exercises

EXERCISE 3

- bass notes are played here on the 1st and 4th beat of each measure. Concentrate on that , it is still a regular rhythm pattern.

EXERCISE 5

- E-major scale ascending / descending - take note of the position of the bass notes in the measure - try to play it with a relaxed feel and concentrate alternately on the bass and melody line.

EXERCISE 7

D - major scale ascending / descending - compare the shape of the scale on the fretboard with those you have already learned - find more shapes on the fretboard for each of the scales you have learned (for example, play Emajor scale ascending from the root note placed on the A string (7th fret)

EXERCISE 9

E major chord fingerpicked - the fingerpicking pattern is similar to the previous exercise , just the bass notes are not on the beats 1 and 3 of each measure but on the beats 1 and 4. - compare the E minor and major chord positions and memorize their shapes

EXERCISE 11

-while in Exercises 8,9,10 the chords were played the „arpeggio“ way (the notes of the chord are picked one after the other) , in this example the chord is played using the „tirando“ technique and the notes of the chord are picked simultaneously. - the chord in this example is G minor, and it is played as „barré“ chord – the (index) finger presses down multiple strings across the fretboard. Every basic chord can be played as „barré“ somewhere on the fretboard.

EXERCISE 13

- please make sure you let all the strings ring as long as possible - this exercise is just an example showing that the bass line „behind“ the chord can also move melodically, not just rhythmically - try to make up similar exercises yourself - using different chords

EXERCISE 15

- the four chords in this example have the same root note (B) but different structure of intervals : Bm7-B (minor 3rd) D (major 3rd)F# (minor 3rd) A Bm7b5 – B (minor 3rd) D (minor 3rd) F (major 3rd) A B7 – B (major 3rd) D# (minor 3rd) F# (minor 3rd) A Bdim7–B (minor 3rd)D (minor 3rd)F (minor 3rd) G# Think about the intervals (“distances” between the chord tones) and try building chords from a different root using what the intervals you have learned . Memorize the chord shapes on the fretboard.

EXERCISE 17

- the rhytmical patterns from the previous exercise are implemented here using the "arpeggio" style of picking the chord tones

EXERCISE 19

- C major scale ascending / descending - playing the thirds "inside" the scale (C,D,E,F,G,A,B) , which means you play every alternative note together (CE -major 3rd, DF- minor 3rd, EG- minor 3rd, FA-major 3rd, GB- major 3rd, AC- minor 3rd etc.)

EXERCISE 21

-E minor chord accompanied with a walking bass line in E Dorian mode - Dorian mode is the most used mode for minor chords in jazz harmony - a general scheme of the dorian mode is : 1,2,b3,4,5,6,b7 (E,F#,G,A,B,C#,D in this example)

EXERCISE 23

- practice the fingerpicking patterns with "barré" chords too. Practicing barré chords every day is for your fingers like going to the gym for your body. Your fingers get stronger, which is a good thing.

EXERCISE 25

- another famous pattern - take notice of the way the bass line changes at bar 9 (switching from C bass note to G - the "perfect 5th" always works in the bass line perfectly )

EXERCISE 27

- C major scale - it´s an example of how to move from one fingering position on the fretboard to another. The first three bars are played in position VII, (the index finger is on the 7th fret) and in order to play the last two 1/8 notes of the 4th bar, the left hand must move to position II. (Move your index finger to the 2nd fret, even though you only play one note on 5th fret (with your pinkie ) and one note on the 3rd fret (with your middle finger)

EXERCISE 29

- don´t just use basic chords when practicing the patterns, there is a lot more to be discovered on the guitar fretboard - combine intervals, triads with open strings and get a new sound from your guitar - try everything and have fun with your guitar so you don´t get bored.