-A tQ ^-+t u * .g*- 'ffi .*.-}fi 4+#* 3f 1 .L nCnJ 1f' r1{+rr }*E *l r:runft*rfit .r"*$r.ta-r--?n...

1t n.4 & I & -- *htl* l'*f I *r-lLrlJ Lrlt a .4 :$--{" l $ l.T LESSSI{ {*A {n.'4 +4J # sffi ry* + l' 2.{ at S I fr+ .n.4 "i" -? "L # @ @(p o-E 0€l #& tr s .HX&**FLF FO* FNOJEf.a I rtt_ t l L t @@ SF*'a L * *E '. I h r 'Snr{ to . t ( S. l.ut il*.

l .1 F .. &v6 . . I L s 0@o 6-o * 1.".' c*. Lt @ Qa@ rl.i. o.hl bir.n {^r4 Ir/ + lr.l?{* I r- e=- lryp- @d@ @@ sT l--Ll 14.

rl1{ I ts.I | +_I_ A F.^t' @@ 6*t'l g+4(A) t t t t!L: hi r Lt t.4 . (n4 Ab aLl 4lL t^+ fr^.

*Ab \+! ' frbn.n Al*r*a ! + Li +L @ ss .i'iui1i*i irii d l l) I +r .

Break! Rest away from the guitar. Play uninterrupted eighth-note triplets over the progression as it is played back. Break! Set-the quitar down. Breathe deeply and rhythmically. Break! Set the guitar down. Total 50 min 54 . Stand up and rewind the machine. LOG OF DAILY METRONOME ETTINGS S Step 5 l0 min Pre-record yourself playing the chord changes (sustained . Know the key centers and memorize the progression. stand up and stretch. Close your eyes. Play notes slowly at all parts of the fingerboard. Objective: To eliminate any 'rflamsrrbetween the right and left hands. Focus yoffihord progression.no rhythms). etc. eighth-note triplets to the conclusion of the Break! Lie down. Relax afl parts of the body. with the metronome nearby so that it will sound on the tape like a click track. Practice visualizing yourself playing the project the way you wish you had. Repeat the progression non-stop frr lt mlnutes. Play uninterrupted pre-recording. Warm up. Mark down the day's tempo in the appropriate box below. eighth-note triplets to the conclusion of the Lie down etc. Check off each step as it is finished. rrGet it off the paper and into your headrr. 50 MINUTE PROGRAM Step tl 2 min Play eighth-note triplets once through the progression to establish your tqmpo of the dav . Step 6 2 min Step 7 Step I Step 9 Step l0 Step I I Step 12 l0 min 2 min l0 min 2 min l0 min 2 min Play uninterrupted prFrecording.the speed at which you can play through the piece without mistakes. Tune your guitar. to the conclusion of the pre-recording.N WEEK INE PROJECT LESSON 'I-B Week End Tempo Obiective J /o* PR E PA R AT I O N Step I Step 2 Step 3 Clear your work area of all things not pertaining to this lesson.

+tTffiU j*+1ue .-'r%-r 3L.trAl g_ -']'-T. "J?* 'h6 '@ **.{ \cf o'3 l4frfimf ?=E*'1F.f -1 ub ar i'@* ia*_ lll ffi'{ u-a1ggv. tu. nnf'-I '-.tbrft 0.16rr' .(h'' LD.

ri @ @s N tIz N{.mr.t i .)l+L -@@u @ 6.. *LL +! ltt v.EXAMPLE FOR PROJECT LESSON 4-B ill I r.S @@ @ * h 9*it i.

.t rteii le *l $tt t'r * r l/- *6* s gt gv.+ Yo.1 ffiq furtq *lt Il tD 6r s00@ o .t i t * ?* 5.rilTb .

WN !+ h! * * frm4 t *) +r t *. @ t\ r 1! n f$n"r{ Lhl i ?.rr{ I @ gh ir4 n *-fr I F4 r* w (tr . * tt F*14(41 Lululr.+\! ? + €nt o+} A+rr.

}..*.lr-1) #s .nr.4__ @O@ gl (-4 3brl l . ..-_-. Qoln t h1 hi-l4i h+ --@#"-"- #ffi*ffie s#s d____*. _^ hr F imini# + ('6) .& . -+.r r1+-t b..1 n Abnr. L4 LFtl + 6b ' l* L f*i +t .

Warm up. etc' eighttrnote triplets to the conclusion of the Step 6 2 min Step 7 Step 8 Step I Step l 0 Step t t Step 12 0 min 2 min l0 min 2 min l0 min 2 min Play uninterrupted prFrecording. Play uninterrupted pre-recording.TTEEKTEN PROJECT LESSOI{ 5-A Week End Tempo Objective ) : // z PREFARATION Step Step 2 Step 3 Clear your work area of all things not pertaining to this lesson. prolression. Tune your guitar. 50 M I NU T EPR O G R A M Step tt 2 min Play eighth-note triplets once through the progression to esta-tlre dav . stand up and stretch. SETTINGS tog oF D4ILY METRONOME Step 5 l0 min . Know the key Focus yoffihord rtGet it off the paper and and mernsriee the progression.the speed at which you can play btiih y6ur tempo of Mark down the dayrs tempo throuih ttre@istakes. Stand up and rewind the machine. to the conclusion of the Pre-recording. in the appropriate box below. Play uninterrupted eighth-note tripfets over the progressisn as it is played back. 60 Total 50 min . with the metronome nearby so that it till sound on the tafe tike a qlick track. etc. Relax all parts of the body. Break! Set the guitar down. Lie down. Close your eyss. cente6 into your headrr. 'rflams'r between the right and left Objective: To eliminate any hands. Repeat the progression non:stop for l0 minutes. Breakl Set the quitar down. eighth-note triplets to the conclusion of the Breakl Lie down. ?ractice visualizingr Voursett Breathe deepty tnd rhythmica|ty. Break! Rest away from the guitar.rrc Pre-record yourself playing the ctrord changes (sustained rhythms). playing the proiect the way you wish you had. Check off each step as it is finished. Play notes slowly at all Parts of the fingerboard'.

*J /.€}-r a tllrl'[-tt.-] [' u4t-s) frbq 6t .A r_{ C *I ll r- A r-vt.hnf tr*. -i r?t-r. /a c . 1t -t f f\al ' A.l *1 --t"f fu*a ls fl dFl r* -l lmJ/.5.1 &b1|5l r- F -*1 rhf eb doq r-F t*r.

sss @ .uhl - {r-*t %m .s . :-f .- cT-t . J +hq }}. t- 6P -r frnnr 4 *. frf + i r J @ee I r:zr* 1""L. h2bl .ey + tu I f fmr .r I I .-: 6 (t -r 5 ..EXAMPLE FSN PRSJgC'T LgsSgN 5*A ryC firt*4 4 . ?3 l t tL 3 '-n!.

other This type of growth work draws a tremendous amount of systemic energies. The rest period will continue for some period of time.RE M I{ D€ R ln the Crorvth Process. $Tughout. This will persist for some period of tirne. Donrt worry about it. we tend to feel that we have the wortd by the tail and great pnogress is taking place.but your practice regimen must remain ionstaht. This will last until we select the specific area to attack first.on and on it goes.weall gothrough periods in which we areactivating new nerve junctions. Then the road will becomevery rough agnin. So. a "plateaur'. not during the' rest period. . Actualty. We then tend to go into a natural state of rest.and we witl begin to become aware of our weaknesses. the reverse is true. During this rest period. We will then begin the same uphiil climb again and plateeu again onty to meet our deficiences face to face again. both in the brain and parts of the body. The overall physical feeting is-tike pulllng a train uphitl. The progness was made during the uphill climb.and the psychological spin-off is the feeling that we are getting nowhere.

LOG OF DAILY METRONOME ETTINGS S 1 Dav2 Dav3 Step 5 10 min Pre-record yourself playing the chord changes (sustained . Warm up. Check off each step as it is finished. etc. Objective: To eliminate any Iflamsrr between the right and left hands.WEEK ELE\IEN PROJECT LESSO}I I I 5-B WeekEnd TempoObjective J : PREPARATION Step 1 Step 2 Step 3 lZ0 Clear your work area of all things not pertaining to this lesson. Step 5 2 min Step 7 Step 8 Step 9 Step l0 Step I I l0 min 2 min l0 min 2 min l0 min 2 min Play uninterrupted pre-recording. Know the key centers and memorize the progression. rrGet it off the paper and into your headr'. Relax all parts of the body. Close your eyes Breathe deeply and rhythmically. Focus your attention on the chord progression. Play uninterrupted eighth-note triplets over the progression as it is played back. etc. Stand up and rewind the machine. Break! Rest away from the guitar. Mark down the dayrs tempo in the appropriate box below. 50 MI NU T EPR O G R A M Step 4 2 min Ptay eighth-note triplets once through the progression to establish your tempo of the dav . Break! Set the gq'Ltar dorryn. Play notes slowly at all parts of the fingerboard. stand up and stretch. Repeat the progression non-stop for l0 minutes. Practice visualizing yourself playing the project the way you wish you had. to the conclusion of the pre-recording. Tune your guitar.no rhythms). eighth-note triplets to the conclusion of the Lie down. Break! Set the guitar down. eighth-note triplets to the conclusion of the Step 1 2 Break! Lie down. with the metronomenearby so that it will sound on the tape like a click track. Play uninterrupted pre-recording. 64 Total 50 min .the speed at which you can play through the piece without mistakes.

.6 . !49 ru*r eh r- r-d *[g.Er..u' a6P'1 o--t'(*t' tffr-. o .tr^- 1S' f6 #**i*.b" LW .flrur'l pt{-rt T.I aru($rq +)l S**1 .

. ..*.. .? sf*.-. Fbip* co tnnnblq I -." 'f'A .Lb:.FXA*fiPI-g'FOR PRSJECT f- LEgSSF{ LMT t 5-B s '-- C d. . i*Pt 0---(# A*'fr fi. | .r1 T1"f-Jo t @& ^fu'l'' L {1uT} l*.^ I ..n ?- {o.n-{ #v''. Ab+]'fl t\o . ' .... .ri x t".. + -.- o o @ 6-'@ r l't K+FT flr1f. fubo.I .l* r . |"t t X r l o .-..-.

you wirr reach many momentsin which you hate that rrsame lick' you rralwayspliy". Notes played irigtr up on the n6ck have-a "i' much greater string travel than ihe low ones and can create col ordination problemsbetweenthe left and right hands.. . f l ltti" progfam.no itop". warm up for 5 minutes by playing notes all. row.over the fingerboard.' So welcometo the world of a hot improvisor.the tape is running.oo somethingerse. Yes.REM NDERS i. and the next ti. high.-ub. to d6verop a feel fdr strlng t""l"r a given picking a-rea. t .1"y vlry srowfy. Both must attack the string simultaneousty.-i=-"L-ri"g l-igti .r At the beginning o_feach practice session. and mediumpitches. old ge-awareof tti" poi"i in the tune and the next time arouno.

LOG OF DAILY METRONOME ETTINGS S Step 5 l0 min Prerecord yourself playing the chord changes (sustained . to the conclusion of the pre-recording. Close your eyes. Breathe deeply and rhythmically. Break! Set the guitar down. Repeat the progression non-stop for l0 minutes. ItGet it off the paper and into your headrr. Tune your guitar Warm up. etc eighth-note triplets to the conclusion of the Lie down. Break! Set the guitar down. Play notes slowly at all parts of the fingerboard. Mark down the dayrs tempo in the appropriate box below. Relax all parts of the body. eighth-note triplets to the conclusion of the Breakl Lie down. Play uninterrupted pre-recording. Focus yoffihord progression. Break! Step l 0 Step l l Step t 2 Rest away from the guitar.no rhythms). Check off each step as it is finished. 50 MINUTE PROGRAM Step 4 2 min Play eighth-note triplets once through the progression to establish your tempo of the day . Stand up and rewind the machine. Practice visualizing yourself playing the project the way you wish you had.the speed at which you can play through the piece without mistakes. stand up and stretch. Play uninterrupted eighth-note triplets over the progression as it is played back. with the metronomenearby so that it will sound on the tape like a click track.}YEEK TWELVE PROJECT LESSON 6-A WeekEnd TempoObjectiv" ) P R E P A R A TO N I Step I Step 2 Step 3 : l2S Clear your work area of all things not pertaining to this lesson. Total 50 min 68 . Objective: To eliminate any "flams" between the right and left hands. etc. Know the key centers and memorize the progression. Step 6 2 min Step 7 Step 8 Step 9 10 min 2 min l0 min 2 min l0 min 2 min Play uninterrupted prFrecording.

f f tu' *to{s .CL . o!t{-6} l* Lr|lt r\4 Ab' &tt gf f (r) F $Lu[$ $efrr-6.*t'-rCt.

X .g .1 .. * : I t d .ull I 6b &a.* l Ii @@ Cnr h. L g F FOR PRSJECT LESSGf'T 6*A .Eb 6t& F.4 .! @ rt @ \1 * tbnt Lt L I ll @@ @@ @@ ) 3b1(.

_2t 'tL .* {.4 (*na yf @cn6'b * &urts r 3 @@ ob L*nl .fl--r* * r. x: frb1t"t| @o .*Cl"*.116gcn& r .lT i -*.*$*r.{'s} ..*. h. f M L! | lr t*a{ .{ s ry F 3.i' tt l-l * f gLats lu. aoo @ b . j @0 F surrt$ Ll I Lfi*. .*C.Crl $n.

Stand up and rewind the machine. Mark down the dayrs tempo in the appropriate box below. eighth-note triplets to the conclusion of the Step 12 Break! Lie down. Step 5 2 min Step 7 Step 8 Step 9 Step l 0 Step l l l0 min 2 min l0 min 2 min l0 min 2 min Play uninterrupted prFrecording. Focus youT attention on the chord progression. Break! Set the ggitar doq4. Objective: To eliminate any "flams" between the right and left hands.W E E KT H I R T E E N P R O J E C TL E S S O N 6 . Tune your guitar. Relax all parts of the body. Play uninterrupted eighth-note triplets over the progression as it is played back. Break! Rest away from the guitar. Warm up. with the metronomenearby so that it will sound on the tape like a click track. stand up and stretch. etc. Repeat the progression non-stop for l0 minutes. S LOG OF DAILY METRONOME ETTINGS 1 Day2 Day3 Day4 Step 5 l0 min Pre-record yourself playing the chord changes (sustained . eighth-note triplets to the conclusion of the Lie down.8 WeekEndTempoObjective ) ION Pq. Close your eyes.the speed at which you can play through the piece without mistakes. Check off each step as it is finished. Play notes slowly at all parts of the fingerboard. rrGet it off the paper and into your headrr. Practice visualizing yourself playing the project the way you wish you had. to the conclusion of the pre-rscording. Break! Set the guitar down. Total 50 min 72 . Breathe deeply and rhythmically. Play uninterrupted pre-recording. Know the key centers and memorize the progression. etc.EPARAT Step I Step 2 Step 3 I : /36 Clear your work area of all things not pertaining to this lesson. 50 MINUTE PROGRAM Step 4 2 min Play eighth-note triplets once through the progression to establish your tempo of the dav .no rhythms).

lf il'#Sf"'b $crff.* ut-sl abS *.{ f.r.ottr .H' €-& $b m' *b# 0rr f.g & w -gr-rrrs &$rru1* cta'gr.nrnr'tt I.

t @ odt @6r 74 . $t Sn'| t I _r@ Ss ss t-Lr @ *L t+ os@#@ fmr gb ?nt.. rf* \!+ $ Lrtl A4 b@ @ @@ -t.F^ 1.EXA['IPLE FOR PROJECT LESSON 6-8 t -Lri -L r o'* "*.-1. "t! t !t !rur 4 Li 7t *!+ Bfi'"f' e$u* j &nr gl41"l) t*ar - I !+ 'i{. * ! ** t..

* . tJ/ @ C' st-rr€5 t4 I Y.*b3 j *uF T\.rre5 futfrlt { Qirl t+ ! ft'l i d"l .C^t | r+ C' &rr. I t+ 0b f r4 @ q-t . . ##P 61#61 sry"i + @b @ @@-e ..@O .grJ1{) 7 61 CI r.TI 6*r {r* .1 ltt Nna l+ # c' ll &Lu{T . ft I *h4t-J] l.t hJrt$ @o s{p@ s P' r.0 1x.

No rests. i. strive to make up strokes sound as strong as down strokes. D AY O N E DAY TWO D AY T H R EE DAY FOUR D AY F I V E D AY SI X A. Each day we will deal with one of the chord progressions from the preceeding studies. (NorE: Your tempo may vary slower or faster from-day to day. Rather. No pull-offts. This is to be expected. The effect is very hazardous to progress. No two strokes in the same direction. c. for whatever reason. Regularity is essential.HOW TO DO PROJECT LESSONSFOR THE FOURTEENTH wEEK (REVtEW) A six day series of Project Lessons. warning: Do !9! se_tyour metronome to a desired speed and try to rise to meet it. ) Avoid -skipping a day. No. rrNothingtt but steady eigtirth note triplets. continuous and uninterrupted. _Keep a daily record of your tempos in the boxes provlded. B.e. No phrasing. foilow thl steps faithfully as given. D. Use Alternate Picking only. use themetronome onty io track your progress. No hammer-onrs. Review Review Review Review Review Review Project Project Project Project Project Project Lesson Lesson Lesson Lesson Lesson Lesson 4-A tl-B 5-A S-B 6-A 6-8 Play only eighth note triplets. No other ornamentation. 76 .

to the conclusion of the pre-recordi. Play notes slowly at all parts of the fingerboard. Step 6 2 min Step 7 t0 min 2 min l0 min 2 min l0 min 2 min Step I Step 9 Step t 0 Step l l Step 12 Play uninterrupted eighth-note triplets to the conclusion of the pre-recording. close your eyes. €tc. etc Play uninterrupted eighth-note triplets to the conclusion of the pre-recording.lish yguf ter4po of lhe dav . Tune your guitar.thedeeply and rhythmically. Break! Lie down. Loc oF DAILY[r4.no rhythms). parts of the body. practice visualizing yourself playing the project the way you wish you had. Repeat the progression non-stop for l0 mtnutes.!ii PROJECT LESSONREvtEW : / * t WeekEnd TempoObjective ) i PREPARATION Step I Step 2 Step 3 clear your work area of all things not pertaining to this resson. ll1m yp. Know the key centers and memorize the progression. Break! set the qyital_down.Re-lax-all Brea. .the speed at which you can play through the piece without mistakes. Break! Rest away from the gultar.WE E K FOURTEEN . Play. . rrGet it off the paper anl into your headrr. Lie down.FlRoNoME SETT!NGS Step 5 10 min Pre-record yourself playing the chord changes (sustained .pe. stand up and rewind the machine Focus yoffihord proiression. 50 MINUTE PROGRAM Step 4 2 min Play eighth-note triplets once through the progression to estab. uninterrupted eighth-note triplets over the progression as is played back. Break! Set the guitar down. with the metronome nearby so thit it will sound on tt ta. stand up and stretch. obiective: To eliminateany trflamstr betweenthe right and reft h a n d s. Mark down the dayrs temp< in the appropriate box below.g.like a click track.

W E E KF I F T E E N Day Day Day Day Day Day Day Day Day Day Day Day One Two Three Four Five Six One Two Three Four Five Six One Two Three Four Five Six Review Review Review Review Review Review Review Review Review Review Review Review Review Review Review Review Review Review Project Project Project Project Project Project Project Project Project Project Project Project Project Project Project Project Project Project Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson l-A l-B 2-A 2-B 3-A 3-B t-A 4-B 5-A 5-B 6-A 6-8 l-A 4-A 2-A 5-A 3-A 6-A tt.a fiorlq @ Following is a 2l day "gestationrr period aimed toward affixing your present maximum -one technique as a permanent reflex capability. a point at which may go without playing for_long p_eriods time. SIXTEEN AND SEVENTEEN (2 1 D AY REVTEW ) 9p t9 now. ? Frnr @ . our goal has been to gradually rach a tempo of ) = lltwith ctean execution by the end of the fourteenth week. write d.HOW TO DO PROJECT LESSONSFOR WEEKSFIFTEEN.EEKSIXTEEN W E E KS E V E N T E E N D a y Day Day Day Day Day 78 .o*l the present maximummetronomesetting (the setting at which you ortlfiy through the project lessons free of mistakes). Whether you have or have not attained this tempo. The following here is a suggested schedute (you may change the order at will). regain ttre of full technique. but with about two to three weeks of practic6.

WEEK FIFTEEN PROJECT LESSON REVIET/IT WeekEnd TempoObiective ) PREPARATION : tSZ Step 1 Step 2 Step 3 Clear your work area of all things not pertaining to this lesson. to the conclusion of the pre-recording. Play notes slowly at all parts of the fingerboardrrflams'rbetween the right and left Obiective: To eliminate any hands. Break! Rest away from the guitar. with the metronome nearby so that it will sound on the tape like a click track. Mark down the dayts tempo in the appropriate box below.wn.e piece without mistakes. stand up and stretch.us your attention on the chord progression. etc Step 6 2 min Step 7 10 min Step 8 Step 9 Step l0 Step l l Step 12 2 min l0 min 2 min 10 min 2 min Play uninterrupted eighth notes and eighth note triplets to the conclusion of the recording.no rhythms). Close your eyes. Breathe deeply and rhythmically. Relax all parts of the body. Tune your guitar. Lie dswn. etc.the speed at which you can play through tl. Break! Set the guitar down. Play uninterrupted eighth notes and eighth note triplets to the conclusion of the pre-recording. Stand up and rewind the machine. Know the key centers and memorize the progression. Break! Lie down. IGet it off the paper and into your head". Warm up. Check off each steo as it is finished. Play uninterrupted eigrhth notes and eighth note triplets over the progression as it is played back. S LOG OF DAILY METRONOME ETTINCS Step 5 l0 min Pre-record yourself playing the chord changes (sustained . Practice visualizing yourself playing the proiect the way you wish you had. Break! Set the guitar do. 50MINUTE PROGRAM Step 4 2 min Play combinations of eighth notes and eighth note triplets once through the progression to establish your tempo of the dav . Repeat the progression non-stop for t0 minutes. Total 50 min . Fc.

close your eyes.uninterrupted eighth notes and eighth note triplets to the conclusion of the recording. Break! Set the guitar down. Ereak! Rest away from the guitar.pe. stand up and stretch. Play notes slowly at all parts of the fingerboard. Relax all _parts of the body. Step 6 2 min Step 7 10 min Step I Step 9 Step 1 0 Step I t Step 12 2 min l0 min 2 min 1 0m i n 2 min Play. Focus yoffichord progression.TYEEK SIXTEEN PROJECT LESSON REVIEW Week End Tempo Objectiv"_l_: PREPARATION Step 1 Step 2 Step 3 I /( O_ clear your work area of all things not pertaining to this lesson. Play-uninterrupted eighth notes and eighth note triplets to the conclusion of the pre-recording. Lie down. !?ry gp. Tune your guitar. Check off ech step as it is finished. Kto* the key centers and memorize the progression.speed at which you can play through the pffiakes.F. Brea_thedeeply. Mark down the dayrs tempo in the appropriate box below. Step 5 l0 min Perecord yourself playing the chord changes (sustained . . stand up and rewind the machine.$fI4 Step 4 2 min Play combinations of eighth notes and eighth note triplets once through the progression to establish your tempo of tire dav . etc. Break! set the guitar down. Break! Lie down.no rhythms).like a click track.. Total 50 min 80 . practice visualizing yiurself playing the project the way you wish you had.and rhythmicatly. s0 MTNUTE-I'ROG. Play uninterrupted eighth notes and eighth note triplets over the progression as it is played back. with the metronomenearby so thit it will sound on the ta. to the conclusion 6f the pre-recording. etc.. Repeat the progression noE-stop for 10 mtnules. objective: To eliminate any "flams" between the right and left hands.the .Get it off the paper and into your headtt.

Breathe deeply and rhythmically. Focus your attention on the chord progression.the speed at which you can play through the piece without mistakes. Play uninterrupted eighth notes and eighth note triplets to the conclusion of the pre-recording. Total 50 min . 50 MINUTE PROGRAM Step 4 2 min Play combinations of eighth notes and eighth note triplets once through the progression to establish your tempo of the dav .12 Week I PREPARAT ON Step I Step 2 Step 3 Clear your work area of all things not pertaining to this lesson. Break! Set the guitar down. etc Step 5 2 min Step 7 l0 min Step 8 Step 9 Step 1 0 Step il Step l2 2 min 10 min 2 min l0 min 2 min Play uninterrupted eighth notes and eighth note triplets to the conclusion of the recording. Relax all parts of the body. LOG OF DAILY METRONOME ETTINGS S t^eP 5 l0 min Pre-record yourself playing the chord changes (sustained .*r LESSONREVIEW WEEKSEVENTEEN PROJECT I End TempoObiective 1 = t. stand up and stretch. rrGet it off the paper and into your head". Repeat the progression non-stop for 10 minutes.no rhythms). Lie down. Practice visualizing yourself playing the project the way you wish you had. Close your eyes. Check off each step as it. Stand up and rewind the machine. Mark down the dayrs tempo in the appropriate box below. Play notes slowly at all parts of the fingerboard. with the metronome nearby so that it will sound on the tape like a click track. Obiective: To eliminateany I'flams" between the right and left h a n d s. Tune your guitar. Know the key centers and memorize the progression. Break! Rest away from the guitar. Warmup. etc. Break! Lie down. Break! Set lhe ggitar down.is finished. Play uninterrupted eighth notes and eighth note triplets over the progression as it is played back. to the conclusion of the pre-recording.

The picking stroke shown as ( $ ) means either a down or up stroke may be used. 82 . seven notes are sounded ulth one attack of the plck.o. But for those who may not be so famillar with them. Example18 0 t ||..o . our technical resources have been limited to (a) alternate down and up strokes and (b) duple tlme and trlple time.o. the follouing examplesbriefly describe and demonstratethe basic principles. r^""= il. 4 ?. you can expect an almost immcdiate. dramatic acceleration of technique in general. For those of you who have been playing for someUme. ln Example 15.NINETEEN --*morr'r. in that 2 sr urore tones can be phyed wlth only onc picklng stroke. One main reson for this ls that the duties of the picking hand are greatly reduced. (b) pull-offrs and (c) glissandi or slidesBy introducing these devices into your work studles.t DEs Up to this point in the pnogram. Now letrs expand the resources to include (a) hammer-onrs. hanmer=onrs pull-offr. 3 H.o.AND TWENTY (REVTEW) WEEKS EICHTEEN. and slides arc nothing new. r3l ?.

lr.O. e2 l{.o. *rs t t- tl.a" g lr.a fri H. Thls ie efpccislly trtre lf-the amplifier is turned up to a hlgh vslurne eetting.c.t n. & lf'O. t rfL. . Thus wG are able to sound 2 or more not€s for the price of one picking stroke. but the rhythmic character of the PassEgc must-be precise.O.d.lldba pointed out that it k poeuiblc ts sound any ton€.o. l1ifitnr il.s" + '. not€ very straight sh€ad move. This hammer-like action" produces another tone {hiEher in pitch} without having to strike the string again.i*l :: (a) Strike .: HAfitt'lEnisilr5":r ' t'strong slam-(irsmmer) your 2.O. H6" r3 + il.o. 7* *. t*l tL.o. ril ll. * fl. tt shor.al. tL+ ls$.o. t?. ft.d. Example l9 q.$. . group of to*rer or chords without any initial pick stroke at all.o. The Hammer-on technique itself is a presssd with the lst. NOTE: Not only is it important to hammer-on strongly enough to sound like a plucked string. Znd.6.} f{. 3 t{. * H. beinq t rr.L H'S.o. s3 . S ' t*l &LrF fl. tl.s. if the hammer-on is forceful anough. or 4th finger &wn on the sam€ string. 4 H. or 3rd finger (b) while the string is stil{ vibrating. fl. l.3?-{ ll. 4 Ir. L t tu rr-o.o. 42" ll.

?"o' b?-41.1. **n I .o.a.s. 4n- r*4 n.s. This allows the lower note (still heing h€ld) to sound. #.o. ?"e...o" $ 7* (t ?."' "uon't rush. (bl press down the same strinol The Pult-off technlque involy*:. fi1g:ring preparatio-n.r.. rf. r. f. z- f7 f.. * q'S Ro" 4 r. tf.r.o. ila. * f"o" k c ?*e g. RT:_ou:*__"_:olicl Also'-..roximatingthe loudness of the origina! {pickEc striig}. $."}.d. " Keep the rhythmic character of the phrase precise.o.great care should be taken to maintain rhythmic contlol otine puli-ofi. trL I+F?. r 11. 2_ | g4 .o" ?o. l|"rb ?o. or tlth fingers. 3rd.a.o. rtt* buil-off shoutd be . | . A1 no" ?t* f.A. $ | ILO. L I ?.a f{.fc" LI ?*4 L z.o.G.1}. 7I Example 21 r*+?.e that tone. eo. L+L li.:n* string is vibrating.h'i. "iir'"#iiil.}oic rine a prepariatory tone (higher in pitch on ffii..8.. I + @ ?.6. a. zfii. {c} pluck the preparatory thieher} tone and"' y-lrj*.r..o.figl. L ?-& ll"$.pp. ln other wordi.i':J:. {ai Fress down the primary eo. pick the strinq a second time-wlth the fingerin{ hand. P. f. L l*3 t&r t{a.?. F{JLL*SrF:IS with the Znd. ga...a. P.?.f. r*+ tl*.is.f cornbinations of Harnmer-on's and pull*off's. toward the side of the fingerboard in a pluckindaction. r L ll.(dl pult the finger {ptaying the higFer pitch} away rrom the string.d.?& 7. t4 P-o. or drag the time. Exarnpte 20 withtherii.ly. :31:g_I"".?.t*Tri^"nil.O." tone a.A. il.

either ascendi-ng or descending and may be used for chords as well as single note playing.redule (you may change the order at will) " "rgt. not break away from the-pnogram or time frames.-rtes and. The following is -.l H O W T O D O P R O J E C TL E S S O N SF O R W E E K SE I G H T E E N . pult-offrs and slides. Example 22 .the gliss (or glissando) simply involves stiding from one note to another. without lifting the finger(s). slide up or dbwn to a new note or notes. The slile may cover oneor more frets.L W E E KE I G H T E E N Day Day Day Day Day Day Day Day Day Day Day Day Day Day Day Day Day Day One Two Three Four Five Six One Two Three Four Five Six One Two Three Four Five Six Review Review Review Review Review Review Review Review Review Review Review Review Review Review Review Review Review Review Project Project Project Proiect Project Proiect Project Proiect Project Project Proiect Project Proiect Proiect Proiect Proiect Project Project Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson l-A l-B 2-A 2-B 3-A 3-B 4-A 4-B 5-A 5-B 6-A 6-8 l-B tt-B 2-B 5-B 3-B 6-8 WEEK NINETEEN W E E KT W E N T Y 85 . re slide is indicated as a line connecting one note to another.rt". N I N E T E E N A N D T W E N T Y Review the following Proiect Lessons incorporating hammer-oflts. pick the first note jr .SLtDES (CL|SSANDt) The execution of.

pull-offls and stides to tlie conclusion'of the pre-recording. etc. Relax all parts of the body. etc. Break! set the guitar down.WEEKEIGHTEEN PROJECT LESSON REVIEW 16 WeekEnd Tempo obiective:f-j1L PREPARATION Step t Step 2 Step 3 clear your work area of all things not pertaining to this lesson. Play uninterrupted eighth notes and eighth note triplets using hamme-r-on's. stand up and stretch. Repeat the progression norqtop for l0 minutes. Step 6 2 min Step 7 l0 min Step I Step 9 2 min 10 min Play uninterrupted ei-ghth notes and eighth note triplets using hammer-onrs. Break! Rest away from the guitar. stand up and rewind the machine. Break! Set the guitar down. . Focus yo@hord progression. Step t 0 Step I I 2 min l0 min Play uninterrupted elghth notes and eighth note triplets using hammer-onrs. down the day. - 50 MINUTEPROGRAM 2 min Play combinationsof-eighth notes and eighth note trriplets using pull-offls and slides once through the irogressioir fammelln-rs. close your eyes. Lie down. Tune your guitar. objective: To eliminateany 'flamsi. !3ft yp. 9*ply playing the project the way you wish you had. tGet it off the paper ind into your headrr. Break! Lie down. pull-offrs and stides oveithe progresiion as it is played back.the speeJ at which can 'Mark play through the ffiakes. -you to establish-your tempo of the daa. Know the key centers and memorize the progression.s tempg in the appropriate box below. practice visualizing you"r"tf Breathe and rhythmicaily. L OG OF p A tL Y METRONOME SETT|NGS Step tl Step 5 10min P-re-1eco-rd yourself playing the chord changes (sustained .no rhythms). with the metrcnome nearby so that it will sound on the tape like a click track. Check off each step as it is finished 86 Step t 2 2 min Total 50 min . to the conclusion of the pre-recorEing. pull-offls and slides to thE conclusion of the pre-recording. Play ryt9s slowly at ail parts of the fingerboard. between the iight and left hands.

pull-offs and slides to the concluslon of the pre-recordlng. pull-offls and slides once thrcugh the progression to establish your 1gmpqi)f tha dry-. rrGet lt off the paper and centeri and menrorlzethe Into your headrr. Lle down.IVEEKNINETEEN LESSONREVIEW PROJECT Week End TemPo Obiective J- I /8+ PREBA. Stand up and rewlnd the machlne. SETTINGS LOG OF DAILY METRONOME Stcp 5 l0 min Prrrecord yoursclf playlng the chord changes (sustained . Know the key Focus yoffichord progrcssion. progrcrslon.RATIoN 'P1 Step 2 Step 3 Clear your work area of all thlngs not pertaining to this lessonTune your guitar. Break! Set thc guitar down. Close your eyes. Play unlnterrupted eighth notes and elghth note trlplets uslng hcmmer-onrs. to the oncluglon of the prrccordlng. pull-offrs and slidcs over the progresslon as it is played back. stand up and itretch. ft"p s 2 mln Step 7 l0 min Stcp 8 Stap 9 2 min l0 min Step l0 Step tt 2 mln l0 mln Play unlnterrupted alghth notes and eighth note trlplets using hrmmer-onrr.no rhythmsl. Practlce visualizing yourself Breathc decply and rhythmlcelly. Breek! Sst the gultar down. wlth the mcttonomenearby so that lt wlll sound on the tape llke a click track. Warm up. etc. Play notes slowly at all parts of the fingerboard. Chcck off esch tteP as lt lr flnlshed' Step 12 2 mln Total 50 nh . etc.the tPeed at which you oan -Mark down the day's ptay through the ffiakes. Play unlnterrupted aighth notes and eighth note trlplets using hammcr-onrs. tempo in the appropriate box below. pleylng the project the wty you wish you had. Obiectlve: To ellminateany "flamstrbetween the right and left hands. Break! Rest away from the gultar. Relax ell perts of thc body. Braak! Lie down. pull-offls and slides to the conclusion of the pr€-recordlng. Repeat the progression non-stop for 10 minutes. soMINgLE PROGRAM Step rr 2 min Play combinationgof-elghth noteg and eighth note triplets using hammer-onlr.

yp.tit'*itt sound on the - n:iJ::: Step 6 2 min Break! a ctick track. pull-offll and slides to the conclusion of the prFracording.rhythmiciily. Lie down. Breathe deeprv and. eighth notes and eig_Hh note of triprets using pull-offlJand sridcs once through the progiression lt"*:-lfs.ela1all parts of the body. the key centcrs and nremorize prryression. etc. Step t 0 Step 1l 2 min l0 min 9i_ghttr using fammer-o1ts' puil-ofei ano riiJ"" to the concrusion the of pre-reicording.. puil-offrs and srides oveithe progression using as it is played back.p-ir-9grion. set the glritar do. P !o MT N U T E R O GR A M % Step tf 2 min Play combinations... etc. with the metr. Close your eyes.i. stand up and rewind l0 min Step I Step s 2 min l0 min Play uninterrupted eighth notes and eighth note triptets using hammer-on-'s. to the conclusion of the pr"_"&oriirrg. Tune your guitar. P1"VT:t"s stowly at alt parts of the fingerboard. Break! Rest away from the guitar. Break! Lie down.r-oors.T{EEKTWENTY PROJECT LESSON REVTEW WeekEnd Tempo Objective ) PREPARATION Step I Step 2 3 - / ?z clear your work area of ail things not pertaining to this tesson. 88 Play uninterrupted notes and eighth note triprets St e p 12 2 min 50 min . . R. Repeat ir"er.e non_stop t0 for the machine. down the dayrs tempo in the appropriate box below. I:3 objective: To eliminateany '. to establish-your tempo of the dap'Mark -ttre spcei at which you crn play through the ffiakes.flamsi'between the rigrrt and left h a n d s. Break! Set the guitar down. practice visuarizing'y*rrJri-' playing the'pioject the way you wish you had.wn. *.Get if off the papeiina the into your headil Play uninterrupted eighth notes and eigfith note triprets hamme. Check off each step as it is finished. stand up and stretch.on6me nearby so th." Krro.. Focusyoffihord. E tg c o F p A tL Y M ETRONOMSETTTNGS Step 5 l0 min P5a1eco1d yoursetf ptaying the chord changies (sustained _ no rhythms)..

Sign up to vote on this title
UsefulNot useful