Howard Roberts Super Chops

r The Howand Robents Guitan Manuals

nTechnique in 20 \Aleeksr, bV

HOWAF|tr, F|OBEF|TS

Copyright O 1978. by Howard M. Roberts , rPublished by Playback Music Publishing Company

P.O. Box 15, Edmonds, Washington 99020Rights Reserved Printed and published in u.S.A.

- lafiemational copyrigftt securcd

FORWARD

Have you ever wondered about those -y9ul9 students of, 9ay,--!h9

"i"lin br piano, *no

""quire a very hig.h level.of technical skills in

i'"li.ilfirt tlme? Hav'e you notiied that guitar players, by com-p"ti"J", g""""ifiy do not r-eac!that level in the same time span?i{ave you-ever wondered why this difference exists?

one notable reason is often taken for granted. violinists, for ex-

"tpf", inherit a tradition of disciplined.tra.ining.:'-t-g-ti-"-1:'^,-l:9jl-

nirig violin studies are made up of seemingly- endless exerc'ses or

ridAy uninterrupted eighth-notes, sixteenth-notes, or triplets, €tc"

which the studeni practi-ces faithfully every day. Great care is

taken to make *"n note sound perfect. lt is through these disci-pii""a and uninterrupted practice regimens lhat 91e1t technlqu.e is

SctJireO. ln gener"[, tno"" who do It, get it, and those who donrt,donrt.

Thls book is a series of programmed proiect lessons designed- to-give

itr"hprovislng guitarist sulh a reglmented program. ltltV the imqlo-.ri"ino'quitaris-t? In most cases, th-e violin or piano student ls working-iffr;;f *i.t-i"h was written by someone else. The psycho.log.y behindhls studies puts him in a relatively safe--place' l.f V9" don]1-liklit'dontt blame'me. Paganinni wrote it; I didnrt". The improvisor, -now-

"""r, faces the risliof criticism not only of-his technique, bul of his

choice of notes as well. This working iondition can create a doublebind effect, causing a sort of mental paratysis which quickly translatesinio

"n f na6ifity to

-""rry out the motor skiil. lt is toward the resoltr

tion of this prdblem that this book is directed'

In addition, those guitarists who already hav_e an established techniquerill Rna this book

-useftrl in maintaining-it. Doing the proiect les.sons

as outllned in the book, 50 minutes pei day, 6 days per week-, will keep

iiu" -nop. in sfrape during the periods wlien you are not actively play-

ing .

This program has been tested in numerous grouP and individual situa-tions, an-d wlthout exception has worked foi those who actually followedih-iougn and did the work as it is laid out here. Read the instructions

""r"iilfy. Follow the directions. Do the work and lt will work for you

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-AYVeek Two Proiect Lesson l-BWeek Three Project Lesson 2-AWeek Four Project Lesson 2-B . .Week Five Project Lesson iFAWeek Six Project Lesson 3-BWeek Seven Project Lesson Review

How to do weeks eight through thlrteen'

ek Eight Project Lesson 4-A_ek Nine Project Lesson 4-B .

Week Ten Project Lesson 5-AWeek Eleven Proiect Lesson FBWeek Twelve Project Lesson 6-AWeek Thirteen Project Lesson 6-8Week Fourteen Project Lesson Review

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 .

Sl ides .

Week Eighteen Project Lesson ReviewWeek Nlneteen Proiect Lesson ReviewWeek Twenty Project Lesson Review

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EQU PMENT

YOUR GUITAR

The set up of y.ourn guitar plays a very furportant role in the deve-lopment of accuracy and strength. speed comes as a by-product ofascuracy. 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 de-velope predictabfe accuracy, or to strengthen the left hand. so, usea medium-heavy set of strings; nothing smaller than an .012 firststring, etc. The strings should be raised to a medium-high action.There are three reasons for this: ( l) to el iminate buzzes, (2) to helpstrengthen the left hand, and (3) to develop accuracy for the righthand.

The neck should be inspected to assure that it is straight. The fretsshould be dressed down, eliminating high and low spot- to avoid buzzes.An acoustic-electric guitar or straight acoustic are best su'ited for thisiob. For those who play a classical guitar, your instrument will be finetaking into considcration the necessary adiustments.

on the practical side. a -large percentage of us must play with verysmall gauge strings, with low action, solid body, etc., to meet the rc-quirements of todayfs popu-lar music. Since it is not practical to changestringsêvery day to practice, it may become necessary to have oneguitar for the gig and another one to practice on.

A-fter adiusting your guitar, make sure that each note rings loud andclear; just like a grand piano, over the entire range of ttrl flngerboard.

YouR Plgt(Your pick should be of medium size, and medium to heavy in thickness.Av-old very large or odd shaped picks. standard ceiluloid picks arewell suited to this purpose.

OTHER IMFORTANT EQUIPMENT

Also esgential to the studies in this book will be: (t) a metronome, (zla 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 standardclassical techniques. lf you will be using a pick, a word-of cautionmight 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 becameburdens as a result of inadequate or 'nonrr-training. Since this bookfocuses on the total development of single-string technique for impro-vising, and not specifically on picking, the reader must make it apoint to develop a functional picking style on his or her own. sevenp!9es of the Howard Roberts Guitar"Book are devoted to the subjectof picking and an even more in-depth study can be found in the How-ard Roberts Guitar Manual Picking. I can, however, point out somethings to avoid.

1i

:11

The right hand seems to be the greatest limiting factor for most rnod-ern-day guitar improvisors. lt appears that once a style of picking' r b€come habitual, it is very difficult to change, and frequently,

-.al retraining is required. So, taking into consideration that thereife many techniques one may use to execute a given passage, we mustconstantly remind ourselves that flexibility-the ability to adapt theright hand to a variety of moves-is the key to longevity. The bigthing to avoid is any kind of anchor svstem that inhibits freedom ofmovement. Observe anchors at the elbow, at the wrist, grasping thepick-guard with the l i t t le f inger, etc-; al l of which may be functionalfor a specific sound, but should be viewed with caution when consideredas the basis of an overall right hand technique. Remember: Isgj!loose!, - like a guy strumming a ukelele in a pineapple field. lf therels any rigidness in your picking leverage system, it can stop you likea brick wall when the tempos get fast.

Under any circumstances, the left and right hands must be in perfectsynchronization. No Flams! 1f the finger attacks first and the pickfollows, there will be two sounds instead of one. lf the pick attacksfirst and the f inger fol lows, again, two sounds instead of one. Thekey here is to close the gap so that therrflamrr effect is unnoticeable.To do so, play tones very slowly at all points on the fingerboard. Onlyin this way can we hear the flam effect. lf we play fast in warmlng uP,it becomes more difficult to hear the differential of attack.

F NGER NGS

--,ne thumb of the left hand should ride along the approximate cen-ter of the back of the neck. The fingers should operate straightup and down on the strings, like hammers in a piano, at a rightangle to the fingerboard. Attacking the string at an angle willmove the string from its center position, both cutting down on ac-curacy and also stretching the string to sound out of tune.

The fingers should be lifted only high enough off the string to a-void string noise when moving, but not so high as to become wastedmotion.

The wrist should maintain a fairly flat posture. Avoid severe arch-ing of the left wrist as this can produce undesirable strains.

SPECTAL NOTE: Some of the cbrds in the following studies may requirea greater stretch than you are accustomed to. So in srch cases, I recorttmend that you leave the lowest note out of the chord, concentrating onthe upper three or four notes. But, one strould strive to play the wholechord as soon as possible, rather than substitute another voicing.

i K f ;Y , ,CEH-T , . * f t 9 " , , , , :

The exercises comprising the main Frdy of this book consist of selected chord proqre$sionsrepresenting conrmon harrnonic movenrstts. They reflect a broad cross-ssction of ctrorCprograssions odrtmon to the diatonlc tystem, the kind of progression we must deal with ona drity basis. The trained lmprcvisor would ordinorily be knowledgeable about ttre diatonicharmonies a-nO 1lative.minor for any-key,*and would be able to properly identlfy the keycGnt€rs rcsident In a chord progression. The study of this subiect falli under ihe qeneralheding of diatonic harmony and thory, a complete study of whlch would ranqe bev6ndt_he sc-op of this book. Howanrer, I wllf descrlbe briefly what a key canter islnd how todeal rith lt in ths ssn*€ of qr"stlng an lmprovised s*to iine.

It must be remembered here that the main purpose of this book is to build up technicalflstlitY *ithin the attitudinal sphere of imprcvisation and not to give an additional foadcf theratlc*l &ts.

A KEY CEHTER IS:

Itlhan a gilen m*ior or mlnor -**_*le !-s gtackd upon itratf in thtrds as shown in Example l,it srantee harmony chiructGrlstic of thrt rcale,

EXAMPLE I

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THE HARilfiOt.TITED C MAJOfr $CALE

f flisi:l

NOTE: The Vll Chsrd, Bn?b5 is also known as B/ fts ,h€lf*dft*i*lshed swenth!

KEY CENTERS

EXAMPLE 2

THE HARMONIZED F MAJOR SCALE

Gr4? H Mt *mql Cr', Dil" E*Pq q.refr-'|.

Finding The Key Center for the Chord Progression Below,The Line of Reasoning ls, since .. .

l. Fmln 7 could belong to any one of three keys. lt could be the ll chord of Eb, thelll chord of Bb, or the Vl chord of Ab. (The possibillties are llsted above the chordsymbols below.)

2. Bb min 7 also could belong to any one of three keys: the tl chord of Ab, the lllchord of Gb and the Vl chord of Db.

3. Eb 7 is a V chord (Domlnant J typgt whlch only appears once in any given mafor keyalways as the V chord, and therefore, only one possibillty, the v o? Ab.

+./ Ab Maj 7 could be the I chord In the key of Ab or the tV chord of Eb. Theposslbiliti€s are noted.

5. Now we examlne the entlre progression to isolate whole sectlons in which the chordsare common to one key. As In the case below, the key of Ab ls evident, (shown Inclrc les).

EXAMPLE 3

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KEY CENTERS

The same thing would be true of Harmonic and Melodic Minor scales. Each type ofscale generates its own scale harmonies that remain the same regardless of the key.

EXAMPLE 4 THE HARMONIZED HARMONIC MINOR SCALE (Key of A minor)

f.F-r/ltuizl gdtl' sqlt D.rJf Fr,1li g*-t enl@"

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Example 4A - The Harmonized Melodic Minor Sclae (Key of A minor)

crsalp*5 oe r*;fs e**,f

HOW TO PLAY WITHIN KEY CENTERS

Since the scale is the mother of the chords, it naturally follows that once the mother scalehas been discovered for a sequence of chords, that the notes of that scale can be used toform a solo line. In all studies to follow, the key centers have been bracketed above thechord progression. Observe these key centers with care and for each new one, move yourhand to a convenient fingering pattern for that particular scale and do your improvislngin that region of the guitar. There are five such patterns for any given scale. And eachof these five are movable up or down the neck to the selected key or, they may be connectedto increase the range.

In addition to being able to logically calculate key centers fron an analysis of the progres-sion, the abillty to play over changes !y ear, can be vlewed as the ldeal end result. Theproject lessons offer a perfect vehicle for the development of thls ability.

I

THE F INGERBOARD

In the event that the layout of scales on the fingerboard are not all together clear tothe reader, the following is a brief description.

There are five tone patterns for the diatonic major scale. The qrechanics of the fingeringscenter around the use of a finger per fret, although in most caffiEGmes necesEary [oreach out of position one fret either above or below the basic position with the first orfourth f inger. This is no big deal.

E-ach pattern may be moved up or down the fingerboard for access to any key, inctudingthe open positions. lllhen these patterns are laid end to end, they covei theentire finger-board for any S key. The available working range can be extended by connecting onepattern to another.

All other scales can be produced through modifications of these diatonic patterns, (usingthe same five basic forms.) For e-x-ample-, the relative harmonic minor scales can be quicklylearned by simply sharping the fifth scale step of the diatonic scales, which is the same assharping the seventh of the relative minor scales.

Also, arpeggios will be easier to handle if they are played within a scale pattern that cor-responds to the key center from which the chord is derived, €.g. the progression DmZ,Gm7, Cm7, F7 is a l l l , Vl, l l , V Progression in the key of Bb. Thereiore-, one wouldselect 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 t le highest, (not from tonic to tonic). The tonics are circled foi clear visual targeting.For identification, I have arbitrarilly numbered the patterns one through five in thJkey

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gf 9 tvt"iqr,- starting with the open position as number one, the progressing to the nexthigher pitched pattern as number two and so forth.

Each diagram is acc€mPanied by an example in music notation, with some suggestedfingerings shown above the notes, and the string numbers betow in circles.-leel free tochange the fingerings to anything more comfortable.

The most lmportant thing here is to develop a strong visual imprint of the pattern itself,coupled with the tone sequence it produces (the sound) with the view that when improvisinthe fingerings may be open to change at any time.

THE F IVE F INGERING PATTERNS

Move this pattern out of the open position to other keys using the first finger as a capo.

Fingering Pattern Number One

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Fingering Pattern Number Two+J2 .41

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Fingering Pattern Number Three

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Fingering Pattern Number Four

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Fingering Pattern Number Five

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CONNECTING THE FIVE PATTERNS

There are essentially three ttmovestt involved in moving from one pattern to another

(1) Position skips, i.e. from pattern one to pattern four, done smoothly without a breakin rhythmic or melodic continuity.

(2) Stretching from one pattern to the next, ascending or descending; or(3) Sliding on the half steps, as demonstrated below.

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L NE SHAP NG

In that the studies in this book are deliberately limited to rhythms of uninterruptedduple and triple time, interesting rhythmic figures or motifs cannot be used to brightenup the solo lines. Therefore, yJur choice of

-melod.ig tgne seq-iiEii-ces wilt become tire

i o rdev i ce fo r c rea t i ng in te r6s t i ng | i nes . smt i veon th i ssub jec t ,v+ following is a brief outline of some basic line shaping elements for consideration.(Scales, lnterval Skips, Arpeggios)

COMMON TONES

A common tone is a note that is common to two or more chords, a very simple techniquebut not to be overlooked, i .e. when playing non-stop eighth notes, or tr iplets, etc., i tis not necessary to keep the line moving at all times. The line can be flattened out ---a nice relief from excessive vertical movement.

Example 5

DT, F.*7 *rc G11 Eba.4 grb',

SCALES

Create smooth rolling

The Chromatic Scale

Example 6

The Relative Minor Scale

The Natural Minor Scale

The Diatonic.\ i laior Scale (with * stepsindicated with lines between the notes (

Example 7 (C Majorl

between the 3rd/4th and 7th/8th scale stepss r o ) .

lines. Some of the more common scales you may use are:

(Symetrical, consecutive * steps)

CI

Example 8 (A minorl

1 l

The Relative Harmonic Minor Scale

L INE SHAPING

(wlth * steps between the 2nd/3rd and 7th/Sth scalesteps. )

Example 9 (A harrnonlc mlnor)

Lhs Relatlve Meloldic Minor Scale (with I steps between the 2nd/3rd and 7th/8th scale stepsthena tu ra |m inordescend |ng .NoTE:Theascend lngand

descending rules here are a technicallty, whlch In the flnal analysls may be disregardedIn favor of the exlstant bar harmony, e,g. the key A mlnor, the bar harrnony ls E7b9.We would npre than llkely use F ascendlng or descendlng.

Example 10 (A melodic minor)

The Diminlghed Scale (symetrical, congecutlve whole step andffih c-hords or dlminlshed chords.

Example l1

2 , t

half rteps) most comrmnly

The Whole Tone Scaledomlnant 7th chords.

Example 12

(symetrical, consecutlve whole steps) most commonly used ov€r

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L INE SHAPING

The M?io_q, Bentatonic Scale (same as diatonic major with the active tones 3rd and 7thleft out). When harmonized creates inversions of a Maior 6/9 chord, wlth little gravl-tational pull toward any key center rrdepending on the usage'r.

Example l3

ARPEGG IOS

Arpeggios are speclfically chords, broken up into single notes. They are effectlve in out-llnlng the bar harnrony and offer a nlce contrast to scale movement as they create smothroll ing l ines, at sharper angles than scales.

Example l4

D.n:' &q et,4s cb/q

INTERVAL SKIPS

lnterval skips create sharp, dramatic lines. An interval is the distance between any twonotes. Large interval skips can be a valuable tool for creating interesting lines and canhave a dramatic effect in breaking up the monotomy of excessive scale movement. Anysequence of interval skips, 3rds, 7ths, 9ths, etc., can easily be applied to a key centerby playing scale intervals that take into account the half steps of the scale, thus, resultinlin combinations of major and minor 3rds or major and minor Tths (not, parallel 3rds, 7ths,etc. )

Example 15

A most common complalnt of beginnlng improvisors is that their playing tends to becometoo scale-llke. One solution to this could be to 9!og playing things that rrsoundrr likescales, for example, as an exercise, dontt play ffi inah for * scale tones ln the samedirectionl €.g. this type of scale movement creates interval skips, small and large, thusbreaking up the scale effect.

Example 16

A.

THE PROGRAM

The Program is made up of a series of proiect lessons, each lasting50 minutes per day, running six consecutive days per week, withone day off. The objective is to gradually increase the tempo overthe course of 20 weeks maintaining precision and accuracy at all times.

The First Six Weeks, Project Lessons l-A, l-B, Z-A, 2-8, 3-A, 3-8,focus on the use of eighth notes, as representative of duple time,sixteenth notes, thirty-second notes, etc. Each project lesson isbroken down into a series of steps to be carried out within specifiedtime frames. The first lesson (1-A) deals with a common chord pro-gression, showing the key centers bracketed above the chords.Project Lesson l-B uses the same chord progression transposed toanother key, thus requiring a change of fingering patterns, licks,etc. This also tends to stimulate fresh approaches and ideas. Lesson2-A is a new chord progression and Lesson 2-B is the same progressiontransposed to another key. Project Lesson 3-A uses a new progressionand Lesson 3-B uses the same progression transposed to another key.

The Seventh Week - Review.Day I Review Project Lesson t-ADay 2 Review Proiect Lesson 1-BDay 3 Review Project Lesson 2-ADay 4 Review Proiect Lesson 2-BDay 5 Review Proiect Lesson 3-ADay 6 Review Project Lesson 3-B

Weeks Eight Through Thirteen, Project Lessons 4-A, tl-B, S-A, 5-B,6-A, 6-8 focus on trlple time via eighth note triplets as representativeof their relative divisions and sub-divisions, i .e., quarter note tr iplets,sixteenth note triplets, etc. As before, each project lesson is broken downinto a series programmed steps with corresponding time frames. Lesson0-A presents a new progression, with key centers bracketed above.Proiect Lesson 4-B uses the same progression, transposed to another key.Lesson 5-A is a new progression and Lesson 5-B is the same progressiontransposed to another key. Project Lesson 6-A is a new progressionand Lesson 5-B is the same progression transposed to anothCr key.

B.

c.

D.

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E.

F .

G .

THE PROGRAM

The Fourteenth Week - Review.Day t Review Project Lesson 4-ADay 2 Review Proiect Lesson 4-BDay 3 Review Project Lesson 5-ADay tl Review Proiect Lesson FBDay 5 Review Project Lesson 6-ADay 6 Review Project Lesson 6-8

Weeks 15, 16, 17 - Review.

Review the proiecat lessons in any order to establish your presentmaximum tempo as a permanent reflex. The proiect lesson stepsand time frames are to be followed as before.

Weeks 18, 19, 20 - Review.

Review the project lessons as before using (a) hammer-onrs(blpull-off 's (c) gl issandi (sl ides). The introduction of thesetechniques should cause your technique and speed to increasedramatically in that via these devices several notes can be pno-duced with one picking stroke.

The Appendix in the back of the book consists of examptes ormodels of the kind of lines intended for the project lessons andare numbered accordingly, i .e. 1-A, l-8, 2-A, 2-[| , etc.

NOTE: Think of this program as training with the Chicago Bears, ascompared to joining a health spa. Trust the program. Do the work exactlyas prescribed, then stand back and watch lt work. You should seedramatic progress within about six weeks.

H .

PO NTERS

It is true that the rnore you practice, the more quickly you will progress. So, afteryour one hour per day of controlled practice, if you feel like playing for l2 morehours, so much the better. Be in tune with your physical and psychological hightsand lowrs and use them appropriately. When you feel like doing it, do it.

Guitar players are inveterate n@dlers, and I think that a very effective type oflearning tikes place while watffinffilevision and noodling. tio it when y6u feetl ike i t .

Sometimes it's helpful to sketch out a very simple melody line over the changes,i.e. half note, quarter notes, halves, etc. Let this line run through your head asa basic melody and play "fillsu around it. This will at least get your line startedwith some form.

D. A very common form for building a solo l ine is: QUESTION AND ANSWER. Whenthis Q/A routini?Foccurs, it ii generally called a sequence.

SEQUENCE

ct

Listen to the "pre-recorded changesrr and sing the solo the way you would like top lay i t .

REST: Lie flat on the floor. Hands flat, not crossed. legs flat, not crossed,ebse your eyes, breath deep, and say to yoursetf, ul wii l-retax now."

G . BE_qf : Stand with your back up against a wall. Press each part of your bodyagalnst the wall. Natural ly parts of your body wll l not want to do this, l ike thesmall of the back, the nape of the neck, etc. But the idea is to attempt trreal hard"for about 30 seconds. Do this on one of the 3-minute breaks.

A .

B.

c.

E.

F .

H .

l .

J .

In this program you will reach many moments in which you hate that rrsame old licktlyou [always playrr. Be aware of this point in the tune and the next t ime around,do something else, no stops. Yes, the tape is running, and the next t ime iscoming right up. So welcome to the world of a hot improvisor.

HANGUPS: Play very slowly and l isten careful ly for any f lams. Use al l up strokes.Make each note sound as loud and strong as any other. Now use all up strokes,scales, interval skips. Now use consecutive down and up strokes. Now reverseto all up (on the down beat) and down (on the up beat) strokes.

The Warm-Up. At the beginning of each practice session, warm up for 5 minutesby playing notes all over the fingerboard. Play very slowly, low, high, andmedium pitches, to develop a feel for string travel at a given picking area. Notesplayed high up on the neck have a much greater string travel than the low onesand can create coordinatlon problems between the left and right hands. Bothmust attack the string simultaneously.

16

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M.

POINTERS

A most common mlstake ls to blame the left hand when the rlght hand lc atfault, or vice versa. Watch out for this.

Get the progression off the paper and Into your head as 3oon ar posrlble.Memorizlng the chord changes allows you to focus all of your attentlon on whatyou are playing rather than readlng the muslc.

The objectlves put forth In this book are attalnable only lf the reader followseach step of the pnogram without deviation from the schedule (that means nomlssed days, hourr shortened, tlmc frames dlsobeyed, key centerl mlsr€d,Introduclng hammer-onrs, pull-offls, before stated, playlng dotted elghth cix-teenth notes instead of elghth noter, etc., etc.) lf you do it, you get lt. lfyou donrt; you donrt.

ln the Growth Process, we all go through perlods in which we lre actlvatlng newnerve fwrctlonr, both ln the braln and throughout other partr of the body.Thls type of grcwth work drawr a tremendou3 amount of systentlc energles. Theoverall physlcal feellng ls llke pulllng a traln uphlll, and the psychologlcrilspln-off ls the feellng that we are gettlng nowhere. Thls will perslst for someperlod of tlme. We then tend to go Into a natural state of rest, fra plrteau.rlDuring thls rest period, we tend to feel that we have the world by the tall andgreat progress ls taking place. Actually the reverse ls true. The progresswas made durlng the uphill climb, not durlng the rest period. The rest perlodwlll contlnue for some perlod of time. Donrt worry about lt. Then the road wlllbecome very rough agaln, and we wlll begln to becorne aware of our weaknegt€g.This wlll last untll we select the speclflc lrea to attack flrgt. We wlll then beglnthe uphlll cllmb agaln and plateau again only to meet our deflclencies face toface agaln. So, on and on lt goes, but your practlce reglmen must remaln congtant.

Rest Self-Plateau Questlonl

Self-Questlonl

N.

o.

PO NTERS

Coping ttith The Mental Hazards Of Developing A High Degree of Facility lnlmprovising. lt is extremely important to cerrectly place the blame when thingsseem to be going wrong. For example, your guitar may sound out of tume, whichis certainly possible. However, keep in mind that it may actually be in tune withitself, but out of tune with an air conditioner, refrigerator motor, or traffic noises--'from outside. When your music sounds bad to you, the natural reflex is to stopplaying. So before you blame yourself for a problem, make sure that you haveaccounted for elements in your environment that may be superimposing asubliminal orchestration over what you are playing. Learn to ferrot out thereal problems.

There seems to be something about the guitar. at least for the serious performer,that creates an overload of humility. A certain amount of this is okay and self-questioning is essential to oners progress, But do not fall into the trap, as manydo, of blaming yourself when something else is wrong, as this wil l not cure hiddenproblems.

Also be aware of your bio-cycles. Every person has natural high and low pointsrunning in approximately monthly cycles. During low periods, you may feel verydown and discouraged, but this must not interrupt the regularity of your prac-tice routine, as far as the project lessons in this book are concerned. You mustcontinue to practice with controlled discipllne, no matter how you feel aboutthings from day to day.

You will find that once you reach a given level of speed, and maintain playingat that level or faster, for approximately 2l days, on a daily basis, -- theabil i ty acquired during that period of t ime wil l be permanently imprinted andassimilated by your nervous system. You could lay off for six months, comeback and practice hard for about 2-3 weeks and it will come right back. lt seemsthat once this ability is programmed clearly, the rest is mostly a matter ofmuscular strength and agil i ty.

Practicing an hour a day 6 days a week is great, but 12 hours is better. Therewill be some days when you may feel like playing for long periods of tlme. Thisis great when you feel l ike i t , but donrt force it .

An'Accelerator -- form a group of other guitar players. Exchange solos andcomping. Trade off in sequence. The group dynamics is superior to privatestudy for a program of this sort.

Another hazard to watch out for -- when tunes are played with a specific feel,i .e. steady eighths or dotted eighths, sixteenths (shuff le) or tr iplets (12181 ,etc., they tend to have slow, medium and fast tempos that are just right forthat particular rhythm feel and any other tempos inbetween feel awkward anddifficult to play on. This applies even to the most experienced players. Youshould expect that, during the process of building up your speed, you willencounter long periods when the tempo feels awful and, from time to time,points where the tempo is just r ight. Donrt blame yourself -- just be awareof the real problem.

R .

P .

a.

s.

T.

U.

18

HOW TO DO PROJECT LESSONS FOR WEEKS ONE THROUGHqtx

A. Play only eighth notes, continuo'rt: and uninterrupted. No rests. No phrasing.No hammer-onrs. No pull-offls. No other ornamentation. ttNothingr but stead-yeighth notes.

Use Alternate Picking only. No two strokes in the same direction, .e. str iveto make up strokes sound as strong as down strokes.

Do nol set your metronome to a desired speed and try to rise to meet it. Rather,use the metronome only to track your progress. Keep a daity record of yourlempos in the boxes provided. (NOTE: Your tempo may vaiy stower or fasterfrom day to day. This is to be expected.)

D.o-ea9h proiect lesson for six consecutive days, with one day off. Avoidskipp.ing

" 9"y , for whatever reason. The effect is hazardous to progress.Regularity is essential. Follow the steps faithful ly as given.

T!re- key centers bracketed in the chord prog-ressions represent only one analysisof the progression. other views may be apptiea as welt. ror exari ldlo, *, i l tencounter key center brackets in which a given chord could be viewed a's a lllorVl chord of one key, but indicated as a l l chord of another. In these situationsoners individua-l preference can- prevait. ltts just a matter of where you want thechange of tonality to occur. Also, there are ilmost unlimited scale and chordsubstitution possibilities. Feel free^to use any harmonic devices at your dlsposal.l f theyrre_ rlght, they wil l sound right and if ihey,re wron!;, you wif l know i iimmediately.

The chord voicings shown in the proiect lessons are comrnon guitar voivings whichare intended to assure a clear understanding of the progressi-on and, in aldition,may serve as a good.study in the application of I'garden-variety'r guitar chords.However, other voicings may be used at your own- discretion.

The week end tempo obiectives shown at the top of each project lesson arescheduled to increasg by two metronome points'daily. lt'may be good to rememberthat these are only obiectives. Care shoutU be takin not to sac"i"fi".

"""u""ryand precision in order to meet the tempo goals. These will always come in time.The tempo obiective plan is symmetricar, 6ut the learning curve' is not.

Play Legato. Hold each note as tong as possible

Great attention should be given to holding steady time. Do not rush or dragthe tempo.

c.

D.

E.

F .

G .

t9

WEEK ONE PROJECTLESSON I-A

= 60Week End Tempo Obiective J

PREPARATION

Step I

Step 2

Step 3

50 MINUTE PROGRAM

Step 4 2 min

Step 5 10 m in

Step 6 2 m in

Clear your work area of all things not pertaining to thislesson.

Tune your guitar.

Warm up. Play notes slowly at all parts of the fingerboard.Objective: To eliminate any Iflamstr between the right and lefthands.

Play eighth notes once through the progression to establish yourtempo of the day - the speed at which you can play through thepiece without mistakes. Mark down the day's tempo in the appro-priate box below.

LOG OF DAILY METRONOME SETTINCS

Pre-record yourself playing the chord changes (sustained - norhythms), with the metronome nearby so that i t wil l sound on thetape l ike aplick track. Rcpeat the progression non-stop for l0minutes.

Break! Set the guitar down. Stand up and rewind the machine.Focus yoffihord prdgression. Know the keycenters and memorize the progression. r'Get it off the paper andinto your head'r.

Play uninterrupted eighth-notes over the progression as it isplayed back, to the conclusion of the pre-recording.

Break! Set the guitar down, stand up and stretch, etc.

Play uninterrupted eighth-notes to the conclusion of the pre-recording.

Break! Rest aw6y from the guitar. Lie down, etc.


Break! Lie down. Relax all parts of the body. Close your eyes.Breathe deeply and rhythmically, Practice visualizing yourseifplaying the project the way you wish you had.

Check off each step as it is finished20

Step 7

Step I

Step 9

Step

Step

Step 12

10 m in

2 m in

l0 m in

2 m in

10 m in

2 m in

r0

l l

Total 50 min

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The following is a moger of the type of soro rine to be impro-vised-in this project resson. tt is sounce materiat to be usedas reference onry. The idea of the proie; i;;; is ror youto.improvls.e your own line on tlre spt and not to memorlzethis example. ltrs fine if you wsnt io ""iiyrf*L-

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TVEEK TWO PROJECT LESSON I-B

PJTEPABATION

Step I

Step 2

Step 3

50 MINUTE PROGRAM

Step 4 2 min

Step 5 10 min

Stcp 6 2 min

tWeek End Tempo Obiective I .: 7 2

Clear your work area of all things not pertaining to thislesson.

Tune your guitar.

Warm up. Play notes slowly at all parts of the fingerboar!.. -Objective To eliminate any "flamsrr between the right and lefthands.

Play eighth notes once through the progression to establish yo{rtembo 6f tfre day - the speed at which you can play through the

ffitakes. Mark down the dayrs tempo in the aPpro-priate box below.

LOG OF DAILY METRONOME SETTINGS

Step 7

Step 8

Step 9

Step 10

Step I I

Step 12

t0 n in

2 min

10 min

2 min

10 min

2 min

Pre-record yourself playing the chord changes (sustained - norhythrns), with the metronome nearby so that it will sound on th€tafe like a click track. Repeat the progression non-stop for 10minutes.

Break! Set the guitar down, Stand up and rewlnd the machine.Focus yoffihord progression. Know the keycenters and memorize the progression. "Get it off the paper andinto your head".

Ptay uninterrupted eighth-notes over the progression as it isplayed back, to the conclusion of the pre-recording.


Play unlnterrupted eighth-notes to the concluslon of the pre-recording.

Break! Rest away from the guitar. Lie down, etc

Play uninterupted elghth-notes to the conclusion of the prrrecording.

Break! Lle down. Relax all parts of the body. Close your cyes.Breathe deeply and rhythmically. Practice visualizing yourselfplaying the proiect the way you wish you had.

Check off each step as it is finished2t.

Total 50 min

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Remembert This exampte and alT other examples for the prciectlessons are qqdels of ttre type of solo line to be improvised. Thelmportant cdfrGiiiEiatlon is ine spontaneous Invention of your ownsolo line. The point of the project lessons is to hone y6FtEch:nique to a level that will facilitate and not hinder the tmmediatereproduction of any and alt of your musical ideas. Use the exam-ples as source material and for reference, but when doing theproiect lessons, itts rrevery man for himselft,

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WEEK THREE PROJECT LESSON 2-AI

Week End Tempo Obiective d =8+

PREPARATION

Step I

Step 2

Step 3

50 MINUTE PROGRAM

Step 4 2 min

Step 5 l 0 m in

Step 6 2 min

Clear your work area of all things not pertaining to thislesson

Tune your guitar.

warm up. Play notes slowly at all parts of the fingerboatd.. -OUlective: toLliminate any "flams'i between the right and left

hands.

Play eighth notes once through the progression tg establish yo-urt",n'po 6t tne day - the speed at which you can play through the

ffitakes. Mark down the dayts tempo in the appro-priate box below.

LOG OF DAILY METRONOMESETTINCS

Step 7

Step 8

Step 9

Step l0

Step t I

Step 12

t0 m in

2 min

l0 m in

2 min

l0 m in

2 min

Pre-record yourself playing the chord changes (sustained - norhythms), with the riretionome nearby so that it will sound on thetafe like a click track. Repeat the progression non-stop for 10minutes

Break! Set the guitar down. Stand up and rewind the machine.Focus yoffihord progression. Know the keycenteri and memorize the progression. "Get it off the paper andinto your head".

Play unlnterrupted elghth-notes over the progrggsion as it isplayed back, to the conclusion of the pre-recording.



Break! Rest away from the guitar' Lie down, etc.


Break! Lie down. Relax all parts of the body. Close your eyes.Breathe deeply and rhythmlcally. Practice visualiling yourselfplaying the proiect the way you wish you had-

Check off each step as it is finished.

28Total 50 min

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Step t

Step 2

Step 3

50 MINUTE PROGRAM

Step 4 2 min

Step 5 l 0 m in

Step 6 2 min

WEEK FOUR PROJECT LESSON ?-B

J e.lWeek End TemPo Obiective a : lb

Gtear youf wor"k area of afl things not Pertainingto ttrislesson'

Tune your guitar.

warm trp. Ptay notes sto*ty at all_parts of thg filggrboard. -OUi".tiu": toLtiminate afty"flamsd between the right and lefthands.

Play eighth notes once through the progressio+ te establish yourter'po 5f tne day - the speed at which you can play through the

ffitakes. Mark down the day's tempo in the aPPro-priate box below.

LoG oF DAILY METRONOIIE-SEJTINGS

Step 7

Step 8

Step 9

Step

Step

Step 12

10 m in

2 m in

l0 m in

2 min

10 m in

2 min

l0

I I

I Day2

Pre-record yourself ptaying the clrord changes (sustained - no

rhythms), with the metionome nearby so that it will sound on thetafe like a click track. Repeat the progression nglr-slop fisr 10

minutes.

Break! Set the guitar doJyn. -Stand up and-rewind the macNne.Focus yoffihord progr,ession. Know the keycenteri and memorize the progression. t'Get it off ttle paper andinto your headt' .

Play unlnterrupted eighth-notes over the progre-ssion as it isplayed back, to the conclusion of the pre-recording.

Breaki Set the guitar down, stand up and stretch' etc'

Play uninterrupted eighth-notes to the conclusion of the pre-

recording.

Break! Rest away from the guitar. Lie down, €tc.


Break! Lie down. Relax all parts of the body. Close your eyes.Breathe deeply and rhythmically. Practice visualizing yourselfplaying the proiect the way you wish you had.

Check off each step as it is finished

32

Total 50 min

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PREPARATIOry

Step I

Step 2

Step 3

50 MINUTE PROGRAM-

Step 4 2 min

Step 5 10 m in

Step 6 2 min

YUEEK FIVE PROJECT LESSON 3-A

VUeek End Tempo Oujective J : /09

Clear your work area of all thingrs not Pertaining to thislesson

Tune your Euitar

Warm up. Play notes slowly at all parts of the fingerboard. _Obiective To eliminate any rrflamstr between the rigrht and lefthands.

Play eighth notes once through the progression to establish yourtem-po of thq OaI - the speed at which you can play thro-ugh the

ffitakes. illark down the day's tempo in the appro-priate box below.


Pre'record yourself playing the chord changes (sustained - norhythms), wlth the metronome nearby so that it will sound on thetape like a click track. Repeat the progression non-stop for l0minutes.

Break! Set the guitar down, Stand up and rewind the machine.Focus yoffihord progresslon. Know the keycenters and memorize the progression. r'Get it off the paper andinto your headt' .



Play uninterrupted eighth-notes to the concluslon of the pre-recording.

Break! Rest away from the guitar. Lie down, etc

Play uninterrupted eighth-notes to the conclusion of the pre-recordlng.

Break! Lie down. Relax ail parts of the body. Close your eyes.Breathe deepty and rhythmically. Practice visualizing yourselfplaying the project the way you wish you had.


36

7

Step I

Step 9

Step

Step

Step 2

l 0 m in

2 m in

t0 m in

2 min

l0 m in

2 min

10

I

50 min

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WEEK SIX PROJECT LESSON }B

Week End Tempo Obiective a / 2 O

Clear your work area of al l things not pertaining to thislesson.

Tune your guitar

Warm up. Play notes slowly at al l parts of the f ingerboard.Obiective: To eliminate any "flamsrr between the right and lefthands.

Play eighth notes once through the progression to establish yourtempo of the dav - the speed at which you can play through thepiece without mistakes. Mark down the dayrs temp in the appro-priate box below.

LOG O.F DAILY METRONOME S-ETTINGS

Pre-record yourself playing the chord changes (sustained - norhythms), with the metronome nearby so that i t wil l sound on thetape l ike a cl ick track. Repeat the progression non-stop for l0minutes.

Break! Set the qu1!9r down. Stand up and rewind the machine.Focus yoffihord progression. Know the keycenters and memorize the progression. rrGet it off the paper andinto your headtt.


Break Set the guitar down, stand up and stretch, etc.


Break! Rest away from the guitar Lie down, etc.


Break! Lie down. Relax al l parts of the body. Close your eyes.Breathe deeply and rhythmically. Practice visualizing yourselfplaying the project the way you wish you had.


u0

End Tempo objectiv "

)

PREPARAT I ON

Step I

Step 2

Step 3

50 MINUTE PROGRAM

Step 4 2 m in

Step 5 10 m in

Step 6 2 m in

7

Step 8

Step 9

Step l0

Step I t

12

t0 m in

2 m in

l0 m in

2 min

10 m in

2 m in

Total 50 m in

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HOW TO DO THE PROJECT LESSONS FOR THE SEVENTH WEEK (REVIEW}

A six day series of Proiect Lessons. Each day we will deal with one of the

ctrorO prbgression form the preceeding studies'

DAY ONEDAY TWODAY THREEDAY FOURDAY FIVEDAY SIX

Review Proiect Lesson 1-AReview Proiectlesson HReview Proiect Lesson 2-AS€viery P{'oiect Lesson }BReview Proiect Lesson 3-A

Seviery P-roiect LeEsen S

The reasons for this review are two-fgld'

A. To reinforce our merrery of the chord progressions themselves-and

atso of the devices we used to get through them'

B. To do some clean-up work on our t€mpo obiectives and r€ally focus

on precision.

This will help firm up ouf technlque as lt exists at this point in time'

The method of going about deing this is, as before, I matter of regu-lar disciptin€d

study periods agou-tlined. RenEmber, horvever, that itrs no big deal to outllneit'

the big deal is doing it .

44

WEEK SEVEN PROJECT LESSON REVIEIV

I

2

3

PREPARATION

Step

Step

Step

50 MINUTE PROGRAM

Step 4 2 min

Step 5 l 0 m in

Step 6 2 min

IWeek End Tempo Objective J : /3 2

clear your work area of alt things not pertaining to thislesson.

Tune your guitar.

Il1m yp. Play.notes slowly at all parts of the fingerboard.obiective: To eliminate any r'flamsri between the riiht and lefthands.

Play eighth notes onge through the progression to establish yourtgqnpo o,f,tne,aar --the speecLat whi;h fou can play through'thepiece without mistakes, Mark down the day's tdmpb in thJappro-priate box below.


Pre-record yogrs-etf playing the chord changes (sustained - norhythms), with the metronome nearby so thit it wilt sound on thetape like a click track. Repeat the progression non-stop to" ro -

minutes.

Break! set the,gyitar dgwn. stand up and rewind the machine.Focus your attention on the chord progression. Know the keycenters and memorize the progression.- ,Get lt off the paper lndinto your headtt.

Play uninterrupted eighth-notes over the progresslon as it isplayed back, to the conctusion of the p""-'"*irJing.

Break! Set the guitar down, stand up and stretch, etc,

Play u-ninterrupted eighth-notes to the conctusion of the pre-recording.

Break! Rest away from the gultar. Lie down, etc.

Play u.ninterrupted eighh-notes to the conclusion of the pre-recording,

Break! Lie down. . Rerax a|l parts of the body. crose your eyes.Breathe .deepty and .rhythmically. practice visuarizing v"""r"ii-playing the project the way yoti wish you had.

--

Step 7

Step 8

Step 9

Step | 0

Step I I

Step 12

l0 m in

2 m in

l0 m in

2 min

10 m in

2 min

CONTEMPLATE

YOUR PROGRESS TO

THE END OF ITEEK SEVEN

YOU SHOULD FEEL A NOTICEABLE

NEW CONFIDENCE AND SURENESS

IN YOUR PLAYINC TECHNIQUE

CONTINUED PERSISTANCE TO THE

END OF THE PROGRAM, EVEN THOUGH

SOMEWHAT TEDIOUS AT TIMES, WILL

RESULT IN THE FULFILLMENT OF

YOUR GOAL IN ONLY THIRTEEN MORE

WEEKS.

GIVE YOURSELF A WELL-DESERVED

PAT ON THE BACK FOR DILIGENCE,

AND A SPECIAL REWARD FOR YOUR

SUCCESS THUS FAR.

THEN, WITH RENEWED MOTIVATION,

GO ON TO WEEK EIGHT.

46

A.

B.

HOW TO DO WEEKS EIGHT THROUGH THIRTEEN

Play only eighth note triplets, continuous and uninterrupted. Norests. No Phrasing. No hammer*onrs. No pull-offls. No otherornamentatlon.

use Alternate Picking only. No two strokes in the same direction,f,e. strive to make up strokes sound as strong as down strokes.This will cause every other set of triplets to begin with an upstroke.

warning: D9 not,set your metronome to a deslred speed and try torise to meet it. Rather, use the metronome only to track your pro-gre,s!. Keep a daily record of your tempos in the boxes providld.(NOTE: Your tempo may vary slower or faster from day to day.Thls is to be expected. )

!o 9a9h project lesson for six consecutive days, with one day off.Avold sklpping a day, for whatever reason. The effct is veryhazardous to progress. Regularity is essentlal. Now, follow thesteps falthfully as given.

c.

D.

I

tlIEEK EIGHT PROJECT LESSON 4-AI

WeekEndTempoObjec t i v " J : ?6

PREPARAT ION

Step 1

Step 2

Step 3

50 MINUTE PROGRAM

Step 4 2 min

Step 5 10 m in

Step 6 2 min

Clear your work area of all things not pertaining to this lesson.

Tune your guitar.

Warm up. Play notes slowly at all parts of the fingerboard.Objective: To eliminate any "flamsrr between the right and lefthands.

Play eighth-note triplets once through the progression to esta-blish your tempo gf thq dav - the speed at which you can playthrough the piece without mistakes. Mark down the dayrs tempoin the appropriate box below.


Pre-record yourself playing the chord changes (sustained - norhythms), with the metronome nearby so that it will sound on thetape like a click track, Repeat the progression noJ-stop for l0minutes.

Break! Set the guitar down. Stand up and rewind the machine.Focus your attention on the chord progression. Know the keycenters and memorize the progression. trGet it off the paper andinto your headtr.

PIay uninterrupted eighth-note triplets over the progression as itis played back, to the conclusion of the pre-recording.


Play uninterrupted eighth-note triplets to the conclusion of thepre-recording.

Break Rest away from the guitar. Lie down, etc.


Break! Lie down. Relax all parts of the body. Close your eyes.Breathe deeply and rhythmically. Practice visualizing yourselfplaying the project the way you wish you had.

Check off each step as it is finished

Step 7

Step 8

Step 9

Step

Step

Step 12

l0 m in

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l0 m in

2 m in

10 m in

2 min

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PREPARATION

Step I

Step 2

Step 3

50 MINUTE PROGRAM

Step tl 2 min

Step 5 l 0 m in

Step 6 2 min

Step 7

WEEK NINE PROJECT LESSON 'I-B

Week End Tempo Obiective J /o*


Tune your guitar,

Warm up. Play notes slowly at all parts of the fingerboard.Objective: To eliminate any 'rflamsrr between the right and lefthands.

Play eighth-note triplets once through the progression to esta-blish your tqmpo of the dav - the speed at which you can playthrough the piece without mistakes. Mark down the day's tempoin the appropriate box below.


Pre-record yourself playing the chord changes (sustained - norhythms), with the metronome nearby so that i t wil l sound on thetape like a click track. Repeat the progression non-stop frr ltmlnutes.

Break! Set-the quitar down. Stand up and rewind the machine.Focus yoffihord progression. Know the keycenters and memorize the progression. rrGet it off the paper andinto your headrr.

Play uninterrupted eighth-note triplets over the progression as itis played back, to the conclusion of the pre-recording.


Play uninterrupted eighth-note triplets to the conclusion of theprFrecording.

Break! Rest away from the guitar. Lie down etc.


Break! Lie down. Relax afl parts of the body. Close your eyes.Breathe deeply and rhythmically. Practice visualizing yourselfplaying the project the way you wish you had.

Check off each step as i t is f inished.

Step I

Step 9

Step l0

Step I I

Step 12

l0 m in

2 m in

l0 m in

2 min

l0 m in

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Total 50 min

54

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TTEEK TEN PROJECT LESSOI{ 5-A

Week End Tempo Objective ) : // z

PREFARATION

Step

Step

Step

50 MINUTE PROGRAM

Step tt 2 min

Step 5 l 0 m in

Step 6 2 m in

Step 7

2

3


Tune your guitar.

Warm up. Play notes slowly at all Parts of the fingerboard'.Objective: To eliminate any 'rflams'r between the right and lefthands,

Play eighth-note triplets once through the progression to esta-btiih y6ur tempo of

-tlre dav - the speed at which you can play

throuih ttre@istakes. Mark down the dayrs tempoin the appropriate box below.

tog oF D4ILY METRONOME SETTINGS

Step

Step

Step

Step

Step 12

0 min

2 min

l0 m in

2 min

l0 m in

2 min

8

I

l 0

t t

Pre-record yourself playing the ctrord changes (sustained - rrcrhythms), with the metronome nearby so that it till sound on thetafe tike a qlick track. Repeat the progression non:stop for l0minutes.

Breakl Set the quitar down. Stand up and rewind the machine.Focus yoffihord prolression. Know the keycente6 and mernsriee the progression. rtGet it off the paper andinto your headrr.

Play uninterrupted eighth-note tripfets over the progressisn as itis played back, to the conclusion of the Pre-recording.

Break! Set the guitar down, stand up and stretch, etc'

Play uninterrupted eighttrnote triplets to the conclusion of theprFrecording.

Break! Rest away from the guitar. Lie down, etc.


Breakl Lie down. Relax all parts of the body. Close your eyss.Breathe deepty tnd rhythmica|ty. ?ractice visualizingr Voursettplaying the proiect the way you wish you had.

Check off each step as it is finished.Total 50 min

60

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R E M I { D€ R

ln the Crorvth Process,weall gothroughperiods in which we areactivating newnerve junctions, both in the brain and$Tughout,other parts of the body.This type of growth work draws a tre-mendous amount of systemic energies.The overall physical feeting is-tikepulllng a train uphitl,and the psych-ological spin-off is the feeling that weare getting nowhere. This will persistfor some period of tirne. We then tendto go into a natural state of rest, a"plateaur'. During this rest period,we tend to feel that we have the wortdby the tail and great pnogress is ta-king place. Actualty, the reverse istrue. The progness was made dur-ing the uphil l cl imb, not during the'rest period, The rest period will con-tinue for some period of time. Donrtworry about it. Then the road willbecome very rough agnin,and we witlbegin to become aware of our weak-nesses. This will last until we selectthe specific area to attack first. Wewill then begin the same uphiil climbagain and plateeu again onty to meetour deficiences face to face again.So,on and on it goes,but your prac-tice regimen must remain ionstaht.

PREPARATION

Step 1

Step 2

Step 3

50 MINUTE PROGRAM

Step 4 2 min

Step 5 10 m in

Step 5 2 m in

Step 7

WEEK ELE\IEN PROJECT LESSO}I 5-BII

Week End Tempo Objective J : lZ0

Clear your work area of al l things not pertaining to this lesson.

Tune your guitar.

Warm up. Play notes slowly at all parts of the fingerboard.Objective: To el iminate any If lamsrr between the right and lefthands.

Ptay eighth-note triplets once through the progression to esta-blish your tempo of the dav - the speed at which you can playthrough the piece without mistakes. Mark down the dayrs tempoin the appropriate box below.


Pre-record yourself playing the chord changes (sustained - norhythms), with the metronome nearby so that i t wil l sound on thetape l ike a cl ick track. Repeat the progression non-stop for l0minutes.

Break! Set the gq'Ltar dorryn. Stand up and rewind the machine.Focus your attention on the chord progression. Know the keycenters and memorize the progression. rrGet it off the paper andinto your headr'.






Break! Lie down. Relax all parts of the body. Close your eyesBreathe deeply and rhythmically. Practice visualizing yourselfplaying the project the way you wish you had.


Step 12

l 0 m in

2 m in

l0 m in

2 m in

l0 m in

2 min

Step 8

Step 9

Step l0

Step I I

1 Dav2 Dav3

Total 50 min

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At the beginning o_f each practice session, warm up for 5 minutesby playing notes all.over the fingerboard.- 1"y vlry srowfy, row,high, and medium pitches, to d6verop a feel fdr strlng t""l"r

"i'a given picking a-rea. Notes played irigtr up on the n6ck have-amuch greater string travel than ihe low ones and can create colordination problems between the left and right hands. Both mustattack the string simultaneousty.

f l ltti" progfam, you wirr reach many moments in which you hatethat rrsame old l ick' you rralways pliy". ge-aware of tt i" poi"iin the tune and the next t ime arouno,oo something erse,no itop".Yes, .the tape is running, and the next t i;;- i=-"L-ri"g l-igti ub.'So welcome to the world of a hot improvisor. - --

t

PREPARAT ION

Step I

Step 2

Step 3

50 MINUTE PROGRAM

Step 4 2 min

Step 5 l 0 m in

Step 6 2 min

}YEEK TWELVE PROJECT LESSON 6-A

Week End Tempo Objectiv" ) : l2S


Tune your guitar

Warm up. Play notes slowly at all parts of the fingerboard.Objective: To el iminate any "f lams" between the right and lefthands.

Play eighth-note triplets once through the progression to esta-blish your tempo of the day - the speed at which you can playthrough the piece without mistakes. Mark down the dayrs tempoin the appropriate box below.


Prerecord yourself playing the chord changes (sustained - norhythms), with the metronome nearby so that i t wil l sound on thetape l ike a cl ick track. Repeat the progression non-stop for l0minutes.

Break! Set the guitar down. Stand up and rewind the machine.Focus yoffihord progression. Know the keycenters and memorize the progression. ItGet it off the paper andinto your headrr.


Break! Set the guitar down, stand up and stretch, etc


Break! Rest away from the guitar. Lie down, etc,


Breakl Lie down. Relax all parts of the body. Close your eyes.Breathe deeply and rhythmically. Practice visualizing yourselfplaying the project the way you wish you had.


Step 7

Step 8

Step 9

Step

Step

Step t 2

10 m in

2 m in

l0 m in

2 min

l0 m in

2 min

l0

l l

Total 50 min

68

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WEEK THIRTEEN PROJECT LESSON 6-8I

WeekEndTempoObjec t ive ) : /36

Pq.EPARAT ION

Step I

Step 2

Step 3

50 MINUTE PROGRAM

Step 4 2 min

Step 5 l 0 m in

Step 5 2 min

Step 7


Tune your guitar.

Warm up. Play notes slowly at al l parts of the f ingerboard.Objective: To el iminate any "f lams" between the right and lefthands.

Play eighth-note triplets once through the progression to esta-blish your tempo of the dav - the speed at which you can playthrough the piece without mistakes. Mark down the dayrs tempoin the appropriate box below.


Pre-record yourself playing the chord changes (sustained - norhythms), with the metronome nearby so that i t wil l sound on thetape like a click track. Repeat the progression non-stop for l0minutes.

Break! Set the ggitar doq4. Stand up and rewind the machine.Focus youT attention on the chord progression. Know the keycenters and memorize the progression. rrGet it off the paper andinto your headrr.

Play uninterrupted eighth-note tr iplets over the progression as i tis played back, to the conclusion of the pre-rscording.





Break! Lie down. Relax all parts of the body. Close your eyes.Breathe deeply and rhythmically. Practice visualizing yourselfplaying the project the way you wish you had.


Step 8

Step 9

l 0

l l

Step

Step

Step 12

l 0 m in

2 m in

l0 m in

2 min

l0 m in

2 min

1 Day2 Day3 Day4

Total 50 min

72

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HOW TO DO PROJECT LESSONS FOR THE FOURTEENTH

A six day series of Project Lessons. Each day we will dealchord progressions from the preceeding studies.

wEEK (REVtEW)

with one of the

DAY ONEDAY TWODAY THREEDAY FOURDAY FIVEDAY SIX

Review Project Lesson 4-AReview Project Lesson tl-BReview Project Lesson 5-AReview Project Lesson S-BReview Project Lesson 6-AReview Project Lesson 6-8

Play only eighth note triplets, continuous and uninterrupted.No rests. No phrasing. No hammer-onrs. No pull-offts. Noother ornamentation. rrNothingtt but steady eigtirth note triplets.

Use Alternate Picking only. No two strokes in the same direction,i.e. strive to make up strokes sound as strong as down strokes.

warning: Do !9! se_t your metronome to a desired speed and tryto rise to meet it. Rather, use themetronome onty io track yourprogress, _Keep a daily record of your tempos in the boxes pro-vlded. (NorE: Your tempo may vary slower or faster from-dayto day. This is to be expected. )

Avoid -skipping a day, for whatever reason. The effect is veryhazardous to progress. Regularity is essential. No, foilow thlsteps faithfully as given.

A .

B.

c.

D.

76

i

,!ii

PREPARATION

Step I

Step 2

Step 3

50 MINUTE PROGRAM

Step 4 2 m in

Step 5 10 m in

Step 6 2 m in

Step 7

WEEK FOURTEEN PROJECT LESSON REvtEW

Week End Tempo Objective ) : / * t

clear your work area of all things not pertaining to this resson.

Tune your guitar.

l l1m yp. Play notes slowly at all parts of the fingerboard.obiective: To eliminate any trf lamstr between the right and refthands.

Step

Step

Step

Step

t 0 m in

2 m in

l0 m in

2 m in

l0 m in

2 min

I

9

t0

l l

Play eighth-note triplets once through the progression to esta-b.lish yguf ter4po of lhe dav - the speed at which you can playthrough the piece without mistakes. Mark down the dayrs temp<in the appropriate box below.

Loc oF DAILY [r4,FlRoNoME SETT!NGS

Pre-record yourself playing the chord changes (sustained - norhythms), with the metronome nearby so thit i t wi l l sound on ttta.pe.l ike a cl ick track. Repeat the progression non-stop for l0mtnu tes .

Break! set the qyital_down. stand up and rewind the machineFocus yoffihord proiression. Know the keycenters and memorize the progression. rrGet i t off the paper anlinto your headrr.

Play. uninterrupted eighth-note triplets over the progression asis played back, to the conclusion of the pre-recordi;g.

Break! Set the guitar down, stand up and stretch, €tc.

Play uninterrupted eighth-note tr iplets to the conclusion of thepre-recording.

Break! Rest away from the gultar. Lie down, etc

Play uninterrupted eighth-note tr iplets to the conclusion of thepre-recording.

Break! Lie down. .Re-lax-al l parts of the body. close your eyes.Brea.the deeply and rhythmically. practice visualizing yourselfplaying the project the way you wish you had.

Step 12

HOW TO DO PROJECT LESSONS FOR WEEKS FIFTEEN, SIXTEEN AND SEVENTEEN

(21 DAY REVTEW)

9p t9 now, our goal has been to gradually rach a tempo of ) = lltwith ctean executionby the end of the fourteenth week. - Whether you have or have not attained this tempo,write d.o*l the present maximum metronome setting (the setting at which you ortlfiy

-through the project lessons free of mistakes).

,a fiorlq?Frnr

@@Following is a 2l day "gestationrr period aimed toward affixing your present maximumtechnique as a permanent reflex capability, a point at which

-one may go without playing

for_ long p_eriods of time, but with about two to three weeks of practic6, regain ttrefull technique.

The following here is a suggested schedute (you may change the order at will).

WEEK F IFTEEN Day OneDay TwoDay ThreeDay FourDay FiveDay Six

tt,EEK SIXTEEN Day OneDay TwoDay ThreeDay FourDay FiveDay Six

WEEK SEVENTEEN Day OneDay TwoDay ThreeDay FourDay FiveDay Six

Review Project Lesson l-AReview Project Lesson l-BReview Project Lesson 2-AReview Project Lesson 2-BReview Project Lesson 3-AReview Project Lesson 3-B

Review Project Lesson t-AReview Project Lesson 4-BReview Project Lesson 5-AReview Project Lesson 5-BReview Project Lesson 6-AReview Project Lesson 6-8

Review Project Lesson l-AReview Project Lesson 4-AReview Project Lesson 2-AReview Project Lesson 5-AReview Project Lesson 3-AReview Project Lesson 6-A

78

PREPARATION

Step 1

Step 2

Step 3

50 MINUTE PROGRAM

Step 4 2 min

Step 5 l 0 m in

Step 6 2 m in

Step 7 10 m in

WEEK FIFTEEN PROJECT LESSON REVIET/IT

Week End Tempo Obiective ) : tSZ


Tune your guitar.

Warm up. Play notes slowly at al l parts of the f ingerboard-Obiective: To eliminate any rrflams'r between the right and lefthands.

Play combinations of eighth notes and eighth note tr iplets oncethrough the progression to establish your tempo of the dav - thespeed at which you can play through tl.e piece without mistakes.Mark down the dayts tempo in the appropriate box below.

LOG OF DAILY METRONOME SETTINCS

Pre-record yourself playing the chord changes (sustained - norhythms), with the metronome nearby so that i t wil l sound on thetape l ike a cl ick track. Repeat the progression non-stop for t0minutes.

Break! Set the guitar do.wn. Stand up and rewind the machine.Fc.us your attention on the chord progression. Know the keycenters and memorize the progression. IGet it off the paper andinto your head".

Play uninterrupted eigrhth notes and eighth note triplets over theprogression as it is played back, to the conclusion of thepre-recording.


Play uninterrupted eighth notes and eighth note triplets to theconclusion of the recording.

Break! Rest away from the guitar. Lie dswn, etc.

Play uninterrupted eighth notes and eighth note triplets to theconclusion of the pre-recording.

Break! Lie down. Relax al l parts of the body. Close your eyes.Breathe deeply and rhythmically. Practice visualizing yourselfplaying the proiect the way you wish you had.

Check off each steo as it is finished.

Step

Step

Step 12

2 min

l0 m in

2 min

10 min

2 m in

8

9

Step l0

Step l l

Total 50 min

TYEEK SIXTEEN PROJECT LESSON REVIEW

PREPARAT ION

Step 1

Step 2

Step 3

s0 MTNUTE-I'ROG,F,$fI4

Step 4 2 min

Step 5 l 0 m in

Step 6 2 m in

Step 7 10 m in

IWeek End Tempo Objectiv"_l_: /( O_

clear your work area of all things not pertaining to this lesson.

Tune your guitar.

!?ry gp. Play notes slowly at all parts of the fingerboard.objective: To eliminate any "flams" between the right and lefthands.

Play combinations of eighth notes and eighth note triplets oncethrough the progression to establish your tempo of tire dav - the,speed at which you can play through the pffiakes.Mark down the dayrs tempo in the appropriate box below.

Step

Step

Step

Step

Step 12

2 min

l0 min

2 min

10 min

2 min

I

9

10

I t

Perecord yourself playing the chord changes (sustained - norhythms), with the metronome nearby so thit i t wi l l sound on theta.pe.like a click track. Repeat the progression noE-stop for 10mtnules,

Break! set the guitar down. stand up and rewind the machine.Focus yoffichord progression. Kto* the keycenters and memorize the progression. ,,Get it off the paper andinto your headtt.

Play uninterrupted eighth notes and eighth note triplets over theprogression as it is played back. to the conclusion 6f thepre-recording.


Play.uninterrupted eighth notes and eighth note triplets to theconclusion of the recording.

Ereak! Rest away from the guitar. Lie down, etc.

Play-uninterrupted eighth notes and eighth note triplets to theconclusion of the pre-recording.

Break! Lie down.. Relax all _parts of the body. close your eyes.Brea_the deeply,and rhythmicatly. practice visualizing yiurselfplaying the project the way you wish you had.

Check off ech step as it is finished.Total 50 min

80

*r

WEEK SEVENTEEN PROJECT LESSON REVIEWI

Week End Tempo Obiective 1 = t,12

PREPARAT ION

Step I

Step 2

Step 3

50 MINUTE PROGRAM

Step 4 2 m in

t êP 5 l 0 m in

Step 5 2 m in

Step 7 l 0 m in


Tune your guitar,

Warm up. Play notes slowly at all parts of the fingerboard.Obiective: To eliminate any I'flams" between the right and lefthands.

Play combinations of eighth notes and eighth note triplets oncethrough the progression to establish your tempo of the dav - thespeed at which you can play through the piece without mistakes.Mark down the dayrs tempo in the appropriate box below.


Pre-record yourself playing the chord changes (sustained - norhythms), with the metronome nearby so that i t wil l sound on thetape l ike a cl ick track. Repeat the progression non-stop for 10minutes.

Break! Set lhe ggitar down. Stand up and rewind the machine.Focus your attention on the chord progression. Know the keycenters and memorize the progression. rrGet i t off the paper andinto your head" .

Play uninterrupted eighth notes and eighth note tr iplets over theprogression as i t is played back, to the conclusion of thepre-recording.


Play uninterrupted eighth notes and eighth note tr iplets to theconclusion of the recording.


Play uninterrupted eighth notes and eighth note tr iplets to theconclusion of the pre-recording.

Break! Lie down. Relax al l parts of the body. Close your eyes.Breathe deeply and rhythmically. Practice visualizing yourselfplaying the project the way you wish you had.

Check off each step as i t . is f inished.

Step

Step

Step

Step

Step l 2

Total

2 m in

10 m in

2 m in

l0 m in

2 m in

8

9

10

il

50 min

WEEKS EICHTEEN, NINETEEN AND TWENTY (REVTEW)

r^""= --*morr'r, il.t DEs

Up to this point in the pnogram, our technical resources have been limited to (a) alternatedown and up strokes and (b) duple tlme and trlple time. Now letrs expand the resourcesto include (a) hammer-onrs, (b) pull-offrs and (c) glissandi or slides-

By introducing these devices into your work studles. you can expect an almost immcdiate,dramatic acceleration of technique in general. One main reson for this ls that theduties of the picking hand are greatly reduced. in that 2 sr urore tones can be phyedwlth only onc picklng stroke. ln Example 15,. seven notes are sounded ulth one attackof the plck. The picking stroke shown as ( $ ) means either a down or up stroke maybe used.

Example 18

| |.o.3

For those of you who have been playing for someUme, hanmer=onrs pull-offr, andslides arc nothing new. But for those who may not be so famillar with them, thefollouing examples briefly describe and demonstrate the basic principles.

. ?.o. ?.o.r 3 l

H.o4

0t

82

HAfitt'lEnisilr5":r ':

: :The Hammer-on technique itself is a very straight sh€ad move. (a) Strike . not€beinq presssd with the lst, Znd, or 3rd finger (b) while the string is stil{ vibrating,

slam-(irsmmer) your 2, l, or 4th finger &wn on the sam€ string. This t'strong

hammer-like action" produces another tone {hiEher in pitch} without having tostrike the string again. Thus wG are able to sound 2 or more not€s for the priceof one picking stroke. NOTE: Not only is it important to hammer-on stronglyenough to sound like a plucked string, but the rhythmic character of the PassEgcmust-be precise.

Example l9

t rr.a" gq , i * l

fl,d.t L . }

lr.s,L

tl.$.r i l

f{,o,3

t{,c.7*

tt-

ttu

rr-o. * fl.o,*rs

l l,o,t * l

t l .o. t n, lr.r f L . t

l1ifitnril.o. S ' t*l& L r F

ft.s"*. + ';L

H ' S .*

H .O ,e 2

l { .6 .

4Ir,o.4

H,O.,a

H.O.fri &

lf'O.t L+

ls$.4 2 "

H6"+

ll.al. ll.o.. 3 ? - {

f l ,d.r3

il.o.t ? .

tt shor,lld ba pointed out that it k poeuiblc ts sound any ton€, group of to*rer orchords without any initial pick stroke at all, if the hammer-on is forceful anough.Thls ie efpccislly trtre lf-the amplifier is turned up to a hlgh vslurne eetting.

s3

. F{JLL*SrF:IS

The Pult-off technlque involy*:. f i1g:ring preparatio-n. {ai Fress down the primary:31: g_I"",ly.}oic rine with the rii. zfii, #.i':J:;;;"};, il; ffii;; "iir'"#iiil.,ethat tone, (bl press down a prepariatory tone (higher in pitch on the same strinolwith the Znd, 3rd, or t l th f ingers. {c} pluck the preparatory thieher} tone and"'y-lr j*. :n* str ing is vibrating,.(dl pult the f inger {ptaying the higFer pitch} awayrrom the str ing, toward the side of the f ingerboard in a pluckindaction. Thisal lows the lower note (st i l l heing h€ld) to sound, ln other wordi, pick the str inqa second time-wlth the fingerin{ hand. rtt* buil-off shoutd be ,t*Tri^"nil;h'i;"RT:_ou:*__"_:olicl tone a.pp.roximating the loudness of the origina! {pickEc striig}.Also'-.great care should be taken to maintain rhythmic contlol otine puli-ofi."'"uon't rush, or drag the t ime. " Keep the rhythmic character of the phrase precise,

Exarnpte 20

eo.t f , r .

k**4P.d,c

P.1}, f,A.

?.a.I

r.o.q- 'S

Ro"?*e

P-o.L

r.o. f"o"

It*+(t$

g.o"7*

?.6.A 1

no"?-

f,o,t4

?,8.z- 7-

f7f.o.

I

@

Example 21 cornbinations of Harnmer-on's and pull*off's,

l|"rb ?o.r *+? , f ll,.,is,

4n-rf.s.7-

?&, r L

n,d,r *4

ll"$. ga, 11.r. f.o, ILO.?,O. li.a.figl,? -& a , r $ | L+L * *n I

?"o' ila- ?.ab ? - 4 1 . f{,o" ?o,l * 3 L

t{a, ?"e,t& r

tl*, f.a.r *+ L

,1.G. ?,A.L I

$,o.fc"? * 4 L z .

I+F ?.o. ,r.s. eo,t r L | 2 _ |

g4

SLtDES (CL |SSANDt )

The execution of- the gliss (or glissando) simply involves stiding from one note toanother. The slile may cover oneor more frets, either ascendi-ng or descendingand may be used for chords as well as single note playing. pick the first note jr- -rtes and, without lifting the finger(s), slide up or dbwn to a new note or notes.

re slide is indicated as a line connecting one note to another.

Example 22

HOW TO DO PROJECT LESSONS FOR WEEKS EIGHTEEN, NINETEEN AND TWENTY

Review the following Proiect Lessons incorporating hammer-oflts, pult-offrs and slides.not break away from the-pnogram or time frames. The following is

" "rgt.rt".L-;redule (you may change the order at will)

WEEK EIGHTEEN Day OneDay TwoDay ThreeDay FourDay FiveDay Six

WEEK NINETEEN Day OneDay TwoDay ThreeDay FourDay FiveDay Six

WEEK TWENTY Day OneDay TwoDay ThreeDay FourDay FiveDay Six

,l

Review Project Lesson l-AReview Project Lesson l-BReview Project Lesson 2-AReview Proiect Lesson 2-BReview Project Lesson 3-AReview Proiect Lesson 3-B

Review Project Lesson 4-AReview Proiect Lesson 4-BReview Project Lesson 5-AReview Project Lesson 5-BReview Proiect Lesson 6-AReview Project Lesson 6-8

Review Proiect Lesson l-BReview Proiect Lesson tt-BReview Proiect Lesson 2-BReview Proiect Lesson 5-BReview Project Lesson 3-BReview Project Lesson 6-8

85

WEEK EIGHTEEN PROJECT LESSON REVIEW

PREPARATION

Step t

Step 2

Step 3

50 MINUTE PROGRAM-

Step tl 2 min

Step 5 10 m in

Step 6 2 min

Step 7 l0 m in

Week End Tempo obiective:f-j1L 16

clear your work area of all things not pertaining to this lesson.

Tune your guitar.

!3ft yp. Play ryt9s slowly at ail parts of the fingerboard.objective: To eliminate any 'flamsi, between the iight and lefthands.

Play combinations- of-eighth notes and eighth note trriplets usingfammelln-rs, pull-offls and slides once through the irogressioirto establish-your tempo of the daa- the speeJ at which

-you can

play through the ffiakes. 'Mark

down the day,stempg in the appropriate box below.

LOG OF pAtLY METRONOME SETT|NGS

Step I

Step 9

Step t 0

Step I I

2 min

10 m in

2 m in

l0 m in

P-re-1eco-rd yourself playing the chord changes (sustained - norhythms), with the metrcnome nearby so that it will sound on thetape like a click track. Repeat the progression norqtop for l0minutes.

Break! set the guitar down. stand up and rewind the machine.Focus yo@hord progression. Know the keycenters and memorize the progression. tGet it off the paper indinto your headrr.

Play uninterrupted eighth notes and eighth note triplets usinghamme-r-on's, pull-offrs and stides oveithe progresiion as it isplayed back, to the conclusion of the pre-recorEing.


Play uninterrupted ei-ghth notes and eighth note triplets usinghammer-onrs, pull-offls and slides to thE conclusion of thepre-recording.


Play uninterrupted elghth notes and eighth note triplets usinghammer-onrs, pull-offls and stides to tlie conclusion'of thepre-recording.

Break! Lie down. . Relax all parts of the body. close your eyes.Breathe 9*ply and rhythmicaily. practice visualizing you"r"tf

-

playing the project the way you wish you had.

Check off each step as it is finished86

Step t 2 2 min

Total 50 min

PREBA,RATIoN

'P1

Step 2

Step 3

Stcp 5 l 0 min

so MINgLE PROGRAM

Step rr 2 min Play combinationg of-elghth noteg and eighth note triplets usinghammer-onlr, pull-offls and slides once thrcugh the progressionto establish your 1gmpqi)f tha dry-- the tPeed at which you oanptay through the ffiakes.

-Mark down the day's

tempo in the appropriate box below.


IVEEK NINETEEN PROJECT LESSON REVIEW

Week End TemPo ObiectiveI

J- /8+

Clear your work area of all thlngs not pertaining to this lesson-

Tune your guitar.

Warm up. Play notes slowly at all parts of the fingerboard.Obiectlve: To ellminate any "flamstr between the right and lefthands.

Prrrecord yoursclf playlng the chord changes (sustained - norhythmsl, wlth the mcttonome nearby so that lt wlll sound on thetape llke a click track. Repeat the progression non-stop for 10minutes.

Break! Set thc guitar down. Stand up and rewlnd the machlne.Focus yoffichord progrcrslon. Know the keycenteri and menrorlze the progrcssion. rrGet lt off the paper andInto your headrr.

Play unlnterrupted aighth notes and eighth note trlplets usinghammcr-onrs, pull-offrs and slidcs over the progresslon as it isplayed back, to the oncluglon of the prrccordlng.

Breek! Sst the gultar down, stand up and itretch, etc.

Play unlnterrupted eighth notes and elghth note trlplets uslnghcmmer-onrs, pull-offls and slides to the conclusion of thepr€-recordlng.

Break! Rest away from the gultar. Lle down, etc.

Play unlnterrupted alghth notes and eighth note trlplets usinghrmmer-onrr, pull-offs and slides to the concluslon of thepre-recordlng.

Braak! Lie down. Relax ell perts of thc body. Close your eyes.Breathc decply and rhythmlcelly. Practlce visualizing yourselfpleylng the project the wty you wish you had,

Chcck off esch tteP as lt lr flnlshed'

Step 7 l 0 min

ft"p s

Stcp 8

Stap 9

Step l0

Step tt

2 mln

2 min

l0 min

2 mln

l0 mln

Step 12 2 mln

Total 50 nh

T{EEK TWENTY PROJECT LESSON REVTEW

PREPARATION

Step I

Step 2

3

!o MTNUTE PROGRAM%

Step tf 2 min

Step 5 l 0 m in

Step 6 2 min

l0 m in

Week End Tempo Objective ) - / ?z

clear your work area of ail things not pertaining to this tesson.

Tune your guitar,

I:3 yp. P1"V T:t"s stowly at alt parts of the fingerboard.objective: To eliminate any ',flamsi' between the rigrrt and lefthands.

Play combinations. of eighth notes and eig_Hh note triprets usinglt"*:-lfs. pull-offlJand sridcs once through the progiressionto establish-your tempo of the dap- -ttre spcei at which you crnplay through the ffiakes.

'Mark down the dayrstempo in the appropriate box below.

Step I

Step s

Step t 0

Step 1l

2 min

l0 m in

2 min

l0 m in

tgc oF pAtLY METRONOME SETTTNGS

P5a1eco1d yoursetf ptaying the chord changies (sustained _ norhythms), with the metr.on6me nearby so th;tit'*itt sound on then:iJ:::

a ctick track. Repeat *,e ir"er;;;i; non_stop for t0 -

Break! set the glritar do.wn. stand up and rewind the machine.Focus yoffihord.p-ir-9grion." Krro, the keycentcrs and nremorize the prryression.- ,,Get if off the papeiinainto your headil

Play uninterrupted eighth notes and eigfith note triprets usinghamme.r-oors, puil-offrs and srides oveithe progression as it isplayed back, to the conclusion of the pr"_"&oriirrg.


Play uninterrupted eighth notes and eighth note triptets usinghammer-on-'s, pull-offll and slides to the conclusion of theprFracording.


Play uninterrupted 9i_ghttr notes and eighth note triprets using

fammer-o1ts' puil-ofei ano riiJ"" to the concrusion of thepre-reicording.

Break! Lie down. . R.ela1 all parts of the body. Close your eyes.Breathe deeprv and.rhythmici i ly. practice visuarizing'y*rrJri- 'playing the'pioject the way you wish you had.

Check off each step as it is finished.88

2 minStep 12

50 min

Documents

Howard Roberts Super Chops