Introduction ...........................................................

The Right Tools ..............................................................6

How To Use This Book....................................................7
Electric or Acoustic? .......................................................8

Printing & Sharing .........................................................9

Beginners, Intermediate and Advanced .........................10

Monday - PRacticing, Warmups & Picking ............11

Thoughts on Practicing ..................................................12

4 Note-per-string exercise .............................................13

Chordal Picking ...........................................................14
Villa-Lobos Picking Study ..............................................16
Double-Triplets with Speed Bursts ..................................19

Monday Routine Roundup ....................................21

Tuesday - The Modal Workout ..............................22

What is a Mode? .........................................................22

3 Note-Per-String Modes ..............................................24

Modal Shapes .............................................................24

The Modal Workout .....................................................26
Diatonic Arpeggios Inside Modes .................................29
The Modal Workout .....................................................30

Tuesday Routine Roundup ............................................33

Wednesday - Arpeggios........................................34

Triads..........................................................................34

5 String Diatonic Arpeggios .........................................36

Arpeggio Workout .......................................................37
 Diatonic 7th Arpeggios ................................................39
7th Arpeggio Shapes: ..................................................40
Wednesday Routine Roundup .......................................43

Thursday - Scales ..................................................44

What is a Scale?..........................................................44
The Circle of Keys: .......................................................45
The Sharp Side ............................................................47
The Flat Side ...............................................................48

FAQ: Guitarists on Scales .............................................49

Scale Theory ...............................................................51
Minor Scale .................................................................51
Harmonic Minor ..........................................................53

Melodic Minor ............................................................53

Modern (Jazz) Melodic Minor .....................................54
3 Note Per String Minor Shapes: ..................................56
Scale Sequence example .............................................58

Thursday Routine roundup ............................................60

Friday - Chords ......................................................61

7th Chords ..................................................................63

Diatonic 7th Chord Study .............................................63

The Diminished ÒConnectorÓ.........................................66

Chord Formula Master Chart ........................................68

Saturday - Classical Guitar 101 ............................. 70

Classical Guitar Slurs: Hammer & Pulls ..........................71

Slurs ...........................................................................71
The Spider Sequence ...................................................75

Sunday - 120 Arpeggio Studies .............................77

Classical Guitar Scales .................................................80

 Classical Scale Studies .................................................82
BachÕs Bouree in E minor .............................................84

Beginner Chord Forms...........................................85

Barre Chord forms .......................................................86

Pentatonic Major, Minor & Blues Shapes .......................88

Afterword .............................................................89

Guitar Pro Files:...........................................................89

About The Author ........................................................90
 INTRODUCTION

Remember that scene in The Karate kid when after washing all of the cars and painting the fence
and all of the other household chores Miyagi made Daniel do.. he turned to him and said,, ok now,
show meÉ. PAINT THE FENCE.

At Þrst Daniel was angry because he was asked to do all of these seemingly pointless
chores that had absolutely nothing to do with Karate. Once Miyagi explained his
training, the light bulb came on and Daniel Þnally understood his teaching methods.

IÕd love to tell you itÕs just that easy, but itÕs not. Real Guitar technique takes time and
patience and putting the work in nearly every day.
I say nearly every day, because you also should give your hands a rest occasionally.
Once or twice a week is sufficient to prevent injury.

I also believe you shouldnÕt take more than 1 day off between good practice sessions.
The old saying is true, itÕs always better to play a little each day rather than cram in 6 hours on a
Saturday. ThatÕs just not how good technique is developed and you will progress slowly.

The difference between the Karate Kid metaphor and what IÕm doing here is that the
exercises and routines outlined in this book are actually done on the guitar, using
useful musical sequences and ideas.
No wax on, wax off. Real practice, real material and really applicable theory to apply to
whatever your goals are on the instrument.

ThatÕs really all IÕm asking you to do here. Some repetitive chores that will yield
incredible results when they are memorized and then applied to your playing.
 While most guitarists may view this as a technique routine on the surface, there is
quite a bit of basic harmony and music theory concepts within.
If the only things you ever learned on the guitar were the chords, scales and
arpeggios in this guide, you would have enough material to write a song, improvise a
solo or create a multi-part composition in any style of music at a professional level.

THE RIGHT TOOLS

Chords, scales and arpeggios are just tools in your toolbox. Sure, they're the
fundamental building blocks of all things musical, but as guitarists we can utilize them
in so many ways.

You need chords to play rhythm and to create songs. Scales for solos and melody and
knowing what to play over those chords when improvising.
Arpeggios are broken chords, but playing an arpeggio in place of a scale in an
improvisation gives your solos a targeted, focused sound that you wonÕt get from
scales alone. Arpeggios also help you Þnd Òblind spotsÓ in the key that tie chords and
scales together.

Practicing Chords, scales and arpeggios will boost your technique to a level where
physically, everything is just easier to play. I do mean everything. Parts you've struggled
with become easier, everything just feels better under your Þngers.
You are owning the instrument.

It doesnÕt matter if you're a beginner or a seasoned, professional working musician.

Everyone can beneÞt from this routine. IÕve done my best to include ways to tweak
each daily routine to make them both easier or more difficult depending on your
existing skill level.
 As a working professional guitarist going on 27 years, IÕve changed these routines
many times to not only make them better for my own playing, but also to keep them
short enough to do each day. After all, we all need time to PLAY guitar after the
practice. If you PRACTICE these routines weekly I guarantee your PLAYING will
improve quickly and dramatically.

HOW TO USE THIS BOOK

Learn the shapes before trying the full exercises.

If you're not familiar with all 7 diatonic modes, chords or group of arpeggios, thats
ok. It will come with time. On days where material is completely new to you, take that
practice day to work on each shape or exercise.

Work on the shapes pertaining only to that dayÕs practice lesson and gradually you
will have committed them all to memory. After everything is memorized, youÕll get the
most from each dayÕs practice session.

Always Use a Metronome.

There are a few reasons you should always practice with a metronome. The obvious
being that it will set a good foundation for your timing, both in your rhythm and lead
playing, as well as synchronization of both hands.
Practicing with a metronome also gives you a measurable indication of your progress
in each lesson. For example if MondayÕs routine is too hard at 100 bpm, try knocking it
down to 90 and work your way back up.
 A good rule is to increase 1 bpm per day until youÕve reached your comfort zone at a
faster tempo. Once a high threshold is reached, start about 10 below that and use that
as your starting point for each dayÕs routine.

If you're new to playing with a metronome start with 2 or 4 beats per click. When
this becomes comfortable you can work on triplets and 6Õs as well.
If you donÕt have a metronome, they're pretty inexpensive. You can even download
metronome apps on your computer, tablet or smart phones.

-Practice First, Play Second.

I canÕt stress this enough.

We all want to PLAY guitar. Save some time for playing after you PRACTICE.
Always. If you only have 1 hour total time to devote to the guitar, try to split it 70/30.
Practice 70% of that time then play whatever you want for the other 30%.
Use the rest day, or even a completely different session if you only want to play.

IÕve gotten in the habit of splitting my guitar sessions into separate afternoon and
evening sessions. Typically I do that on my days off. IÕll go through the daily practice
routine around 1 P.M., then after dinner just play whatever I want for as long as I want
with no pressure, knowing I got a good PRACTICE session in earlier.

On days when I have a gig, rehearsal or jam IÕll just do the practice routine so IÕm
setup to do my best possible playing later. This is the habit you want to develop
regardless of how much time you have to practice.

ELECTRIC OR ACOUSTIC?
 This one is entirely up to you. From experience I can tell you that you can use either
type of guitar for any of the routines. The possible exception being the optional
Þngerstyle/classical exercises on days 6 and 7 respectively. For those you should try
them on a nylon string Classical style guitar if you have access to one.

If your preferred practice method is using an electric guitar and an amp I would
strongly recommend alternating days between clean and dirty channels.

For example, if you're a Rock or Metal guitar player, do TuesdayÕs mode routine with
distortion and WednesdayÕs arpeggios on a dry clean setting with no effects. Also 7th
chords arenÕt going to sound great with distortion, so if youÕre working on those, a
clean tone would work better so you can hear the voicings.

PRINTING & SHARING

IÕve purposely left this book in mostly ÒBlack and WhiteÓ so it can be printed and
put right onto your music stand. I donÕt want to waste anyoneÕs expensive ink, so IÕve
also whenever possible, included longer music examples on their own page. This way
you can simply print the pages you want without all of the text cluttering it up.

IÕve put a lot of time into the book, so IÕd appreciate it if you did NOT share it on
the internet. As an incentive, IÕve created an Affiliate Program for my readers and
students who would like to share the book and also make some money doing it.
After your purchase, head over to [Link]

I will pay you 50% of every sale. YES, 50%! All you need to do is grab your
affiliate link and share on your website, social media accounts, email or
wherever you like. ItÕs all tracked automatically through SendOwl and payed
right into your PayPal account.
B E G I N N E R S , I N T E R M E D I AT E A N D A DVA N C E D

Lastly, IÕve designed this book to be useful to Guitarists of any skill level. At a glance
it may seem intimidating for a beginner.

I would advise beginning Guitarists to Þrst absorb some of the shapes for the
Chords, Scales and Arpeggios before attempting the actual music or Practice Routines.

If youÕre a complete beginner, try the open position chord shapes on page (86),or
the Pentatonic shapes on page (87). IÕd also recommend trying the 4-note-per string
shape in MondayÕs routine right away. In over 25 years of teaching Guitar Lessons, IÕve
had great success with students who tried this exercise on Day #1. Just do it!

For intermediate and Advanced Guitarists I think youÕll Þnd a wealth of information
organized in a way that will help you get better faster.

Even for Pros, this Routine works! IÕve tested this stuff out on some amazing Pro
Guitarist friends of mine and they all agree that an organized practice routine covering
many styles, techniques and genres is beneÞcial to even the most seasoned
Professional Guitarist.

For everyone, it may take some time to get through all of the Music Theory within
this book. Take it slow and come back to things you donÕt quite understand.
Understanding Music and Music Theory takes a lot of time. With some patience and
practice, I think youÕll do just Þne.

Enjoy!
Craig Smith - [Link]
M O N DAY - P R A C T I C I N G , WA R M U P S & P I C K I N G

One of the things I get asked the most by Guitar Students and other Guitarists both
amateur and Professional is:

ÒWhat are you doing at home? What are YOU practicing?Ó

ItÕs hard to give someone a straight answer without addressing a few variables. It can vary
depending on a number things including what gigs IÕm doing that week.

Material I may be required to work up for a future job such as a wedding or solo gig can
steer my practice in a completely different direction than say a Rock or Electric gig.

If I have a lot of free time between gigs, what I practice may be vastly different than a
week when IÕm doing 5 or 6 gigs in a row.

One thing that never changes is my simple day-to-day technique routine. IÕve tweaked
these daily workouts many times over the years and I think I Þnally have it dialed in for
optimal results in the least amount of time possible.

I also may change them week to week by adding or subtracting an exercise based on my
schedule. ItÕs entirely up to you how you decide to use them.

The important thing is that you're doing something and doing it regularly. The old adage is
true, itÕs better to practice a little each day rather than cram in 4 hours on a Saturday.
THOUGHTS ON PRACTICING

IÕll typically go through the daily practice routine around 1 P.M., then after dinner just
play whatever I want for as long as I want. (Typically Classical repertoire for example.)

With this mindset thereÕs no pressure because I know I had a good PRACTICE session
earlier.

On days when I have a gig, rehearsal or jam IÕll just do the practice routine so IÕm setup to
do my best possible playing later.

This is the habit you want to develop regardless of how much time you have to practice.

If your preferred practice method is using an electric guitar and an amp, I would strongly
recommend alternating days (or even exercises) between clean and dirty channels.

For example, if you're a Rock or Metal guitar player, do TuesdayÕs mode routine with
distortion and WednesdayÕs Arpeggios on a dry clean setting with no effects. Next week
reverse that.

IÕd also recommend to those who want to use distortion to back the Gain down to a
slightly uncomfortable level. Meaning, it should feel harder to play well. When you turn it
back up later youÕll feel that much better.
4 NOTE-PER-STRING EXERCISE

These are simple exercises you can do in front of the TV or wherever you want. No scale
knowledge required here.

The basic idea is to cover all of the possible left hand Þnger combinations across 6 strings.
At Þrst you may want to do them in one position. After they feel comfortable, do each
sequence up to the 12th position.

In the example below IÕve included the 1,2,3,4 sequence ascending & descending using
alternate picking (down, up) along with the shift to the 2nd position:

When ÒdescendingÓ we're not going to change the order of the notes. It's still going to be
Þngered as 1-2-3-4! (WeÕll get to 4,3,2,1 later)

¥ When shifting, keep the same same Þnger combo (1,2,3,4) and continue up the neck.
¥ When you get to the 12th position start over with the next sequence (Fingers: 1,2,4,3..
no that wasnÕt a typo: 1-2-4-3).

All possible Left Hand Finger Combos in a 4 fret position:

It can take a long time to go through all the sets so alternatively you could do the Ò1ÕsÓ
this week, the Ò2ÕsÓ next week and so on.
 Time Spent: About 30 minutes if you do one column to the 12th position. DonÕt forget to use a
metronome!

CHORDAL PICKING

After doing 4 note-per-string sequences I like to change it up to 1 note-per-string picking

through chords. I believe there is much more beneÞt to changing it up this way rather than
just running random scales for an hour.

There are a million variations you can play with, but the basic premise is this:
Take any chord (E Major for example below) and alternate pick through it like this:
 You can do this exercise with any chords you want, including 4 and 5 note shapes. The
number of strings will change the right hand feel, so change it up!

This is a powerful exercise for building good right hand picking technique. It also helps
take away the awkwardness many guitarists feel when playing upstrokes.

For a more advanced workout, throw some string skipping into it like this:

IÕve taken this string skipping pattern and applied it to Heitor Villa-Lobos famous Etude
#1 for an incredible chord and picking workout. This is my absolute go-to exercise when my
picking hand is feeling a little ÒoffÓ.

Note: This thing is a monster on both hands, so go easy. Work through it slow and build it up
gradually.
VILLA-LOBOS PICKING STUDY

Heitor Villa-Lobos (1887-1959) was a Brazilian composer, conductor, cellist, pianist, and guitarist. Villa-Lobos was
described as "the single most signiÞcant creative Þgure in 20th-century Brazilian art musicÓ. Villa-Lobos has become the best-
known South American composer of all time. A proliÞc composer, he wrote numerous orchestral, chamber, instrumental and vocal
works, totaling over 2000 works by his death in 1959.
His Etudes for guitar (1929) were dedicated to AndrŽs Segovia. The 12 Etudes remain one of the most important works in the
solo classical guitar repertoire.

Here weÕre going to take an excerpt from Villa-LobosÕ famous Etude #1 and arrange it for
alternate picking. If youÕd like to try the original Classical Guitar Þngered Etudes or any of
his other Solo Guitar Works you can pick them up on Amazon here.

Even though you could achieve the same results by just doing this picking pattern in any
6 string chord, I think it feels better to play an actual piece of music.

ItÕs nice to have a beginning and end to any exercise. As daunting as this looks, it really
only takes a few minutes to get through once you have the chords memorized.

If you really get one thing out of this book, make it this one! To my knowledge this has
never been adapted to pick-style technique. I came up with the idea for this about 10 years
ago and it has helped my alternate picking so much.

This has been the single most most effective picking exercise IÕve ever learned, and itÕs just a
great sounding piece of music.

Villa-Lobos Etude:
D O U B L E -T R I P L E T S W I T H S P E E D B U R S T S

Lastly, weÕre going to change it up yet again by going to single string only sequences.

These really help keep my picking in shape. TheyÕre also very helpful with improving the
synchronization between hands.

For this example, IÕm using the G Major Scale (G A B C D E F# G) starting on the Þrst
string using the Þrst available fretted note in the scale (F#) in the second position.

¥ Find a comfortable speed to play the Þrst 4 triplets before double-timing it for the last two.
¥ Continue on up the neck diatonically in G Major. The next set would be G, A, B, then A, B, C, etc.
until you run out of frets.
¥ Flip it around by starting on your pinky and do them in reverse. A, G, F# then B, A, G etc. You can
do them on just one string or all 6, just stay in key.
¥ I also like to tweak this by playing the Þrst 4 triplets in 4/4, then switch to a fast blast of 6/8 feel
for the last 2. Whatever works for you. Have fun with it!
¥ Do a different key every Monday. This is really important. The more different keys you practice in
the better for your overall improvisation.

Below IÕve written them ascending on the high E, descending on the B string with speed
bursts. Do as many as you have time for today.

Double Triplet Example:

 Double Triplets
Speed Bursts
Standard tuning
= 100
Free time
Forward With Speed Bursts Alternate Picking Throughout
1 2 3

3 3 3 3 3 3

2 3 5 2 3 5 2 3 5 2 3 5 2 3 5 2 3 5 3 5 7 3 5 7 3 5 7 3 5 7 3 5 7 3 5 7 5 7 8 5 7 8 5 7 8 5 7 8 5 7 8 5 7 8

4 5 6

3 3 3 3 3 3
7 8 10 7 8 10 7 8 10 7 8 10 7 8 10 7 8 10 8 10 12 8 10 12 8 10 12 8 10 12 8 1012 8 1012 10 12 14 10 12 14 10 12 14 10 12 14 10 1214101214

Backwards With Speed Bursts

7 8 9

3 3 3 3 3 3
12 14 15 12 14 15 12 14 15 12 14 15 121415121415
15 13 12 15 13 12 15 13 12 15 13 12 151312151312 13 12 10 13 12 10 13 12 10 13 12 10 131210131210

10 11 12

3 3 3 3 3 3
12 10 8 12 10 8 12 10 8 12 10 8 12 10 8 1210 8 10 8 7 10 8 7 10 8 7 10 8 7 10 8 7 10 8 7 8 7 5 8 7 5 8 7 5 8 7 5 8 7 5 8 7 5

13 14 15

3 3 3 3
7 5 3 7 5 3 7 5 3 7 5 3 7 5 3 7 5 3 5 3 1 5 3 1 5 3 1 5 3 1 5 3 1 5 3 1

2018 [Link] 1/1

All Rights Reserved - International Copyright Secured
M O N DAY R O U T I N E R O U N D U P

1. 2 Sets of 4-Note-Per String combos to 12th position and back.

2. Alternate pick through open chords or do the Villa-Lobos study (advanced).

3. Double Triplets on all 6 strings, forward and backward.

T U E S DAY - T H E M O DA L W O R KO U T

TuesdayÕs routine is a bit more involved and includes a Modal Scale Workout. This
exercise utilizes each of the 7 Diatonic Modal shapes, alternate picking variations, legato
and arpeggios.

If youÕre new to modes, or do not yet have the shapes memorized, hopefully this lesson
will take some of the mystery out of it.

WHAT IS A MODE?

The easiest (or simplest) way to think of a mode is to just think of each mode as a new
scale built on a degree of an existing scale.

For example, a G Major Scale consists of these notes:

G A B C D E F# G

The Þrst Diatonic mode Ionian, is synonymous with a Major Scale. You could call the
above scale G Major or G Ionian.

To build the next mode, simply start on the next note (A) and build a new scale:
A B C D E F# G A - (notice I didnÕt change any notes)

We now have A Dorian.

Starting on the next note (B) we can build B Phrygian:

B C D E F# G A B (same notes, just starting on B)

We didnÕt change the notes, we just built a new scale on each subsequent note. A Dorian is not an A
Major scale (A B C# D E F# G# A). It is simply a G Major scale starting on the second degree (A).
 You could think of A Dorian as an A Major Scale with a b3 and b7, or just think of it as
the second mode (ii minor) in G Major.

How you visualize what a mode is in relation to what youÕre using it for will determine
whether you think of it as relating to the key of (A) or just a mode of G Major.

For example, if IÕm playing over a simple A minor chord vamp, I could theoretically play
any A minor type scale or mode such as A minor Pentatonic, A Dorian, A Phrygian, A
Aeolian etc, al.

The ßip side to that example is, I can also play any OTHER mode in G Major over that
same A minor chord vamp.

Why does that work?

¥ A minor is the ii minor chord in G Major.

¥ All of the notes in an A minor chord (A C E) exist within the G Major scale.
¥ Therefore, the G Major scale covers all of the notes in the A minor chord (and then
some). G A B C D E F# G

The Key Center Approach

For the purposes of this book IÕm going to use Modal Scales using a ÒKey CenterÓ
approach. This essentially breaks up the guitar neck into 7 Modes per Major Key. All 7
Modes will be in the same Key and played on their respective root notes of each scale
degree.
 Modes in the Key of G Major:

I. G Ionian
II. A Dorian
III. B Phrygian
IV. C Lydian
V. D Mixolydian
VI. E Aeolian
VII. F# Locrian

When IÕm using the ÒKey Center ApproachÓ, I tend to think of them less as individual
modes (with speciÞc sounds and characteristics), and just part of the parent Key of G Major.

This is the easiest way to digest modal playing if youÕre not already intimately familiar
with using modal scales.

3 NOTE-PER-STRING MODES

Using 3 Note-Per-String Modal shapes, you get a nice overlap between each mode which
helps visualize where the Ògood notesÓ are when improvising or writing a song or solo.

Ionian overlaps Dorian. Dorian overlaps Phrygian and so on. A good way to use this
overlap visualization is to improvise over a backing track using only 1 or 2 adjacent modes
such as G Ionian and A Dorian. when this becomes comfortable, move on to the next pair.

If you're completely new to modes IÕve included a printable page below with all 7 shapes.
For the rest of you, move on to the workout!

MODAL SHAPES
THE MODAL WORKOUT

This workout can be thought of in separate sequences or variations using each modal
shape:

¥ Regular - Ascending and descending using alternate picking.

¥ 3rds - 1-3-2-4-3-5-4-6 etc.
¥ 4Õs - 1234, 2345, 3456, 4567 etc.
¥ Up & Back - A variation that exploits the difficulty of the upstroke on adjacent strings.
¥ Arpeggios- Yes! There are diatonic arpeggios hidden in each modal shape.
¥ Legato - Hammer-on and pull-off variations best suited for electric guitarists.

Tips on Practicing the Workout:

¥ Memorize all the sequences in Ionian until they are comfortable and can be played without mistakes
(and without stopping).
¥ Take a break after every 1-2 modes.
¥ If it hurts, STOP. Never play through pain.
¥ Always use a metronome! If you donÕt have one, theyÕre cheap. Grab one on Amazon or at your local
music shop.
¥ Allocate enough time to do the workout in all 7 modes.
¥ At 100 BPM the entire workout takes about 40 minutes.
¥ Always alternate your pick strokes. Keep an eye on that right hand.
¥ Practice slow at Þrst. Never practice faster than you can play perfectly.

The Regular Sequence

Straight alternate picking ascending and descending. I like to do this 4-10 times to warm
up before moving into the 3rds sequence depending on how much time I have. In the music
example below, itÕs played only once.
 Go right into the Ò3rdsÓ and Ò4ÕsÓ sequences without stopping. YouÕre going to continue into each
sequence without stopping or changing your alternate picking. Always alternate pick throughout the
workout.

3rds Sequence:

For 3rds youÕre just playing up 2, back one, etc. 1st, 3rd, 2nd, 4thÉ Like this:

Fours

For ÒFoursÓ, weÕre going to play 1-2-3-4, 2-3-4-5, 3-4-5-6 etc.

 The ÒUp & BackÓ

The ÒUp & BackÓ sequence is a variation on an old Paul Gilbert exercise he used to teach
at G.I.T. in the 1980Õs. HereÕs an example:

The funny thing is, he got it from Al Di Meola who had done this exact sequence as far back as 1975.

You can hear a pristinely executed example of this on the live album Friday Night in San
Francisco track ÒMediterranean Sundance/Rio Ancho". A Must own for any guitarist.

Regardless of who did it Þrst, itÕs a wonderful exercise that focuses on the difficult
Òoutside pickingÓ problem.
When you pick on a downstroke on one string, and an upstroke on the next higher
adjacent string, itÕs called ÒOutside PickingÓ.

There are a lot of ways you can do the ÒUp & BackÓ. Feel free to experiment and tweak it to help any
deÞciencies in your picking technique.
DIATONIC ARPEGGIOS INSIDE MODES

Even if youÕve been blazing these modes for years, you may not have noticed the hidden
arpeggios in each shape.

Each modal shape contains diatonic 7th arpeggios that can be used for a variety of
improvising applications. These arpeggios will give your solos a more focused and
sophisticated sound. They also make for an excellent picking workout that involves some
string skipping.

ItÕs also a beautiful thing when you can make a scale not sound like a scale. This sequence
is wonderful for that.

The Diatonic 7th Arpeggios/Chords in the Key of G Major are:

I. G Major 7 - GBDF#
II. A minor 7 - ACEG
III. B minor 7 - BDF#A
IV. C Major 7 - CEGB
V. D Dominant 7 - DF#AC
VI. E minor 7 - EGBD
VII. F# minor 7b5 - F#ACE

These arpeggios are hidden in all of the 7 modal shapes.

As with the rest of the sequences, I sometimes will tweak this to include extra repeats. This one is
probably my favorite sequence, and a lot of fun!
 The Legato Sequence

The last part of the Modal Workout should be pretty self-explanatory. WeÕre going to give
the left hand a little love on this one. You could do this sequence on the acoustic guitar but
itÕs much better suited for electric playing styles.

Legato DeÞned: ÒIn a smooth ßowing manner, without breaks.Ó

Starting on a downstroke youÕll then slur (hammer-on) each subsequent scale tone with the
left hand on the low E string. When moving to the A string youÕll use an upstroke and
repeat. On the high-E you will slur the turnaround without changing the picking.

Remember:
¥ Always alternate your picking strokes!
¥ No breaks between notes. Legato should be one continuously ßowing line of notes.

Example:

THE MODAL WORKOUT

Putting it all together:

 The Modal Workout
G Ionian
Standard tuning
= 100
Free time
Straight 3rds
1 2 3

5 7 8 7 5
5 7 8 8 7 5
4 5 7 7 5 4
4 5 7 7 5 4 4 5 4 7
3 5 7 7 5 3 3 5 3 7 5 7
3 5 7 7 5 3 7 5 7

4 5 6

5 7 5 8 5 7 5
5 7 5 8 7 8 8 7 8 5 7 5
4 5 4 7 5 7 7 5 7 4 5 4
5 7 7 5 7 4 5 4
7 5 7 3 5 3
7 5 7

7 Fours 8 9

5 5 7 5 7 8
4 4 5 4 5 7 4 5 7 5 7 7
4 4 5 4 5 7 4 5 7 5 7 7
3 3 5 3 5 7 3 5 7 5 7 7
3 5 7 5 7 7

10 11 12

5 5 7 5 7 8 7 5 7 5 5
5 7 8 7 8 8 8 8 7 8 7 5 8 7 5 7 5 5
7 7 5 7 5 4 7 5 4 5 4 4
7 7 5 7 5 4 7

Up & Back
13 14 15

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

16 17 18

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

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Standard tuning
= 100
Free time
1 2 3

5 5 5
4 4 4 4 5 7 5 4 7 5 4 4 5 7 4 5 7 7 5 4 5 7 7 7 5
7 7 5 4 5 7 7 7 5 4 5 7 7 5 4 7 5 4 5 7

4 5 6

5 5 5 5 7 8 7 5 8
5 7 8 7 5 8 7 5 5 7 8 5 7 8 8 7 5 7 8 8 8 7 5 7 8 8 7 5
4 5 7 7 5 4 7 5 4 5 7

7 8 9

7 5 5 7 8 7 5
8 7 5 7 8 8 7 5 5
7 5 4 4 7 5 4 5
7 5 4 4 7 5 4 5 7 5 4 7
7 5 3 5 7 5 3 7
7 5 3 7

10 11 12

5 8 7 5
8 7 5 5 8 7 5 5
7 5 4 7 7 5 4 4 4 7 5 4 7
7 5 4 4 4 7 5 5 4 7
7 5 3 5 5 3 7 7
7 5 3 7 7

H H H
13 14 15 H H

H H H H H
5 7 8 7 5
7 5 8 8 7 5 5 7 8
7 5 4 4 5 7
7 5 4 4 5 7
7 5 3 3 5 7
7 5 3 5 7

H P
P
P P P P
16 17 18

H P
P P P P P
5 7 8 7 5
8 7 5
7 5 4
7 5 4
7 5 3
7 5 3

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T U E S D AY R O U T I N E R O U N D U P

¥ Work on each sequence separately until it feels comfortable at a slow speed.

¥ Memorize the entire sequence in G Ionian.
¥ Repeat the entire Modal Workout using the other modes: Dorian, Phrygian, Lydian,
Mixolydian, Aeolian and Locrian.
¥ Try it in a different Key each week.
W E D N E S DAY - A R P E G G I O S

Diatonic Triads - G String Root

Before we get into the big & meaty arpeggio shapes, weÕre going to start off with some
simple triads. This lesson will be in the key of C Major/A minor.

If youÕre a beginner or even a more advanced player not familiar with these shapes, take a
strum through them Þrst without the picking sequences.

Diatonic Chords & Arpeggios in C Major:

I. C Major - CEG
II. D minor - DFA
III. E minor - EGB
IV. F Major - FAC
V. G Major - GBD
VI. A minor - ACE
VII. B diminished - BDF

TRIADS

Starting in the 2nd position with A minor, weÕre going to do a simple ascending/
descending alternate picking sequence through all of the arpeggios.

This Þrst set will only include triads with the root notes on the G String:

¥ Set #1 - Alternate pick through the triads starting on the A note (2nd fret, G String), and
continue through all of the arpeggios up the neck.
¥ If these triads feel even a little uncomfortable, go ahead and repeat each one 2-4x
before switching to the next one.
 ¥ Set #2 - In an ascending triplet feel were changing the picking to - DOWN, DOWN,
UP.
¥ Set #3 - In a descending triplet feel, switch to - UP, UP, DOWN.
¥ Set # 4 - ÒDouble-pickÓ each note in each arpeggio ascending and descending.

Below is an example using the Þrst few arpeggios in C Major:

Diatonic Triads - D, A & E String Roots

You can probably see where IÕm going with this right? WeÕre going to do the exact same 4
sets, but move the triads ÒdownÓ to the D string shapes.

¥ Starting on the E note (2nd fret, D String), build your arpeggios diatonically up the neck in the key
of C Major.
¥ Do the same thing starting on the B (2nd fret, A string) and the G (3rd fret, low E string).

For the purposes of this book IÕll avoid the redundancy of putting all that repetitive music here.
5 STRING DIATONIC ARPEGGIOS

Sweep picking big 5 string arpeggios shapes greatly beneÞts your fretting hand strength
and dexterity. The exercises below will beneÞt both hands greatly. Just donÕt overuse it.

This Þrst set consists of an A String root, 1 note per string except for 2 notes on the high
E. These are the most common arpeggio shapes.

G Major - This shape can be used for the I, IV and V degrees: C, F & G Major

Am - This shape can be used for the ii, iii and vi degrees of the scale: D, E & A minor.

B Diminished. This shape can be used for the vii.

 The real challenge here is the picking. ItÕs tricky but worth the effort!
Once youÕre comfortable with the shapes, hereÕs a sequence utilizing more arpeggios in the Key of C
Major.

For the next one, I like to add an extra low note (the 5th) on the A string to each arpeggio.
This gives it a nice ßow for playing them in time with a 16th (or 32nd) note feel.

For example if we take the G Major shape from above and add a low 5th played with the
Þrst Þnger, it looks like this:
It looks like a scary stretch, but youÕll get it with slow practice.

HereÕs a few more using this extra low 5th pattern:

You can tweak this out any way you like. They are a lot of fun, so happy shredding!

ARPEGGIO WORKOUT
 Arpeggio Study
Key of C Major
Standard tuning
= 120
C Major B dim Am
P P P P P P

1 2 3

P P P P P P
15 12 12 15 12 13 10 10 13 10 12 8 8 12 8
13 13 13 12 12 12 10 10 10
12 12 12 10 10 10 9 9 9
14 14 12 12 10 10
15 10 15 14 8 14 12 7 12

G Major F Major
P P P P P P
4 5 6

P P P P P P
10 7 7 10 7 8 5 5 8 5 7 3 3 7 3
8 8 8 6 6 6 5 5 5
7 7 7 5 5 5 4 4 4
9 9 7 7 5 5
10 5 10 8 3 8 7 2 7

6 String Advanced Variation P P P

7 8 9

P P P
7 10 7 8 12 8 10 13 10
8 8 10 10 12 12
7 7 9 9 10 10
9 9 10 10 12 12
5 10 10 5 7 12 12 7 8 14 14 8
3 7 7 5 8 8 7 10 10

10

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DIATONIC 7TH ARPEGGIOS

These are really the meat & potatoes of my improvising tools. Along with Modal scales,
Diatonic 7th Arpeggios provide an excellent framework for improvising in just about any
music style.

They can sound a little jazzy or a little shreddy. Some even sound Bluesy. They just work
everywhere and will give your solos a really sophisticated and focused sound. They sound
cool without the cheesy ÒshredÓ stigma, (in case youÕre trying to avoid that.)

All weÕre doing here is adding that 7th scale degree to the existing (1,3,5) arpeggios we
did above. If it helps to make the association with modes, thatÕs Þne, whatever works for
you.

You could think of it like this:

I. C Ionian: C D E F G A B C ÑÑ> C Major 7

II. D Dorian: D E F G A B C D ÑÑ> D minor 7
III. E Phrygian: E F G A B C D E ÑÑ->E minor 7
IV. F Lydian: F G A B C D E F ÑÑ-> F Major 7
V. G Mixolydian: G A B C D E F G ÑÑ-> G Dominant 7
VI. A Aeolian: A B C D E F G A ÑÑ-> A minor 7
VII. B Locrian: B C D E F G A B ÑÑ-> B minor 7b5
7TH ARPEGGIO SHAPES:

I Þnd it easier to memorize these in different places by thinking of a Òbehind the rootÓ and
Òin front of the rootÓ shape.

HereÕs a CMaj7 ÒBehind the RootÓ shape:

You can also use this shape for the IV: FMaj7. Just move the root to the F note on the 8th
fret, A String.

We could map out an almost inÞnite number of arpeggio shapes for each degree in the
scale, but for the sake of this exercise, let's work on just 1 for each scale degree.

ii Dm7, iii Em7 and vi Am7 can all use this shape:

Dm7 can be played (above) in the 5th position. Em7 in the 7th position and Am7 in the open or 12th
position.
 V - G7
Remember that the V-chord is a 1-3-5-b7. This will warrant a new shape for G7:

vii - Bm7b5
The vii chord in every key is a minor7b5:

Using Dm7 as an example: Starting on the 5th fret (D note) alternate pick ascending through the
arpeggio and continue alternate picking descending, like this:
 Some Usage and Analysis:

7th arpeggios can give you a wide array of sounds. You can play them with a Key Center
approach by just mixing and matching sequences you like. They ALL work in the key
regardless of what the chord progression is (assuming the chords are in the Key too).

You can also use them for a more focused sound. For example, playing an Am7 arpeggio
over a Dm7 chord, gives you a D minor 11th sound. Jazzy right? Why you ask?

Am7 = ACEG

In relation to D those notes would be thought of as:

A - 5th of D
C - b7 of D
E - 2nd or 9th of D
G - 4th or 11th of D

With this type of approach youÕre kind of forcing the listener into a certain sound by superimposing one
chord/arpeggio over another in the same key.

You can go nuts with that little nugget of info and try different combos that sound good to you.

More Tips For Memorizing Arpeggios:

Think of the lines and spaces on the Treble Clef when memorizing the notes in arpeggios.
For example, the spaces in standard music notation are:
F-A-C-EÉ Hey, thats an F Major 7! (Mind Blown)

The Treble Clef lines starting on E:

Remember that saying when you were a kid?
EVERY GOOD BOY DOES FINE
 Every Good Boy:
E-G-B = Em
Every Good Boy Does:
E-G-B-D = Em7
Every Good Boy Does Fine:
E-G-B-D-F = Em9

Pretty cool right? I know it helps me in times of doubt.

W E D N E S D AY R O U T I N E R O U N D U P

¥ Beginners: Learn at least 1 new arpeggio shape every Wednesday

¥ Advanced: Play through each arpeggio, workout and sequence 10x in a different key each week.
T H U R S DAY - S C A L E S

Today weÕre going to focus on something a little obvious. Scales. I know it can be a
daunting and often boring part of your guitar practice routine, but seriously, Scales need
some love too and they can be super fun!

WHAT IS A SCALE?

By deÞnition, ÒIn music theory, a scale is any set of musical notes ordered by fundamental frequency or
pitch. A scale ordered by increasing pitch is an ascending scale, and a scale ordered by decreasing pitch is a
descending scaleÓ

Or in lay terms, alphabetically from A to G. For example the C Major Scale:

CDEFGABC

The Major scale is the foundation for all other scales, chords arpeggios.. really anything
youÕre going to do on the Guitar (or any other instrument).

The Major Scale:

¥ A Major Scale has 8 notes in alphabetical order.

¥ Has a set interval pattern, (the space between scale tones) for every key:
Whole, Whole, Half, Whole, Whole, Whole, Half

If youÕre completely new to music theory, think of a whole step as 2 frets distance on the
guitar and a half step as 1 fret.

There are always half steps between the notes B-C and E-F.
THE CIRCLE OF KEYS:

The Circle of Keys (often called the Circle of 5ths) is a kind of calculator to determine the
notes in any Major Scale.
 The Major Scale consists of 7 different notes and one octave note in alphabetical order.
For example a C Major Scale is simply: C D E F G A B C

The formula for a Major Scale is:

Whole, Whole, Half, Whole, Whole, Whole, Half

Remember that a whole step (Whole Tone) is equal to 2 frets distance, while a
half-step (Semi-Tone) equals only 1 frets distance.

With this knowledge you could build a Major Scale off of any note, providing you stick
with the above formula.

When you apply this formula starting on the note C proceeding through the musical
alphabet you can see how this works:

I. C to D is a Whole Step.
II. D to E is a Whole step
III. E to F is a Half-Step
IV. F to G is a Whole Step
V. G to A is a Whole Step
VI. A to B is a Whole Step
VII. B to C (octave) is a Half -Step

Being able to Þgure out scales in this manner is a valuable tool that can be applied to any
instrument. For the guitar, it is a slow process that can be averted by the use of patterns and modes.
 How the Circle Works:

THE SHARP SIDE

Starting at the top of the circle with the Key of C Major, notice the natural sign indicating
a key signature of NO sharps and NO Flats.
This means that if we start a scale on ÒCÓ ascending in alphabetical order, we end up with
C D E F G A B C without having to change anything.

As we travel clockwise in 5thÕs to the next note ÒGÓ, we add 1 sharp note.
The Þrst sharp note is F#, indicated by the arrow pointing clockwise.
After we add the F# we end up with a G Major Scale: G A B C D E F# G.

Continuing on to the next key clockwise, we get the key of D Major.

D Major contains 2 sharp notes, F# and C#.
Remember when we need to add a sharp, start on F#, then follow the arrow clockwise and
add the next one in 5ths.

We end up with D E F# G A B C# D.

Try playing these notes on the guitar and notice how our Major Scale Formula remains
intact.

Proceeding to our next Key, A Major we add another sharp for a total of 3.
Starting on F#, following the arrow clockwise and adding C# and D#.

A Major Scale: A B C# D E F# G# A

Can you see the pattern forming here?

 Some Important Points to Remember:

¥ The Major scales always contain 8 notes in alphabetical order.

¥ We always start on F when adding sharps and then add additional ones in 5ths, or clockwise
following the arrow.
¥ The Þnished product ALWAYS falls into our Major Scale Formula: Whole, Whole, Half, Whole,
Whole, Whole, Half.

THE FL AT SIDE

We build ÒßatÓ Keys in much the same way that we did with the sharp side of the circle, but with two
important differences:

1. Bb is the Þrst ßat note.

2. We add our ßat notes counter-clockwise (in 4ths) indicated by the arrow above
Bb.

For the key of F Major, we add 1 ßat note.

The Þrst ßat note is Bb.
So our F Major Scale looks like this: F G A Bb C D E F

Our second ßat KEY ÒBbÓ, has 2 ßat notes: Bb and following the arrow counter-clockwise
to Eb.
Our Bb scale looks like this: Bb C D Eb F G A Bb.

Proceeding a 4th counter-clockwise to Eb we now need 3 ßat notes to complete our scale.
Following the arrow we get Bb, Eb and Ab.
The Eb Major Scale: Eb F G Ab Bb C D Eb.
 Things to Note About Flat keys:

¥ The Major scales always contain 8 notes in alphabetical order.

¥ We always start on Bb when adding ßat notes and then add additional ones in 4ths, or
counter-clockwise following the arrow.
¥ The Þnished product ALWAYS falls into our Major Scale Formula: Whole, Whole, Half,
Whole, Whole, Whole, Half.

YouÕll Þnd that over time the Circle of Keys will just happen for you naturally. I donÕt feel
the need to make my students strictly memorize the circle because over time, it just wellÉ
happens naturally.

FAQ: GUITARISTS ON SC ALES

Why do we need to practice scales as Guitarists?

If we as guitarists understand scales, we can easily learn the theory behind chords and
other scales used to write songs, solos and improvise ßuently in any style of music.

It also makes Þguring out songs and solos from your favorite artists so much easier.
Understanding the Major Scale and Key Signatures also enables you to read music in other
keys besides C.

When we practice scales we are building a framework, or sort of mental highway that
leads to all of the Ògood notesÓ, other scales, arpeggios and chord forms.

It also makes improvising a breeze. Taking the guesswork out of jamming with your band,
a backing track or other musicians is liberating. You canÕt do any of that well without some
scale knowledge.
 Why is Scale Technique Important?

Technique is a tool, and a very important one. Understand that how ÒgoodÓ a Guitarist
may be to anyone is completely subjective. Technique however, is not.

Technique can be measured. It is almost quantiÞable. It also makes every aspect of your
guitar playing easier when practiced regularly.

Think of it as the most important tool in your Guitarist Toolbox. Sure you could hammer
a nail with a rock, but having a good hammer is going to make every job easier.. forever.

How fast you play is optional. Whether youÕre into Blues or Progressive Metal, it just
doesnÕt matter. Practicing scales will help you regardless of your chosen genre or how fast
you want to get.

I learned all the Modes in Tuesdays lesson, why do I want to practice these scales too?

WeÕre going to change it up today by using some different pattern types to confuse the
right hand picking. DonÕt get me wrong, 3 Note-Per-String scales are the cornerstone of
many modern Guitarists playbook, but by adding in odd-numbered notes per string we will
develop a stronger right hand and also cover some of those weird little pockets of Ògood
notesÓ across the neck for improvising and solos.

Think of it as the muscle confusion tactics taught by Þtness professionals. Just when
youÕre blazing through one scale pattern with ease, weÕre going to confuse those muscles by
introducing a new, completely different picking pattern.
S C A L E T H E O RY

As a 25+ year veteran Guitar Instructor, IÕve always tried to make theory as painless as
possible for everyone. Sure, you could just learn the patterns, but a little knowledge will go
a long way to making you a better musician as well as just a better Guitarist.

Major Scales and Modes: The Pentatonic Major, minor and Blues Scale.

You probably already know some these patterns. Typically they are among the Þrst scales
Guitarists learnÉ but did you know the theory behind them?

MINOR SCALE

If we take a regular Major Scale and start on the 6th degree we get the Natural minor
Scale (a.k.a. Relative minor).
C
D
E
F
G
A <<<ÑÑStart minor here!
B
C

A minor Scale: A B C D E F G A

Simple right? thats it! You just made a minor scale.

Take that newly create Natural minor scale and drop a few notes so that your left with:
 ACDEG

After dropping the 2nd and 6th degrees of the A minor scale, weÕre left with a 5 note
scale - A Pentatonic minor.

In relation to the Key of A Major you might also think of it as:

1, b3, 4, 5, b7

Remember in the C scale we went to the 6th degree to create our minor? Let's go back to
the C and use these same notes but starting on C:

CDEGA

Now we have the C Major Pentatonic Scale! Boom, crazy simple right?
DonÕt over think it.. thatÕs really all there is to it.

You might also think of this in relation to C Major as:

1 ,2, 3, 5, 6

Back to A Pentatonic minor for a second:

ACDEG

Now let's ADD a note. The #4 (or b5) - D#/Eb

A C D (D#/Eb) E G

This new 6 note scale is the Blues Scale.

Tip: All 3 of these scales are interchangeable within the key of C/A minor. Sure some will sound better
than others depending on the chord progression, but they all WORK.
HARMONIC MINOR

This is a fun one! If youÕre into Classical Music, Spanish Guitar or the Neo-Classical
Metal Guitarists of the late 70Õs thru 80Õs, youÕll love Harmonic minor.

Back to our A minor scale for a second:

ABCDEFGA

LetÕs raise the 7th degree 1 half step.

G to G#

A B C D E F G# A

Now we have the A Harmonic minor Scale!

MELODIC MINOR

I think itÕs at least worth a mention that there are 2 different ways to do Melodic minor. In Classical
theory the scale is different ascending then it is descending. Sounds confusing right? It can be a little
strange for sure.

LetÕs check it out:

A Melodic minor ascending is an A Natural minor scale with a raised 6th and 7th
degree:

A B C D E F# G # A
 Descending, everything is set back to the Natural minor like this:

Backwards - A G F E D C B A

IÕve seen heated arguments about the usage of this ÒoldÓ style Melodic minor. IÕve actually seen people
say it is a myth or doesnÕt exist. My personal thoughts are that if it ever existed even ONCE, it is not a
myth!
This old form was used widely through the Baroque era and into the early 20th Century. Somewhere
along the line this methodology was dropped in favor of the modern Melodic minor scale more widely used
today.

Note: The great Spanish Classical Guitarist Andres Segovia taught minor scales the ÒoldÓ way with
different ascending and descending notes. You can Þnd them in his timeless Scale Book. So, it is deÞnitely
not a myth!

MODERN (JAZZ) MELODIC MINOR

In the Jazz heyday of the 1940Õs-1960Õs Melodic minor was (and still is) widely used in improvisations
to get a more sophisticated sound. I could do a whole other book on just that topic and it would still only
be the tip of the icebergÉ so for simplicity sake, let's see what happened in the 1900Õs.

Take your original C Major Scale:

CDEFGABC

Lower the 3rd degree 1 half step

E to Eb

C (Jazz) Melodic Minor:

 C D Eb F G A B C

It really is that simple! DonÕt over-think it.

Melodic Minor Shapes:

Here are some alternate Þngerings for Melodic (Jazz) minor that I like to practice. The
great thing about these is that the number of notes per strings feels bit random. This is
great for mixing up that right hand alternate picking.

When you get all 5 of these down, youÕre covering the whole neck in new Melodic minor
shapes. Grab a backing track and try using them in your solos and improvisations.

Ex. 1. 3rd Position: C Melodic minor

Ex. 2. 5th Position

 Ex. 3. 8th Position:

Ex. 4. 10th Position:

Ex. 5. 12th Position:

3 NOTE PER STRING MINOR SHAPES:

 ¥ I know IÕve said it before, but ALWAYS use a Metronome.
¥ Go for 10 reps for each shape, but make them 10 PERFECT reps.
¥ For example if you mess up on the 10th one, do another or however many it takes to get 10 perfect
ones.
¥ Practice slowly. Only practice as fast as you can play perfectly.
¥ Always alternate pick. After all, the whole purpose of this routine is to get the picking hand used to
awkward string crossings and varying notes per string.
¥ Break it up. If the routine is too long and youÕre not quite ready, go ahead and split it over a few
days.

Examples (Tab & Standard) of the Þrst shape in each series below. IÕve put them in a
speciÞc order for a reason. We want to do 1 shape, then move on to the 1st shape in the
next series and so on.

The idea here is that right when your picking hand is getting used to the sequence, we introduce a new
one with a different number of notes per string.

¥ A Pentatonic minor: 2 Notes per string.

¥ C Melodic minor: 2, 3 and 4 notes per string.
¥ C Pentatonic Major: 2 notes per string.
¥ A Harmonic minor: 3 notes per string.
¥ A Blues: 2 and 3 notes per string.

SCALE SEQUENCE EXAMPLE

 Scale Examples
Standard tuning
= 120
Free time
1 A Pentatonic minor 2 3 C Melodic minor

5 8 5 3 5 3
5 8 8 5 3 4 6 6 4
5 7 7 5 2 4 5
5 7 7 5 3 5
5 7 7 5 3 5 6
5 8 8 5

C Major Pentatonic
4 5 6

8 10 8
3 8 10 10 8
5 4 2 7 9 9 7
5 3 7 10 10 7
6 5 3 2 2 3 7 10 10 7
5 3 5 8 10 10 8

7 A Harmonic Minor 8 9

7 8 10 8 7
6 9 10 10 9 6
5 7 9 9 7 5
6 7 9 9 7 6
5 7 8 8 7 5
5 7 8 8 7 5

10 A Blues 11

5 8 5
5 8 8 5
5 7 8 8 7 5
5 7 7 5
5 6 7 7 6 5
5 8 8 5

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T H U R S D AY R O U T I N E R O U N D U P

For the actual Guitar Practice Routine, weÕre simply going to do runs of each shape 10x each. I know
what youÕre thinking, 10x each, thatÕs it?

¥ 10x each, x5 Pentatonic minor. (circled root)

¥ 10x each, x5 Pentatonic Major. (squared root)
¥ 10x each, x5 Blues.
¥ 10x each, x5 Melodic minor.
¥ 10x each, x7 Harmonic minor modes.

So thatÕs 270 reps! It could take you anywhere from 30-90 minutes depending on the speed.
Scale Shapes:
F R I DAY - C H O R D S

In days 3 & 4 we covered the theory of chords, arpeggios and basic diatonic harmony in
the Major Scale.

Remember that from the Major Scale all things musical are derived. For the Þrst example
weÕre going to do some alternate picking through the chords in the Key of F Major:

F G A Bb C D E F

Chords in the Key of F:

I- F Major - F A C
ii - G minor - G Bb D
iii- A minor - A C E
IV - Bb Major - Bb D F
V - C Major - C E G
vi - D minor - D F A
vii - E diminished - E Bb D

Remember that the formulas for diatonic triads are as follows:

¥ Major - 1 3 5
¥ Minor - 1 b3 5
¥ Diminished - 1 b3 b5

Alternate Picking with Moveable Barre Chords.

Exercise #1
In the exercise below weÕre starting on the Þrst note/chord of the F Major scale; F Major in the 1st
position.
 ¥ Alternate pick through F Major.
¥ On your way back descending switch and alternate pick through Gm.
¥ Repeat and work it right into Am, Bb Major, C Major etc.

Ex. 1.

If youÕre a beginner and feel these barre chords are a bit too hard, thats ok. Try the same picking
patterns using open chord forms. Gradually work in some 5 and 6 string barres until your left (fretting
hand) feels strong enough to get through these routines.
7 TH C H O R D S

Ok letÕs Jazz it up a bit! Whether or not youÕre into Jazz or Jazz chord forms, practicing
these shapes and routines will greatly improve your left hand strength and dexterity.

Rock Guitarists tend to ignore these shapes. If youÕre one of these people, donÕt! Learning
difficult and unfamiliar chord shapes will propel your Rock Guitar Technique to new heights.

It will also enable you to start reading some more complicated chord charts for a gig or
just for fun.

7th, 9th, 11th, 13th and altered chords are not something to be avoided either. Expanding your chord
vocabulary will also enable you to get better gigs and stay a cut above other Guitarists who avoid it.

True Story:

About 12 years ago I was called for fairly high-proÞle, well-paying gig for a big production company in
Orlando. At the Þrst audition I got the gig because I knew how to play a Dominant 7b9. It was a simple
D7b9 chord. No big deal.
The other Guitarist was a great player, but primarily a rock player. So was I, but the difference was, I
could get through the chart and he couldnÕt É and I got the gig.
I made thousands of dollars on that gig which lasted over 10 years (the gig not the money). Now if you
already know this stuff, you may be having a good laugh at thatÉ if you donÕt know this stuff.. LetÕs get it
covered right now.

D I AT O N I C 7 T H C H O R D S T U DY
 7th Chord Study
[Link]
Standard tuning
= 120
E String Root
Gmaj7 Am7 Bm7 Cmaj7 D7 Em7
7 8 10 12

1 2 3
[Link].

3 3 5 5 7 7 8 8 10 10 12 12
4 4 5 5 7 7 9 9 11 11 12 12
4 4 5 5 7 7 9 9 10 10 12 12
3 3 5 5 7 7 8 8 10 10 12 12

A String Root
F  m7  5 Gmaj7 Am7 Bm7 Cmaj7 D7
5

4 5 6

2 2 3 3 5 5
1 1 3 3 1 1 3 3 5 5 7 7
2 2 4 4 0 0 2 2 4 4 5 5
2 2 4 4 2 2 4 4 5 5 7 7
0 0 2 2 3 3 5 5
2 2 3 3

D String Root
Em7 F  m7  5 Gmaj7 Am7 Em7 F  m7  5
7 9 10 12

7 8 9

7 7 10 10 12 12 3 3 5 5
8 8 10 10 12 12 13 13 3 3 5 5
7 7 9 9 11 11 12 12 4 4 5 5
9 9 10 10 12 12 14 14 2 2 4 4
7 7 9 9 10 10 12 12

Gmaj7 Am7 Bm7 Cmaj7 D7 Em7

7 9 7 12 14

10 11 12

2 2 8 8 10 10 7 7 14 14 15 15
3 3 8 8 10 10 8 8 13 13 15 15
4 4 9 9 11 11 9 9 14 14 16 16
5 5 7 7 9 9 10 10 12 12 14 14

1/2
 Diatonic 7th Chords - Key of G Major

LetÕs switch it up to the key of G:

G A B C D E F# G

Diatonic 7th Chords in G Major

I - G Major 7 - G B D F
ii - A minor 7 - A C E G
iii - B minor 7 - B D F# A
IV - C Major 7 - C E G B
V - D Dominant 7 - D F# A C
vi - E minor 7 - E G B D
vii - F# minor 7b5 - F# A C E

Here weÕre going to do some quarter-note strumming. Keep it simple and try to get the
shapes under your Þngers comfortably before switching.

Play 2 beats (or strums) of G Maj7 before switching to Am7, Bm7 and so on through the
entire scale. Use downstrokes to keep it simple until you feel comfortable with the
switching.

Sounds cool right? 7th chords will really expand your chord vocabulary and give you
some tasty substitutions for the common old Major and minor shapes you probably already
know.
THE DIMINISHED ÒCONNECTORÓ

Here is a great concept you can apply to 7th chords that will really make your chord
progressions sound ÒjazzyÓ. WeÕre going to take a new chord, the Diminished 7th, and insert
it on the off-notes between each chord.

That will look like this:

In Key of G:

G Major 7
ÑÑÑÑ->>> OUT - G# dim7
Am7
ÑÑÑÑ->>> OUT - A#dim7
Bm7
CMaj7
ÑÑÑÑ->>> OUT - C#dim7
D7
ÑÑÑÑ->>> OUT - D#dim7
Em7
ÑÑÑÑ->>> OUT - Fdim7
F#m7b5

HereÕs what that looks like on paper:

 Other Chord Forms and Extensions:

You may be wondering, Òok, but what about 9thÕs, 11thÕs, 13thÕs etcÓ?

If you can count to 13, know your Key signatures (which notes are # or b in any Key), you can
create ANY chord if you know some simple formulas.

Take that G Major Scale we just played through above and number it up to 13:

1. G
2. A
3. B
4. C
5. D
6. E
7. F
8. G
9. A
10. B
11. C
12. D
13. E

We donÕt say things like 8ths or 10thÕs in Music theory, so letÕs cross those out.

You remember that a 1 + 3 + 5 always = a Major chord/arpeggio?

Now add a 7th and 9th to it like this:

G B D F# A - Now weÕve created a G Major 9

How about taking D7 and adding some extensions:

D F# A C = D7
 D F# A C E = D9
D F# A C E G = D11
D F# A C E G B = D13

How about the mysterious and scary Altered Chords? Guitarists shouldnÕt be afraid of
these either. Anytime we raise or lower the 5th or 9th of a Dominant 7th chord we are playing
an altered chord form. For example:

D7b9
1 3 5 b7 (b9) <<ÑFormula
Notes: D F# A C Eb

How about something really scary?

D13b5#9
1 3 (b5) b7 (#9) 11 13 <<ÑFormula
Notes: D F# (Ab) C (E#/F) G B

The fact is, with some basic chord formulas memorized, you can make any chord, any time you want.

CHORD FORMULA MASTER CHART

S AT U R DAY - C L A S S I C A L G U I TA R 1 0 1

A Note From the Author:

When writing this book, I struggled with the idea of adding a Classical Guitar section.
Classical Guitar is such a speciÞc Guitar niche that I was worried about possibly alienating
all of the Rock, Metal, Jazz and Blues players of whom I was sure would enjoy days 1 thru 5.

It occurred to me one day while practicing myself, how important Classical Guitar music is
to my own playing. Furthermore, I feel I would be doing you, the reader, a disservice by not
including it.

As IÕm writing this chapter, IÕm getting ready to do 6 gigs in a row this week. This month
has been one of the busiest of the year (October). While I always do my picking routines and
chord/arpeggio studies throughout the week, often times when I have a busy schedule, I
tend to neglect the fun stuff, which for me is Classical Guitar music.

I noticed something really important though:

When IÕm not playing Classical Guitar, everything else suffers. I do mean everything. My left
hand is certainly weaker and a bit of balance is lost between the two hands. Even my picking
suffers.

The past 3 days I started working though some simple Classical exercises which IÕve
outlined in this chapter. In just 3 days, hereÕs what happened:

¥ My left hand feels strong and more limber, particularly slurs. (Hammers & Pulls)

¥ My right hand, especially downstrokes, feel stronger and cleaner.

¥ Improvisation is better because I was reading actual music and not just tab. IÕm better able to pick out
the ÒgoodÓ notes in a scale or key all over the neck as a result.

¥ Chord grabs and switching is just easier and cleaner. Classical music is demanding on the left hand.
When switching back to Rock, Pop, Metal, Jazz etc, everything just feels easier.

¥ It got me out of a rut. All Guitarists get into a rut from time to time. Working on something completely
out of your comfort zone is a sure Þre way to break out and progress faster.
One common misconception is that Þnger-picking or Classical Guitar hurts or somehow doesnÕt
beneÞt those Guitarists who are primarily pick-style players. This is inaccurate.

Finger-picking does much to beneÞt regular picking technique. Think about itÉ All
Classical music utilizes the thumb for bass notes. The movement of the thumb moves in a
sort of down and up pattern much in the same way you use a pick.

The index Þnger of the right hand is constantly pulling back like an upstroke. Also beneÞcial
to picking technique. Transitioning back and forth between Þnger style techniques and pick-
style will do nothing but improve the right hand for both styles.

C L A S S I C A L G U I TA R S L U R S : H A M M E R & P U L L S

Classical Guitar slurs are some of the best exercises you can do for your left hand. They
build strength, speed and dexterity with only a small time investment per week.

Much in the same way we did 4-note-per-string exercises in Day 1, weÕre going to pair off
every set of Þngers on the left hand. The difference is, weÕre only going to pick one note
followed by a slur or series of slurs.

SLURS

Ex. 1. Hammers

Ex. 2. Pulls

Ex. 3. Triplet Slurs

 Classical Slurs
Hammers
Standard tuning
= 120
Free time
1&2 Repeat Right Hand Pattern Throughout
H H H
H H H H H H H H
1 2 3

H
H H H H H H H H H H
1 2
1 2 1 2
1 2 1 2
1 2 1 2
1 2 1 2
1 2 1 2

1&4 H
H H H
4 H H 5 H H 6 H H H

H
H H H H H H H H H H
1 4
1 4 1 4
1 4 1 4
1 4 1 4
1 4 1 4
1 4 1 4

2&3 H H H
1&3 H
H H H H H H H H H H H H H H H
7 8 9

H H
H H H H H H H H H H H H H H H H H
2 3 1 3
2 3 2 3 1 3 1 3
2 3 2 3 1 3 1 3
2 3 2 3 1 3
2 3 2 3 1 3
2 3 2 3 1 3

2&4 H H
H
H H H H H H H H H H H
10 11 12

H
H H H H H H H H H H H H H
2 4
2 4 2 4
2 4 2 4
1 3 2 4 2 4
1 3 2 4 2 4
1 3 2 4 2 4

H H H
H H H H H H H H
13 14 15

H
H H H H H H H H H H
3 4
3 4 3 4
3 4 3 4
3 4 3 4
3 4 3 4
3 4 3 4

2018 1/1
All Rights Reserved - International Copyright Secured
 Classical Slurs #2
Pulls
Standard tuning
= 120
Free time
P P P
P P P P P
P P P P P P P P P P P
1 2 3

P P
P P P P P P P P P P P P P P P P P
2 1 41
2 1 2 1 41 4 1
2 1 2 1 4 1 4 1
2 1 2 1 4 1
2 1 2 1 4 1
2 1 2 1 4 1

P
P P
P P P P P P P P P P P
4 5 6

P
P P P P P P P P P P P P P
3 2
3 2 3 2
3 2 3 2
4 1 3 2 3 2
4 1 3 2 3 2
4 1 3 2 3 2

P P P P P P
7 P P P P P 8 P P P 9 P P P P P

P P
P P P P P P P P P P P P P P P P P
4 2 3 1
4 2 4 2 3 1 3 1
4 2 4 2 3 1 3 1
4 2 4 2 3 1
4 2 4 2 3 1
4 2 4 2 3 1

P P P P P P
10 P P P P P 11 P P

P P P P P P P P P P P P P
3
4 3 4 3
4 3 4 3
3 1 4 3 4 3
3 1 4 3 4 3
3 1 4 3 4 3

2018 1/1
All Rights Reserved - International Copyright Secured
 Classical Slurs #3
Triplets
Standard tuning
= 120
Free time
etc, Descending.
H P H P HP H P
H P H P H P H P H P H P H P H P H P H P HP
3 H P 3 H P 3 HP
1 3 3 3 2 3 3 3 3 3 3 3

3 3 3
3 3 3
H P H P HP
H P H P H P H P H P H P H P H P HP H P H P H P H P H P HP
1 2 1 1 41 23 2
1 2 1 1 41 23 2
12 1 14 1 2 3 2
1 2 1 1 41 2 3 2
12 1 1 41 2 3 2
1 2 1 1 41 2 3 2

H P H P H P
H P H P H P H P H P H P H P H P H P H P H P
H P H P
3 3 H P 3 H P
4 3 3 3 5 3 3 3 6 3 3 3

3 3 3
3 3 3
H P H P H P
H P H P H P H P H P H P H P H P H P H P H P H P H P H P H P
2 42 1 3 1 3 4 3
2 42 1 3 1 3 4 3
2 4 2 1 31 34 3
2 42 13 1 3 4 3
2 42 13 1 3 4 3
2 42 1 3 1 3 4 3

2018 1/1
All Rights Reserved - International Copyright Secured
THE SPIDER SEQUENCE

This one is tough! Before you start, please be careful with this one and do not overdo it. If
you feel any pain or discomfort in your left hand, take a break.

Here weÕre going to once again pair off Þngers of the left hand. To set up, plant all 4 Þngers
in the 5th position on the G string. So, 1st Þnger 5th fret, 2nd Þnger 6th fret etc.

Next weÕre going to alternate pairs and move to the adjacent strings and then skip strings.
For this one youÕll have to Þnger-pick to pluck the notes.

Remember to keep the Þngers not being used, planted Þrmly on the G String.

Spider Sequence:
 Spider Sequence
Standard tuning
= 120
D & G String Pairs
1 2 3

5 6 5 6 7 5 7 5 8 5 8 5
6 5 6 5 5 7 5 7 5 8 5 8

4 5 6

8 8 8 8 7 6 7 6 8 7 8 7
6 10 6 10 6 7 6 7 7 8 7 8

A & B String Pairs

7 8 9

6 5 6 5 8 5 8 5 7 5 7 5

5 6 5 6 5 8 5 8 5 7 5 7

10 11 12

8 6 8 6 7 6 7 6 8 7 8 7

6 8 6 8 6 7 6 7 7 8 7 8

E and E String Pairs

13 14 15

6 5 6 5 8 5 8 5 7 5 7 5

5 6 5 6 5 8 5 8 5 7 5 7

16 17 18

8 6 8 6 7 6 7 6 8 7 8 7

6 8 6 8 6 7 6 7 7 8 7 8

2018 1/2
All Rights Reserved - International Copyright Secured
S U N DAY - 1 2 0 A R P E G G I O S T U D I E S

Mauro Giuliani (1781-1829) was an Italian Guitarist and Composer who gave us some of the most
beautiful and challenging pieces in the Classical Guitar Repertoire. While the majority of his compositions
fall into the ÒClassicalÓ music period from 1730 to 1820, his music was arguably more inßuenced by the
Baroque period and much less from the ÒRomanticÓ period which followed.

We as guitarists owe essentially every useful right-hand Þnger-picking pattern to Guiliani

and his 120 Right Hand Studies. Whether youÕre an aspiring classical player, or a rock or
blues player looking to improve your Þngerstyle playing, I think youÕll Þnd these studies an
invaluable resource.

All 120 studies contain some form of a I-V progression in C Major. That is C Major and G
(Dominant)7 in the open position. See Figure 1.

Practice the CMaj and G7 transitions to familiarize yourself with the left hand movements
throughout these studies. Once you are comfortable with the chord changes, the right hand
(p, i, m, a) parts will come naturally over time. While many of the studies are single note
arpeggiated variations, there are many with multiple plucked notes as in Study #1 below.

Fig. 1
Practice Suggestions:

I like to practice these in groups of about 20-30 per day as a right-hand warm-up. This takes
me about 30-45 minutes at a pretty good clip. At Þrst you may want to start with only 2-5
per day and as the progression becomes more comfortable and the muscle memory kicks in,
you might Þnd yourself blazing through these pretty fast.

¥ Pay attention to the rest strokes on some studies.

¥ Do not play the right hand parts faster than you can switch to the next chord form with
your left hand.

¥ Spend more time on the studies you have some difficulty with and less time on the ones
which already feel natural to the right hand.

¥ Take breaks often! If you feel pain in your right hand wrist or tendons stop for a while
and come back to it once the fatigue wears off.

I canÕt even begin to describe how much these often simple studies have helped my playing. 15-20 minutes
on a few studies before starting your favorite Classical piece and youÕre all warmed up. ThereÕs a reason
why these have been taught to countless guitarists for over 200 years! Enjoy.

Authors Note: IÕve included all of the 120 Arpeggio Studies as a Separate .PDF download. ItÕs almost
another book by itself! Below are the Þrst 8. If for any reason you didnÕt get your copy, let me know and
IÕll send it over.
Email: craig@[Link]
C L A S S I C A L G U I TA R S C A L E S

Even though weÕve covered scales exhaustively in previous chapters, I think Classical Style
scales warrant a separate section.

The primary difference a Rock, Blues or Jazz player may notice when playing Classical Style
scales is the way the left hand shifts are presented. It just feels different and maybe even a
little weird if youÕve only played conventional/modern style scales on guitar.

Andres Segovia, perhaps the most inßuential and well known Guitarist of the 20th century,
wrote an entire book of his own scales in every key. IÕm sure in the 1930Õs Guitar Scale
books were scarce.

I think the whole point is to acquaint the left hand with a different type of shift. We can
illustrate this using only 4 different shapes. After youÕre comfortable with these, IÕll leave it
to you to move them into other keys.

Ex. 1. C Major - 1 Shift, 2 Positions.

In ex. 1. weÕre going to play a C Major Scale starting in the 2nd position. Once youÕve played the B note
(4th fret, G string), we then shift to the 5th position and complete the second octave of the scale.

Ex. 2. D minor

In the D minor scale example, weÕre only shifting once.

Ex. 3. G Major
Ex. 4. A minor

In examples 3 & 4 weÕre covering 3 octaves with several left hand shifts. Pay close attention to the left
hand Þngerings and work through these very slowly.
 Classical Scales
Standard tuning
= 120
II C Major V Shift II Shift
1 2

5 7 8 7 5
5 6 8 8 6 5
2 4 5 7 7 5 4 2
2 3 5 5 3 2
3 5 5 3

V D minor X Shift

3 4 5

5 6 8 10 12 13 12 10
5 6 8 13 11 10
5 7 12 10 9
5 7 8 12 10
5 7 8 13 12 10
13 12 10

II G Major V Shift VIII Shift XII Shift VII Shift II Shift

6 7 8

5 7 8 10 12 14 15 14 12 10 8 7
5 7 8 10 8 7
2 4 5 7 9 7
2 4 5 10 9 7
2 3 5 10 9 7 5 3 2
3 5 5 3

V A minor IX Shift X XIV Shift X IX

9 10

10 12 14 16 17 15 13 12 10
9 10 12 13 13 12 10
9 11 12 10 9
9 10 12
5 7 9 11 12
5 7 8

11 V 12

12 10 9
12 10 8 7 5
8 7 5

2018 1/1
All Rights Reserved - International Copyright Secured
Remember to alternate right hand Þngers:

1. i,m,i,m

2. m,i,m,i

3. i,a,i,a

4. a,i,a.i

5. p,p,p,p

Tip: If youÕre completely new to Þnger-style or Classical Guitar, stick with alternating (i,m) for a while
until you feel comfortable. After that, go ahead and work in the other right-hand combinations.

CLASSICAL SCALE STUDIES

BAC HÕS BOUREE IN E MINOR

Johann Sebastian Bach 1685 Ð 1750) was a German composer and musician of the Baroque music
period. He is known for instrumental compositions such as the Brandenburg Concertos and the Goldberg
Variations as well as for vocal music such as the St Matthew Passion and the Mass in B minor.

Since the 19th-century, he has been generally regarded as one of the greatest composers of all time.

After youÕre comfortable with some Classical style scales and arpeggios, why not give the Bouree in E
minor from Lute Suite #1 a try. While not a beginner piece, it is often the gateway to Classical Guitar
repertoire for Guitarists of different genres.

Tips:

¥ Work through the piece one measure at a time.

¥ After memorizing 1 measure, move to the second and then play both.

¥ After memorizing 2 measures, move to the third and play all 3.

¥ Repeat this process until the entire piece is memorized.

Repeats and Sections:

¥ Play to the end of bar #8, move back to the repeat sign at bar #2.

¥ During this second cycle skip bar #8 and start section 2 at bar #9.

¥ Play to the end of bar #25.

¥ Start repeat at bar #10 and continue to the end of the piece, while also skipping bar #25.
BEGINNER CHORD FORMS
BARRE CHORD FORMS
PENTATONIC MAJOR, MINOR & BLUES SHAPES

Circle + Dot = Minor Root

Square + Dot = Major Root
Hollow Circle = ÒBlues NoteÓ
AFTERWORD

G U I TA R P R O F I L E S :

IÕve included links to the Guitar Pro 7.5 Files for all of the music examples in the book.

[Link]

All Þles include full audio, TAB and Standard Notation. You can also speed-up, slow-down
and even edit these Þles on your Mac, Windows or iOS Devices.

If you donÕt have Guitar Pro, I highly recommend it for every Guitarist.

Use My Link Below for a Free Trial:

[Link]
ABOUT THE AUTHOR

Craig Smith has been a Professional Guitarist and Teacher for nearly 28 years. Originally from Canton
Ohio, Craig grew up during the heyday of 80Õs Guitar.
After playing in Rock, Metal and Pop bands for over 10 years, he moved to Florida in 1999 and quickly
became a Þrst-call session and live Guitarist in Orlando, Florida.

After teaching for many years and thousands of gigs, Craig is still out performing 4-6 days per week
around Central Florida. He lives in Sanford, Florida with his wife of 21 years Celeste and their four
ChihuahuasÕ: Yngwie, Abigail, Rosita and Princess Leia.

When heÕs not playing guitar live, heÕs blogging and helping other Guitarists online.

Website: [Link]
Contact Email: craig@[Link]