CHAPTER | EE ——————— WARM-UP EXERCISES Begin your daily practice sessions with these exercises. ‘TremoLo PrckING “The fist warm-up is a sremolo picking exercise (his type of tremolo should not be confused with the tremolo bar). A tremolo is a ui and continuous reiteration ofa single note, often executed as fast as possible. Start out conservatively; Set your metronome at around 62 beats per minute (M.M.=82) and try the I6th-note exercise shown below on any string or fret. No specific pitch is given because the exercise should be played on every sring and at various fret locations. I often start on the C, Sth fret of the G-string (the string width is moderate—nott00 thin, not t00 thick—and the Sth fret feels like a comfortable, central location) and move on to the other strings and frets only after the tremolo begins to sound relaxed and even, AV RVYAVAVAVRV RVR PVR VV VV err errr errr err Ereerererererecr| 24 Four-FINGER EXERCISES ‘These exercises, employing all fret-hand fingers in all 24 possible combinations, are designed to improve dexterity and finger independence, as well as develop coordination of the left and right hands. They may not sound very melodic, as their purpose is solely technical, but through diligent practice of allof these patterns your fingers will no longer have “favorite” ways to move ‘We all know that consecutive patterns, such as 1-2-3-4 and 4-3-2-1, are finger friendly. Many of our licks and lines are based on some aspect of these consecutive patterns, but through practice even the most difficult patterns will become comfortable. These exercises will enable you to express any musical idea on your fingerboard with ease, because all possible finger movements will hhave become second nature, Using a metronome (or drum machine) as a reference, find a tempo you're comfortable with—start out on the slow side 10 censure a solid tone. You'll notice that these exercises become a litle easier each day. When you feel confident that you can play a given pattern flawlessly, nudge the tempo up a notch, increasing the speed day-by-day. Keep a notebook handy to chart your progress (patterns covered, tempos, et), You will notice days with giant leaps forward and some days with no apparent progress—but the general trend will always be in a postive direction if you maintain a regular practice schedule (this applies to any exercise in this book), Remember that sound quality is the most important aspect of technique; by making sure that every thing you play is accurate and clean, speed will come naturally. This exercise may be familia to you, a i isthe most commonly played-—and easiest—of all the fourfinger exercises. After play ing the exercise as writen, begin moving it up the neck, playing it on the 2nd fret, 3d fre, etc‘These exercises show the remaining 23 configurations in an abbreviated form. Practice them in the same way as the first exercise, Many of these patterns will be new to you—play them until they become as easy and comfortable asthe 1-2-3-4 exercise. = ————S— == we Sie ig gape OO Pg ghee OO ps dag he YO a ———— SSS] Osha got She We sgl athe She daha be “Te bebe date PFE == z = ———‘SRING-SKIPPING String skipping is an important aspect of guitar technique. This exercise shows the first pattern (1-2:3-4) in a simple string-skip- ping exercise. Apply the rest of the paterns to this exercise as well ‘One-Nore-PER-STRING EXERCISE This more challenging exercise—no consecutive notes are on the same string—is the logical extension of the previout exercises. Note that all the patterns other than the 1-2-3+4 and 432-1 involve considerable string skipping. Begin this one slow. ly, making sure your altemate picking is accurate. The sound of this exercise must be clean before increasing the tempo. by Another word about picking technique—ntany of these exercises work well using only downstrokes. Many great players (from ‘Chuck Berry to Pat Metheny) use consecutive downstrokes in their lines for added shythmic emphasis,CHAPTER 2 ee PENTATONIC SCALES ‘This chapter deals exclusively with the pentatonic major and minor scales, which are widely used in rock, country, and bl EXERCISES ‘The following exercises have a more musical sound than do the previous exercises, since they are based on a scale, All of ¢ exercises are composed of sequences, which consist of melodic patterns, ot motives, that are restated on higher of lower : degrees, For example, a motive consisting of A-BC can grow into a sequence by following the motive with B-C-D, C-D-E, D: tc. These E pentatonic minor scale (E.G A B D) exercises are based on a motive consisting of four consecutive no All ofthe best guitarists are able to run up and down the pentatonic scale, all over the neck, Al five basic fingerings of the tatonic scale are present here in these position-based exercises, ensuring fluent fretboard finesse ‘Note: Keep in mind that the E pentatonic minor scale (E.G A B D) and the G pentatonic major scale (G A B D E) contaie same notes, oe EXERCISE #1 ‘The motive is played on each descending scale degree, atte EXERCISE #2 ‘The motive is reversed and played on exch descending scale degree, ctteett pet EXERCISE #3 ‘The motive is reversed and played on exch ascending scale degree . WeExercise #4 ‘The motive is played on each ascending scale degree. EXERCISE #5 Alternate between the motive and the reversed motive; play them on each descending scale degree. EXERCISE #6 Alternate between the reversed motive and the motive; play them on each descending scale degree. EXERCISE #7 Alternate between the reversed motive and the motive; play them on each ascending scale degree. eet ttn et ttt, So Sir te EXeRcIsE #8 [Alternate between the motive and the reversed motive; play them on each ascending scale degree.Here are eight pentatonic motives in 4ths, ideal for improvising in a pentatonic scale, Treating these motives sequentially, like the motive used in the eight previous exercises, will spawn 64 new exercises, Remember to maintain the integrity ofthe scale. tis impossible to always have fourths in pentatonic sequences; the appearance of thirds is inevitable because of the pentaton fc scale's construction. Licks Here are a number of different pentatonic licks, in various keys, designed to give you a practical and musical application of some of the techniques we've covered. ‘Two-Sraine Osrinaro ‘Two notes per string, in descending order, is atypical pattern in many ostinato licks. (An ostinato is a short musical idea that is constantly repeated.) In this D pentatonic minor (D F G A ©) example, bars 1 and 2 incorporate pulloffs, while bars 3 and 4 are all picked, Notice the smoother legato sound from the use of pull-ofs, in contrast to the more staccato, in-your-face articus lation of picking every note, bs, . : . : mom AEA AA Fe E (G3 g pope Fie bt off pbb EP yop p feertteofee tee fer, ite Z potCiassic Rock Benps This next lassc incorporates a bend in its pattern. IF bending is new to you, this lick will function as an ideal exercise. The fst 's played with the 3rd finger, but keep your 2nd finger jut behind it for supporting the bend, Play the note and then push the st ‘up until it matches the pitch of the Second note of the ick. Keep working at this lick until you achieve a fluid, connected sot Every rock guitarist has probably used this one more than a few times in his career. Bm E 7 a we Ae oe /__ eon Jounny Winrer-Stvie Puut-Orrs AnD BENDS Johnny Winter, the lightning-fast blues master, often plays vintage blues/rock ostinato figures like this one. cs ue tw ‘Srrepy BuvEs Rock BENDS ‘This is another lick inspired by Johnay Winter. In this example, the bent notes have the more melodic function, while the rem ing three notes of each figure form an ostinato, 2 Ply times os - - Z JCountry Rock Trtets This repetitive lick'is a staple of blues, rock and country guitarists ‘Van HALEN-STYLE TREMOLO Burning up an E minor pentatonic scale on a single string, with rapid-fire tremolo picking, is an important aspect of Eddie Van Halen's style. Jor Sarriani-Styte Hammen-On, PutL-Orr, AND SLIDE From the Satriani school of shred, pick the fst note and rely on the hammerons, pulloffs and slides to maintain an even volume.ERIC JOHNSON-STYLE SEQUENCE ‘This lick begins with an eight-note motive that descends the G pentatonic minor scale (G BY C D F) and concludes with a sequence of a four-note motive ascending the scale, ont Bina coe p ‘Surpes, HAMMER-ONs AND PuLL-Orrs In G Minor #1 Guitarists often center their solos around one fingering pattern, occasionally “borrowing” from adjacent patterns. By adding slides, hammer-ons and pulloffs (executed primacily with the Ist and 3rd Gngers), smooth transitions between adjacent patterns are possible. Here, the lower half of the neck is covered «s, 2 go Fee ~ BSurpes, Hammen-Ons AND PuLL-Orrs In G Minor #2 This descending lick, shifting through three positions, covers the upper and central portions of the neck. nnn 2S fs os Bis fs os Bhs rs Heavy Benpinc Every note in the E pentatonic minor scale is bent in this lick! In order to maintain the integrity of the pentatonic scale, ths lick Fequires three whole-step bends and two 1 '-step bends per octave. When going for the larger bends, ry switching t0 the 2nd. ‘or 3rd finger so that you can support the bend with your remaining fingers. Ent cacao > Ent a > on 1 foo Fuk th Fat Fa oo = a a a: a ws we Fa ayCHAPTER 3 ———————————— THE MAJOR SCALE AND THE MODES Using the major scale and the modes in your improvisations isthe next logical step ater grasping the pentatonic scale, The fol- lowing exercises contain elements that are fundamental to solid lead guitar echnique, and to good musicianship in general These exercises will not only increase your finger dexterity and coordination, but will also open your ears to greater melodic possibilities EXERCISES, SINGLE-STRING APPLICATIONS ‘The seven modes are shown here on a single string for comparison purposes and to help you get a mental picture oftheir dif- ferent intervallic constructions, Keep in mind that the Tonian mode and Aeolian made are synonymous with the major scale and the natural minor scale, respectively. It is important to memorize each of the formulas that you see below the names of each ‘mode. These formulas, which show the necessary alterations of the major scale, wll enable you to instantly figure out any mode, starting from any note! Play up and down these modes, spending a few minutes on each one. Don't worry about which fingers to use right now. The goal is to develop an awareness of each mode's unique sound and feel; you can play every note with the same finger if you like, The modes shown below all begin on the same note, C Gad fret, A string). Ionian evian Poryan yd praas ors rab ths ser 12s or Maoiyion ‘coin Losin16 SINGLE-STRING EXERCISES 1-3 While ascending in these exercises, always use your Ist finger on the fist note of each pattern; while descending, use your 4t the first note of each patter (the fist note of each pattern always falls on the beat). Aer you play through these Tonian mod ‘major scale) exercises, go back and “plug in” the remaining modes, ‘Note: You should be aware that when the modes are applied to these exercises, certain notes willbe changed: that i, the notes are akered by the formulas will appear as shaped or Matte! notes here. For example, if € Dorian is plugged in, all the E's an become H's and BY's (the 7 and 14's in the tab become 6' and 13%). As long as you have a solid grasp of the previous forn and fingerings, applying them shouldn't pose any problems, EXERCISE #1 SSS Exercise #2 Ss 3 = a aa poe EXERCISE #3 - ==. 6 Sara ree eS aaa Saw eee ® cs a 7 = A word to the wise: Take your time! Don't rush through allthis material. It might be a good idea to try only one mode per éPosrri0n-BASED FINGERING DIAGRAMS Position-based scales enable you to cover a two-octave range without any hand movements up or down the neck. The most ‘common fingerings for the major seale and each of the modes are shown below. Don’t get intimidated; there are really only thtee basic fingerings here—all the rest are simply altered versions. (As with the single-string fingerings, the alterations are t0 accommodate for the different notes in each of the modes.) For right now, just get comfortable with the first major scale fin- ering. The exercises on the following pages are notated using this fingering, Note: the lowest note of these moveable fingerings isthe tonic, or the first degree of a scale, the note which gives the scale its name. C scales and modes are constructed ifthe lowest note in each of these diagrams is fingered at the 8th fret of the low E string. The number to the let of each diagram designates which finger plays the first note, thus establishing a position for your hand. For example, the opening note of the first major scale fingering is played with the middle finger (2). Nee Dorian. Cllle [600;e e00000 oe @| [ee 2000000 ee @000e sq@ee0eee @ ePosrrionep Base EXERCISES 1-6 Many of the exercises in this chapter are familiar to all trained musicians, regardless of their instrument. For example, violin- ists, pianists, and saxophonists all know what it means 10 “play a scale in 3rds." The following exercises are in the same vein; that is, they are an essential part of any skilled musician's faculties, Playing intervals larger than 2nds will add a whole new melodic dimension to your solos, which may contain t00 much step~ ‘wise motion and not enough leaps. These exercises are actually sequences, composed of tiny two-note motives. The motive in the first exercise is a 3rd, C to E, which is sequenced up and down the C major scale (this exercise is what people often refer to as “playing the scale in 3rds"). The exercises that follow it are also composed of two-note motives, ranging from a 4th to an octave, ‘The following exercises, tried and true chops builders, are all demonstrated using the frst fingering of the major scale Exercise #1. Bups EXERCISE #2EXERCISE #3 Exercise #4 EXERCISE #5 Reminder: Once you are familiar with playing the major scale inthis manner, go through these exercises again by: 1) plugging in the two remaining major scale ingerings, and 2) then applying the modal fingerings. 19Posrrion-Basep EXcERCISES 7-8 ‘These classic exercises are applicable to all the modes as well, EXERCISE #7 EXERCISE #8r ‘Licks A Mrxorypian Surpes Slides are natural in one-string playing. The following example uses the A Mixolydian mode (A B C# D E F# G) and is typical of many guitarists a 2 A Pape aa a oS A A a a 4 # a ene ‘Sreve Var-Stviz Sues Steve Vai has been known to be extreme in his use of sides. This Vaiinspired example is a descending sequence in 3rds using the E Aeolian mode & F# G AB CD). Emde caeas Mirada aaa Jerr Beck-Stvte Tris Trills are a great way 10 embellish a simple melody. This descending three-note sequence in D uses tls a la Jeff Beck > o Bn fo ei oe i ee ttt to Gs Gary Moone-Srvie Fincerep TREMOLO Fingered tremolo figures Cuil" larger than a second) have an intense, dramatic sound. This Gary Moore-syle lick uses 3nds (he most common interval used for fingered temolo) in the E Mixolydian mode (E FE GE A B C# D) E > E > tr — @ aASCENDING THREE-NoTE SEQUENCE In this example, a thiree-consecutive-note pattern is frst presented as an ostinato, then in a sequence ascending the A Dorian mode (AB C# DE FE GP), Three-note patterns lie under the fingers comfortably and are easy to sequence up and down the neck once your picking patern and phrasing have been established etete be ‘SiNcLE-SaiNG D Minor Pepa Port ‘This lick involves an ascending and descending melodic idea from the D Aeolian mode (D EF G A Bb C) alternating with a D pedal point ais C Dorian Srquence ‘This ascending five-note motive is sequenced! on each degree of the C Dorian mode (C D E> FG A Bh), Me 7 1C Lypian SEQUENCE In addition to beginning sequences on successive scale degrees, i's possible to begin them at other intervals. A sequencing at the 4th lies well on the guitar, as inthis C Lydian (C D E F#.G AB) run. © pe c pe G MrxoryD1AN SEQUENCE A four-note motive (composed of two pairs of descending notes a sixth apart) is the basis for this sequence using the G Mixolydian mode (G A BC DEF). oo ‘Van HALEN-STYLE SEXTUPLETS For optimum speed and fluidity, three notes per string with hammerons and pull-offs is the way to go. Eddie Van Halen pulls these kind of legato licks off as easily as most of us breathe! This ascending sextuplet lick uses the A Dorian mode (ABCDE FSO), wy Wa 23Juory SurrH-Srvie Osrinaro ‘This C blues scale (C Bb F F# G Bb) lick was inspired by jazz organ great Jimmy Smith. The tonic and b7th act as an ostinato, ‘while the intesrupting, step-wise line assumes a more melodic function, o Fr ee eee ee eee E AEOLIAN SEXTUPLETS This E Acolian (E F# G AB C D) lick also contains a step-wise melodic idea alternating with an ostinato. ebdtererttheeei tree pissaeeaeze aa E Mayon PEDAL Point In bars 1 and 2, a high E pedal point altemates with the descending major scale, In bar 3, alow E pedal point akeznates with the ascending E major scale (& F# G# A B CE DE). Sounds such as these ae found in many classical piecesRoy BUCHANAN-STYLE BENDS Roy Buchinan was a master at incorporating country-flavored licks, like this one, into his blues playing. x eee Be fee ae are ne a ebay e be A f £ fhe 5 £. — == yoy oe oe ne ‘DESCENDING SEQUENCE ‘This lice incorporates bends in a descending four-note sequence in the B Aeolian mode (B CE D E F# Gt A). Bat 6 Bat Mh were ‘Larry CaRtron-Srvie Bens Larry Carkon is the man when it comes to clean, intune bends. This lick, in his style i really just an E major scale embellish with bends—great for improving your intonation. Practice this one slowly and listen carefully; you might want to slide t© pitch you're going to bend to first, so you can hear how far to bend. eile + Z / eee ee ee y a ¥ "s Gir ee —26 CHAPTER 4 EE — ——————— ARPEGGIOS Arpeggios are created when the notes of a chord are played one after another, rather than at the same time. Using arp sos adds greater melodic variation to your soloing by suggesting note combinations and fingerings that would not norm ‘occur in more linear, scale-oriented playing ‘We will concer ourselves with three-note chords, or triads, and specifically major and minor triads, which are the most ‘quently used. Their formulas, based on the major scale, are as follows: major, 1 3 5; and minor, 153 5. When they are play ‘with the root (2) in the lowest voice, they are said to be in root position; when they are played with the 3rd (3) or Sth in the bass, they are said to be inverted (ist inversion and 2nd inversion, respectively). When triads are voiced as clos as possible, they are called clased position triads; when they are voiced in more spread-out arrangements, they are cal ‘open position triads. EXERCISES Mayor AND Minor Arpeccios IN Roor Position AND INVERSIONS C Major This example is analogous to the single-string exercises in the major scales chapter, in that the material is teated in an up-a down-the-neck presentation, Notice the similarities to common chord shapes. This example begins with a root position arp ‘alo, continues with Ist inversion, 2nd inversion, and ends with another root position arpeggio one octave higher than the f too C Minor Here, the previous exercise is modified to accommodate the flated 3rd found in minor wads Roor Posrrion Anpeccios Baszp On Eacu Decree OF Tae C Major SCALE ‘To arpeggiate the various toot position triads that occur in any scale or mode, play every other note (use three notes) from e degree of the scale. For example, the triads from the C major scale are as follows: C, Dm, Em, F, G, Am and Bdim, which spelled CEG, DFA, EGB, FAC, GBD, ACE and BDF, respectively. Any of these seven triads can be combined with scalar runs played over any of the chords in the Key of C, or any mode that shares C majors key signature (no sharps, no flats) such a Dorian or G Mixolydian,“The next two exercises, a realization of the aforementioned concept, are similar to the major scale exercises in that they are com- posed of a sequence based on each scale degree (hence using a scalar fingering 2s its framework). Here, the motive is @ root pos tion arpeggio. After you master these exercises withthe indicated Fingering, uy them with the two remaining major scale fingerings, Extending these exercises to include the modes would be a good idea as wel, ARPEGGIOS IN TRIPLETS ‘Try this exercise first with alternate picking, then with the indicated triplet picking. This makes for a stronger, more emphatic sound. This approach is applicable to any triplet exercise or lick. my nny VRE ce Anpeccios IN 16TH Notes : Be sure to use alternate picking throughout this exercise.‘These are two-octave fingerings for major and minor arpeggios. Notice how similar they are to the scale fingerings we've covered. Note: the lowest note of these moveable fingerings is the root—or the generating note of a chord—the note which gives the chord its name. C chords are constructed if the lowest note in each of these diagrams is fingered at the 8th fret of the low E string, The number to the left of each diagram designates which finger plays the first note, thus establishing a position for your hhand. For example, the opening note of the first major arpeggio fingering is played with the middle finger (2). ‘Two-Octave ARPEGGIO FINGERINGS Major @ ‘Two-Ocrave ARPEGGIO EXERcIsEs 1-3 ‘These exercises are super for building technique, as they demand clean and precise right- and left-hand movements. Be sure to use all three major fingerings, and try adapting the three minor fingerings to these exercises as well. ‘Two-Ocrave Anpeccio EXERcise #1 ‘Two-Octave Anpeccio EXERcisE #2 ‘Two-Octave ARPEGGIO EXERCISE #3Licks D MrxowypiaN Traps In this D Mixolydian (D EF G A B ©) example, various arpegatated root position triads are superimposed over a D9 chord Notice the 16th notes grouped in tees, creating a syncopated fee. bs D Donran Truaps Aspeggiated triads are played up the neck, on two strings, in this D Dorfan (D EF G A BC) example, Roppen Forp-Stvie TRIADS Fusion guitarists, such as Robben Ford, regularly exploit the sound of switching back and forth between the two adjacent major triads that occur in every mode, This gives you six ofthe seven tones. n this lick, the use of Bb (Bb D F) and G (CF G) nails the sound of the C Mixolydian mode (CD EF G A Bh) © 2Enic JoHNSON-Stvte OPEN TRIADS Eric Johnson turned a few heads with his innovative use of open postion wiads. In this E minor lick, open position triads are created by bringing the middle note of a closed position iad up an octave. fe BAcH-Styte OsrixaTo Here an ostinato (C-B-C) interrupts the arpegeiation of an. Am chord. Upper EXTENSIONS Implying langer chord forms by superimposing triads on top of the existing harmony is a hip trick that many jazz and fusion players use. In the fist bar, for example, Am9 (A C E G B) is implied because of the presence of the E minor arpeagio (E G B) in the fead line—the E is the Sth, the G is the 7th, and the B is the 9th of the underlying A minor chord.CArouAN TRiADs 1m this lick, over the classic Cm-Bb-Ab progression (L4VIFIVD, the arpeggios outline, or spell, the chord changes Greatness is achieved from 222. applied practice and study. 0 beep working and bave patience 2 ‘you wil get resus! e — a