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 cant do get further and further away. John Wheatcroft puts you back on track
ABILITY RATING
attempting to organise yourself. You may be the most willing and eager guitar scholar, but more often youll 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 dont have to start from scratch, as a huge amount of the groundwork has already been put securely into place. Much better, Im sure youll agree. One massive schoolboy error is to practise by the clock, thinking that simply the amount of hours you put in denes how good you are going to be. The reality is that its more down to the level of intensity - far better to do 30 minutes a day of focused work thats designed to strenghten weak spots and turn the heat up progressively, than to have the guitar in your hands for ve hours while watching TV or looking out of the window. This type of activity is only really useful for drilling motor skills, where you can disengage the brain and keep going for longer periods. If youre working on a cognitive skill such as memorising a new chord sequence or analysing ngering choices, you need focus and total concentration. Intense concentration requires a lot of energy. If youre able to focus fully for more than 20 minutes without falter, then youre doing exceptionally well!

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 cant do at present. Whilst this is ne in priciple, in reality its not much help when

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 youre 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. Thats just going to give you RSI. Create a log, mapping out short, mid and long-term goals and review monthly. This way, if theres anything missing (Ill put money on it being sight-reading!), you should be able to spot it and put your

Are you sitting comfortably?

Musics like dinner you do it a bite at a time

16 GuitarTechniques April 2008

Phil Hilborne

Play: All Styles

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 nally Musical Excellence, a collection of essays outlining strategies and techniques to enhance performance edited by Aaron Williamson (Oxford Press 2004).

FURTHER STUDY

much information as is humanly possible; its about how youre going to use the skills creatively as a musician. Ill often tell students that if we both had to make a list of things we couldnt do on the guitar, then mine would denitely be longer, just because my experience means Im more aware of the innite possibilities music has to offer. Its a constant work in progress, so surrender to this marvellous piece of information and enjoy the journey

practice pathway back on track. Obviously this time does not include getting the guitar out of the case, nding 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 youre 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 youll quickly gure out what works and what doesnt. Dont put this off until youre good. This is how youll actually get to be good! Ill leave you to ponder on this thought. It isnt about amassing as

APPROACHING A NEW PIECE

When learning a new piece, often you need to break it down into small chunks. Theres always a reason why you cant play something and its usually not because youre incapable; its because previous steps have been missed. If you want to achieve a specic goal there are a number of stages before you can get there. If I want to play like Steve Vai, thats 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 youre trying to play a Steve Vai piece and you cant play a specic lick, maybe its because something else has been

missed in your musical education up to this point. You need to isolate whatever that might be and nd ways of reinforcing that element of your playing and establish what the problem is, then nd 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
And when your session is over, relax!

works best when information is re-entered periodically in small amounts, so once again the method of little and often is best. Anyone whos crammed for an exam to nd that two weeks later they cant remember a single thing knows this is true!

WHEATCROFTS WAY
My philosophy regarding practice breaks down into three main areas. The rst deals with tackling new material, usually something Ill 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, its all about attaining/maintaining control of expression, clarity of tone, uency, dynamic articulation, exibility, 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 re-ghting - putting out any potentially disastrous are-ups as and when they occur. GT

A word on how this lesson works. The rst ve studies all take one specic technique or concept, selected in order to provide a balanced range of skills. We then work through ve variations or developments

- the last of which is always a musical example. Studies 6 to 8 can be viewed as practical methods to drill specic disciplines in the minimum of time - with the maximum results. Ready? Then lets go!

EXAMPLE 1 PICKING
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
SECTION 1 : PICKING
Fig 1.1: Initial cell

ON THE CD
- Practise Examples

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.

> > > > &4 4 .. .. ..

Fig 1.2: Developed Scale Fragment

E B G D A E

10

10

10

10

10

10

etc etc

. . . .

10

(Alt) (Eco)

Fig 1.3a: String crossing cell

&
etc
C

Fig 1.3b: String crossing pentatonic line with double-stop rolls

8
7 10
10
7
7 10
10
7
7 9
10
7
8 10
9
8
8 10
10 8
8
10
9 7
8
9
10 7
7
10
10

etc

10

10

10

10

10

. .

E B G D A E

10

10

(Alt) (Eco)

etc
D m7

Fig 1.4a: Combined arpeggio/scale with economy picking

E m7

Fmaj7

April 2008 GuitarTechniques 17

Play: All Styles

E B E B G D G A D A E E

10 10

(Alt) ...CONTINUED 1 etc (Eco) PICKING EXAMPLE (Eco) etc (Alt)

Fig 1.4a: Combined arpeggio/scale with economy picking Fig 1.4a: Combined arpeggio/scale with economy picking

C C

7 7

7 7

9 9

10 10

7 7

7 7

9 9

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

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

ON THE CD
Fmaj7 Fmaj7

Track 5

& &
E B E B G D G A D A E E

D m7 D m7

E m7 E m7

7 7

8 (Eco) 8 (Eco)

10 10

7 7

10 10

9 9

7 7

10 10

8 8

7 7

8 8

7 7

10 10

9 9

7 7

10 10

8 8

& &
E B E B G D G A D A E E

G7 G7

A m7 A m7

B m7 b 5 B m7 b 5

C C
Fig 1.4b: Descending pattern Fig 1.4b: Descending pattern

10 10

9 9

7 7

10 10

9 9

7 7

10 10

8 8

7 7

10 10

9 9

7 7

10 10

9 9

7 7

C maj7 C maj7

B m7 5 b5 B m7

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

Fig 1.5: Be-bop jazz phrase (Dorian/Melodic minor) Fig 1.5: Be-bop jazz phrase (Dorian/Melodic minor)

# b n # & # # b # & n #
D m7 D m7
8 7 10 9 8 7 10 9 10 8 10 8 10 10
7 9 7 10 9 7 10 9 7 9
9 7 10 9 8 7 10 8
7 7 10 7 10 7
10 8 7 10 10 8 10 7 8 9 7 10 10 7 8 9

10 8 7 10 10 8 10 9 7 10 9 7 10 9 7 10 9 10

j # j #

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

etc etc

# # # #
3 3
9 9 10 10 10 9 9 10 9 12 11 9 12 12 12 12 11 12

E B E B G D G A D A E E

7 10 8 7 10 8 9 8 8 9

11 12 11 12

EXAMPLE 2 PHRASING WITH CHORD TONES

Our second study is more conceptual in nature, allowing you to develop the essential skill of chord-tone and melodic gure association. This skill allows players such as Eric Clapton to clearly outline harmonic changes whilst soloing, without the clutter 2 xxxxxxxxxx
Fig 2.1: Moveable chord forms (Dominant 7th)

ON THE CD

Track 6

associated with learning lots of scales. All of our examples relate to the ve 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

4 &4

C7

b
13 15 14 15

b
3 5 3 5 3

b
6 5 5 5

E B G D A E

8 8 9 8 10 8 Moveable 'E' form

12 11 12 10

'D' form

'C' form

'A' form

'G' form

Fig 2.2: Moveable chord forms with asociated phrase (1 key)

w w w b & w w w

C7

b j b n J 3
10
8

bw w w w
12 11 12 10

C7

b n b
3
3
11 12
13
11

b ww w w
13 15 14 15

C7

E B G D A E

8 8 9 8 10 8 Moveable 'E' form

11

13 (15 ) 13

BU

12

Moveable 'D' form

Moveable 'C' form

18 GuitarTechniques April 2008

j b

j b n

C7

w w

j b n

b j n

b J

7 bCw w

j b

b n

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

w w C 7 b & w w w w b 8 & w w 8 w 9 8

E B G D E A B E G

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 3 G7 C7 F7 G7 C 7 F7 E
15 (17 )

j b n j & b j J 3 b n 3 & b j j J 3 b n 3 BU & J 13 13

15 (17 ) BU

8 10 8 8 9 8 Moveable 'E' form 8 10 8 8 9 8 Moveable 'E' form 10 8 j b Moveable 'E' form

J b j n 3 J b j b n 3 8 8 11 J 93
10
8

8 8

11 11

10

15 12 3 15 12

13

15 13

143

13

w 7 w bCw w w 7 w bCw w w w bw 3 w 5 w 3 5
C7

j b j n b n Moveable 'D' form j b j n b n j 3 j b n b n

16 (17 ) 16 (17 ) 16 (17 )

11 12 10 12 11 12 10 Moveable 'D' form 12 11 12 10 Moveable 'D' form

w w bw w w 12

C7

j
13

13 (15 ) 13

w 3 C 7 w bw b n 3 w b BU 3 w 3 w Styles (15 ) 13 11 12 All Play: 13 11 13

BU

11 12
12

3 12

13 13

12 ON THE CD 12
11

11

BU BU BU

15 17 15 17 15 17

3 3

16

16 (17 ) 16 (17 )

7 b bCw w J 7 b bCw w w 3 J 7 w b bCw BU 3 J w w 6 w (17 ) 5

j b j b j b BU
5

(6 ) 5

BU BU

17 3 17 17

17 17 17

15 15 15

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 87 F7 G 7 C7 C

Fig 2.4: Moveable chords through I IV V with associated phrase (1 area) Fig 2.4:

C 7 & b C 7 & b 8 & b 8 9 8

G7 bF7 n 7 bF7 n G b 8 n 10 8 8 10

b n 'A' form bC 7 Moveable G F7 7 b bC n 7 F7 G 7 b n b 11 10 12 11 10 12

b C 7 b C 7 b
C7
13 15 14 15 13 15 14 15 13 15 14 15

E B G D E A B E G
D E A B E G D A E

b n C 7 F7 G 7 b & 7 bF7 n G 7 & bC b 8 n 8 & b 8 10 8 10 8 9

8 8 10 8 8 9 8 8 10 8 8 9 8 10 8
10 8 8 10 8 10 8 8 10 8 10 8
9 10 8 10 9 10 8 10 9 10

j j b b n b n C 7 j j F7 Moveable chords through I IV V with associated phrase area) b (1 J b n b n C 7 j 3 b j F7 J b n b n BU 3

8 9 10 'E' form 8 Moveable 8 8 9 10 'E' form Moveable
8

10

8 9 3

8 8

11 11 11

9 9

BU

(10 ) BU Moveable 'A' form 8 10 9 9 (10 )

b j n b b j n J b 3 b j n 3 J b BU 3 3 8 10 J (10 ) (10 )
8 10

13 14 13 13 15 13 13 14 13 13 15 13 13 14 13 15 13 F7

bF7 bF7 b13

F7

nG 7 nG 7 n 13 12
G7
12 12 13 12 12 12 13 12 12 12

7 bC 7 C b b 3 5 3 5
3 3 5 3 5 3 3 5 3 5 3

C7

b bF7 b 5 4 5
3 5 4 5 3 5 4 5 3

5 5 6 5 5 Moveable 'G' form 5 6 5 5 Moveable 'G' form 5 F7 G 7

BU 3 (6 ) 5 5 BU (6 ) 5 5
C7

Moveable 'C' form b n b n 3 3 b 3 3 n

8 6 8 6 8 6
F7

15 14 15 13 15 14 'C' form Moveable 15 13 15 14 'C' form Moveable 15

Track 6

4 4 4

5 5 5

8 8 8

Moveable 'G' form F7 G 7

n 7 nG n 3 3 4 3 3 5
3 3 4 3 3 5 3 3 4 3 5 3

bC 7 b F7 bC7 F7 b b b 6 5 6 5 8
5 6 5 5 5 6 5 5 5
7 8 6 8 7 8 6 8 7 8

nG 7 nG 7 n 7 6
G7
7 5 7 6 7 5 7 6 7 5

BU

10

9 (10 ) BU 10

3 10
10 10

8 8 8

j G7 j G7 j BU
G7
10

Moveable 'A' form Moveable 'A' form

(10 ) 10

10 7 Moveable 'C' form10 8 8 10 7 10 (12 ) Moveable 'C' form10 8

(12 ) 10 BU

j b n 3 j J b n 3 3 j J b n 3 8 J8 ( ) 7 10 12 BU 3
8
10 8
93 9 9
8 8

Moveable 'E' form

Moveable 'C' form

3 xxxxxx
Fig 2.5: Blues V VI I ending lick

&
E B G D A E

j b n

G7

b j n
3
12
11 (12 )

J
3
12
12
10

j b

b
3
11

j F7 b

/' b b n
14

3
BU 10 (11 )
10

3
13

3
13
11

BU
11

(12 )

10

BU

1 /4

14 13

12
Moveable 'G' form

13

11

10

10

'

Moveable 'A' form

&
E B G D A E

j C7

b n
3
13
11
12

b b j b
3
12

j n

n
3
8

b
11

bb
9 8 9 8

D b9

b
8 7 8 7

C9

13 (15 )

BU

13

11

11 10

Moveable 'D' form

Moveable 'E' form

April 2008 GuitarTechniques 19

Play: All Styles

EXAMPLE 3 HYBRID PICKING
Its country madness next with a ve-point plan to develop your hybrid picking technique. By now youll have gured out how things work; take a basic technique and expand gradually as your accuracy, stamina and consistency responds to the workload. Ive squeezed a couple of
4 xxxxxxxxxx

ON THE CD

Track 7

nifty rock-style arpeggios in here too. Its 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 Ive integrated elements of both as we progress.

SECTION 3 : HYBRID PICKING

Fig 3.1a: Basic cell (1 finger)

C &4 4
10 9
m

Fig 3.1b: Basic cell (2 fingers)

3 3 3 3
9 m 8 10 a 9 m 8 10 a 9 m 8 10 a 9 m 8

Fig 3.1c: Fwd/Rvs (2 fingers)

9 8 9 10 9 8 9 10 9 8 9 10 9 8 9

E B G D A E

10

9
m

10

9
m

10

9
m

10

10 a

a m

a m

a m

a m

Fig 3.2: Basic I IV V sequence plus hammer on

& #
E B G D A E

Fadd9

m a m a
C major scale

0 2

1 2 2

1 0 2

1 2 2

1 2 3

1 3 3

1 2 3

1 3 3

1 4 5

3 5 5

3 4 5

3 5 5

3 0 2

1 2 2

1 0 2

1 2

etc

Fig 3.3: Scales with hybrid picking and open strings

&
E B G D A E

G Mixolydian

3 0 7 3 0 7 3 0 0 7 5 3 0 6 3

A Aeolian

mmaa
C

0 7

mma maama m
6 6 6
C

0 8 m

0 7 8

0 7

0 5 7 a

6 8

m a
6

Fig 3.4a: Rock triad with hybrid picking

Fig 3.4b: Rock 7th triad with hybrid picking

& .. .. .. ..
E B G D A E

. .

2 5

5 a

5 2

2 5 etc

5 2

2 5

5 2

2 5

5 2

. . . .

2 5

5 a

5 2

4 m

5 2

3 etc

2 5

5 2

5 2

2 5

5 2

. .

Fig 3.5: Country hybrid picked line with open strings

n b &
C

0 0

10

E B G D A E

0 m

3 m

0 a

3 m

10

BU 7 10 a 7 10 m
7 (9)

a m

20 GuitarTechniques April 2008

Play: All Styles

EXAMPLE 4 SLURS AND HAMMER-ONS
Hammer-ons and tapping are the order of the day for study number 5 5 xxxxxx xxxxxx 4. Initially its fretting-hand only, picking the rst note on each new 5 xxxxxx 5 xxxxxx string. Before long though were incorporating two picking-hand 4 SLURS/TAPPING taps.SECTION Try using your m and a ngers so you keep the pick between SECTION 4: : 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

ON THE CD

Track 8

thumb and rst nger. Were simplifying the tapping element for our nal 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.

4 4 4 & & 4 & &4 5

5 5 5

5 5 5 5

5 5 5 5

5 5 5 5

Fig Fig Fig Fig

5 5
5 5 5 5

4.1b: 4.1b: 4.1b: 4.1b:

Basic Basic Basic Basic

cell cell cell cell

moved moved moved moved

across across across across

string string string string

E E B E B G B E G D G B D A D G A E A D E E A E

5 5

5 5 5 5

5
5 5 5
9 9 9 9

10 10 10 10

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

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

10 10 10 10

12 12 9 12 9 10 12 12 9 12 9 10 12 12 9 12 9 10 12 9 12 9 10 12

12 12 12 12

9 9 9 9

12 12 12 12

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

5 & & & &

4.2: 4.2: 4.2: 4.2:

C /Am Basic with string skips C /Am cell 5 C /Am 5 5 C /Am

Basic cell with string skips Basic cell with string skips Basic cell with string skips

5 5 5 5
5 5
9 9 9 9

5 5

10 10 10 10

5
5 5 5
9 9 9 9

12 12 12 12

5 5 5 5
9 9 9 9

12 12 12 12

5 5 5 5

Fig Fig Fig Fig

& & & & 6 6

C /Am C /Am

4.3: Basic 4.3: Basic 4.3: Basic /Am 4.3: C Basic C /Am

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 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 String C /Am skips in octaves

L L
14 14 14 14 m m m m

L L L

9 9 9 12 10 8 12 8 8 12 8 10 12 9 8 12 8 10 12 8 12 8 10 12
cell cell cell cell with with with with second second second second

12 12 12 12

10 10 10 10

12 12 8 12 12 8 12 12 8 12 8 12
taps taps taps taps

8 8 8 8

9 9 10 12 9 10 9 12 12 9 12 12 9 10 12 12 9 12 9 10 12 12 12 12

8 8 8 10 12 8 10 12 10 12 10 12

8 8 8 8

10 10 10 10

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

5 5 5 5

5 5 5 5

10 10 10 10

12 12 12 12

and and and and

6 6

12 12 12 12

third third third third

finger finger finger finger

9 9 9 9

12 12 12 12

9 9 9 9

10 10 10 10

E E B E B G B E G D G B D A D G A E A D E E A E

& & & &

C /Am C /Am

L L L &
& & &
15 15 15 15

L L
15 15 15 15

L L L

L LL L LL
14 14 14 14 m m m m

L L L L LL L LL
15 15 15 15 a a a a

10 10 10 10

14 14 14 14 m m m m

12 12 12 12

9 9 9 9

10 10 10 10

12 12 12 12

6 6 6 6

12 12 12 12

8 8 8 8

E E B E B G B E G D G B D A D G A E A D E 6 E A E

xxxxxxxxxx

Fig 4.5: Harmonised sequence with string skip tapping

L L
L

6 6 6 6
8 8 8 8

12 12 12 12

8 8 8 8

10 10 10 10

L LL LL L
L L L L LL L LL
15 15 15 15
15 15 15 15

L L L L L L L L L
17 17 17 17

10 10 10 10

8 8 8 8

L L L
17 17 17 17

L L
14 14 14 14 m m m m

L L L

6
6 6 6
9 9 9 9

12 12 12 12

9 9 9 9

10 10 10 10

12 12 12 12

15 15 15 15

12 12 12 12

10 10 10 10

12 12 12 12

12 12 12 12

8 8 8 8

10 10 10 10

12 12 12 12

C maj7

&
E B G D A E

10 3 7

L L L
6
8 3 7

L L L
9 4 5

L L LL LL
17 17 17 17

10 10 10 10

15 15 15 15

12 12 12 12

8 8 8 8

10 10 10 10

12 12 12 12

D m7

12 5 8

9 4 5

L L L L L
6
10 5 8

L L L
6
10 5 7

10 5 7

L L nL L . L b b L bL n L b L L L L L LL
D b7

L L
17 17 17 17

L L L

L L

10 10 10 10

14 14 14 14

6 6 6 6

10 10 10 10

L LL L LL
14 14 14 14 m m m m

L L L L L L L L L
15 15 15 15 a a a a

10 10 10 10

9 9 9 9

10 10 10 10

12 12 12 12

14 14 14 14

6 6 6 6

10 10 10 10

14 14 14 14

10 10 10 10

12 12 12 12

14 14 14 14

b bb
9

L L LL LL
17 17 17 17

L L L L LL LL L
19 19 19 19

L LL LL L
17 17 17 17

L L L L L L L L L
19 19 19 19

14 14 14 14 m m m m

12 12 12 12

12 12 12 12

12 12 12 12

10 10 10 10

17 17 17 17

14 14 14 14

12 12 12 12

14 14 14 14

12 12 12 12

17 17 17 17

14 14 14 14

10 10 10 10

12 12 12 12

14 14 14 14

C maj7

j n

10

10 4 6

11

4 8

8 3 7

10 12

BU

9 4

10 3 7

April 2008 GuitarTechniques 21

Play: All Styles

EXAMPLE 5 THUMBPICK
Just for the record, Im 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 SECTION 5 : THUMBPICK/FINGERSTYLE
Fig 5.1a: Basic Pattern

ON THE CD

Track 9

simple, isolate any movement or idea, expand upon this in stages, and end with a musical application. This time we nish 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

Fig 5.1b: Elementary melody
Fig 5.1c: Expanded melody

Swing # # & # # 4 4

E B G D A E

Palm mute bass throughout

. . w . .
E

. . . .

. . w . .

. . . .

w
0
2
2

..
. .

Fig 5.2a: Syncopated melody

E B G D A E

E A B j j j # # # # . j . .. .. . .. .. . .. .. . j .. . .. .. . &

Fig 5.2b: Melody in half-notes (minims)

Fig 5.3a-5.3c: Syncopated melody transposed over I IV V

. .

. . 2 . .
E

0
2
2

0
2
2

. . . .

0
2
0

. . 2 . .

2
2
0

. . 2 . .

0
1
2
1

. .

Fig 5.4a-5.4c: Expanded melody examples

E B G D A E

# # .. .. n & # # ..
. .
0
0
0

2
2

. . . .

.. .. n .. .. . .

2
2
2

Fig 5.4d: Bass-line variation

. . . .

0
2

. . . .

. .

Fig 5.5: 'Travis-style' complete 12-bar study over I IV V sequence

E B G D A E

# # . & # # 4 4 Palm mute bass

E throughout
0
2
2

. j
0
0
2
2

n
3
2
0
0
2

.
0
0 2
2

j n .
0
0
2

3
0
2

E B G D A E

#### n &
3
2
0
0
2

j n .
B

0 2
2

n
3
2 0
1

E 6/ 9

0 2
2
1

0 2
2

12 12 11 11 11 0

22 GuitarTechniques April 2008

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: youve 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 youve 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 Practice (Section 6 - 8) - John Wheatcroft decide upon how long the soloing gap is going to be and go for it. If improvised a couple of things to show you how things may turn out.
SECTION 6 : IMPROVISATION 'ACID-TEST'
Fig 6.1: Blues-style vamp

E B G D A E

Shuffle G7 4 . &4 . ( ) ( )

. .

Possibly miss on repeats

5 3

7 3

7 3

5 3

5 3

7 3

7 3

5 3

..
. .
..
. .

Insert fill here (Mixolydian/Blues)

(5) (3)

Fig 6.2: Maiden-style rock vamp

& ..
E B G D A E

Straight
A5

. .

0
0 0

9 7

0 0

9 7
7 7

G 5/A

F5

0
0 0

5 3

J
7 5

G5

Insert fill here (Aeolian/Minor Pentatonic)

Fig 6.3: Swing-style minor vamp

Swing D m11 . & .. . .

5 6 5 5 5

E m11

J
7 8 7 7 7

D m11

.
5 6 5 5 5

. J
E m11
7 8 7 7 7

D m11

E B G D A E

. J
5 6 5 5 5

Insert fill here (Dorian/Melodic minor)

..
. .

Fig 6.4: Reggae -style major vamp

Straight C . . & ..
. .
C7

. F

. .G
8 8 10 10 10 10

. .
7 7 8 8 7 7

E B G D A E

8 8 8 8 9 9

8 8 8 8 9 9

8 8 8 8 9 9

8 8 8 8 9 9

8 8 10 10 10 10

7 7 8 8 7 7

Insert fill here (Major scale/Triad arpeggios)

..
. .
..

Fig 6.5: Funk -style single note riff

& .. b b n b
E B G D A E

Straight

j b
10
8
8

10

. .

Insert fill here (Mixolydian/Blues/Extended dom chords)

10

10

10

. .

April 2008 GuitarTechniques 23

Play: All Styles

EXAMPLE 7 FRETBOARD FLUENCY
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 dening the octave points - the crucial landmarks of any scale, arpeggio or chord. Once youve worked through these examples repeat the procedure with any
2 Practice (Section 6 - 8)

ON THE CD

Track 11

scale/mode/chord/pentatonic that you know. Work in this area will be highly rewarded, I promise. If youre 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 youd like, and give it the Fretboard Fluency treatment. The rewards will be immense!

SECTION 7 : FRETBOARD
Fig 7.1a: Basic octave definitions

A m 4 &4
5

Fig7.1b: Rvs cell

Fig7.1c: Fwd cell

A m7/11

5
3
5
2
5
2
5

A m7/11

5
8
5
7
5
7
5

E B G D A E

Fig 7.2a-e: Octave definitions/Associated chord/Pentatonic cell

&
A m7
5

5
8
5
7
5
7
5

7
5
7
5
8
5
7

10

7
10
7
9
8
10
7

E B G D A E

Moveable 'Em' form

5 5 5 5 7 5

8 8 9 7

Moveable 'Dm' form

&
E B G D A E

10

13 12 10 12

10
12
9
12
10
12

12 13 12 14 12

12
14
12
14
12

14

12

12

12

12

15

Moveable 'Cm' form

Moveable 'Am' form

&
E B G D A E

17 17 17 17
17

14
17
14
17

15
17
15
17
14

17

14

14

17

17 Moveable 'Gm' form

17

15

17

Fig 7.3: Continuous scale exercise

&
5 Moveable 'Gm' form
3
5
2
5
2
5
5
7

10
8
9
7
10
7
10
10
12

E B G D A E

10 12

12

10 13

12

Moveable 'Em' form

Moveable 'Dm' form

Moveable 'Cm' form

24 GuitarTechniques April 2008

Play: All Styles

3 Practice (Section 6 - 8) 7 FRETBOARD EXAMPLE FLUENCY ...CONTINUED 3 Practice (Section 6 - 8) 3 Practice (Section 6 - 8)

ON THE CD

Track 11

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

& 3 Practice (Section 6 - 8) & & 14 12 14 12 &

& & E & E 7 &
&

12 15

15 15

E defs in 5 keys/forms A D Fig 7.4a: Moveable 8ve (1 Area: Ascending 4ths) Moveable 'Am' form 'Gm' form A
Fig 7.4a: 8ve defs in 5 keys/forms (1 Area: Ascending 4ths)

Moveable 'Gm' form 12 14 12 15 12 14 Moveable 12 15 'Gm' form

D Moveable 'Gm' form 12 14 12 15

14 12 12 15

7 7 7

12 14
12 12
14 14

13 12
13 13 13
12 12 12

w w w
19 19 19
C 19 C C C

12 G 14
G G

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 (1 Area: Ascending 4ths) D 7 A 7 5 E 5 E E m7/11 A m7/11 5 B 5 G 3 Fig 7.4b: Complete (1 Area: Ascending 4ths) 3 shapes in 5 keys/forms 7 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)

D
D

G
5 5 5

8 8 8 8

8 8

entire exercise up (Transpose 5 keys...etc) semitone for next 8 (Transpose entire exercise up 5 semitone for next 5 keys...etc) entire exercise up (Transpose 8 5 keys...etc) semitone for next
5 5
8 (Transpose entire exercise up semitone for next 5 keys...etc) 8

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

3 3 E m7/11 & 3 3 &E m7/11 3 3 5 5 7 & 5 7 Moveable 'Cm' form 5

5
7
5
7

7 7

3 3 5 4 7 3
4 4 4
7 7 7
5 5 5

8 8 8 8

3 3 7 5 3
5
7 7 7

3 A m7/11 3 8 5 A m7/11 3
8
5

3 5
5

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

b 'Cm' Moveable form 5 7 5 7 G m7/11 5 7 & b form G Moveable m7/11 3 'Cm' b & 3 8 6 G m7/11 & b 8 6 3 8 6 & 8 6

5 7 5'Cm' 7 form G Moveable m7/11 5 7

8 5 7 Moveable 3 'Em' form 8 5 3 8 5 7 5

3 3 8 5 7 3
7

5 3 3 3 5 7 5 7 5
7
5
7

b 3 b b 3 7 5 3 8 b

3 Moveable 'Em' 3 b form 3 3 3 b 3 b 5 8 5 8 6 b 5

6

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

3 3 3 5 8 5
5 5
8 8
5 5

D m7/11 8 D m7/11 8 D m7/11

3 3 D m7/11 3 5 8 5 8 Moveable 'Am' form 5

5 8 5 8 5 Moveable 5 'Am'8form 5 8 3 Moveable 'Am' form 5 5 8 5 8 3 Moveable 'Am' form

3 3 3 3 5 7 3 3 5 7
3
7 7
5 5 5
7 7 7

6 8
6 6 6
8 8

3 3 8 5 3
5
8 8 8

3 5
5

b 8 7 b 5 b 8 5 b 3 3 b Cb m7/11 3 b 3 b b5keys...etc) (Transpose entire exercise up semitone for next 3 b b b 3 6 8 b C m7/11 3 6 8 3 b 5 up 8 entire exercise semitone for next 5 keys...etc) b 3 b (Transpose 3 3 5 8 b 6 8 6 8 b (Transpose entire exercise up semitone 6 8 6 for8next 5 keys...etc) 5 8 b b 3 6 8 3 5 8
6 6
8 8
6 8 6 8 5 up 8 (Transpose entire exercise semitone for next 5 keys...etc) 5 8 6 8 6 8 C m7 6 8 5 8 5 8 6 8 C m7

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

~~ . ~~ & ~~ A m7 . ~~ ~~ ~~ ~~ & .~~ 8 5 & A m7 5 5 8 8 5 ~~ ~~ ~~ 7 .~~ & 5 ~~ 5 8 8~~ 5 8 5 7 8 5

5 5

~~

5 5

8 8

~~ 5

8 5 8 5

7 7

b ~~ b ~~ C m7 b b ~~ ~~ b C m7 b 8 ~~ 8 ~~ b b 8~~
8 8

8 8 8 8

~~ 8
8

~~ ~~ ~~ ~~ ~~ ~~ ~~ ~~

8 A m7 6 6 m7 A 8 A m7 5 5 5 7 5 7 5 7 7 5 7 5 8 5 7 5 5 7 5 7 5 5 7 7 5 7 5
5 5
8 8
5 5
7 5 7 5
7 7
7 5 7 5
7 5 7 5
5 5
7 5 7 5
7 5 7 5 7 5

A m7 6

b b C m7 b b b C m7 6 5 b 5 8 5 6 8 6 8 8 b 8 8 b 5
8 8 8
8 8 8
8 8 8
6 6 6
5 5 5
8 8 8
8 8 8
8 5 8 5 8 5
5 5
6 6

April 2008 GuitarTechniques 25

Play: All Styles

EXAMPLE 8 SCALE DRILL
I thought Id 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, its in one key and is limited to just one octave, so you could invent an alternative uber-scale drill that moves
4 Practice (Section 6 - 8) SECTION 8 : SCALE DRILL
Fig 8: Play as one continual study

ON THE CD

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 dont know is to relate it to and develop something you already do know. Continued next page.

C maj7 C7 4 b & 4 # b
C Lydian (#4)
2
C Ionian
C Mixolydian (b7)
2 3 5
2

E B G D A E

3 5
1

4 5

2 4 5 4 2

5 4 2

5 3 2

3 5

2 3 5

2 4 5 4 2

5 3 2

3 5 3 2

5 3 2

3 5

5 3 2

5 3

C m7

&
E B G D A E

C Dorian (b3 b7)

3 5

b
3 5
6

b
2
3 5 3 2
5 3

b b
6
3 5
6
3 5

C m(maj7)

C Melodic minor (b3)

5 3

b b b b
C Aeolian (b3 b6 b7)
3 5

C m7

2 4 5 4 2

6 5 3

6 5 3 2

3 5

3 5 3

6 5 3

6 5 3

C m(maj7)

&
E B G D A E

C Harmonic minor (b3 b6)

3 5
6

b b
3 5
6

4 5 4
6 5 3

b b b b b b b b b b b
C Phrygian (b2 b3 b6 b7)
3 5
6
C Locrian (b2 b3 4 b5 b6 b7)
3
4
6

C m7

C m7 b 5

3 5 3

6 5 3 2

6 5 3

3 5 3

6 4 3

6 4 3

6 4 3

C m7/C7

&
E B G D A E

C Blues scale (R b3 4 b5 5 b7)

3
4
5

b b b n b
3 5 3 5 3

b b b b b
C minor pentatonic (R b3 4 5 b7)
3 5
3 5
4
3 5 3
C major pentatonic (R 2 3 5 6)
2 5
3
2 5 2

C m7

3
10

4 3

6 3

5 3

6 3

3 5

2 5

5 2

5 3

C maj7

&
E B G D A E

(1 3 5 7)

b b b b b b
(1 3 5 b7)
2 5
(1 b3 5 b7)
5

C7

C m7

C m7 b 5

C dim

(1 b3 b5 b7)
4

(1 b3 b5 bb7)
4

3
13

2 5

4 5 4

5 2

3 5 3

5 2

3 5 3

3 5 3

6 3 6

2 5 2

6 3 6

2 5 2

26 GuitarTechniques April 2008

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
5 Practice (Section 6 - 8)

ON THE CD

Track 12

you nish this, just how well you understand it, so take things one bar at a time if necessary. Right then, Im off to do some practice myself - on the trumpet (think Im joking?). Have fun!

&
E B G D A E

(1 3 5)

#
(1 3 #5) 2 3 2 5 5 5 5 2 1 5 5 1 3 3 2 3

C aug

Cm

(1 b3 5)

b
3 6

b
(1 b3 b5) 5 5 5 5 6 3 3 6 4 5 5 4 6 3

C dim

16

&
C 3rds
E B G D A E

4ths

10 9 9 7 7 10 10 8 9 7 7 10 10 8

5ths

8 10 7 10 7 9 8 10 7 10 7 9 9 10 10

18

10

8 7 10 8

10

9 7 10 9

10

10

&
6ths
E B G D A E

7ths

9 10 10 7 7 8 9 10 10 8 7 9 10 10 8

8ves

8 7 9 7 10 10 8 8 10 7 9 10 7 8

10 10
21

8 9 7

10 10

9 8

7 7

10 10

9 8

10

&
Triads
E B G D A E

Dm

Em

9 10 9 7 10 7 10 9 7 9 7 10 9 10

Am

B dim

7
24

10

10

10

10

10

April 2008 GuitarTechniques 27