gtc150. guitar practice plan.pdf

Your Ultimate Practice

Plan

Play better with...

Play: All Styles ON THE CD Tracks 4-12

16 GuitarTechniques April 2008

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…

Your Ultimate Practice Plan...

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 defi nes 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 fi 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

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

Music’s like dinner – you do it a bite at a time Phil Hilborne

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 fi ngering 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 DOWNIt 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

From 1 to 5

Will improve your: Technical ability

Theory knowledge

Musical discipline

ABILITY RATING

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 fi ne in priciple, in reality it‘s not much help when

Are you sitting comfortably?

EXAMPLE 1 PICKING

Ê

Play: All Styles

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 these elements and expands into something much more complex, but

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.

ON THE CD Track 5

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GUITAR TECHNIQUES MAGAZINE 150 John Wheatcroft - Practise Examples

SECTION 1 : PICKING

A word on how this lesson works. The fi rst fi ve studies all take one specifi c technique or concept, selected in order to provide a balanced range of skills. We then work through fi 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 specifi c disciplines in the minimum of time - with the maximum results. Ready? Then let’s go!

April 2008 GuitarTechniques 17

practice pathway back on track.Obviously this time does not

include getting the guitar out of the case, fi 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 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 fi gure 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

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 defi nitely be longer, just because my experience means I’m more aware of the infi nite possibilities music has to offer. It’s a constant work in progress, so surrender to this marvellous piece of information and enjoy the journey…

APPROACHING A NEW PIECEWhen 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 specifi c 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 specifi c lick, maybe it’s because something else has been

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

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 fi nd that two weeks later they can’t remember a single thing knows this is true!

WHEATCROFT’S WAYMy philosophy regarding practice breaks down into three main areas. The fi rst 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, fl uency, dynamic articulation, fl 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 ‘fi re-fi ghting’ - putting out any potentially disastrous ‘fl are-ups’ as and when they occur. GT

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

And when your session is over, relax!

EXAMPLE 1 PICKING ...CONTINUED ON THE CD Track 5

Play: All Styles

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SECTION 1 : PICKING

Our second study is more conceptual in nature, allowing you to develop the essential skill of chord-tone and melodic fi gure association. This skill allows players such as Eric Clapton to clearly outline harmonic changes whilst soloing, without the clutter

associated with learning lots of scales. All of our examples relate to the fi ve CAGED dominant 7th chords, and culminate in a tasty blues turnaround idea that spells the chords out perfectly, logically and with great ease.

EXAMPLE 2 PHRASING WITH CHORD TONES ON THE CD Track 6

& 4

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SECTION 2 : PHRASING WITH CHORD TONES

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EXAMPLE 2 PHRASING WITH CHORD TONES ...CONT.

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Play: All Styles

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3

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88

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BU( )

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3

œn

BU( )

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F7

9 108 10

9 1010

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Moveable 'C' form

BU

( )

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j

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108

10 710 8 9

812

2 xxxxxxxxxx


&

EBGDAE

j

œb

3

œn

Fig 2.5: Blues V VI I ending lick

Moveable 'A' form

( )BU

œ œj

œb

3

œn

( )BU

œ

œ

J

œ

‰

j

œb

3

œ œbœ

G7

11 1210 12

11 1212

1210

14 13 1112

j

œ

3

œb

Moveable 'G' form

( )BU

œ œ

3

œb œb œn

3

œ

œ

œ œ

'

'

1/4

1/4

F7

10 11 1013 11 10

1310

13 119

&

EBGDAE

j

œ

3

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Moveable 'D' form

( )BU

œ œb

3

œnœ

œ

3

œb

Moveable 'E' form

j

œb œ œb

j

œ

3

œnœn

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C7

13 15 13 11 1211

11 10 8 8 98

813

12

œb œ

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3 xxxxxx

& 4

4

EBGDAE

˙

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©»¡ºº

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˙

˙˙

˙

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'D' form

C7

8898108

12111210

˙˙

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'C' form

˙˙

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313 515 314 515 3

˙

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Ó

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w

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3

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BU( )

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3

œnœ

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13 15 13 11 1213

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C7

13151415

&

EBGDAE

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( )

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3

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13 1315 17 1512

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9 108 10

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10 710 8 9

812

2 xxxxxxxxxx


& 4

4

EBGDAE

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313 515 314 515 3

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3

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BU( )

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3

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2 xxxxxxxxxx


ON THE CD Track 6


It’s country madness next with a fi ve-point plan to develop your hybrid picking technique. By now you’ll have fi gured 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

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.

EXAMPLE 3 HYBRID PICKING ON THE CD Track 7

Play: All Styles

& 4

4

EBGDAE

œ

©»¡ºº

SECTION 3 : HYBRID PICKING

Fig 3.1a: Basic cell (1 finger)

œœœœœœœ

C

≥ m ≥ m ≥ m ≥ m

109

109

109

109

3

œ

Fig 3.1b: Basic cell (2 fingers)

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3

œœœ

3

œœœ

3

œœœ

≥ m a ≥ m a ≥ m a ≥ m a

109

810

98

109

810

98

œ

Fig 3.1c: Fwd/Rvs (2 fingers)

œœœœœœœœœœœœœœœ

≥ m a m ≥ m a m ≥ m a m ≥ m a m

109

89

109

89

109

89

109

89

&

EBGDAE

œ

Fig 3.2: Basic I IV V sequence plus hammer on

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œ

œœ

œ

œ œœœ

œ

œœ

œ

C

≥ m≥ a ≥m a etc

0 20

2

12

01

0 20

2

12

01

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œ

œ œ

œ

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œ

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Fadd9

2 30

3

13

01

2 30

3

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01

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3 3 3 30 0 0 0

4 5 5 5 4 5 5 5

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œ

œœ

œ

œ œœœ

œ

C

1 1 10 0 0

0 2 2 2 0 2 2

&

EBGDAE

œ

Fig 3.3: Scales with hybrid picking and open strings

C major scale

œ œœ œœ œœ ˙

≥ m ≥ m a ≥ a ≥

00 5

0 3 73 7

œ

G Mixolydian

œ œœ œœ œœ œœ œœ œœ œ

≥ m ≥ m a ≥ m a ≥ a ≥ m a ≥ m

0 30 3 6

0 50 3 7

0 3 73 7

œ

A Aeolian


m ≥ m ≥ m ≥ a ≥ a ≥ m

0 50 6 8

0 5 70 7

0 7 87 8

&

.

.....

.

.

EBGDAE

6

œ

Fig 3.4a: Rock triad with hybrid picking

.

.

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œ

œœ

6

œœœ

œ

œœ

6

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œ

œœ

6

œœœ

œ

œœ

.

.

C

≥ m a ≥ etc

32 5

55 2

32 5

55 2

32 5

55 2

32 5

55 2

6

œ

Fig 3.4b: Rock 7th triad with hybrid picking

.

.

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6

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6

œ

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6

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.

.

C

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32 5

55 2

45 2

32 5

55 2

45 2

32 5

55 2

&

EBGDAE

œ

Fig 3.5: Country hybrid picked line with open strings

œ œœ œ

œ œb œnœ œ

œ œœ œ

œC

≥ m ≥ m a ≥ m a ≥ m a ≥ m ≥ m

30 3

0 30 3

0 3 76 10

57

7

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j

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( )

BU

m ≥ a ≥ m ≥ a

00 7 7 9

7 10 1010

4 xxxxxxxxxx


Hammer-ons and tapping are the order of the day for study number 4. Initially it’s fretting-hand only, picking the fi rst note on each new string. Before long though we’re incorporating two picking-hand taps. Try using your ‘m’ and ‘a’ fi ngers so you keep the pick between

thumb and fi rst fi nger. We’re simplifying the tapping element for our fi 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.

EXAMPLE 4 SLURS AND HAMMER-ONS

Ê

Play: All Styles

& 4

4

EBGDAE

5

œ

SECTION 4 : SLURS/TAPPINGFig 4.1a: Basic legato cell

œœ œœ

5

œœœ œœ

5

œœœ œœ

5

œœœ œœ

C/Am

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

5

œ

Fig 4.1b: Basic cell moved across string

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5

œœœ œœ

5

œœœ œœ

5

œœœ œœ

9 12 9 10 129 12 9 10 12

9 12 9 10 129 12 9 10 12

&

EBGDAE

5

œ

Fig 4.2: Basic cell with string skips

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5

œœœ œœ

5

œœœ œœ

5

œœœ œœ

C/Am

8 12 8 10 12

9 12 9 10 128 12 8 10 12

9 9 1012 12

5

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5

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5

œœœ œœ

5

œœœ œœ

9 12 9 10 12

8 12 8 10 128 12 8 10 12

9 12 9 10 12

&

EBGDAE

6

œL

L

Fig 4.3: Basic cell with second and third finger taps

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œ œL

L

œL

L

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L

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6

œ

L

Lœœœ œ

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m m a m m m a m

14 9 12 9 10 12 14 15 14 12 10 9 10 12 14 9 12 9 10 12 14 15 14 12 10 9 10 12

&

EBGDAE

6

œ

L

L

Fig 4.4: String skips in octaves

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L

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L

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L

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6

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L

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17 10 14 10 12 14 17 19 17 14 12 10 12 14

15 8 12 8 10 12 15 17 15 12 10 8 10 12

&

EBGDAE

6

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15 8 12 8 10 12 15 17 15 12 10 8 10 12

17 10 14 10 12 14 17 19 17 14 12 10 12 14

5 xxxxxx

&

EBGDAE

6

œL

L

Fig 4.5: Harmonised sequence with string skip tapping

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6

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6

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6 xxxxxxxxxx

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4

EBGDAE

5

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5

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&

EBGDAE

5

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C/Am

8 12 8 10 12

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5

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5

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5

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9 12 9 10 12

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&

EBGDAE

6

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C/Am

m m a m m m a m

14 9 12 9 10 12 14 15 14 12 10 9 10 12 14 9 12 9 10 12 14 15 14 12 10 9 10 12

&

EBGDAE

6

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C/Am

17 10 14 10 12 14 17 19 17 14 12 10 12 14

15 8 12 8 10 12 15 17 15 12 10 8 10 12

&

EBGDAE

6

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15 8 12 8 10 12 15 17 15 12 10 8 10 12

17 10 14 10 12 14 17 19 17 14 12 10 12 14

5 xxxxxx

& 4

4

EBGDAE

5

œ


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5

œœœ œœ

5

œœœ œœ

5

œœœ œœ

C/Am

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

5

œ


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5

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5

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5

œœœ œœ

9 12 9 10 129 12 9 10 12

9 12 9 10 129 12 9 10 12

&

EBGDAE

5

œ


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5

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5

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5

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C/Am

8 12 8 10 12

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9 9 1012 12

5

œœœ œœ

5

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5

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5

œœœ œœ

9 12 9 10 12

8 12 8 10 128 12 8 10 12

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&

EBGDAE

6

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L


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6

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C/Am

m m a m m m a m

14 9 12 9 10 12 14 15 14 12 10 9 10 12 14 9 12 9 10 12 14 15 14 12 10 9 10 12

&

EBGDAE

6

œ

L

L


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L

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6

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L

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C/Am

17 10 14 10 12 14 17 19 17 14 12 10 12 14

15 8 12 8 10 12 15 17 15 12 10 8 10 12

&

EBGDAE

6

œ

L

Lœœœ œ

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L

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L

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6

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L

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L

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L

L œ

L

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œ

15 8 12 8 10 12 15 17 15 12 10 8 10 12

17 10 14 10 12 14 17 19 17 14 12 10 12 14

5 xxxxxx

& 4

4

EBGDAE

5

œ


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5

œœœ œœ

5

œœœ œœ

5

œœœ œœ

C/Am

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

5

œ


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5

œœœ œœ

5

œœœ œœ

5

œœœ œœ

9 12 9 10 129 12 9 10 12

9 12 9 10 129 12 9 10 12

&

EBGDAE

5

œ


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5

œœœ œœ

5

œœœ œœ

5

œœœ œœ

C/Am

8 12 8 10 12

9 12 9 10 128 12 8 10 12

9 9 1012 12

5

œœœ œœ

5

œœœ œœ

5

œœœ œœ

5

œœœ œœ

9 12 9 10 12

8 12 8 10 128 12 8 10 12

9 12 9 10 12

&

EBGDAE

6

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L


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L

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L

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L

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6

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L

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L

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L

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C/Am

m m a m m m a m

14 9 12 9 10 12 14 15 14 12 10 9 10 12 14 9 12 9 10 12 14 15 14 12 10 9 10 12

&

EBGDAE

6

œ

L

L


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L

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L

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L

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6

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L

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C/Am

17 10 14 10 12 14 17 19 17 14 12 10 12 14

15 8 12 8 10 12 15 17 15 12 10 8 10 12

&

EBGDAE

6

œ

L

Lœœœ œ

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L

L œ

L

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6

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œ

15 8 12 8 10 12 15 17 15 12 10 8 10 12

17 10 14 10 12 14 17 19 17 14 12 10 12 14

5 xxxxxx

& 4

4

EBGDAE

5

œ


œœ œœ

5

œœœ œœ

5

œœœ œœ

5

œœœ œœ

C/Am

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

5

œ


œœ œœ

5

œœœ œœ

5

œœœ œœ

5

œœœ œœ

9 12 9 10 129 12 9 10 12

9 12 9 10 129 12 9 10 12

&

EBGDAE

5

œ


œœ œœ

5

œœœ œœ

5

œœœ œœ

5

œœœ œœ

C/Am

8 12 8 10 12

9 12 9 10 128 12 8 10 12

9 9 1012 12

5

œœœ œœ

5

œœœ œœ

5

œœœ œœ

5

œœœ œœ

9 12 9 10 12

8 12 8 10 128 12 8 10 12

9 12 9 10 12

&

EBGDAE

6

œL

L


œœœ œ

œ œL

L

œL

L

œL

L

œ œ œ œœ

6

œ

L

Lœœœ œ

œ œL

L

œL

L

œL

L

œ œ œ œœ

C/Am

m m a m m m a m

14 9 12 9 10 12 14 15 14 12 10 9 10 12 14 9 12 9 10 12 14 15 14 12 10 9 10 12

&

EBGDAE

6

œ

L

L


œœœ œ

œœL

L

œL

L

œL

L

œ œ œ œœ

6

œL

L

œœœ œ

œœL

L

œL

L

œL

L

œ œ œ œœ

C/Am

17 10 14 10 12 14 17 19 17 14 12 10 12 14

15 8 12 8 10 12 15 17 15 12 10 8 10 12

&

EBGDAE

6

œ

L

Lœœœ œ

œœ

L

L œ

L

Lœ

L

Lœ œ œ œ

œ

6

œ

L

Lœœœ œ

œœ

L

L œ

L

L œ

L

Lœ œ œ œ

œ

15 8 12 8 10 12 15 17 15 12 10 8 10 12

17 10 14 10 12 14 17 19 17 14 12 10 12 14

5 xxxxxx

ON THE CD Track 8


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

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

EXAMPLE 5 THUMBPICK ON THE CD Track 9

Play: All Styles

&

#

#

#

#

4

4 ....

.

...

.

.

EBGDAE

∑

Fig 5.1a: Basic Pattern

Palm mute bassthroughout

.

.

©»¡ºº SwingE

œ

œ

œ

œ

02

02

w

Fig 5.1b: Elementary melody

.

.

E

œ

œ

œ

œ

0

02

02

∑

.

.

œ

œ

œ

œ

02

02

w

Fig 5.1c: Expanded melody

.

.

E

œ

œ

œ

œ

0

02

02

w

.

.

œ

œ

œ

œ

0

02

02

&

#

#

#

# ..

.

...

.

...

.

...

.

...

.

.

EBGDAE

‰

j

œ

Fig 5.2a: Syncopated melody

.

.

.˙

E

œ

œ

œ

œ

0

02

02

‰

j

œ .˙

.

.

œ

œ

œ

œ

0

02

02

˙

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

.

.

˙

E

œ

œ

œ

œ

00

02

02

˙

˙

.

.

œ

œ

œ

œ

00

02

02

.œ

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

.

.

j

œ ˙

.

.

E

œ

œ

œ

œ

00

02

02

.œ

.

.

j

œ ˙

.

.

A

œ

œ

œ

œ

02

02

02

.œ

.

.

j

œ ˙

.

.

B

œœœœ

00

21

21

&

#

#

#

# ..

.

...

.

...

.

...

.

.

EBGDAE

Œ

œ

Fig 5.4a-5.4c: Expanded melody examples

.

.

‰ œ œœ

.

.

E

œ

œ

œ

œ

00 2

0

02

02

˙n

.

.

˙

E

œ

œ

œ

œ

3 2

02

02

˙ ˙

.

.

œ

œ

œ

œ

0 2

02

02

œn

.

.

œ œ

œ œ

.

.

E

œ

œ

œ

œ

3 2 00

02

02

∑

Fig 5.4d: Bass-line variation

.

.

.

.

œ

œ

œ

œ

02

22

&

#

#

#

#

4

4

EBGDAE

Œ

.˙

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

Palm mute bassthroughout

E

œ

œ

œ

œ

0

02

02

.œj

œ ˙

œ

œ

œ

œ

00

02

02

œn œ œ

œ œ

œ

œ

œ

œ

3 2 00

02

02

Œ

œ

‰ œ œœ

œ

œ

œ

œ

00 2

0

02

02

Œ

.˙

A

œ

œ

œ

œ

0

02

02

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j

œn ˙

œ

œ

œ

œ

0 3

02

02

&

#

#

#

#

EBGDAE

œn œ œ

œ œ

E

œ

œ

œ

œ

3 2 00

02

02

Œ

œ

‰ œ œœ

œ

œ

œ

œ

00 2

0

02

02

Œ

œn

j

œ .œ

B

œœœœ

3 2 0

21

21

œn œ œ œ

œ œœ

œœœœ

3 2 00 2

0

21

21

Œ

œ

‰ œ œœ

E

œ

œ

œ

œ

00 2

0

02

02

Ó

˙

˙

˙

˙

˙

E6/9

˙ ˙

1212111111

0 0

GUITAR TECHNIQUES MAGAZINE 150 John Wheatcroft - Practise Example 5 SECTION 5 : THUMBPICK/FINGERSTYLE


This example will test how well you have absorbed a musical device, concept or technique. We know the story: you’ve put the hours in and are feeling rather smug; you go out to gig or jam with friends and none of the stuff you’ve worked on comes out! Well, help is at hand. The trick is to make your practice and performance line up. Your task is simply to play on your own, establish a groove, feel, key and style, decide upon how long the soloing gap is going to be and go for it. If

you lose the rhythm, mess up or come back in the wrong place or key then more work is needed. If all goes well then put your new skills to the test by creating as many variations as you can, mixing techniques, fretboard positions etc. Next time you play for real you should have a far better command of vocabulary you know that you can actually get to it on demand. On the GTCD I played all the examples and just improvised a couple of things to show you how things may turn out.

EXAMPLE 6 THE IMPROVISATION ACID TEST

Ê

Play: All Styles

& 4

4 ..

.

.

EBGDAE

œ

œ

.

.

(

(

)

)

( )( )

Possibly miss on repeats

Fig 6.1: Blues-style vamp

©»¡ºº Shuffle

SECTION 6 : IMPROVISATION 'ACID-TEST'

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

G7

53

53

73

73

53

53

73

73

œ

œ

.

.

Œ Ó

Insert fill here (Mixolydian/Blues)

53

&

.

...

EBGDAE

œ

.

.

©»¡ºº Straight

Fig 6.2: Maiden-style rock vamp

œ œ

œ

œ

œ œ

œ

œ

œ

œ

œ œ œ

A5 G5/A

9 9 77 7 7

0 0 0 0 0 0 0 0

œ

œ

‰

J

œ

œ

œ

œ

.

.

Œ

F5 G5

53 5

7

∑ ∑

Insert fill here (Aeolian/Minor Pentatonic)

&

.

...

EBGDAE

œœ

œ

œ

œ

.

.

.

©»¡§º Swing

Fig 6.3: Swing-style minor vamp

‰

J

œœ

œ

œ

œ

Ó

Dm11 Em11

56555

78777

œœ

œ

œ

œ

.

‰

J

œœ

œ

œ

œ

Œ .

J

œœ

œ

œ

œ

.

.

.Dm11 Em11 Dm11

56555

78777

56555

∑ ∑

Insert fill here (Dorian/Melodic minor)

&

.

...

EBGDAE

‰

©»•º

œ

œœ

.

.

.

Straight

Fig 6.4: Reggae -style major vamp

œ

œœ

.

‰

œ

œœ

.œ

œœ

.

‰

œ

œœ

.œ

œœ

.

‰

œ

œœ

.œ

œœ

.C

889

889

889

889

889

889

889

889

‰

œœœ

.œœœ

.

‰

œœœ

.œœœ

.

‰

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œ

.œœ

œ

.

‰

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œ

.œœ

œ

.

.

.

F G

81010

81010

81010

81010

787

787

787

787

∑

C

∑

Insert fill here (Major scale/Triad arpeggios)

F G

&

.

...

EBGDAE

œ

.

.

Fig 6.5: Funk -style single note riff

©»•• Straight

œbœœb œ œn œb

œ

‰ .j˚

œœœ

œb

œ

C7

10 810 6 7 6

810

810

88

œ

œ

.

.

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

‰ Œ Ó

10

8

GUITAR TECHNIQUES MAGAZINE Practice (Section 6 - 8) - John Wheatcroft

ON THE CD Track 10


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 defi ning the octave points - the crucial landmarks of any scale, arpeggio or chord. Once you’ve worked through these examples repeat the procedure with any

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!

EXAMPLE 7 FRETBOARD FLUENCY ON THE CD Track 11

Play: All Styles

& 4

4

EBGDAE

œ

Fig 7.1a: Basic octave definitions

©»¡ºº

SECTION 7 : FRETBOARD

œ

œ

œ

Am

5

2

57

œ

Fig7.1b: Rvs cell

œ œœœ œ

œ

Am7/11

53 5

2 52

5

œ

Fig7.1c: Fwd cell

œ œœœ œ

œ

Am7/11

5 85 7

5 7

5

&

EBGDAE

œ

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

Moveable 'Em' form

œ

œ œ

œœ

œœ

œ

Am7

57

5 555575

œœ œœœ œ

œ

5 85 7

5 7

5

œœ œœœ œ

œ

75 7

5 85

7

œ

Moveable 'Dm' form

œ˙

˙˙

˙

710

8897

œœ œœœ œ

œ

7 107 9

8 10

7

&

EBGDAE

œ

Moveable 'Cm' form

œ˙

˙

˙˙

12

10 13121012

œœ œ

œœ œ

œ

1210 12

9 1210

12

œ

Moveable 'Am' form

œ

˙˙

˙˙

˙

1214

1213121412

œœ œ

œœ œ

œ

12 1512 14

12 14

12

&

EBGDAE

œ

Moveable 'Gm' form

œ

œ œ

œœ

œ

œ

17

1417 17

171717

17

œœ œ

œœ œ

œ

1715 17

14 1714

17

œœ œ

œœ œ

œ

14 1715 17

15 17

14

&

EBGDAE

œ

Fig 7.3: Continuous scale exercise

Moveable 'Gm' form

œ œœœ œœ

œ œ

Moveable 'Em' form

œ œœœ œœ

œ

53 5

2 52 5

55

55 8

8 87

7

œ

Moveable 'Dm' form

œœ œ œ

œ œ

œœ

Moveable 'Cm' form

œ œœœ œœ

œ

10 89 7

10 710

10 109

10 1312 12

1212

2 Practice (Section 6 - 8)


EXAMPLE 7 FRETBOARD FLUENCY ...CONTINUED

Ê

Play: All Styles

&

EBGDAE

œ

Moveable 'Am' form

œœ œ œ

œ œ

œœ

Moveable 'Gm' form

œ œœœ œ

œ

œ

14 1214 12

15 1215

15 12 1512 14

12 1413

12

w

19

&

EBGDAE

œ

Fig 7.4a: 8ve defs in 5 keys/forms (1 Area: Ascending 4ths)

œ

œ

œ

œ

E A

7

5

57

5

œ

œ

œ

œ

D G

57

58

œ

œ

œ

Ó

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

C

8

58

&

EBGDAE

3

œ

Moveable 'Cm' form

Fig 7.4b: Complete shapes in 5 keys/forms (1 Area: Ascending 4ths)

œœ

3

œœ œ

3

œœ œ

3

œ œœ

Em7/11

5 75 7

5 74 7

5 85 7

3

œ

Moveable 'Em' form

œ œ

3

œ œ œ

3

œ œœ

3

œ œœ

Am7/11

8 58 5

7 57 5

7 58 5

3

œ

Moveable 'Am' form

œ œ

3

œ œœ

3

œ œœ

3

œ œœ

Dm7/11

5 85 8

5 75 7

6 85 8

&

EBGDAE

3

œ œbœ

3

œœ œ

3

œbœ œ

3

œ œ œb

Gm7/11

8 68 6

7 58 5

8 58 6

3

œb


œœb

3

œ œœb

3

œœb œ

3

œœb œ

Cm7/11

6 86 8

5 85 8

6 86 8

&

EBGDAE

~~

~~

~~

~~

~~

~~

~~

~~

.œ

Fig 7.5: Fusion lines through non-diatonic modal progression Am7-Cm7

œ

œ

œ œ œœ œ

Am7

5 58

85

8 57

œb

œb œ œ ‰ œ

œ

Cm7

88 8

58

œ œ œœ ≈œ œœ œ≈ œ œ œœ œ

≈

Am7

57 5

77 5

7 55

7 57 5

œ œ

œ œbœ œ œ œ

œbœ

œ

œ

Cm7

8 88 6

58 8

8 55

6

3 Practice (Section 6 - 8) ON THE CD Track 11

&

EBGDAE

œ

Moveable 'Am' form

œœ œ œ

œ œ

œœ

Moveable 'Gm' form

œ œœœ œ

œ

œ

14 1214 12

15 1215

15 12 1512 14

12 1413

12

w

19

&

EBGDAE

œ


œ

œ

œ

œ

E A

7

5

57

5

œ

œ

œ

œ

D G

57

58

œ

œ

œ

Ó


C

8

58

&

EBGDAE

3

œ

Moveable 'Cm' form


œœ

3

œœ œ

3

œœ œ

3

œ œœ

Em7/11

5 75 7

5 74 7

5 85 7

3

œ

Moveable 'Em' form

œ œ

3

œ œ œ

3

œ œœ

3

œ œœ

Am7/11

8 58 5

7 57 5

7 58 5

3

œ

Moveable 'Am' form

œ œ

3

œ œœ

3

œ œœ

3

œ œœ

Dm7/11

5 85 8

5 75 7

6 85 8

&

EBGDAE

3

œ œbœ

3

œœ œ

3

œbœ œ

3

œ œ œb

Gm7/11

8 68 6

7 58 5

8 58 6

3

œb


œœb

3

œ œœb

3

œœb œ

3

œœb œ

Cm7/11

6 86 8

5 85 8

6 86 8

&

EBGDAE

~~

~~

~~

~~

~~

~~

~~

~~

.œ


œ

œ

œ œ œœ œ

Am7

5 58

85

8 57

œb

œb œ œ ‰ œ

œ

Cm7

88 8

58


≈

Am7

57 5

77 5

7 55

7 57 5

œ œ

œ œbœ œ œ œ

œbœ

œ

œ

Cm7

8 88 6

58 8

8 55

6


&

EBGDAE

œ

Moveable 'Am' form

œœ œ œ

œ œ

œœ

Moveable 'Gm' form

œ œœœ œ

œ

œ

14 1214 12

15 1215

15 12 1512 14

12 1413

12

w

19

&

EBGDAE

œ


œ

œ

œ

œ

E A

7

5

57

5

œ

œ

œ

œ

D G

57

58

œ

œ

œ

Ó


C

8

58

&

EBGDAE

3

œ

Moveable 'Cm' form


œœ

3

œœ œ

3

œœ œ

3

œ œœ

Em7/11

5 75 7

5 74 7

5 85 7

3

œ

Moveable 'Em' form

œ œ

3

œ œ œ

3

œ œœ

3

œ œœ

Am7/11

8 58 5

7 57 5

7 58 5

3

œ

Moveable 'Am' form

œ œ

3

œ œœ

3

œ œœ

3

œ œœ

Dm7/11

5 85 8

5 75 7

6 85 8

&

EBGDAE

3

œ œbœ

3

œœ œ

3

œbœ œ

3

œ œ œb

Gm7/11

8 68 6

7 58 5

8 58 6

3

œb


œœb

3

œ œœb

3

œœb œ

3

œœb œ

Cm7/11

6 86 8

5 85 8

6 86 8

&

EBGDAE

~~

~~

~~

~~

~~

~~

~~

~~

.œ


œ

œ

œ œ œœ œ

Am7

5 58

85

8 57

œb

œb œ œ ‰ œ

œ

Cm7

88 8

58


≈

Am7

57 5

77 5

7 55

7 57 5

œ œ

œ œbœ œ œ œ

œbœ

œ

œ

Cm7

8 88 6

58 8

8 55

6


&

EBGDAE

œ

Moveable 'Am' form

œœ œ œ

œ œ

œœ

Moveable 'Gm' form

œ œœœ œ

œ

œ

14 1214 12

15 1215

15 12 1512 14

12 1413

12

w

19

&

EBGDAE

œ


œ

œ

œ

œ

E A

7

5

57

5

œ

œ

œ

œ

D G

57

58

œ

œ

œ

Ó


C

8

58

&

EBGDAE

3

œ

Moveable 'Cm' form


œœ

3

œœ œ

3

œœ œ

3

œ œœ

Em7/11

5 75 7

5 74 7

5 85 7

3

œ

Moveable 'Em' form

œ œ

3

œ œ œ

3

œ œœ

3

œ œœ

Am7/11

8 58 5

7 57 5

7 58 5

3

œ

Moveable 'Am' form

œ œ

3

œ œœ

3

œ œœ

3

œ œœ

Dm7/11

5 85 8

5 75 7

6 85 8

&

EBGDAE

3

œ œbœ

3

œœ œ

3

œbœ œ

3

œ œ œb

Gm7/11

8 68 6

7 58 5

8 58 6

3

œb


œœb

3

œ œœb

3

œœb œ

3

œœb œ

Cm7/11

6 86 8

5 85 8

6 86 8

&

EBGDAE

~~

~~

~~

~~

~~

~~

~~

~~

.œ


œ

œ

œ œ œœ œ

Am7

5 58

85

8 57

œb

œb œ œ ‰ œ

œ

Cm7

88 8

58


≈

Am7

57 5

77 5

7 55

7 57 5

œ œ

œ œbœ œ œ œ

œbœ

œ

œ

Cm7

8 88 6

58 8

8 55

6



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

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.

EXAMPLE 8 SCALE DRILL ON THE CD Track 12

Play: All Styles

& 4

4

EBGDAE

1

œ

©»¡ºº

Fig 8: Play as one continual study

C Lydian (#4)

SECTION 8 : SCALE DRILL

œ œœ# œœ œœ œ œ œ œ œ œ œ œ

Cmaj7

3 52 4 5

2 4 5 4 25 4 2

5 3 2

œ

C Ionian

œ œœ œœ œœ œ œ œ œ œ œ œ œ

3 52 3 5

2 4 5 4 25 3 2

5 3 2

œ

C Mixolydian (b7)

œ œœ œœ œbœ œ œ œ œ œ œ œ œb

C7

3 52 3 5

2 3 5 3 25 3 2

5 36

&

EBGDAE

4

œ

C Dorian (b3 b7)

œ œbœ œœ œbœ œ œ œ œ œ œ œ œb

Cm7

3 5 63 5

2 3 5 3 25 3

6 5 36

œ

C Melodic minor (b3)

œ œbœ œœ œœ œ œ œ œ œ œ œ œ

Cm(maj7)

3 5 63 5

2 4 5 4 25 3

6 5 3 2

œ

C Aeolian (b3 b6 b7)

œ œbœ œœb œbœ œ œ œ œ œ œ œ œb

Cm7

3 5 63 5 6

3 5 36 5 3

6 5 36

&

EBGDAE

7

œ

C Harmonic minor (b3 b6)

œ œbœ œœb œœ œ œ œ œ œ œ œ œ

Cm(maj7)

3 5 63 5 6

4 5 46 5 3

6 5 3 2

œ

C Phrygian (b2 b3 b6 b7)

œb œbœ œœb œbœ œ œ œ œ œ œ œ œb

Cm7

3 4 63 5 6

3 5 36 5 3

6 4 36

œ

C Locrian (b2 b3 4 b5 b6 b7)

œb œbœ œbœb œbœ œ œ œ œ œ œ œ œb

Cm7 b5

3 4 63 4 6

3 5 36 4 3

6 4 36

&

EBGDAE

10

œ

C Blues scale (R b3 4 b5 5 b7)

œb œœb œnœb œ œ œ œ

œ œb œ œœ œb

Cm7/C7

3 63 4 5

3 5 3 5 35 4 3

6 36

œ

C minor pentatonic (R b3 4 5 b7)

œb œœœb œœb

œ œ œœ œ œœ œb

œ

Cm7

3 63 5

3 54

3 5 35 3

6 36

6

œ

C major pentatonic (R 2 3 5 6)

œ œœ œœ œ

œœœ œœ œ œœ

œ

C

3 52 5

2 53

2 5 25 2

5 35

5

&

EBGDAE

13

œ

(1 3 5 7)

œœœ œ œœœœ

(1 3 5 b7)

œœœb œ œœœ

Cmaj7 C7

32 5

4 5 45 2

32 5

3 5 325

œ

(1 b3 5 b7)

œbœœb œ œœœœ

(1 b3 b5 b7)

œœbœ œ œœœ

Cm7 Cm7 b5

3 65

3 5 35

6 3 64

3 5 34

6

œ

(1 b3 b5 bb7)

œbœbœ∫ œ œœœœœœ œœœ œœ

Cdim

3 64

2 5 24

6 3 64

2 5 24

6



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

you fi nish 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!

EXAMPLE 8 SCALE DRILL ...CONTINUED

Play: All Styles

&

EBGDAE

16

œ

(1 3 5)

œœ

œ œ

œœœ œ

(1 3 #5)

œœ#

œ œ

œœœ

C Caug

32 5

5 55 2

3 32

5 52

31 1

œ

(1 b3 5)

œbœ

œ œ

œœœ œ

(1 b3 b5)

œœb

œ œ

œœœ

Cm Cdim

3 65

5 55

6 3 3 64

5 54

6 3

&

EBGDAE

18

œ

3rds


C

87

108 7 10 8

710

9 7 10 97

10

œ

4ths

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

1010

99

77

1010

89

77

1010

8

œ

5ths

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

810

107

79

810

107

79

910

10

&

EBGDAE

21

œ

6ths

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

1010

98

710

109

87

710

10

9

8

œ

7ths

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

8

9

10

107

78

910

107

89

1010

œ

8ves

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

10

8

9

7

710

10

8

810

79

10

7

8

&

EBGDAE

24

œ

Triads

œœœ œœœœ œœœœ œœœœ

C Dm Em F

78

7 10 810

87

10 7 109 7

87 10

œœœœ œœœœ œœœœ œœ

G Am Bdim C

910

97

10 7 109 7

97 10 9

10


ON THE CD Track 12


gtc150. guitar practice plan.pdf

Documents

youre able

contrasting things

musical development

ve hours

day of focused work

time phil hilbornecan

day nonstop

intense concentration