exercises n stuff

7/28/2019 Exercises n Stuff

1/21

FINGER SEPARATION EXERCISE1. Align 1st finger to 9th fret.2. Allocate one finger per fret so that the 2nd finger takes care of the 10th fret, the 3rd finger the 11th

fret and the 4th finger the 12th fret.3. On the 6th string play notes using the following fingering pattern: 1234 12431324 1342

1423 14324. Move up to 5th string and repeat using the same pattern.5. Continue across the strings 4th, 3rd 2nd and 1st.6. Move down a couple of frets and repeat steps 2 - 5.7. Continue working in this way down the fretboard a couple of frets at a time until you have reached the

open position.8. If pain or cramp sets in stop and relax your hand and start the exercise again a few minutes later.


2/21

Taking the C major scale as an example:

The Roman numerals and generic names of each degree of the scale are

constant for all keys. These are used, somewhat confusingly, to refer both tothe notes on a major scale and to the chords built on those notes:

The same procedure is used to harmonise any major scale. Here is the scaleof D major harmonised. Notice the effect that the key signature has on thechord types. Also notice how the sequence of chord types remains the same,ie. I = major, II = minor, III = minor, IV = major, V = major, VI = minor, VII =diminished, VIII = major. This is true for all major keys.


3/21


4/21

DIAGONAL BLUES SCALE RUNS

Suggested ascending3 octave run shown in Ge-------------------------------8-9-10-13-15---------------

B------------------------6-8-11----------------------------

G------------------5-6-7-----------------------------------

D------------3-5-8-----------------------------------------

A------3-4-5-----------------------------------------------

E--3-6-----------------------------------------------------Whole pattern showing key notes:

Fingering tips:Use first finger for key notes (except the last one).

Last two notes should be fingered 2, 4.Suggested descending3 octave run shown in Ge--15-13---------------------------------------------------

B--------15-14-13------------------------------------------

G-----------------15-12-10---------------------------------

D--------------------------12-11-10------------------------

A-----------------------------------13-10-8----------------

E-------------------------------------------10-9-8-6-3-----Whole pattern showing key notes:


5/21


6/21

The CAGED system is a powerful tool for unravelling the complexities of the layout of notes, scales,

chords, arpeggios, interval patterns, licks and riffs on the guitar fretboard.Its name is an acronym for the five basic chord shapes which form the origin of the system:Start by looking at the patterns formed by the Root Notes of each of these chords. Marked 'R' on the

diagram below :

By clearing the rest of the chord notes away we can see these root note patterns more clearly. Notethat what we are left with are all the possible ways of fingering movable OCTAVE PATTERNS:

Now here's the clever bit: by laying these five patterns out so that they overlap each other in the orderthat spells the word 'CAGED' we are able to chart every single occurrence of any given note on the

fretboard:

Try it - learn to finger this pattern off by heart then start it anywhere on the fretboard and you will jointogether every occurrence of whatever note you start it on!But that's only the first (and relatively trivial) application of the system. For a more detailed explanationof how to use the CAGED system to locate scales, chords and just about every other form that you

need to learn to master the guitar, refer to our new ebook: 'Fifty Flexible Lesson Plans for Teaching

Guitar'.


7/21

Generally speaking, the improvisation is supposed to be free. There are some restrictions

imposed by harmony that the player should overcome by practice and a correct approach.

The theory speaks about two ways to approach improvisation:

The vertical approach the player solos according to the current chord.

The horizontal approach the player solos according to the current scale

A classic example of vertical approach is wrapping the chord. That means that certain notes of

the current chord and neighbouring ones are played.

Another vertical approach is to play modes according to the chord-changes. For this you will get

help from Modes.The vertical approach demands a perfect knowledge of harmony and quick-thinking. Sometimes

the modes that the soloist plays may be too far out of the basic key of the song or of the section.

That's why we got the horizontal approach:

If the current chord is the result of the harmonization of the basic scale of the song, there's no

ScalesIn case you don't master the following scales: pentatonic, blues,

major/minor, minor harmonic and melodic, whole - half tone, bebop.

10

min.

Licks Try to learn a lick each day you practice .10

min.

Essential Licks Learn the main licks of the great masters. 20min.

TabsThere are a lot of solos you should know. Once you learn one, move to the

following.

20

min.

Improvisation Learn theory at first, than play along with the jazz comps.30

min.

Play alongListen to your favourite music with the guitar in your hands. Try to catch

the harmony at first, then improvise solos.

30

min.

Ear TrainingThere's a lot of excellent software for ear training. You should begin with

intervals and chords.

10

min.

Theory Learn theory and the logic behind the music. Try to understand how yourfavourite musicians wrote their music.

20min.

Record

Record what you practice. This will improve your accuracy, sometimes you

get the feeling you do the exercise as it should but you'll be sure of it only

after you'll hear it recorded.

30

min.

Be creativeRecord your own ideas, any recording may be the basic material of a

future song.-

Don't waste

time

If you like watching TV, do it with the guitar in your hands. Try to "catch"

music you hear for the first time - melody, chords and improvise with it.

Try to imitate the phrasing of the actors or talking heads (sports

commentator are great).

-


8/21

problem: one can improvise freely inside the scale. If a chord that contains one or two notes that

don't belong to the basic scale emerges, the improviser may go on thinking about the samescale with one or two exceptions.

Some examples: Diagonal Approach.

Another situation is when sections of the song are written in other scales than the basic one:Modulation

Inside the scale one can play:

2-notes patterns: intervals 3-notes patterns: triads 4-notes patterns: arpeggios 5-notes patterns: pentatonic scales 6-notes patterns: blues scales 7 or 8-notes patterns: scales

Some examples:

In Major Scales In Harmonic-Minor Scales In Melodic-Minor Scales

The most usual guitar techniques:

Technique How to Tab

Bend

Play the first note, then bend the string with the playing finger (helped eventually by

the other fingers) until you hear the next note (in the tab example, a whole step

bend, from E to F#). There are also 1/2, 1 1/2, 2 steps bends.

Bend/Release Bend then release back to the first note.

Hammer-on Pluck only the first note, then hammer the second at a higher fret.

Pull-off Pluck only the first note, then pull the second at a lower fret.

Slide

Fret a note (or notes) and then move (slide) to another fret without taking the

pressure off your finger (fingers) as you move.


9/21

VibratoRepeatedly bend the pitch up slightly, and then let the note back down to the original

pitch.

Tapping Tap with the index or midfinger at the written fret.

Natural

HarmonicTouch the string lightly (don't press down) over the fret bar then pluck.

Pinch Harmonic Pick the string, then touch the edge of your right hand thumb.

Palm Mute Touch the string slightly with the palm of your right hand.

The Generic Sequence Example Midi File

IIm - V7 Dm - G7 11m V7

IIm - V7 - Imaj7 Dm - G7 - Cmaj7 IIm V7 Imaj7

IIm7b5 - V7alt - Im6 Dm7b5 - G7alt - Cm6 IIm V7 Imin

Imaj7 - VI7b9 - IIm7 - V7 - IIIm7

- VI7b9 - II7 - V7

Cmaj7 - A7b9 - Dm7 - G7 - Em7 -

A7b9 - D7 - GI VI II V

I7 C7 I7

V7 - Imaj7 G7 - Cmaj7 V7 Imaj7

Problem Comments Possible Solution

Barre Chord

You play the barre chord with your finger bones, not with the soft finger flesh

that you use when soloing, so the palm will be slightly turned outwards, notperpendicular on the fret board. Try also to play small barre - covering only


10/21

The Jam Sessions

Music is something that has to be made, played, appreciated and enjoyed together. While it's great

that you can listen to your favourite CD in the car and sing along (when no one is looking) the fact

of the matter is that music is better enjoyed with friends. When you're a musician, this doesn't

change. You don't become a brilliant musician by staying in your room all day and practicing your

scales. You have to step out and join other musicians, learn from them, and find out that true

creativity is not done solo. The closet is honestly not a very good teacher.

Barre Chord You play the barre chord with your finger bones, not with the soft finger flesh

that you use when soloing, so the palm will be slightly turned outwards, not

perpendicular on the fret board. Try also to play small barre - covering only

the 3 high strings. Always check the sound of each string. Play the easiest

chords at first (E-shape is easier than Em-shape, maybe the easiest shape).

There has never been a student who didn't overcome this problem in twoweeks at most.

ScalesYou simply can't memorize

the scale patterns.

Begin with the Box Position, a logical sequence of patterns, starting with the

easiest to remember, then learn the others in the order of the scales featured

on the page. You can play a scale tens of times in 10 minutes, if you'll follow

the schedule you'll memorize the scales for sure.

No Speed

You can't reach the speed

of your favourite players,

somehow you get stuck.

The secret of speed is to play as lightly as the phrasing allows it. Keep the

fingers of your left hand as close as possible to the fingerboard, don't make

big moves with your right, use only the tip of the pick. Of course, speed

comes with time. While practicing Gym and Chops, increase the speed

gradually. There is a certain "speed barrier" that disappears suddenly, of

course if you practice enough.

Same licks

You think you improvise

but you play the same licks

again and again.

Learn as many chops as you can, learn other's solos, make phrasing exercises

and: try to think a step forward - it means that, while you're playing, figure

out what's the next step, what's the next musical sentence.

Pains

Before seeing a doctor, do the hardest thing: take a break of one or two days.

While practicing, always have short breaks any 15 - 20 minutes, stop

immediately if you feel the slightest pain and never play licks or chords that

twist your palm in a strange way (tabs often contain errors).

Standard

Notation

You just can't remember

where the notes are.

Remember that the notes between the lines are F-A-C-E, they form the word

"FACE", then the notes go in alphabetical order (for instance, between A and

C - you'll find B, between C and E - you'll find D) from A to G (therefore,

between F and A - you'll find G)

No ProgressYour playing seems to go

nowhere.Try the schedule.

The Sound

Stinks

You have to locate the problem. Is it the guitar, the amp or your way of

playing? If you don't like the gear - buy something else but this time, be sure

you buy the right instruments to get that sound you have in mind. If it's your

playing, try to play softer or closer to the neck, apply finger vibrato and don't

forget: it takes a lot of time to get a good sound.

No Feeling

You play like a Midi File,

you may be accurate but

your music doesn't raise

any interest.

Play the same exercise with different feelings, not only glad and sad but also

frightened, laughable, tenderly, etc. Your solo must tell a story. It's all about

phrasing.


11/21

Jam sessions are the way to do this. This is when musicians get together and just... well, jam.

Someone starts a groove, a lick, or a melody and the rest of the musicians are inspired and pick it

up - letting the music take them wherever it wants to go.

Being a musician requires two things : head and soul. Most musicians have either a lot of the oneand too little of the other. Musicians with a lot of 'head' know all the technical aspects of music -

what mode to play when, which notes work best over which chord progressions, what kind of

groove is good for a specific time signature etc. Musicians ought to know these things. But

musicians that are on this side of the scale tend to lack a serious amount of creativity - they live in

the box, and music is supposed to be about breaking free from the box.

The other type of musician - the one with a lot of soul - is usually the kind of musician with a lot of

natural talent. He can play a groove well, or can easily pick up notes with his ear and play them. He

is very creative, but has no idea how to actually structure that creativity in an effective way.

Usually, he is the 'misunderstood' musician - he struggles to work with others, and tends to feel

frustrated with them. The truth is that he is less of a musician if he can't work with others, andneeds to learn how.

To be a fantastic musician, is to be a well rounded musician. This is why jam sessions are so

important - they help a musician to acquire the skills that he lacks. A musician with a lot of soul

learns how to structure his talent into a song, learning when to play and when not to play. A

musician with a lot of 'head' and technical knowledge learns how to break free from his box a little

and just let his creativity take over. This is why band's should jam, and to jam A LOT. They learn

each other's (and their own) strengths, weaknesses, and learn how to 'play off' each other and

inspire each other. Many a fantastic song has been written out of a jam session. Take for instance

U2's "Pride (in the name of love)" - that song was written in a jam session during a sound check.

U2 is a good example of a band that writes their albums from jam sessions - that's when the

creativity is flowing.

Jam sessions teach musicians a number of things :

1) Songwriting - which we've discussed above.

2) Groove. A lot of technical guitarists or even drummers lack groove, which is a very bad

weakness. When a jam session is going, the subtle difference between groove and sound starts to

become evident. Also, it's helpful to jam with a metronome, as it can help all the musicians to learn

how to keep their rhythm in time - even if only the drummer jams with a metronome.

3) Tone. Not just guitarists need to worry - or get excited - about tone. All the musicians, including

the singer and the drummer, learn during a jam session how to tweak their ear to the subtle

frequencies going on, and adjust their tone to fill in the gaps that are missing, and complement the

other instruments.

4) Dynamics. To know when to play, and when not to play! Many great musicians have said that it's

not so much what you put in, but what you leave out, that makes a great song.

5) Using your skill tastefully. Shredding the guitar at breakneck speeds are fantastic to look at, but

if every song has that kind of solo, it gets boring very quickly. In Jam sessions, you learn melodyand note-placing very easy, so that when you break out into a lightning speed solo it's tasteful more


12/21

than just plain showmanship.

The benefit from jam sessions cannot be understated - and once you start them, you will soon find

out that they're way more fun than just going over the arrangements of a song over and over again.

Jam sessions also improve your confidence - both as a musician and as a band - preparing you for

the live performance, and allowing you to relax into your instrument.

The Link between Practising and Performing

A perception exists that performing and practicing music are two different activities. It is true that

learning the basics of music is an exercise which is highly important and without this, true

performing can not be undertaken to the highest ability. However, the relationship between

performing and practicing is deeply intertwined and at a certain level the distinction between thetwo virtually disappears.

At a certain stage in an individuals musical career, practicing morphs rather than using them as a

learning experience will prepare the performer for the performance. It is at this point, that

performing becomes a larger learning experience.

There are countless reasons for this. One reason is that the aspect of performing will give the

performer a great energy kick that is experienced when performing to a live audience. The

performer can feel the energy of the audience, which enables the performer to reach new heights of

artistic achievement.

Once the performer has experienced the thrill of performing for a live audience, that thrill then

becomes apparent in every practice session which follows and the energy of the live performance.

The true aim of developing mechanical and musical ability will become evident and the focus in

practice sessions will be changed. It is at this point that performing really becomes the true learning

experience and every practice session becomes preparation to concentrate and enhance that

experience. This will certainly mark the difference between musician and artist.

The artists will easily find new ways in which to practice and bring live performances closer to the

pure pleasure of musical expressions in every way. The performer will bring different and assorted

disciplines such as psychology, exercise kinesiology and acoustics along with other artistic

disciplines such as theatre and dance into the practice session in order to develop new areas ofexperimentation.

By doing this the artist-musician will achieve greater control of the instrument in which they are

playing when it comes to their overall performance. The artist will also find new ideas and ways of

practicing. There will be a gradual transformation of the musician in a creative and fulfilling way

so that it optimizes the live performances before an audience.

The true transformation from musician to artist is this, and during this combination the artist will

surely be able to develop and find personal, unique and creative techniques of expression. As this

improves, the artist will become to realize that concentration is largely improved along with ease of

performance and a greater synchronicity of body, mind and "soul" as professional musicians liketo call it.


13/21

To some individuals, this may sound complicated. However, music is something which an artist

enjoys. Practicing is in effect, playing music, which a musician should always enjoy for his own

personal sake. Practicing will transform into a more rewarding and fulfilling experience and one of

the most important steps in reaching such heights of artistic achievement will be reached.

Screaming Fingers!

While it's true a good guitarist has to have a little inherent talent, almost anyone can condition

themselves to have the screaming fingers of a pro. It takes knowledge, time and practice. Let's put

some serious emphasis on that last one - practice!

Screaming fingers are made, they're not born. Even if you have an ear for music, a natural talent to

pick out notes, there's no skimping on the need for practice to train fingers to go where they belong

on a guitar - or any finger manipulated instrument for that matter.

To get started on the way to having screaming fingers, serious players recommend:

* Learning the guitar well. Your fingers can't go where you need them to if you don't know where

they really belong. This means you have to learn the guitar, its parts and its notes and chords

before you can even begin to have screaming fingers. Sure, you might be able to play fast, but if it

sounds awful, you haven't accomplished much!

* Take lessons. This goes along well with the first point, but it can't be stated enough. If you want to

learn the instrument correctly and progress with a fair amount of speed, lessons are invaluable.

Whether in person, from a book or online, get the basics down with some instruction and you'll be

well on your way to playing better.

* Find some fingering exercises that work for you. This means practicing different chords to find

the ones that challenge your fingers the most. The idea is to learn these buy route so making the

right sounds comes almost as second nature. You should have to think or look to get the job done.

* Condition your fingers. Many guitarists perform simple finger exercises even away from the

guitar to keep their fingers fast, nimble and accurate. Whether it's finger lifts, typing or something

else, anything that keeps those fingers a flyin' is good!

* Repetition. In order to truly have screaming fingers, repetition is an absolute must. You need to

learn to play well, not only fast. This means practicing over and over again until you can play a

piece in your sleep. It might seem boring, but the result will be worth the monotony. Remember,

the world's best guitarists didn't become so over night.

It might take some time, blood, sweat and tears, but if the desired outcome is screaming fingers, the

results should be worth the effort. There are many things you can do to assist in meeting the goal,

including taking lessons, practicing whenever possible and even just making a determination to

stick with it.

Many, who seek to play the guitar well, give up because it's not the easiest instrument in the world

to learn. But the truth is, almost anyone can play if they put their mind to the pursuit and put in the


14/21

time to learn correctly and practice. Don't expect instant gratification, and do reward yourself

when things click and you should find that screaming fingers are within grasp.

Introduction to Jazz

Presented here are most of the common jazz chord shapes (grips) for guitar. Of course there aremany more and they will be covered later - but for now get started with these...

These shapes, like the ones before and all those to come need to MEMORIZED. This is very

important. Make a Mental Chord Dictionary in your head to store all these new shapes (make sure

you also remember which note is the root note).

Remember that when I explain notes I sometimes use - 6:3 - which means string:fret.

Video lesson as usual is at the bottom of this page.

Major 7

Major 7th chords are the first chords that we will learn. They sound very jazzy and are very hip.

Below are two examples of how to play a Maj 7 chords (Maj 7 chords are also denoted with a

triangle, but I can't make the computer do that, so I'll use Maj 7).

Note that I have given you two grips (chord shapes), one with a 6th string root and one with a 5th

string root. As you should know, what ever note you put the root note on is the name of the chord.

For example, if you put the root note from the first shape at the 3rd fret then it would be a G Maj 7

because the note on the 6th string, 3rd fret (6:3) is G. If you moved the same shape to the 6th fret

root the chord would be Bb, because the note at 6:6 is Bb. Got it? I hope so.

Note also that in the first shape you should mute out the 5th string with the inside of your first

finger and the 1st string with any available finger or hand part. On the second shape the 6th string

should be muted with the end of your first finger.

Minor 7

The concept of the moving root note thing is the same for EVERY CHORD SHAPE THAT DOES

NOT USE OPEN STRINGS, including these min 7th chords (Minor is also noted as a dash (-), i.e.


15/21

Amin7 could be written A-7).

Note that the 5th string in the first grip should be muted by the second finger. In the second grip

the tip of your first finger should mute the 6th string. This is quite common and you should try to

do this naturally when you have a 5th string root note.

Dominant 7 - E Shape

Dominant 7th chords are usually just written as 7, the dominant word is left out. Practice these as

you have the shapes before.

Minor 7 b5

Minor 7b5 chords (pronounced minor seventh flat five) are also called half diminished. There are

several ways of notating these chords. The most common are min7b5, -7b5 or a circle with a line

through it (the circle indicates diminished, cut in half with the line).

Note again the use of muting, the first shape using the 2nd finger to mute the 5th string, and the

first finger to mute the 1st string. The second shape uses the tip of the first finger to mute the 6th

string and the fourth finger to mute the 1st string.

Diminished 7

Diminished chords are either written as dim or as a circle. They are a very interesting chord and I

will explain their tricks in another lesson but the big idea is that every note is a root note, so as long

as the note that you want is under one of your fingers, you have the right chord.

Using the example below with the root note on the 5th string, put at the second fret, you have the

notes x, B, F, Ab/G#, D, x (x being a string that is not played). This chord is all of those diminished

chords, so could be called B dim, F dim, Ab dim or D dim!!! It is quite common to use the lowest

note (in this case on the 5th string) as the root note for your mental dictionary, and just know that

they have some tricks.

You will also find that you can move the shape up or down in minor 3rd intervals (3 frets, 2nd fretto 5th fret to 8th fret etc.) , and the notes will stay the same but they will move strings. Sound

complicated? It is a pretty confusing concept unless you Know Where The Notes Are If you move

the below example up 3 frets, putting the 5th string root note at the fifth fret, you get the notes D,

G#/Ab, B and F. The same as before but in a different order.

Hope you enjoy them - well worth checking out some CD's that contain these tracks so you knowhow they sound. No good trying to play jazz if you don't know what jazz sounds like!!!


16/21


17/21


18/21


19/21


20/21

Misty


21/21

exercises n stuff

Documents