Play better with...
Your
Ultimate
Practice
Plan
Play: All Styles
ON THE CD
Tracks 4-12
Your Ultimate
Practice Plan...
A lot of players gravitate towards the things they can already do, wasting
time running around in circles whilst the things they can’t do get further
and further away. John Wheatcroft puts you back on track…
ABILITY RATING
From 1 to 5
Will improve your:
Technical ability
Theory knowledge
Musical discipline
THE POPULAR VIEW is that to
become a better player you should
devote practice time to mastering
things you can’t do at present.
Whilst this is fine in priciple, in
reality it‘s not much help when
attempting to organise yourself.
You may be the most willing and
eager guitar scholar, but more often
you’ll not be sure of the best place
to start, potentially trying to do
too much too soon and therefore
forced to make a hasty retreat
back to familiar musical pastures.
The best approach is to see your
learning and musical development
as a progressive pathway, with
each new piece of information a
logical, conceptual and technical
develoment of the things you
already know. This allows you to
grow at a steady rate and means
that each time you attempt to learn
something ‘new’ you don’t have
to start from scratch, as a huge
amount of the groundwork has
already been put securely into place.
Much better, I’m sure you’ll agree.
One massive schoolboy error
is to practise by the clock, thinking
that simply the amount of hours
you put in defines how good
you are going to be. The reality is
that it’s more down to the level
of intensity - far better to do 30
minutes a day of focused work
that‘s designed to strenghten
weak spots and turn the heat up
progressively, than to have the
guitar in your hands for five hours
while watching TV or looking
out of the window. This type of
activity is only really useful for
drilling motor skills, where you
Are you sitting
comfortably?
Music’s like dinner – you do it a bite at a time
16 GuitarTechniques April 2008
can disengage the brain and keep
going for longer periods. If you’re
working on a cognitive skill such as
memorising a new chord sequence
or analysing fingering choices, you
need focus and total concentration.
Intense concentration requires a lot
of energy. If you’re able to focus
fully for more than 20 minutes
without falter, then you’re doing
exceptionally well!
BREAKING IT DOWN
It is a practical and physical
impossibility to work on every
single element of your playing
every time you sit down to
play (unless you are a complete
beginner). To make any real
progress you need to look at the
individual component parts in
isolation and in detail. Always plan
what you’re going to do before
you even pick up the guitar and
be realistic about what you can
achieve in the timeframe provided.
Between 15-20 minutes on
any one topic before taking a
break is ideal. I generally pick
four contrasting things every
day. Choose a timeframe that is
realistic and sustainable in the
long-term, so that when you put
the guitar down you feel a sense of
achievement, not disappointment.
Shorter and more intense sessions
are more effective than the
conservatoire type methodology
of practising for eight hours a day
non-stop. That’s just going to give
you RSI.
Create a log, mapping out
short, mid and long-term goals and
review monthly. This way, if there’s
anything missing (I’ll put money on
it being sight-reading!), you should
be able to spot it and put your
Phil Hilborne
Play: All Styles
much information as is humanly
possible; it’s about how you’re
going to use the skills creatively as
a musician. I’ll often tell students
that if we both had to make a list
of things we couldn’t do on the
guitar, then mine would definitely
be longer, just because my
experience means I’m more aware
of the infinite possibilities music
has to offer. It’s a constant work
in progress, so surrender to this
marvellous piece of information
and enjoy the journey…
FURTHER STUDY
■ If you fancy a bit of light
bedtime reading then try
the following excellent and
inspirational books: Effortless
Mastery by Kenny Werner
(Alfred 1996), The Inner Game
Of Music by Barry Green
(Doubleday 1986), and finally
Musical Excellence, a collection
of essays outlining strategies
and techniques to enhance
performance edited by Aaron
Williamson (Oxford Press 2004).
missed in your musical education
up to this point. You need to isolate
whatever that might be and find
ways of reinforcing that element of
your playing and establish what the
problem is, then find some exercises
to strengthen that area. This might
mean learning some other musical
examples in order to build that
area up. You may have to go back
a few stages. It can be a humbling
experience, but you almost always
have to go back before you can go
on to the next stage.
The part of the brain that is
associated with long-term memory
APPROACHING A
NEW PIECE
practice pathway back on track.
Obviously this time does not
include getting the guitar out of
the case, finding a lead, plugging in
the amp and setting up the music
stand, or turning the CD player on.
Also, one hour playing with
other people is worth ten in the
practice room. It helps if the people
you’re playing with are just that
little bit better/more experienced
than you too. This also helps you
to focus and structure your studies
in the best way possible, as you’ll
quickly figure out what works and
what doesn’t. Don’t put this off
until you’re ‘good’. This is how
you’ll actually get to be good!
I’ll leave you to ponder on this
thought. It isn’t about amassing as
When learning a new piece, often
you need to break it down into
small chunks. There’s always
a reason why you can’t play
something and it’s usually not
because you’re incapable; it’s
because previous steps have been
missed. If you want to achieve a
specific goal there are a number of
stages before you can get there. If
I want to play like Steve Vai, that’s
too much of a jump in one go – you
need to go through many other
steps (often very smalll ones) to get
to his level. So when you’re trying
to play a Steve Vai piece and you
can’t play a specific lick, maybe it’s
because something else has been
works best when information is
re-entered periodically in small
amounts, so once again the
method of ‘little and often’ is best.
Anyone who’s crammed for an
exam to find that two weeks later
they can’t remember a single thing
knows this is true!
WHEATCROFT’S WAY
My philosophy regarding practice
breaks down into three main areas.
The first deals with tackling new
material, usually something I’ll have
to perform at some stage in the
near future. The second deals with
general musicianship; ear training,
transcribing, reading, harmony,
theory and so on. In terms of pure
instrumental development, it’s
all about attaining/maintaining
control of expression, clarity of
tone, fluency, dynamic articulation,
flexibility, stamina, consistency,
aesthetic beauty etc. I tend more
to think about musicality these
days, rectifying technical problems
as and when they occur. But this
is only possible now because of
the work put into just technique
earlier on. Most work that is purely
technical tends to be in the form
of ‘fire-fighting’ - putting out any
potentially disastrous ‘flare-ups’ as
and when they occur. GT
And when
your session
is over, relax!
A word on how this lesson works. The first five studies all take one
specific technique or concept, selected in order to provide a balanced
range of skills. We then work through five variations or developments
- the last of which is always a musical example. Studies 6 to 8 can be
viewed as practical methods to drill specific disciplines in the minimum
of time - with the maximum results. Ready? Then let’s go!
EXAMPLE 1 PICKING
ON THE CD
Two of the main technical challenges when picking all notes are what
to do when crossing strings, and also when playing multiple notes on a
single
string. Our study here starts with the most basic combination of
GUITAR TECHNIQUES MAGAZINE 150
John Wheatcroft
these elements and expands into something much more complex, but
Track 5
in smooth progressive steps. Economy picking is the obvious choice
here, but remember to always accent the notes that land on the beat,
even when that happens to be an upstroke.
- Practise Examples
SECTION 1 : PICKING
©»¡ºº
>
>
>
>
œ
& 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
Fig 1.1: Initial cell
E
B
G
D
A
E
10
Fig 1.2: Developed Scale Fragment
7
10
7
7
10
10
7
9
≥≤ ≥≤ ≥≤ ≥≤ ≥≤ ≥≤ ≥≤ ≥≤ ≥≤ ≥≤
Fig 1.3a: String crossing cell
œ
œ
& œ œ œ œ œ œ
E
B
G
D
A
E
10
7
(Alt)
(Eco)
7
9
10
7
7
9
10
≥≥ ≥≤ ≥≤ ≤≤ etc≥ ≤ ≥ ≤
7
9
10
9
7
9
etc
etc
. .
. .
10
(Alt)
(Eco)
7
10
9
10
7
9
7
10
≥≤ ≥≤ ≤ ≥ ≤ ≥ ≤ ≤
9
7
10
7
9
7
≥ ≤ ≥ ≤ ≤ ≥ ≤ ≥
etc
.
.
œœ œœœœœœœœ œœ
œ
œ
œ
œ
œ
œœœ
œ
œœœœœ
œ
œ
œ
œ
œ
œ
Fig 1.3b: String crossing pentatonic line with double-stop rolls
7 10
≥ ≤ etc
8
10
7
7 10
10
7
7 9
10
7
8 10
9
8
8 10
10 8
8
10
Fig 1.4a: Combined arpeggio/scale with economy picking
C
10
D m7
œ
E m7
œ œ
Fmaj7
9 7
8
9
10 7
7
10
10
April 2008 GuitarTechniques 17
œ œ œ œ
Ê
œ
Play: All Styles
E
B
E
B
G
D
G
A
D
A
E
E
7
7
7
7
9
9
10
10
7
7
7
7
9
9
10
10
≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤
≥≤
(Alt) ≥ ≥
≥ ≤ ≥ ...CONTINUED
≤ ≥≤
≤ 1≥≤PICKING
≤≤ etc
(Eco)
EXAMPLE
(Eco) ≥ ≥ ≤
etc
(Alt)
Fig 1.4a: Combined arpeggio/scale with economy picking
Fig 1.4a: Combined arpeggio/scale with economy picking
C
C
D m7
D m7
œ
œ œ œ
&
& œ œœ œœ œ œœ œœ œœ œœ œœ œœ œ œ œ œœ œœ œœ
œ
E
B
E
B
G
D
G
A
D
A
E
E
7
7
10
10
7
7
10
10
8
8
7
7
8
8
7
7
10
10
9
9
7
7
10
10
8
8
≥≥ ≥≥ ≤≤ ≥≥ ≤≤ ≤≤ ≥≥ ≤≤ ≤≤ ≥≥ ≥≥ ≤≤ ≥≥ ≤≤ ≤≤ ≥≥
8
(Eco) 8
(Eco)
G7
G7
œœ œœ
&
œ
& œ
E
B
E
B
G
D
G
A
D
A
E
E
9
9
8 10
8
8 8 10 10 8 8 10
8
7
8
10 8
10 9 7 8 9
9 7
9 10 7 7 10
10 7
10 10
10
8 10
7 9
7 8 10 9
7 10
9
7 7 9 10 7
7 10
7 7 10 10 7
10
8 7 10 10 7
10
8
etc 10
etc
10
10
E m7
E m7
œœ
œœ œ œ œ
œ œ œ œœ œ œœ œœ œ œ œœ œœ œœ œœ
œ
8
7 10 9 7
9 8 10 9 7
10 9 7 10
9 7 10 9 7 10 9 7 10 9
10 9 7 10
10
10 9
10
Fmaj7
Fmaj7
7
7
10
10
7
7
9
9
10
10
9
9
10
10
7
7
10
10
9
9
10 8
7 10 10 8 10 7
8 9 7 10
10 7
8 9
b
≥≥ ≤≤ ≤≤ ≤≤ ≥≥ ≤≤ ≥≥ ≥≥ ≤≤ ≤≤ ≥≥ ≤≤ ≥≥ ≥≥ ≤≤ ≥≥
7 10
8 7 10
8 9 8
8 9
j
# œj
#œ
œœ # œ
# œ œœ œœ œ œ œ œ œ
œ œ ## œ œ œ œœ ‰‰ ŒŒ
3
3
9
9 10
10 10 9
9
10 9 12 11 9 12
12 12
12 11
12
11 12
11 12
EXAMPLE 2 PHRASING WITH CHORD TONES
ON THE CD
Track 6
associated with learning lots of scales. All of our examples relate to
the five CAGED dominant 7th chords, and culminate in a tasty blues
turnaround idea that spells the chords out perfectly, logically and with
great ease.
SECTION 2 : PHRASING WITH CHORD TONES
Fig 2.1: Moveable chord forms (Dominant 7th)
©»¡ºº
4
&4
E
B
G
D
A
E
b ˙˙˙
˙
˙˙
b ˙˙˙
˙
C7
8
8
9
8
10
8
Moveable 'E' form
b ˙˙
˙˙
12
11
12
10
'D' form
Fig 2.2: Moveable chord forms with asociated phrase (1 key)
ww
w
& b ww
w
C7
E
B
G
D
A
E
8
8
9
8
10
8
Moveable 'E' form
18 GuitarTechniques April 2008
j
bœ
10
œ œ œœ j œ
œ bœ nœ
8
9
8
8
b˙
˙˙
˙
˙
b ˙˙˙
˙
13
15
14
15
3
5
3
5
3
6
5
5
5
'C' form
'A' form
'G' form
œ bœ
j
bœ nœ œ
œ
‰
Œ
J
3
b www
w
C7
12
11
12
10
11
j
œ
Ó
œ œ bœ nœ
œ œ bœ
3
BU
13 (15 ) 13
3
11 12
13
12
ww
j
bœ nœ
œ œ b œj n œ
b www
w
C7
Œ
11
13
15
14
15
Moveable 'D' form
C7
7
7
7
7 8
8 10
8 9
7 9 10 8 10 10 7
7 9 10
9 10 7 9 10
10 7 9 10 7 9 10
10
9 10
10 8
7 10 10 8 10 9 7
10 9 7 10
9 7 10
9
10
Our second study is more conceptual in nature, allowing you
to develop the essential skill of chord-tone and melodic figure
association. This skill allows players such as Eric Clapton to clearly
outline
harmonic changes whilst soloing, without the clutter
2 xxxxxxxxxx
7
7
etc
etc
œœ œ œ œ # œ œ œ œœ œœ
œ
œ
œ
œ
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&
œ
œ
œ #œ œ œ œ nœ
& œœ
7
9 7 10 9 7
10 9 7
9
8
8
C maj7
C maj7
D m7
D m7
8
7 10 9
8 7 10 9 10 8
10 8
10
10
10
10
B m7 5
B m7
œœ œ
œ b5
œ
œ
œ œœ œ œœ œœ œ œ œ œœ œœ œ œ œœ œœ œœ
œ
œœ
œœ œœ œœ œœ œœ œœ œœ ˙˙
7
7 10 7
10 7
7
7
Fig 1.4b: Descending pattern
Fig 1.4b: Descending pattern
C
C
≤≤ ≥≥ ≥≥ ≤≤ ≥≥ ≤≤ ≤≤ ≥≥ ≤≤ ≥≥ ≥≥ ≥≥ ≤≤ ≥≥ ≤≤ ≤≤ ≥≥ ≥≥ ≤≤ ≥≥ ≤≤ ≤≤ ≥≥ ≤≤ ≤≤
9
7 10 9
8 7 10
8
9
9
≤≤ ≥≥ ≥≥ ≥≥ ≤≤ ≥≥ ≤≤ ≤≤ ≥≥ ≥≥ ≤≤ ≥≥ ≤≤ ≤≤ ≥≥ ≤≤
Fig 1.5: Be-bop jazz phrase (Dorian/Melodic minor)
Fig 1.5: Be-bop jazz phrase (Dorian/Melodic minor)
E
B
E
B
G
D
G
A
D
A
E
E
Track 5
œ œ
œ œ œ œ
œœ œœ œœ œ œ œœ œœ œœ œœ œœ œ œ œ œ œœ œœ
B m7 b 5
B m7 b 5
A m7
A m7
ON THE CD
Moveable 'C' form
œ œ bœ
J
bCww7
j
œ bœ
œ œ œ bœ nœ ˙
E
B
G
D
E
A
B
E
G
J j œ
‰ Jœ b œj n œ 3 œ b œ Œ
œ
‰ œ b œ n œ 38 8 11 Œ
J 93
w7
Cw
b
& www
w
& b ww88
w98
8
10
8
10
8
8
9
8
Moveable
'E' form
8
10
8
8
9
8
Moveable
'E' form
10
8
j
bœ
Moveable
'E' form
8
8
ww
b ww
w
12
œ œ3 b œ n œ 3 œ
Πb wCwww7
œ
b
œ
œ
BU 3
3
(15 ) 13 11 12
ΠAll13ww Styles
Play:
13
11
j
œ
C7
13
11
12
10
12
11
12
10
Moveable
'D' form
12
11
12
10
Moveable
'D' form
11
BU
3
13 (15 ) 13
BU
8
9
EXAMPLE 2 PHRASING
WITH
CHORD TONES ...CONT.
10
8
13 (15 ) 13 11
D
E
A
B
E
G
D
A
E
E
B
G
D
E
A
B
E
G
10
9
8
œ œ œœ j œ
œ bœ nœ
j
& bœ œ œ œ œ j J œ Œ
3 œ b œ n œ3
& b œj œ œ œ œ j J œ Œ
3 œ b œ n œ3
BU
&
J 13 Œ
13
15 (17 )
BU
15 12
3
15 (17 )
15 12
15 13
8
11
w
bCwww7
w
bCwww7
w
b www35
w35
143
BU
16 (17 )
3
3
5
3
BU
D
Moveable
'A' form
5
15 13 14
E
3
A
3
B
13
13
5
E
G
(
)
3
15
17
15
12
Fig 2.3: Moveable chord transposed to I IV V in each area
D
Moveable
'A' form
5
15 13 14
A
C7
F7
G7
C 7 F73 G 7
E
13
œœ
Cœ7
& b œœœ
Cœ7
& b œœœ
œ
& b œœ88
œ98
13
BU
16 (17 )
BU
16 (17 )
b œ n œœ'A' form
bCœœœ7 Moveable
œœ Gœ7
F7
œ
œ
œ
b
bCœœ7 F7œœ nGœœœ7 Œ
œ
b œœœ b œœœ n œœœ Œ
œ 11œ 10œœ Œ
12
11
10
12
œ
bF7œœœ n œGœœ7 Œ
œ œ
bF7œœœ n œGœœ7 Œ
œ œ
b œœœ8 n œœœ Œ
œ8 10œ8
10
Fig 2.3: Moveable chord transposed to I IV V in each area
Fig 2.3: Moveable chord transposed to I IV V in each area
E
B
G
D
E
A
B
E
G
12
10
10
10
9
10
10
12
8
8
12
11
10
10
8
10
10
8
10
8
11
10
12
8
9
8
10
12
10
10
D
8
10
9
10
10
12
E
8
8
12
11
10
A
10
8
10
10
B
8
10
8
11
10
12
E
8
G
9
8
10
12
10
10
Fig 2.4: Moveable
chords
through
I
IV
V
with
associated
phrase (1 area)
D
8
10
9
10
10
12
A
10
8
10
10
E
C7
C87 F7 G 7
E
B
G
D
E
A
B
E
G
15 17
10
8
8
10
8
10
8
8
10
8
10
8
8
8
10
8
8
9
8
8
10
8
8
9
8
10
8
D
E
A
B
E
G
D
A
E
9
10
8
10
9
10
8
10
9
10
‰ J
8
10
8
9 3
8
8
8
9
10 'E' form 8
Moveable
8
8 9
10 'E' form
Moveable
8
Œ
11
9
BU
17
3
BU
17
16 (17 )
15 17
16 (17 )
œœ
bF7œœœ
œ
bF7œœœ
œ
b13œœœ
œ
F7
13
14
13
13
15
13
13
14
13
13
15
13
13
14
13
15
F713
17
BU
9
11
17
15
17
15
17
œ
nGœœ7
œ
nGœœ7 Œ
œ
n œœ Œ
œ Œ
13
12
G7
C7
œ
bCœœœ7
œ
bCœœœ7
œ
b œœœ35
œ35
12
12
13
12
12
12
13
12
12
12
9
3
8 10
3
3
5
3
5
3
3
5
3
5
3
&
E
B
G
D
A
E
BU
11
(12 )
10
3 10
(10 )
10
10
10
œ œ œ
J
j
bœ
12
‰
3
14 13
10
12
j C7
œ œ
BU
œ bœ nœ
13
Moveable 'D' form
5
8 6
4
5
8 6
4
5
bCœœ7 F7œ
œ bœ
bCœœ7 F7œœœ
œ bœ
b œœ œœœ
œœ6 b œœ
œ68
5
5
C7
F7
5
6
5
5
5
6
5
5
5
7
8
6
8
7
8
6
8
7
8
G7
10 8
8
10 7
Moveable 'C' form10 8
8
10 7
10 (12 )
Moveable 'C' form10 8
8
3
8
8
8
nGœœ7
œ
nGœœ7 Œ
œ
n œœ Œ
œœ7 Œ
6
G7
7
5
7
6
7
5
7
6
7
5
œ œœœ j œ
Œ
bœ nœ
œ œ 3œ œ j J œ
b œ n œ3 Œ
œ œ 3œ œ j J œ
b œ n œ3 Œ
8
J8
(
)
7
10
12
BU
3
j
œ œ
G7
j
œ œ
G7
j
œBUœ
93
9
8
8
9
/'
œ œ bœ bœ nœ œ œ œ œ
14
3
BU
10 (11 )
11
4
10
12
3
3
13
11
9
13
10
10
1/4
13
11
'
Moveable 'G' form
3
13 (15 )
3
3
4
3
3
5
3
3
4
3
5
3
8 6
Moveable 'C' form
j F7
œ bœ
œ bœ œ
BU
(6 ) 5
5
œ
n œœœ Œ
œ
nGœœœ7 Œ
œ
n œœœ33 Œ
œ4
œ335
(12 )
10BU
BU
11 (12 )
3
5
4
5
3
5
4
5
3
Track 6
˙
œMoveable
œ œ b œ'C'n œform
œ œ œ bœ nœ ˙
3
3
œ3 œ œ b œ n œ ˙
3
BU
3
(6 ) 5
5
Moveable 'G' form
F7 G 7
Moveable 'A' form
3
12
b œœœ
bF7œœœ
b œœœ5
œ45
15
14
15
13
15
14 'C' form
Moveable
15
13
15
14 'C' form
Moveable
15
(6 ) 5
5
5
5
6
5
5
Moveable
'G' form
5
6
5
5
Moveable
'G' form
5
F7 G 7
8
Moveable 'A' form
&
E
B
G
D
A
E
3
j
œ bœ
j
œ bœ
j
œ BUb œ
10
Fig 2.5: Blues V VI I ending lick
œ œ b œj n œ
12
8
BU
3 xxxxxx
G7
11
10
Moveable 'A' form
Moveable 'E' form
j
bœ nœ
13
9 (10 )
BU 10
(10 )
BU
Moveable 'A'
form
8 10
9
9 (10 )
11
15
œ œ b œj n œ œ
bœ
œ œ b œj n œ œ œ J ‰ Œ
bœ
3
œ œ b œj n œ 3 œ J ‰ Œ
BU 3œ
3
œ b Jœ ‰ Œ
8 10
(10 )
(10 )
j
j œ œ bœ
bœ nœ
b
œ
n
œ
C‰7 œ
Moveable chords through I IV V with associated œ
b œ (1 Œarea) b œj nF7œ
J b œj n œ œ3 phrase
C‰7 œ
Œ
j F7
J b œj n œ œ3 œ b œ
bœ nœ
BU
œ
œœ œœ œœ
œ bœ
& bCœœœ7 F7œœœ n Gœœœ7 Œ
œ bœ œ
& bCœœœ7 F7œœœ n Gœœœ7 Œ
œ bœ œ
& b œœœ88 10œœ8 n œœ8 Œ
10
8
9
16
3
13
15
14
15
13
15
14
15
13
15
14
15
Fig 2.4: Moveable chords through I IV V with associated phrase (1 area)
Fig 2.4:
3
b œCœœ7
œ
b œCœœ7
œ
b œœœ
œ
11
œ œ bœ
bCw7
w
J
œ œ b œ ‰ Œ bCww7
w
3
J
œ œ b œ ‰ Œ bCww7
BU 3
J ‰ Œ ww6
w5
(17 )
15 17
C7
13
12
ON
THE CD
12
j
œ b œj n œ
bœ nœ œ
Moveable 'D' form
j
œ b œj n œ
bœ nœ œ
j
3 œ j
bœ nœ œ
bœ nœ
C7
3 12
11 12
œ
3
11
12
13
œ b œ b œj œ b œ
3
12
11
11 10
8
j
œ nœ
8
9
nœ
œ
8
C9
bœ
b b œœœ
œ
œ
b œœœ
11
9
8
9
8
8
7
8
7
3
8
D b9
˙˙
˙˙
Ê
Moveable 'E' form
April 2008 GuitarTechniques 19
Play: All Styles
EXAMPLE 3 HYBRID PICKING
ON THE CD
It’s country madness next with a five-point plan to develop your hybrid
picking technique. By now you’ll have figured out how things work;
take a basic technique and expand gradually as your accuracy, stamina
and consistency responds to the workload. I’ve squeezed a couple of
Track 7
nifty rock-style arpeggios in here too. It’s possible to get these up to
frightening speed with not too much effort, so give them a go. From a
country perspective, hybrid-picking and scales containing open strings
go hand in hand, so I’ve integrated elements of both as we progress.
4 xxxxxxxxxx
SECTION 3 : HYBRID PICKING
©»¡ºº C
œ œ œ œ œ œ œ
& 44 œ
E
B
G
D
A
E
9
10
≥
9
10
≥
m
10
≥
m
9
10
m
≥
Fig 3.1c: Fwd/Rvs (2 fingers)
Fig 3.1b: Basic cell (2 fingers)
Fig 3.1a: Basic cell (1 finger)
œ
œ
œ
œ
œœ œœœ œœœ œœœ œ
œ
œ
œ
œ
œ œ œ œ œ œ œ œ
3
9
8
9
10
≥
m
3
10
m
a
≥
3
3
8
9
m
≥
a
8
9
10
9
10
m
≥
a
m
8
8
9
10
≥m
a
9
10
8
9
≥m
a m
9
8
9
10
≥m
a m
9
10
8
9
≥m
a m
9
a m
Fig 3.2: Basic I IV V sequence plus hammer on
C
G
Fadd9
C
œ œ
œ œ
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
E
B
G
D
A
E
0
0 2
1
2
2
0
1
≥ m≥ a ≥m a
0 2
0
1
2
2
0
1
2 3
0
1
0
3
3
1
2 3
0
1
3
3
1
0
0
4 5
3
5
5
0
3
& œœœœœœœœ˙
3
0
7
3
0
7
5
0
3
0
0 2
1
2
2
0
1
0 2
0
1
2
0
3
0
7
0
3
0
3
7
7
5
0
3
6
3
0
≥
7
m
0
8
m
0
7 8
0
7
0
5
7
≥m ≥ a≥
a
6 8
≥
5
m
Fig 3.4b: Rock 7th triad with hybrid picking
Fig 3.4a: Rock triad with hybrid picking
C
6
6
6
6
A Aeolian
≥m≥ma ≥ma≥a≥ma ≥m
≥m≥ma≥a≥
C
5
œœ
œœœœ
œ
œ
œ
œœ
œœœœ
œ
œœœœ
œ
œ
œ
œœœ
œœœœ
G Mixolydian
C major scale
0
3
5
etc
Fig 3.3: Scales with hybrid picking and open strings
E
B
G
D
A
E
0
4 5
6
6
6
6
& .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
E
B
G
D
A
E
.
.
3
2 5
≥m
5
a
5 2
≥
3
2 5
5
5 2
3
2 5
5
5 2
3
2 5
5
5 2
etc
. .
. .
3
2 5
≥m
5
a
5 2
≥
4
5 2
m
≥
3
2 5
5
5 2
4
5 2
3
etc
Fig 3.5: Country hybrid picked line with open strings
œ
œ œ œ œ
œ
œ
n
œ
b
œ
& œ œ œ œ œ œ
C
E
B
G
D
A
E
3
≥
0
m
7
≥
3
m
20 GuitarTechniques April 2008
0
a
7
≥
3
m
0
a
5
≥
3
m
0
a
6
≥
3
m
10
≥
‰
œ œ
œ œ œ œ
j
œ
˙˙
BU
7
0
m
2 5
m
0
10
7
≥
a
≥
7 (9)
7
10
m
≥
10
a
m
5
5 2
.
.
Play: All Styles
EXAMPLE 4 SLURS AND HAMMER-ONS
ON THE CD
Hammer-ons and tapping are the order of the day for study number
5
5 xxxxxx
xxxxxx
4. Initially
it’s fretting-hand only, picking the first note on each new
5 xxxxxx
5 xxxxxx
string.
Before long though we’re incorporating two picking-hand
SLURS/TAPPING
taps.SECTION
Try using44 ::your
‘m’ and ‘a’ fingers so you keep the pick between
SECTION
SLURS/TAPPING
SECTION 4 : SLURS/TAPPING
Fig 4.1a: Basic
legato cell
SECTION
4 : SLURS/TAPPING
Fig 4.1a: Basic
legato cell
Fig 4.1a: Basic legato cell
C /Am
/Am
Fig 4.1a: Basic
legato cell
C
C /Am
C /Am
444 œœ œœœ œœ
&
œ œ œ
&
&
& 44 œ œ5
5
5
5
E
E
B
E
B
G
B
E
G
D
G
B
D
A
D
G
A
E
A
D
E
E
A
E
Fig
Fig
Fig
Fig
E
E
B
E
B
G
B
E
G
D
G
B
D
A
D
G
A
E
A
D
E
E
A
E
Fig
Fig
Fig
Fig
œœœ
œ
œœœ œœ œœœ œœ
œ œœ œ œœ
5
5
5
5
4.2:
4.2:
4.2:
4.2:
Basic cell with string skips
Basic cell with string skips
Basic cell with string skips
C
/Am
Basic
C
/Am cell 5with string skips
C /Am
5
5
C /Am
5
&
&
œ
&
œ
œ
œ
& œœœ œœ œœ
œ
œ
œœœ œœœ
œ
œœœ
œ
9
9
9
12
10
8
12
8
8 12 8 10 12 9
8 12 8 10 12
8 12 8 10 12
LLL
4.3: Basic
4.3: Basic
4.3: Basic
/Am
4.3: C
CBasic
/Am
cell
cell
cell
cell
with
with
with
with
second
second
second
second
œœœ œ œœ œ
&
œ œœœ œœ œœœ
&
&
&
6
6
C /Am
C /Am
LL
14
14
14
14
m
m
m
m
6
6
9
9
9
9
12
12
12
12
9
9
9
9
œœœ
œ
5
5
5
œœœ œœœ œœœ œ œœ œ5
œ œ œ œœœ œœ œœœ
5
5
5
5
10
10
10
10
12
12
12
12
9
9
9
9
and
and
and
and
third
third
third
third
12
12 8 12
12 8 12
12 8 12
8 12
œœœ œœ œœœ œœ
œ œœ œ œœ
5
5
5
5
LLL
12
12
12
12
LLLœœœœ
&
LL
15
15
15
15
8
8
8
8
12
12
12
12
8
8
8
8
15
15
15
15
a
a
a
a
14
14
14
14
m
m
m
m
12
12
12
12
LLLœœœœ LLLœœœœ LLLœœœœ œœœ
œ
10
10
10
10
15
15
15
15
taps
taps
taps
taps
14
14
14
14
m
m
m
m
œœœ
œ
LL
10
10
10
10
LL LL LL
12
12
12
12
10
10
10
10
&
œœ
&
œ
&
& œœ œœœœ œœœ œœœœ œœœœ
&
&
&
LL LL LL
15
15
15
15
17
17
17
17
15
15
15
15
LLL LLL LLL
12
12
12
12
œ œ œ
œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
œ
œ œ œ œ œ
6
6
6
6
12
12
12
12
8
8
8
8
8
8
8
8
10
10
10
10
12
12
12
12
xxxxxxxxxx
Lœ œ œ Lœ œ œ Lœ
LL LL LL
15
15
15
15
17
17
17
17
15
15
15
15
12
12
12
12
9
9
9
9
10
10
10
10
10
10
10
10
L
C maj7
& œ œ
œ
L
10 3 7
6
L L L
6
œœœ œ
œ
8 3 7
9 4 5
L
D m7
9 4 5
œœœ œœœ
œ œ œ
10
10
10
10
8
8
8
8
10
10
10
10
12
12
12
12
8
8
8
8
10
10
10
10
10
10
10
10
Lœ œ œ Lœ œ œ Lœ œ œ
6
6
10 5 8
10 5 7
moved
moved
moved
moved
across
across
across
across
string
string
string
string
12
12
12
12
LLLœœœœ
LL
14
14
14
14
m
m
m
m
LL
17
17
17
17
œœœ
œ
œœœ œœœ œœœ
œ œ œ
5
5
5
5
9
9
9
9
5
5
5
5
5
5
8
8
8
10
12 8
10 12
10 12
10 12
9
9
9
9
10
10
10
10
œœœ œœœ œœœ œœ œœœ œœ
œ œ œ œœ œ œœ
12
12
12
12
8
8
8
8
5
5
5
5
œœœ œœœ œœœ œœœ œœœ
œ œ œ œ œ
6
6
6
6
9
9
9
9
12
12
12
12
9
9
9
9
œœœ
œ
œœœ
œ
6
6
6
6
LLL
LLLœœœœ LLLœœœœ LLLœœœœ œœœœ
LL LL LL
15
15
15
15
a
a
a
a
14
14
14
14
m
m
m
m
14
14
14
14
m
m
m
m
14
14
14
14
LL LL LL
17
17
17
17
19
19
19
19
17
17
17
17
12
12
12
12
12
12
12
12
10 5 7
LL
17
17
17
17
14
14
14
14
10
10
10
10
10
10
10
10
14
14
14
14
12
12
12
12
LL LL LL
17
17
17
17
19
19
19
19
17
17
17
17
14
14
14
14
12
12
12
12
œœœ œœœ
œ œ
12
12
12
12
10
10
10
10
œœœ
œ
œœœ
œ
œœœ œœœ
œ œ
10
10
10
10
9
9
9
9
10
10
10
10
14
14
14
14
LLL LLL LLL
6
6
6
6
10
10
10
10
9
9
9
9
8
8
12 8
8 12
12
12 9 12 9 10 12 8 12 8
12 9 12 9 10 12 8 12 8
12 9 12 9 10 12
9 12 9 10 12
LLL LLLœœœœ LLLœœœœ œœœ
œ
12
12
12
12
12
12
12
12
5
5
5
5
œ
œœœ œœœ œœœ œœœ
œ
œ œ
10
10
10
10
14
14
14
14
10
10
10
10
12
12
12
12
10
10
10
10
9
9
9
9
œ
œœœ œœœœ œœœ œœœœ
œ
œœœ
œ
5
5
5
5
10
10
10
10
5
5
5
12
12 9 12 9 10 12
12 9 12 9 10 12
12 9 12 9 10 12
9 12 9 10 12
œœœ
œ
œœœ œœœ
œ œ
œœœ œœœ œœœœ œœœ
œ œ œ5
œœœ
œ
œœœ œœ œœœ œœœ œ
œ œœ œ œ œœ œœ œœœ œœ œœœ œœœ œœœœ œœœœ œœœ œœœ
œ œ
œ œœ œ œœ œ œ
12
12
12
12
œœœ
œ
œœœ œœœ œœœ
œ œ œ
12
12
12
12
10
10
10
10
14
14
14
14
12
12
12
12
œœœ œœ œœœ œœœ
œ œœ œ œ
12
12
12
12
10
10
10
10
12
12
12
12
14
14
14
14
L Lœ œ œ Lœ n œ nLœ œ œ L œ .
L
œ bœ bœ
b Lœ œ
Lœ œ œ œ
bœ
L L L L L LL
D b7
L L
L
L
L
12 5 8
œœœ
œ
LLLœœœœ
œœœ
œœœ
œ
cell
cell
cell
cell
9
12
9 12
9
12 9 12
10 12
9 10
12 9
9 12
9 12 9 10 12 9 12
9 12 9 10 12
9
9
9
9
12
12
12
12
Basic
Basic
Basic
Basic
5
5
5
5
5
5
5
œœœ œœ œœœ œœœ
œ œœ œ œ
4.1b:
4.1b:
4.1b:
4.1b:
œ œ œ
œœœ œœœ œœœ œœœ œœœ œœœœ œœœ œœœœ œœœ œœœ œœœ œœœ œœœ
œ œ œ
œ œ œ œ œ
5
5
œœœ œœ œœ œœœ
œ œœ œœ œ œœœ
œ
5
Fig 4.5: Harmonised sequence with string skip tapping
E
B
G
D
A
E
Fig
Fig
Fig
Fig
œœœ
œ
œœœ
œ
9
9
10 12
9 10
9 12
12
9 12
12 9 10 12
12 9 12 9 10 12
12
12
12
œœœ œœœ œœœ œœœœ
œ œ œ
6
6
6
6
C /Am
C /Am
8
8
8
8
œ
œœœ œœœ œœœ
œœ
LLL LLL LLLœœœœ œœœœ
finger
finger
finger
finger
Fig 4.4: String skips in octaves
Fig 4.4: String skips in octaves
Fig 4.4: String skips in octaves
/Am
Fig 4.4: C
CString
/Am skips in octaves
E
E
B
E
B
G
B
E
G
D
G
B
D
A
D
G
A
E
A
D
E
E
A6
E
5
5
5
5
œœœ
œ
thumb and first finger. We’re simplifying the tapping element for our
final musical example but increasing the complexity both harmonically
and in freboard movement. The crucial factor here is damping unused
strings. Use the palm of your fretting hand to mute all idle bass strings.
9
12
10 12
9 10
12 9
9 12
12 9
10 12
9 10
12 9
9 12
12 9
10 12
9 10
12 9
9 12
12 9
10 12
9 10
12 9
9 12
9 12 9 10 12 9 12 9 10 12 9 12 9 10 12 9 12 9 10 12
9 12 9 10 12 9 12 9 10 12 9 12 9 10 12 9 12 9 10 12
E
E
B
E
B
G
B
E
G
D
G
B
D
A
D
G
A
E
A
D
E
E
A
E
E
E
B
E
B
G
B
E
G
D
G
B
D
A
D
G
A
E
A
D
E
E
A
E
œœœ œœ œœœ œœ
œ œœ œ œœ
œœœ
œ
Track 8
11
b œ bœbœ
6
C maj7
6
9
10
4 8
4
6
4
7
10 4 6
L
j
nœ
6
6
8 3 7
9 4
BU
10 12
5
10 3 7
April 2008 GuitarTechniques 21
Ê
Play: All Styles
EXAMPLE 5 THUMBPICK
ON THE CD
Just for the record, I’m absolutely hopeless with a thumb-pick, but
I resisted the temptation to just cheat and hybrid-pick and worked
through these examples progressively for 15 minutes. By the end I
was able to record the tracks on the GT CD, so this method obviously
works. Our musical examples follow the now familiar pattern: start
GUITAR TECHNIQUES MAGAZINE 150
Track 9
simple, isolate any movement or idea, expand upon this in stages, and
end with a musical application. This time we finish with a 12-bar study
with combined root-5th bass and melody on the treble strings. This
example might seem unusual, but consider that players as different as
Freddie King, Johnny Marr and Brent Mason all use a thumbpick.
John Wheatcroft - Practise Example 5
SECTION 5 : THUMBPICK/FINGERSTYLE
Fig 5.1a: Basic Pattern
©»¡ºº Swing
# #
& # # 44
E
B
G
D
A
E
Fig 5.1b: Elementary melody
. . w
œ
œ . .
œ
œ
œ
œ
œ
œ
E
Palm mute bass
throughout
2
. .
. .
2
0
0
2
2
0
E
∑
0
2
0
Fig 5.2a: Syncopated melody
. .
. .
2
0
0
Fig 5.2b: Melody in half-notes (minims)
0
0
2
2
0
.
.
0
0
2
2
0
2
0
0
0
. .
2 .
.
0
0
0
2
0
0
2
2
0
2
0
E
n˙
# #
˙
œ
œ
& # # .. Œ œ ‰ œ œœ .. ..
œ
œ
œ
œ
œ
œ
.
.
0
0
2
2
. .
. .
0
2
0
0
3
0
0
Fig 5.3a-5.3c: Syncopated melody transposed over I IV V
0
. .
. .
0
0
2
0
0
. .
2 .
.
0
2
2
0
0
2
# #
˙.
& # # 44 Œ œ œ
œ
Palm mute bass œ
throughout
0
2
2
0
E
#### nœ œ œ
œœ
&
œ
œ
œ œ
2
0
2
0
22 GuitarTechniques April 2008
2
2
0
0
0 2
2
0
2
0
0
2
1
2
0
2
1
0
0
. .
. .
0
2
2
0
0 2
2
0
0
2
2
0
1
2
1
2
.
.
0
2
j
n
œ
œ. ˙
œ œ œ œ
0
0
0
2
0
0
2
3
2
0
E
nœ œ œ œ
œœœ Œ œ ‰œœœ Ó
œ
œ
œ œ œ œ
œ œ
˙
3
2
2 0
1
0 2
2
0
0
1
0 2
2
0
0
2
0
.
.
2
2
0
Œ œ ‰ œ œ œ Œ ˙.
œ
œ
œ œ œ œ
œ œ
0
3
3
A
2
0
j
n
œ
œ
œ
œ
œ.
Œ ‰œœ Œ
œ
œ œ œ œ œ
œ œ
0
2
0
2
0
. .
. .
0
B
2
0
0
nœ œ œ
œœ
œ
œ
œ œ
2
0
˙
0
3
0
2
0
3
0
0
Fig 5.4d: Bass-line variation
E
2
0
œ . œj ˙
œ
œ
œ
œ
E
˙
2
0
. .
2 .
.
.. .. n œ œ œ œ œ .. ..
.
∑
œ
œ
œ
œ
œ œ œ .
œ
œ
œ
œ
œ
2
Fig 5.5: 'Travis-style' complete 12-bar study over I IV V sequence
E
B
G
D
A
E
2
E
E
E
B
G
D
A
E
.
.
0
2
Fig 5.4a-5.4c: Expanded melody examples
E
B
G
D
A
E
..
w
œ
œ
œ
œ
E
A
B
j
j
j
j
# # # # . œj ˙ .
. ‰ œ œ ‰ œ ˙œ . œ .. .. ˙ œ ˙ œ ˙ œ ˙ œ .. .. œ . œœ ˙ œ .. .. œ . œœ ˙ œ .. .. œ . œ ˙ ..
&
œœ œœ
œ œ
œ
œ œ œ
œ œ
œ œ
œ œ
E
E
B
G
D
A
E
. . w
œ
œ . .
œ
œ
œ
œ
œ
œ
E
∑
Fig 5.1c: Expanded melody
0
0
˙˙
˙˙
˙
E 6/ 9
˙
12
12
11
11
11
0
2
Play: All Styles
EXAMPLE 6 THE IMPROVISATION ACID TEST
ON THE CD
Track 10
This example will test how well you have absorbed a musical device,
you lose the rhythm, mess up or come back in the wrong place or key
concept or technique. We know the story: you’ve put the hours in
then more work is needed. If all goes well then put your new skills to
and are feeling rather smug; you go out to gig or jam with friends and
the test by creating as many variations as you can, mixing techniques,
none of the stuff you’ve worked on comes out! Well, help is at hand.
fretboard positions etc. Next time you play for real you should have
The trick is to make your practice and performance line up. Your task
a far better command of vocabulary you know that you can actually
is simply to play on your own, establish a groove, feel, key and style,
get to it on demand. On the GTCD I played all the examples and just
GUITAR TECHNIQUES MAGAZINE
(Section 6 - 8) - John Wheatcroft
decide upon how long the soloing gap is going to be andPractice
go for it.
If
improvised a couple of things to show you how things may turn out.
SECTION 6 : IMPROVISATION 'ACID-TEST'
©»¡ºº Shuffle
G7
4
.
&4 . œ
(œ )
( )
Fig 6.1: Blues-style vamp
E
B
G
D
A
E
.
.
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
5
3
7
3
7
3
5
3
5
3
7
3
7
3
5
3
Possibly miss on repeats
(5)
(3)
Œ
..
Ó
Insert fill here (Mixolydian/Blues)
.
.
Fig 6.2: Maiden-style rock vamp
©»¡ºº Straight
& ..
E
B
G
D
A
E
.
.
A5
œ œœ
0
0 0
œœ
9
7
œœ œ
œ
G 5/A
œœ
0 0
©»¡§º Swing
D m11
œœ.
‰
& .. œœœ
9
7
F5
œ œœ
7
7
0
0 0
G5
œœ
‰ œœ œœ
J
5
3
7
5
Œ
∑
..
∑
Insert fill here
(Aeolian/Minor Pentatonic)
.
.
Fig 6.3: Swing-style minor vamp
E
B
G
D
A
E
.
.
œœ
œœ
œ
J
E m11
5
6
5
5
5
œœ.
œœ
œ
D m11
Ó
7
8
7
7
7
©»•º Straight
C
œœ. œœ.
œœ‰
& .. ‰
œœ.
œœ
œ
J
œœ
‰ œœ Œ .
œ
J
E m11
5
6
5
5
5
D m11
7
8
7
7
7
∑
..
∑
Insert fill here
(Dorian/Melodic minor)
.
.
5
6
5
5
5
Fig 6.4: Reggae -style major vamp
E
B
G
D
A
E
.
.
8 8
8 8
9 9
œœ.
œ
œœ.
œ‰
8 8
8 8
9 9
œœ.
œ
œœ.
œ‰
œœ.
œ
8 8
8 8
9 9
œœ. F
œ ‰
8 8
8 8
9 9
©»•• Straight
œœ.
œ
œœ.
œ
8 8
10 10
10 10
œœ. œœ. G
‰ œœ‰
œœ.
œ
8 8
10 10
10 10
œœ.
œ‰
7 7
8 8
7 7
œœ. œœ.
œœ
C
F
∑
Insert fill here
(Major scale/Triad
arpeggios)
7 7
8 8
7 7
∑
G
..
.
.
Fig 6.5: Funk -style single note riff
C7
& .. œ b œ œ b œ œ n œ b œ
œ
E
B
G
D
A
E
.
.
10
8
10
6
7
6
8
‰.
j̊
bœ œ
œ œ œ
10
8
8
10
8
œ
œ
‰
Œ
Ó
..
Insert fill here
(Mixolydian/Blues/Extended dom chords)
10
8
.
.
April 2008 GuitarTechniques 23
Ê
Play: All Styles
EXAMPLE 7 FRETBOARD FLUENCY
ON THE CD
We all know our pentatonic scales, right? Well, just how well do you
know them? This little beauty will put your knowledge to the test,
leaving no stone unturned. The trick is in defining the octave points
- the crucial landmarks of any scale, arpeggio or chord. Once you’ve
worked through these examples repeat the procedure with any
Track 11
scale/mode/chord/pentatonic that you know. Work in this area will be
highly rewarded, I promise. If you’re ever stuck for something to work
on, this exercise has endless permutations - just think of any scale or
mode etc that you feel is a little weaker than you’d like, and give it the
‘Fretboard Fluency’ treatment. The rewards will be immense!
2 Practice (Section 6 - 8)
SECTION 7 : FRETBOARD
©»¡ºº A m
4
&4
œ
Fig 7.1a: Basic octave definitions
E
B
G
D
A
E
œ
œ
œ
2
Fig7.1b: Rvs cell
Fig7.1c: Fwd cell
A m7/11
A m7/11
œ œ
œ œ œ œ
œ
7
5
5
3
5
Fig 7.2a-e: Octave definitions/Associated chord/Pentatonic cell
œ œœ
œœ
œ
&
œ
œ
œ
A m7
E
B
G
D
A
E
5
7
5
Moveable 'Em' form
œ
& œ
E
B
G
D
A
E
10
12
5
8
7
5
7
5
7
13
12
10
12
9
œ
œœ
œœ
œ
17
17
17
17
17
14
17
Moveable 'Gm' form
5
5
Moveable 'Gm' form
24 GuitarTechniques April 2008
7
12
7
5
œ œ
œ
œ
œ
œ
œ
8
8
9
7
10
7
10
7
8
9
10
7
10
12
œ
˙˙
˙˙
˙
œ œ
œ
œ
œ
œ
œ
14
12
13
12
14
12
12
œ
12
12
15
12
12
14
14
12
17
5
2
5
5
œ œ
œ œ œ œ
œ
œ œ
œ
œ
œ
œ
œ
17
15
14
17
7
5
7
5
8
Moveable 'Em' form
5
14
17
14
17
15
17
15
17
14
17
œ œ œ œ
œ
œ
œ
œ
&
œ œ œ œ
œ
œ
œ
œ
3
5
5
7
Moveable 'Am' form
œ
2
œ ˙˙˙
œ
˙
7
Fig 7.3: Continuous scale exercise
E
B
G
D
A
E
8
5
8
Moveable 'Dm' form
œ œ
œ
œ
œ
œ
œ
10
5
5
˙˙
˙˙
12
5
7
Moveable 'Cm' form
& œ
E
B
G
D
A
E
5
5
2
5
œ œ
œ
œ
œ
œ
œ
œ œ
œ œ œ œ
œ
5
5
5
5
7
5
2
5
œ œ
œ œ œ œ
œ
8
8
œ
œ œ œ
œ œ œ œ œ œ œ œ œ œ œ
œ
10
8
9
7
10
Moveable 'Dm' form
7
10
10
12
10 12
9
Moveable 'Cm' form
12
10 13
12
Play: All Styles
3 Practice (Section
6 - 8)
7 FRETBOARD
EXAMPLE
FLUENCY ...CONTINUED
3 Practice (Section 6 - 8)
œ œ œ
œ
&
3 Practice (Section 6 - 8)
œ œ œ
& œ œ œ œœ
& 14 12
œ œ 14œ 12
œ
&
3 Practice (Section 6 - 8)
œ œ
œ œ
œ œ
œ 12œ
15
œ œ
œ œ
œ œ
œ 15œ
15
E
B
G
D
A
E
E
B
G
14
12 'Am' form
Moveable
E
D
14
12
B
A
15
12
15
G
14
12
E
15
D
14
12
Fig
7.4a:
8ve
defs
in
5
keys/forms
(1
Area:
Ascending
4ths)
A
Moveable 'Am' form
15
12
15
E
E
15
B
E
A
G
14
12
Moveable 'Am' form
D
14
12
Fig 7.4a: 8ve defs in 5 keys/forms (115
Area: 12
Ascending 4ths)
A
15
E
15
œ
& œ
& Eœ
& Eœ
& œ7
œ
œ
œ
œ
œ
œ
œ
Moveable 'Gm' form
12
14
12
15
12
14
Moveable
12
15 'Gm' form
D
Moveable 'Gm' form
12
14
12
15
12
14
12
14
œ
œ
œ
œ
œ
D
œ
Fig 7.4a: 8ve defs in 5 keys/forms (1 Area: Ascending 4ths)
E
5
B
5
A
G
D
7
A
5
E
5
E
5
B
5
G
E
5
D
7
B
5
A
7
5
G
E
5
Fig 7.4b: Complete shapes in 5 keys/forms
D
7(1 Area: Ascending 4ths)
A
7
5
E
5
E
E m7/11
A m7/11
5
B
5
G
3
Fig 7.4b: Complete
3 shapes in 5 keys/forms 7(1 Area: Ascending 4ths)
D
A
7
5
E
E
m7/11
A m7/11
5
Fig 7.4b: Complete shapes in 5 keys/forms
(1 Area: Ascending
4ths)
œ
œ
œ
&
œ
œ œ3 œ œ 3
E m7/11
& 3 œ œ œ3
œ œ œ œ
&E m7/11
œ œ3 œ5 7 53
& 5 7 œ œ œ
Moveable
œ œ 'Cm' form5
œ
œ
œ
œ
œ œ œ
œ œ3 œ
œ œ3 œ5
4 7
œ œ3 œ
œ œ
œ3 œ
œ œ
3 7
5
œ3 œ
œ
œ
œ
œ œ
œ œ
A m7/113
œ œ
3
8 5
A m7/11
œ œ3
Fig 7.4b: Complete shapes in 5 keys/forms (1 Area: Ascending 4ths)
E
B
G
D
A
E
E
B
G
E
D
B
A
G
E
D
A
E
E
B
G
D
A
E
5
7
5
7
œ
7
7
5 7
5'Cm'
7 form
G Moveable
m7/11
5 7
œ b œ 'Cm'œ form5 7
Moveable
œ
5 7
5 7
&G m7/11
œ b œ œ form
G Moveable
m7/11 3 'Cm'
œ
& œ bœ œ œ
3
8
6
&G m7/11
œ b œ3 œ8 6
œ
& 8 6 8 6
4
7
4
7
3
5
5
5
œ
8
5
8
3
5
8
5
8
œ œ bœ
œ3 œ b œ
œ3 œ b œ
7
5
œ3 œ b œ8
4
7
7
7
3
7
8
5
œ œ œ
œ œ œ3
œ œ œ
3
8 5
7
œ œ œ3
7
œ ~~
œ . ~~ œ œ œ œ œ œ
&
~~ œ œ œ~~ œ œ œ
Aœ
m7.
~~ œ œ œ
~~ œ œ œ~~
& œ .~~
œœ
8
5
& A m7
5
5
8
8 5
~~ œ œ 7
~~ œ œ œ~~
œ .~~
œ
& 5 ~~ 5 8 8~~ 5 8 5 œ7
8
5
b œ~~b œ
C
b œm7~~b œ
~~
bC œm7~~
bœ
8 ~~
b œ~~b œ8
8~~
œ
œ
œ
~~
œ ‰
~~
œ ~~‰
œ ~~‰
~~
œ ~~‰
~~
6
19
C
19
3
œ œ5œ
œ
3
œ œ œ3
œ œ œ œ
3 œ
5
7 5
œ œ œ 7
œ
5
7
5
7
C
œ
œ
C
œ8
D m7/11
8
3
œ œ3 œ
œ œ3 œ
œ œ3 œ
5
œ œ8 œ5
8
5
8
5
5
5
~~
5
5
8
8
8
~~ 5
8 5
8 5
7
7
8
8
8
~~ 8
8
œ8
8
8
8
~~
5
8
8
5
7 5
7 5
3
œ œ
œ œ
œ œ
6 8
œ œ
œ œ œ œ
3
3
œ3 œ œ œœ
œ œ œ5 73
3
3
5 7
œ œ œ œ
3
œ
œ œ3 œ
3
œ œ
œ
œ
D m7/11
œ
œ œ3 œ5 8
5 8
œ
Moveable
œ œ œ'Am' form5
7
5 8
5 8
5
Moveable 5
'Am'8form
5 8
3
Moveable
'Am' form
5
5 8
5 8
3
Moveable
'Am' form
7
5
7
5
7
3
6
8
6
8
œ œ
œ3 œ
œ œ
3 8
5
œ3 œ
5
8
3
5
8
b œ8 œ
œ
7 œ
b
œ
5
bœ œ
8 œ5
œ
b
œ
œ œ3
œ b œ3 œ
Cb
m7/11
3
œ
b
œ
œ
3 b œexercise up semitone for nextb5œkeys...etc)
œ
3 b œ(Transpose
œ
œ œentire
œ
b
œ
œ
œ
b
œ
3
6
8
bœ
C m7/11
3
6
8
œ œentire
3
œ
5 up 8semitone for nextb5œkeys...etc)
exercise
b œ œ3 b œ(Transpose
3
5
8
œ b œ3 œ6 forœ8next 56keys...etc)
6
8
8
b
œ
(Transpose
entire
exercise up semitone
œ
6
8
œ
5
8
bœ œ bœ
3
6
8
3
5
8
6
A m7
6
5
8
5
D m7/11
5
6
8
7
7
7 5
7 5
5
5
6
7
8
6
8
6
8
5 up 8semitone for next 5 keys...etc)
(Transpose entire exercise
5
8
6
8
6
8
C m7
6
8
5
8
5
8
6
8
C m7
8
œ œ A œm76 œ œ œ ≈6 œ œ8œ œ ≈ œ œ œ ≈
œœ
œ
Aœ
m7
œœ œœœ≈œœœœ≈œœœ ≈
œœœ≈œœœ ≈œœ œœ≈
œ 8 A œm7
œ 5 œœœ
5
5
7 5
7 5
œ
7
7 5
œ
œ 8 5 œ œ œ ≈ œ œ œ œ ≈ œ œ7 œ5 7 5 ≈
œœ
5
7 5
7 5
5
7
7 5
7 5
5
8
(Transpose entire exercise up
semitone for next 5 keys...etc)
5
D m7/11
8
Fig 7.5: Fusion lines through non-diatonic modal progression Am7-Cm7
E
B
G
D
A
E
E
B
G
E
D
B
A
G
E
D
A
E
E
B
G
D
A
E
5
8
8
5
Ó
œ
entire exercise up
œ (Transpose
œ
Ó 5 keys...etc)
semitone for next
œ 8
Ó
(Transpose entire exercise up
œ
5
semitone for next 5 keys...etc)
entire exercise up
œ (Transpose
8
Ó 5 keys...etc)
semitone
for next
œ
5
œ
œ
C
8
7 5
7
Moveable
'Em' form C m7/11
8 5
8 5
7
5
Moveable 3
'Em' form
7 5 3
7
C m7/11
E
B
G
D
A
E
E
B
G
7
5
E
3
8
6
D
3
8
B
8
6
A
8
5
G
7
5 modal progression Am7-Cm78
Fig 7.5: Fusion lines through non-diatonic
E
D
8
5
A
8
5
E
8
6
A m7
C m7
E
8
B
8
6
G
7
5 modal progression Am7-Cm7
Fig 7.5: Fusion lines through non-diatonic
D
8
5
A
8
5
A m7 lines through non-diatonic modal
C m7 progression Am7-Cm78
Fig 7.5: Fusion
E
19
8
5
8 5
7
Moveable
3 'Em' form
8 5
3
8 5
7 5
œ3 œ œ
Moveableœ3
'Em'b form
œ
3
œ œ œ 3
œ3 œ œ œ b œ
œ3 b œ
5
8
5
œ œ œ 8 6
œ bœ
5
w
19
œ
5
7
w
w
8
œ
7
12
Track 11
w
œ
œ
œ
œ
G
7
œ
œ
G
œ
12
13
G
œ
œ
D
12
13
œ
E defs in 5 keys/forms A
D
Fig 7.4a: Moveable
8ve
(1 Area: Ascending 4ths) Moveable
'Am' form
'Gm' form
A
13
12 G 14
œ
œ
œ œ
œ œ
œ œ
13
œ 12œ
œ œ
œ œ
œ œ
12
œ 14œ
œ œ œ œ
œ œ œ œœ
œ œ œ
12
14
12
œ 15œ œ œ
ON THE CD
7 5
7 5
5
5
7 5
7 5
7 5
7 5
7 5
bœ œ œ œ
œ
œ
œ
œ
œ
b
œ
œ œ
C m7
œœ
b
œ
œ
œ
œ
œ
œ
œ
œ œ bœ œ
œ œ6
b
œ
C m7
œ
œ
œ
œ
œ
5
œ œ bœ 5
œ
8 5
œ
8 6
8
8 bœ
œ
œ
8 8 œ
6
œ
œ
œ
5
œ œ bœ
8
8
8
8
8
8
8
6
8
6
8
6
5
5
5
8
8
8
8
8
8
8 5
8 5
8 5
5
5
6
6
April 2008 GuitarTechniques 25
Ê
Play: All Styles
EXAMPLE 8 SCALE DRILL
ON THE CD
I thought I’d save the easy one until last! Fancy running through all of
the most used scales, pentatonics, 7th arpeggios, triads and intervallic
permutations in one minute and eight seconds? Well roll up and give
this beast a go. Obviously, it’s in one key and is limited to just one
octave, so you could invent an alternative uber-scale drill that moves
Track 12
through all keys and exploits a greater range of fretboard motion. But
for now this should hit the spot. Notice how each structure morphs
into the next by changing just one note, and remember that the best
way to learn something you don’t know is to relate it to and develop
something you already do know. Continued next page.
4 Practice (Section 6 - 8)
SECTION 8 : SCALE DRILL
Fig 8: Play as one continual study
©»¡ºº C maj7
C7
4
bœ œ œ œ œ œ
œœœœœœœœ
& 4 œ œ #œ œ œ œ œ œ œ œ œ œ œ
œ œ œ bœ
œœœ œœœœœœ
œ
œ œ œœœœœ
E
B
G
D
A
E
C Lydian (#4)
2
3 5
5 4 2
5 3 2
œ bœ œ œ œ œ œ œ
œ œ bœ œ œ
C Dorian (b3 b7)
3 5
2
3 5
6
3 5 3 2
&
5 3 2
5 3
bœ
œ œ bœ œ œ
œœœœœœ
C Harmonic minor (b3 b6)
3 5
3 5
6
6
4 5 4
6 5 3
œœœœœœ
œ œ bœ œ œ bœ œ œ œ
C Melodic minor (b3)
6 5 3
3 5
6
5 3 2
3 5
2 3 5
2
3 5 3 2
5 3 2
5 3
6
6
3 5
2 4 5 4 2
5 3
C m7
œ
œ œ œ œ œ œ bœ œ œ bœ bœ œ œ œ œ œ œ œ bœ
C Aeolian (b3 b6 b7)
6 5 3 2
C Phrygian (b2 b3 b6 b7)
6 5 3 2
3
bœ œ œ œ œ œ bœ œ
b
œ
n
œ
œ
b
œ
œœ
œ
C Blues scale (R b3 4 b5 5 b7)
3
6
3
4
5
3 5 3 5 3
5
4 3
6 3
10
C maj7
&
3 5
6
3 5 3
6
6 5 3
6 5 3
6
œ
œ
œ œ œ œ œ bœ bœ œ œ bœ bœ œ œ œ œ œ œ œ bœ œ bœ bœ œ bœ bœ bœ œ œ œ œ œ œ œ bœ
4
6
3 5
6
C Locrian (b2 b3 4 b5 b6 b7)
3 5 3
6 5 3
6 4 3
6
7
&
3 5
C m7 b 5
C m7
C m7/C7
3
4
C m7
6
3
4
3 5 3
6
6 4 3
6 4 3
6
C
œ bœ œ œ œ œ
b
œ
œœœœœœœœ
œ
œ
œ
œ
b
œ
œ
œ
œ
œ
œœœœ
œ bœ œ
bœ œ
C minor pentatonic (R b3 4 5 b7)
3
6
6
3 5
3 5
4
3 5 3
C major pentatonic (R 2 3 5 6)
5 3
6 3
C m7 b 5
C7
C m7
(1 3 5 b7)
(1 b3 5 b7)
6
6
3 5
2 5
2 5
3
2 5 2
5 2
5 3
5
5
C dim
œœœœ
bœ œ œ œ
bœ œ œ œ
œœœœ
∫œ œ œ œ
œœœœœ
œ
œ
œ
b
œ
b
œ
œ
œ
œ
œ
œ
b
œ
œ
œ
œ
b
œ
œ
œ
œ
œ
œ
œ
œ
œ
(1 3 5 7)
E
B
G
D
A
E
2 4 5 4 2
C m(maj7)
4
C m(maj7)
E
B
G
D
A
E
2 3 5
3 5
1
&
E
B
G
D
A
E
2 4 5 4 2
4 5
C m7
E
B
G
D
A
E
C Mixolydian (b7)
C Ionian
3
2 5
4 5 4
5 2
13
26 GuitarTechniques April 2008
3
2 5
3 5 3
5 2
3
6
5
(1 b3 b5 b7)
3 5 3
5
6 3 6
4
(1 b3 b5 bb7)
3 5 3
4
6
3
6
4
2 5 2
4
6 3 6
4
2 5 2
4
6
Play: All Styles
EXAMPLE 8 SCALE DRILL ...CONTINUED
Two good examples are the relationship between the Dorian mode
and the melodic minor, and the parallel relationship between the
Aeolian mode and harmonic minor. There are no prizes for how fast
&
C aug
2
3
5
5
5
5
2
3
1
2
3
5
1
2
œ œ œ œ œ
bœ œ œ œ œ
œ œ œ
œ
(1 b3 5)
3
3
(1 b3 b5)
5
5
6
5
5
6
3
3
5
4
6
5
4
6
3
16
& œœœœœœœœœœœœœœœ
3rds
18
7
8
10
7
8 7 10 8
10
9 7 10 9
7
10
œ œ œ œ œ
œ
œ œ œ œ œœ œ
&
œ œ
6ths
E
B
G
D
A
E
5
C dim
œ bœ
(1 3 #5)
œœœœœœœœœœ œ œ
œ œ œ
C
E
B
G
D
A
E
Cm
œ œ œ œ œ
#œ œ œ œ œ
œ œ
œ œ œ
œ
(1 3 5)
E
B
G
D
A
E
Track 12
you finish this, just how well you understand it, so take things one bar
at a time if necessary. Right then, I’m off to do some practice myself
- on the trumpet (think I’m joking?). Have fun!
5 Practice (Section 6 - 8)
C
ON THE CD
10
10
8
9
7
10
9
10
7
8
7
10
C
Dm
10
10
7
7
10
10
8
9
7
7
10
10
8
8
10
10
Em
7
7
9
8
10
10
F
& œ
œ œ œ œ œ œ œ œ œ œ œ œ œ
œ
œ
8
7
5ths
8
7
7
10
9
8
7
10
10
9
7
9
10
10
8ves
8
10
9
10
œ œ œ œ œ
œ œ
œ œ œ œ œ
œ œ œ
7ths
9
8
9
9
œ œ œ
œ œœœœœœ œ œ œ
œ œ
9
10
21
4ths
œœœœœœœœœœ
œ
œ
œ œ œ
10
7
10
G
9
10
7
8
10
Am
10
8
9
7
7
10
B dim
8
C
œ œ œ œ œ œ œ œ œ œ œ œ œœ
Triads
E
B
G
D
A
E
7
24
8
7
10
8
10
8
7
10
7
10
9
7
8
7
10
9
10
9
7
10
7
10
9
7
9
7
10
9
10
April 2008 GuitarTechniques 27