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Ideas, Phrases and 
Exercises for the 
Modern Guitarist 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
by Toni Lloret 
© Toni Lloret Tercero 2004 
Translated by Gav Miles 
 
Depósito Legal: B-50641-2004 
CD0020 
Contents 
 
This book is presented in four sections, one section for each of the 
techniques used most in modern guitar playing. 
 
1. Alternate Picking: Sequences on one string, two strings, all six 
strings, arpeggios, pentatonics, ideas and phrases and hybrid 
picking (pick and fingers) 
 
2. Legato: Legato with scales, legato and picking, pentatonic 
legato, arpeggios with string skipping, stretching and stretch 
arpeggios. 
 
3. Sweep Picking: Sweep Picking from 2-6 strings, sweeping and 
Modes, arpeggios and scales, economy picking, ideas and 
phrases and finger sweeps. 
 
4. Tapping: Tapping scales, pentatonics, arpeggios, using various 
fingers for tapping and taping with string skips. 
 
Each of these sections will be explained in further detail later on in the 
book. 
 
Introduction 
 
One of the most common problems that guitarist’s come across after 
having learnt a new idea or phrase is putting it into practice, whether it be 
in a composition or an improvisation. 
 
Normally, if the student learns an idea and does expand on it and make it 
his own he can become trapped, and only play it in the way it was learnt 
and not feel “free” when he/she is playing and will then resort to the old 
clichés. 
 
In this book I’m going to attempt to give you different ideas and avenues 
that you can use in order to make the licks your own. One of the main 
points when playing any lick of phrase is the ability to see it in various 
positions on the fret board. 
 
We should be able to move our idea around the fret board whilst being 
aware what we are doing and the intervals involved. It’s for this reason 
that in practically all the examples in this book the intervals are clearly 
visible. Perhaps at first, if we only know 2 or 3 patterns, the diagrams 
might look limiting if we want to move all over the fret board but if we 
have an understanding of how this pattern is made we can apply this to 
other positions all over the neck. This really opens things up!! 
 
But this is only a means to an end. You’ve got to make music and no 
matter how well you know the fret board – if it’s not musical you’re not 
doing it right. What we want to achieve is a good choice of notes played 
with a good technique- and that’s it. 
 
It’s for this reason that the ideas in this book are presented as exercises and 
in this way the student can study his/her technique and be able to visualise 
the fret board and be able to come-up with their own ideas. 
 
How to use the book 
 
It’s very important that you read this section in order that you understand 
the ideas and the principle objectives of this book. Although I think that 
this book is suitable for all levels and styles of guitar playing this does not 
means that everyone has to use the book in the same way. 
 
The beginner will probably use this book from the beginning in order to 
get the picking hand working, whereas the more experienced player, who 
may have a good picking technique, might go straight to the tapping 
section. 
 
It’s perfectly possible that after hearing some of the examples in this book 
you think that some of the material is not applicable to your particular 
style of music or perhaps it not what you would normally practice and 
that’s fine. But we can only learn by studying new material. But I really 
believe that whatever your style of music this book will forfill it’s 
promise- how to come-up with your own phrases, ideas and exercises and 
adapt them into your own playing. 
 
Feel free to take any idea presented in this book and use it as you wish- 
think of the book as a dictionary if you like. Take an idea, analyse it, play 
it, come up with some variations. But you must always be aware of what 
you are playing and why. Or the other way is to go from cover to cover. 
Having said that, the book is presented in a way that the material is very 
progressive and for that reason the material at the end of the book perhaps 
might not be totally suitable for the complete beginner. 
 
 
 
 
 
 
 
 
 
 
 
 
Using the Book 
 
This book can be used in one of two ways. 
 
A You can take and idea that catches your attention and practice it until 
it forms part of your vocabulary. This is a good way to use the book this 
way the book becomes a type of “idea” dictionary. 
 
B Or you can take the ideas that you need to improve on, working 
exclusively on those techniques that you don’t quite control. 
 
Both ways are equally feasible for all guitarists, although towards the end 
of the book things start to get a bit more advanced. 
 
 
 
Audio and Video Examples 
 
All examples in this book have their respective audio file. Theses files are 
presented in MP3, which requires an appropriate player. 
 
In the videos you can see variations on the ideas presented. If you have 
any fingering problems or you want to confirm those pick strokes then this 
is the place to check-out what I’m doing. These can be seen on Windows 
Media or any similar program. Normally these programs are pre-installed 
on the majority of home computers and therefore you should not have to 
buy separate programs. 
Thanks 
 
I would just like to thank all those who have helped and encouraged me 
during this project and due to them this book has, finally, seen the light of 
day. 
 
Gav Miles for his great job on the translation of this book, a thousand 
thanks Gav. 
 
Jamie Buelta and David Luis Vañó for his help with the cover 
design. 
 
Jamie Villanueva for his advice and general comments on how I 
could improve the layout 
 
To all my students for being great mates 
 
To all the great guitarists who have influenced me to write this book 
 
To everyone all who has sent me messages of support, via Email or 
through visits to the web page, which has helped me to keep working 
on this project. 
 
And to you for buying this book. I sincerely hope that it helps you to 
improve whilst enjoying the guitar. 
 
I can be contacted at the following address 
 
www.tonilloret.com / www.tonilloret.net 
toni-lloret@guitarristas.info 
gav@guitarristas.info 
Alternate Picking 
 
In this section we are going to look at some ideas and exercises 
that use Alternate Picking. 
 
Alternate Picking uses a technique where we are hitting the 
strings with and down stoke (towards the floor) and an upstroke 
(towards your body) and this is then repeated – down, up, down, 
up, down etc. Or we can do it in the opposite way, by starting 
with an upstroke and then a down stroke. Up, down, up, down.... 
 
I really recommend that you practice these Alternate Picking 
exercises with a clean sound and that you practice both the 
“down, up” pattern and the “up, down” pattern. This may seem 
difficult at first but believe me; it’s really going to get your 
picking hand in order. 
 
It’s also very important that you practice with a metronome. Start 
very slowly, at a speed that you can manage to play the exercises 
comfortably and bit-by-bit increase the tempo, always making 
sure that the notes are well defined and not messy!! 
 
In all the examples the pick-strokes are included as is the left-
hand fingering. 
 
The videos will show you the different ideas and variations that 
you can come-up with using the various examples. 
 
All the examples are arranged from Easy to Hard. 
 
The first section, which deals with examples 1 to 72, is setout in 
the following manner: 
 
ü Ideas and sequences on one string (1-6) 
ü Sequences on two strings (7-13) 
ü Ideas and sequences on six strings (14-28) 
ü Arpeggios with alternate picking (29-34) 
ü Pentatonic with alternate picking (35-41) 
ü Phrases with alternate picking (42-53) 
ü Hybrid Picking (54-58) 
ü More Phrases (59-72) 
 
Ideas and sequences on one string (1-6) 
 
In the first examples we’re going to use just one string. Theseexercises are quite easy, as we do not have to change strings. 
Because we do not have to change strings we can concentrate on 
getting good coordination between the fretting and picking hands. 
This coordination is fundamental for a good picking technique. 
 
Sequences on two strings 
 
The next step is to now move-on to two strings (7-13). 
 
This is where things start to get interesting as the picking hand 
has to move a little bit more when changing strings. 
 
It’s very important that you play these examples in the following 
manner; first with an upstroke, down stroke etc and then starting 
with down stroke, upstroke. Try and keep the notes “even” and if 
at any time you have a problem, then slow down and take things 
slower. You must remember first accuracy and then speed. 
 
Ideas and Sequences on six strings (14-28) 
 
In this section we’re using all six strings. Don’t just play the 
examples written here! Try to come-up with your own variations 
and sequences. This is a great way to memorize any new scale 
you may be learning. 
 
Arpeggios with Alternate Picking (29-34) 
 
In this section we’re playing arpeggios with Alternate picking 
 
Pentatonic with Alternate Picking (35-41) 
 
Here we’re looking at pentatonics and picking 
 
Phrases with picking (42-53) 
 
In this section we’re looking at a few phrases that you can add to 
your vocabulary 
 
Hybrid Picking (54-58) 
 
In Hybrid Picking we’re going to use a combination of pick and 
fingers. As opposed to using the downstroke-upstroke we’re 
going to use down stroke-fingerpick. The finger we use for the 
fingerpick can be index, middle or ring finger or indeed a 
combination of all. This technique is used a lot in country music. 
This is also a great way to play wide-interval licks, which is why 
rock players use this technique. Another reason for using this 
technique is that the fingered notes tend to “pop-out” over the 
picked notes and this gives an unusual sound. 
 
Alternate Picking Phrases (59-72) 
 
Just a few more phrases for you to use in your improvisations. 
4 notes per string, groups of five, chromatic phrases, string 
skipping and some ideas with the harmonic and melodic minor 
scales. 
 
 
 
 ex. 1 
 
 
 
 
 
 Example 1 is a sequence in G Minor played on one string. 
 
 
 We can play this ascending. 
 
 Or develop the idea on two strings, 
 
 
 
 Or take it over the entire neck. 
 
 
 
 
 
 
 
 ex. 2 
 
 
 Here is a basic idea to start using all four fingers of the left hand. 
 Using all fingers of the left hand can help us to become more agile, precise and 
 independent. 
 This technique also allows you to visualise scales 3 notes per string 
 
 G Mayor Sequence (played four fingers per string). 
 
 
 
 
 We can use 4 notes per string fingerings for any scale or mode 
 Even pentatonics can be played in this way, but be prepared for some mayor stretching. 
 
 
 E Minor Pentatonic (4 fingers per string). 
 
 
 
 
 
 
 
 
 
 ex. 3 
 
 
 
 
 
 Here we have a D Major scale using the 4 notes per string concept. 
 This sequence is a great way to start to get used to playing those groups of seven. 
 Because of the way we are fingering the scale it seems very natural, for this reason it 
 might be a good idea to practice other rhythmic groups such as triplets of groups of six. 
 
 Lets play the same idea with sixteenth notes. 
 
 And triplets. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ex. 4 
 
 
 
 
 
 Example 4 is a very typical sequence that uses the A harmonic Scale. 
 
 
 
 This may seem a bit dated for all you folk looking for something new-sounding 
 
 But things really start to heat up using the Pentatonic. 
 
 
 
 And why not a good old arpeggio? In this case A Minor 7. 
 
 
 
 
 
 
 
 
 ex. 5 
 
 
 
 
 
 This exercise is basically the same as the one we saw before (ex. 4), but this time it’s 
 based on two scales E Minor and E Harmonic Minor and this time were going both up 
 and down the scales. 
 
 
 As before we can change a few things and come-up with something different 
 
 For example, how about E Minor Pentatonic. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ex. 6 
 
 
 
 
 
 
 
 
 In ex 6 we’re going to use seisillos with the A Harmonic Minor 
 (bars 1 and 2), and the E Harmonic Minor (bars 3 and 4). 
 This type of sequence really gets your hands synchronised and also develops 
 right hand speed and precision. 
 
 
 Right, let’s burn this idea up, over all six strings. 
 
 ex. 7 
 
 
 
 
 
 El ex. 7 were using a 2 string descending sequence in F Major. 
 
 
 Don’t forget to practice the ascending version too. 
 
 We’ve played this sequence on the 3rd and 4th strings but it’s a good idea to use all 
 available string groups. 
 Strings 1st and 2nd, 2nd and 3rd, 3rdand 4th, 4th and 5th, 5th and 6th. 
 
 One of the aims of this exercise is to improve freedom of movement and to gain 
 fluidity on all of the 2 string groups. 
 I’ve given you a few more 2 string ideas below-but just a few words of advice before. 
 All of these examples will not only help to improve just our alternate picking technique 
 but also our legato techniques as well. We can also play these exercises using a 
 combination of both picking and legato. 
 
 
 
 
 
 ex. 8 
 
 
 
 
 
 
 
 
 
 
 Try this one on for size! This time in D Major. 
 Don’t forget to practice the ascending version as well. 
 
 
 ex. 9 
 
 
 
 
 
 
 
 
 Another sequence in D Major. 
 
 Let’s take a look at the ascending version. 
 
 
 
 
 ex. 10 
 
 
 
 
 
 
 Our next example is based on quite an unusual sequence, 
 this time in the key of B Minor. 
 
 
 
 
 ex. 11 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 Exercise 11 is another diatonic sequence, but this time in A Major. 
 
 
 
 
 
 
 Now let’s take that same sequence and use it with the 
 
 A Major Pentatonic and see how it’s sounds. 
 
 
 
 
 Or how about the F# Minor Pentatonic with the “blue”note (b5) . 
 
 
 
 Or even an F # min7 add9 arpeggio . 
 
 
 
 
 
 
 
 ex. 12 
 
 
 
 
 
 
 
 How about this sequence in G Major ? 
 
 
 
 And it’s relative minor E Minor Pentatonic . 
 
 
 
 
 ex. 13 
 
 
 
 
 
 In example 13 we’ve got a sequence in G Major on the 4th and 3rd strings 
 
 
 Still on the same string set, this time using the G Minor Pentatonic. 
 
 If at any time you find that these 2 string sequences are becoming too easy for 
 you, try using the same methods with different scales like the Melodic or Harmonic 
 Minor scales. 
 
 
 
 
 ex. 14 
 
 
 B Minor sequence. 
 
 
 Example 14 combines two 3 note per string patterns, we’re going up using one pattern 
 and coming down using the adjacent. 
 
 
 If you’re not quite top of the class with you’re 3 note per string scales, the following 
 idea will help loads – we’re just going up and down the same pattern. 
 
 Let’s try a B Natural Minor Scale . 
 
 
 
 
 ex. 15 
 
 
 
 
 Example 15 is in A Minor, but this time we’re not moving around the neck 
 horizontally (2 notes per string), or vertically (in one fixed position). 
 
 In this example we’re moving horizontally up the neck. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ex. 16 
 
 
 
 
 Here in exercise 16 we using the D Major scale with a seisillos sequence. 
 
 
 
 
 Lets use the same sequence – but change the scale. 
 
 D Minor Pentatonic . 
 
 
 
 
 
 
 
 ex. 17 
 
 
 
 Example 17 uses the A Minor Blues Scale – played 3 notes per string. 
 
 
 We go up using one pattern. 
 
 
 And come down using another. 
 
 
 
 
Minor Blues Scale Shapes (3 notes per string) 
(A Minor pentatonic blues )ex. 18 
 
 
 
 
 
 
 Exercise 18. Let’s check out E Minor Blues. 
 
The blue” (b5) has been coloured blue on the fret board diagram. 
 
 
 ex. 19a 
 
 
 
 
 
 
 Ex.19 we’re going up the neck diagonally and coming down horizontally on 
 only one string. 
 This time it’s E Minor. 
 
 
 
 
 
 
 
 Here we’re playing a 2-string pattern repeated in octaves. 
 
 
 
 
 This above approach can be applied to any scale. 
 
 Check out this example in E Major. 
 
 
 
 
 Now let’s play the same pattern a whole tone lower. How do we do this? 
 
 We just move the whole pattern down two frets to make D Major. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ex. 19b 
 
 
 
 
 Ex 19b, is very similar to 19a, only this time we’re going down the scale. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ex. 20 
 
 
 In example 20 I’ve taken the C# Minor scale and played it using thirds 
 
 
 
 
 We can use this idea with other 3 note per string scales. 
 
 Check out A Phrygian. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ex. 21 
 
 
 
 
 
 Our next example is sequence of a four note group, 
 B Minor Pentatonic. 
 
 
 
 
 ex. 22 
 
 
 
 
 Example 22 uses the same idea, but this time we’ve changed key... E Minor. 
 
 
 
 Now let’s take a closer look at this sequence. 
 
 
 
 
 
 
 
 
 
 
 
 
 ex. 23 
 
 
 
 
 
 
 In the following example we’re playing groups of five in E Mioxlydian. 
 
 
 
 
 
 
 Again, try using this sequence with other 3 note per string patterns. 
 
 E Mixolydian 
 
 * Heres another fingering of E Mixolydian. 
 
 
 ex. 24 
 
 Here we’re using a six-note sequence that repeats in octaves. 
 This one’s in A Major. 
 
 
 
 
 By simply changing the intervals we can play other scales. 
 
 Below, an example in A Minor. 
 
 
 
 
 And the exotic sounding A Harmonic Minor. 
 
 
 
 
 
 ex. 25 
 
 
 
 
 
 
 
 
 
 
 
 
 In example 25 we’re using de seisillos in the key of C Major. 
 
 
 
 Here we’re using a method we saw earlier, going up on one pattern. 
 
 
 And descending with another. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ex. 26 
 
 
 
 
 
 
 
 
 
 
 
 The idea in example 26 is very similar to that seen in no25, only here I’ve changed the 
 sequence and this time we’re in B minor 
 
 
 (In this example I’m also combining two 3 note per string patterns). 
 
 
 
 
 
 A great way to practice this technique is to link various patterns. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ex. 27 
 
 
 
 
 
 
 In example 27 we’re using two identical patterns that repeat in octaves. 
 E Minor 
 
 
 
 Here’s the ascending pattern. 
 
 
 
 
 
 
 and here’s the descending. 
 
 
 
 
 
 These examples use the E Natural Minor scale, or E Aeolian, but I can’t stress 
 enough the importance transposing these ideas to other keys. 
 
 To do this we have to be aware of the relevant scale intervals. 
 
 
 -For example: 
 
 
 Dorian (ascending) Dorian (descending) 
 
 
 
 
 
 Melodic Minor (ascending) Melodic Minor (descending) 
 
 
 
 
 
 
 
 
 ex. 28 
 
 
 
 
 
 
 Here’s another example of combining 3 note per string patterns. 
 This one’s also a great picking workout. 
 
 This one’s in D Major . 
 
 
 
 
 
 
 ex. 29 
 
 
 
 
 
 
 To kick things off, the previous examples made use of open strings 
 to play simple triads. 
 
 We’ve used two basic patterns: 
 
 MAJOR 
 
 
 MINOR 
 
 
 ex. 30a 
 
 
 
 
 Example 30a shows us a diminished arpeggio using Alternate Picking. 
 This ones in A# Diminished 
 
 
 
 This above pattern can be broken down to this much smaller pattern.. 
 
 
 
 We can take this same idea to play any other 4-note arpeggios. 
 Check out the following example. 
 
 
 ex. 30b 
 
 
 
 
 
 
 Example 30b is basically the same as 30a 
 only this time we’re using F Major7 . 
 
 
 
 As before, if we change the intervals we change the arpeggio. 
 
 F7 (Dominant) 
 
 
 
 
 Fmin7 
 
 
 
 Fmin7 b5 
 
 
 
 
 
 By changing the position of the root note we can come up with new patterns. 
 
 Major Seven arpeggios played on 2 strings 
 
 
 
 
 
 By changing the intervals we can make other arpeggios Major7, 7, min7, etc. 
 As before, this is a simple idea that gives us virtually unlimited possibities. 
 
 
 
 
 
 ex. 31 
 
 
 This example is basically a B Minor 7th. 
 All the notes in this arpeggio can be seen a diatonic fifths. 
 
 It’s for this reason that both 2nd and the 4th intervals show-up. 
 Let’s see all the intervals : 1,2,b3,4,5,b7 
 Looking at this way, our simple B Minor 7th has become a 
 Hexatonic Scale (scale with 6 notes). 
 
 
 Scales that do not contain the sixth degree can be seen as either Dorian or Aeolian. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ex. 32 
 
 
 
 
 
 
 Example 32 combines three triad arpeggios. 
 The arpeggios are D minor, C major and B major. 
 
 
 
 
 
 
 
 
 Now let’s break this baby down. 
 
 Here’s the major pattern: 
 
 C maj 
 
 
 
 And the minor: 
 
 C min 
 
 
 
 And the diminished: 
 
 C minor b5 
 
 
 I’ve given you these example in C, but it’s a good idea to work them in all keys. 
 
 I tend to practice these ideas in the following way.... 
 C, E, G#, B, Eb, G, Bb, D, F#, A, C# and F 
 
 Or how about practicing them in 4th’s.... 
 C, F, Bb, Eb, Ab, Db, Gb, B, E, A, D and G 
 
 Both way’s are great... the important thing is to be able to play any phrase, 
 sequence, arpeggio or scale that you learn in every way possible, 
 
 ex. 33a 
 
 
 
 Ex. 33a is an A minor Arpeggio. 
 
 
 
 Don’t forget to play the descending version. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ex. 33b 
 
 
 Ex 33b, is the same A minor arpeggio, only this time one octave higher. 
 
 
 
 
 The same idea, different arpeggio!!! 
 
 A major 
 
 
 
 
 And the diminished?. 
 
 Amen b5 
 
 
 
 
 ex. 34 
 
 
 
 
 
 
 This example combines two four-note-arpeggios. 
 The two arpeggios in question are B min7 and F# min7 . 
 Harmonically speaking, the phrase can be seen in two ways. 
 As two separate arpeggios, or as a B min7 with an added 9th and 11th. 
 
 The general idea is to take any 4-note arpeggio and add to it another arpeggio 
 built on the fifth degree of the first arpeggio. By doing this we are in fact 
 adding to it the 9th and 11th. 
 
 
 
 
 ex. 35 
 
 
 
 
 
 Ex 35. Here I’ve taken groups of three notes 
 G Minor Pentatonic 
 
 
 
 Practice this example with the remaining pentatonic positions: 
 
 
 
 
 
 
 ex. 36a 
 
 
 
 
 Here’s the most common scale shape played in groups of five. 
 B minor Pentatonic . 
 
 
 
 These groups of five provide us with a great way to practice the pentatonic. 
 
 B Minor Pentatonic 
 
 
 
 
 
 
 
 ex. 36b 
 
 
 Ex 36b uses the same position as before but I’ve added the b5. 
 
 
 Try playing the Minor Blues scale in groups of three. 
 
 Let’s not forget the other positions ... 
 Pentatonic Minor Blues. ( 1, b3, 4, b5, 5, b7 ) 
 
 
 
 
 
 
 
 
 
 
 
 
 ex. 37 
 
 
 
 
 Here we’re using a string skipping with our A Minor scale. 
 
 
 
 Again, try this with the other positions or indeed other scales.... 
 
 C Major Pentatonic . 
 
 
 
 
 
 
 ex. 38 
 
 
 In thisexample we’re skipping just a little bit further. 
 B Minor Pentatonic . 
 
 
 
 By using string skipping we can create some great -sounding licks. 
 This technique is also known as cross picking. 
 
 Use these examples to create your own pentatonic – intervallic licks. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ex. 39 
 
 
 
 
 
 This phrase works well over a dominate-type cord. 
 In this example we’re using B7. 
 
 
 
 
 Example 39 is a Dominant Pentatonic 1, 3, 4, 5, b7, 
 To which we have added the always-famous blue note ( b5 ). 
 
 I’ve then formed a pattern that I have repeated in octaves. 
 
 
 
 The dominant pentatonic is very similar to the minor pentatonic. 
 The only difference is in the 3rd degree. 
 The minor pentatonic has a minor third. 
 The dominant pentatonic has a major third. 
 
 Minor Pentatonic Dominant Pentatonic 
 
 
 
 
 
 
 Minor Pentatonic + Blue note (b5) Dominant Pentatonic + Blue note (b5) 
 
 
 
 
 
 
 
 
 
 
 
 ex. 40 
 
 
 
 
 This phrase works well over A7 and we’re combining both 
 the A Minor Blues( 1, b3, 4, b5, 5, b7 ), 
 and A Major ( 1, 2, 3, 5, 6 ). 
 
 You may have noticed that, in the above diagram, we also have the b2 and the 7th. 
 But in this case they are just being used as passing tones. 
 
 Here’s what it looks like without those chromatic notes 
 
 Try using this pattern to come-up with your own licks. 
 
 
 
 
 
 ex. 41a 
 
 
 
 
 
 
 In 41a uses the E Minor pentatonic. It’s a 2-string pattern that repeats in octaves. 
 
 
 
 
 
 ex. 41b 
 
 
 
 
 
 
 Ex 41b- the same kind of idea. 
 
 
 
 
 Quite simply it’s a small pentatonic pattern that keeps repeating itself. 
 
E minor Pentatonic 
 
 
 
 Remember those 2 note-per-string patterns? Now, the same thinking but just pentatonic. 
 
E Minor Pentatonic on 2 strings 
 
 
 
 Now let’s take time out to look at all these pentatonic positions. 
 
Minor Pentatonic 
 
 
 
 
 
 
 And while we’re on the subject, let’s look at Major Pentatonics as well.... 
 
E Major Pentatonic on two strings 
 
 
 
 
 
Major Pentatonics 
 
 
 
 
 
 
 
 
 
 
 As you probably already know the Minor and the Major are really the same, the only 
 thing we have to be aware of is the root note location. 
 
 
 
 
 
 
 ex. 42 
 
 
 
 Example 42 is a segment taken from The Flight of the Bumblebee- from which 
 we get quite an interesting positioning. 
 
 
 Chromatic Scale 
 
 In the above example I’ve used A as the root note 
 
 
 
 Another fingering 
 
 
 
 
 
 ex. 43 
 
 
 
 
 
 
 Example 43 is taken from Czardas by Vittorio Monti- a great alternate picking 
 exercise. 
 
 
 
 
 
 
 
 
 
 
 
 ex. 44 
 
 
 
 
 
 
 
 
 Example takes-on a more “classical” theme. 
 
 
 
 
 
 
 
 
 
 
 ex. 45 
 
 
 
 
 Example 45 uses all the diatonic arpeggios of E Major. 
 (E maj, D# min b5, C# min, B maj, A maj, G# maj, F# maj, E maj) 
 
 E Major 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ex. 46 
 
 
 
 
 
 
 Ex 46 uses open strings and small arpeggios in a lick in A Harmonic Minor. 
 
 
 
 
 
 
 
 
 
 
 
 ex. 47 
 
 
 
 This phrase combines the D Minor and D Harmonic Minor scales. 
 Bar 1: D Minor ( 1, 2, b3, 4, 5, b6, b7 ). 
 Bar 2:D Harmonic Minor ( 1, 2, b3, 4, 5, b6, 7 ). 
 Bar 3:D Minor. 
 Bar 4:D Harmonic Minor. 
 
 D minor D Harmonic Minor (1, 2, b3, 4, 5, b6, b7, 7 ) 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ex. 48 
 
 
 
 
 
 
 This phrase in E Minor uses “ Tremolo Picking ” . 
 This means that we us alternate picking to play the same note various times. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ex. 49 
 
 
 
 
 Now we’re combining alternate picking with tremolo picking. 
 Db major 
 
 The b7 in this example, as before, is just being used as a passing tone. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ex. 50 
 
 
 
 Exercise 50 uses A Minor and sees the introduction of a Pedal Note. 
 
 
 
 And the Major version. 
 
 
 
 And the Mixolydian. 
 
 
 
 
 
 
 
 
 
 ex. 51 
 
 
 
 
 
 Example 51 continues along the same lines only this time we repeat 2 notes. 
 
 In the key of C Minor. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ex. 52 
 
 
 
 
 
 
 
 
 Example 52 is a little more involved than the previous example but still uses the 
 same basic technique. 
 
 
 
 
 
 ex. 53 
 
 
 
 
 In this example we’re taking things just a little bit further. This time we have a 
 three-note-pedal. 
 In bars 1 and 2 we’re using B Minor, 
 and in bars 3 and 4 A Minor. 
 
 Note that we’re using the same pattern, we just move it down 2 frets. 
 
 B Minor 
 
 
 A Minor 
 
 
 
 ex. 54 
 
 
 
 
 
 
 
 The following example 54 could be played using alternate picking, 
 But it may prove easier if we use Hybrid Picking . 
 Hybrid Picking involves substituting the upstroke, normally played with 
 with the pick, with one of the fingers of the picking hand.... 
 
 This technique is especially useful when we encounter large string-skips. 
 
 Let’s take a look at a few more examples and some exercises to get you 
 prepared if you’re new to this technique. 
 
 
 
 
 
 
 A good starting point is to play a scale in 6ths. 
 
 A Major (played in 6ths). 
 
 
 
 
 
 Same idea. Different fingering. 
 
 A Major 
 
 
 
 A Major 
 
 
 
 The truth of the matter is that hybrid picking can be used with any scale or lick that 
 involves wide intervals. But there are no hard and fast rules, if you would rather 
 use alternate picking then go for it. 
 
 
 
 
 
 
 
 
 ex. 55a 
 
 
 
 
 
 Ex. 55a uses the C# Minor Pentatonic scale with Hybrid Picking. 
 
 C# Minor Pentatonic . 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ex. 55b 
 
 
 This phrase is very similar to the one we saw before, only this time we’re using all the 
 strings in this position, whilst in the key of C# Minor. 
 
 C# Minor Pentatonic 
 
 
 
 As always, don’t forget the ascending version.. 
 
 
 
 And other pentatonic fingerings. 
 
 
 
 
 
 
 
 
 
 
 
 ex. 56 
 
 
 
 Another example of Hybrid Picking. 
 
 This time we’re using B Minor. 
 
 B Minor Pentatonic 
 
 
 
 
 Just a quick reminder- don’t forget 
 to play these ideas using regular alternate picking. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ex. 57a 
 
 
 
 
 
 In this example I’m just using the root and the fifth. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ex. 57b 
 
 
 
 
 Same idea as before – just five frets higher. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ex. 58 
 
 
 
 
 In this last example things are getting busy. I’m now using two fingers of the 
 picking hand. 
 Middle finger (m), and ring finger (a). 
 
 For this example I’m using the E Minor Pentatonic (I’ve left out the b3) 
 
 
 
 
 
 
 
 
 
 
 
 ex. 59 
 
 
 
 In the above example I’m using F# Minor 4 notes-per-string. 
 To play these ideas the index finger must play two notes ( see tab for any doubts). 
 I’m also playing the example in a way we’ve seen before, I go up one shape and 
 come down another. 
 
 Here’s how I go up. 
 
 F# Minor 
 
 
 And how I come down. 
 
 
 
 ex. 60 
 
 
 Example 60 is a descending sequence in A Major. 
 Here I’m using 4 notes and then 2 notes on the adjacent string. 
 The same principle applies to this example as to the previous. The index finger 
 Is responsible for “moving” the left-hand around the neck. 
 
 A Major 
 
 
 Don’t forget the ascending version . Notice that thelittle finger 
 is now the one that’s doing all the work. You can try playing it as before I just find it’s 
 easier to descend the scale in this fashion rather than playing the “reversed” version 
 of the ascending version. 
 
 If we analyse this example we fins that it’s just a 2-string sequence repeated in octaves. 
 
 A Major 
 
 
 
 
 
 
 
 ex. 61 
 
 
 Example 61is a triplet lick in B Minor, which finishes with a bend. 
 B Minor 
 
 
 If we use a 3 note-per string approach we find that one note repeats (5). 
 
 
 
 
 
 To avoid this we can play the following pattern. 
 
 B Minor 
 
 
 The only problem is that we lose the familiarity of 3 notes-per-string. 
 
 
 
 
 
 
 
 Can we get the best of both worlds? Well yes we can. By adding a chromatic note on the 
 B string we’ve got 3 notes-per-string and no repeating notes. 
 
 B Minor 
 
 
 This also gives the phrase another “flavour”. 
 
 
 
 Want yet more notes? 
 
 B Minor 
 
 If you like this idea, why not experiment adding notes to the 3-note-per-string 
 Scale shapes we looked at earlier 
 For example: 
 
 B Mixolydian (1 chromatic note) 
 
 
 
 
 
 
 
 ex. 62 
 
 
 Example 62 is in E Major. 
 
 E Ionian 
 
 
 
 The same phrase could be seen as B Mixolydian. 
 B Mixolydian 
 
 This is due to the fact E Ionian and B Mixolydian both come from the 
 harmonized E Major scale and therefore contain the same notes. 
 This means that any of the previous phrases and indeed those that follow work not only 
 With the mode they are written but also in their relative modes. 
 
 
 
 ex. 63 
 
 
 
 
 
 
 
 
 Time for some more String Skipping, this time on strings 1 and 3. 
 
 
 
 
 
 
 
 Lets take a look at the fret board diagram 
 C Major 
 
 
 
 try using this idea on other 2 string groups, for example 2nd and 4th. 
 
 C Major 
 
 
 
 
 
 How about mixing things up ? 
 
 C Major 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ex. 64 
 
 
 
 
 
 
 
 
 
 
 
 
 
 Example 64 is another String Skipping lick but this time we’re staying in one 
 position and not moving up the neck as in the previous example (63). 
 
 
 This time we’re using A Harnmonic Minor. 
 A Harmonic Minor. 
 
 
 
 
 
 
 
 
 Let’s change Keys!!!!!!!!!!!!!!! 
 
 
 C Major. 
 
 
 
 ex. 65 
 
 
 
 
 
 In example 65 I’ve combined B Minor (bars 1 and2) and B Harmonic Minor (in bar 3). 
 
 
 B Minor + B Harmonic Minor 
 
 
 
 
 The B Harmonic Minor sequence is another 2-string pattern. 
 
 B Harmonic Minor 
 
 
 
 ex. 66 
 
 
 Example 66 uses the E Harmonic Minor scale. 
 
 
 The use of this scale is very common in the playing of Ygnie Malmsteen, 
 Vinnie Moore etc. 
 But if we change the harmonic context we can get something quite entirely 
 different.( Same number of notes per string, same picking etc), 
 
 
 
 For Example: 
 If we take the same idea and sequence it in G Major 
 And add a chromatic note, it now sounds rather different.. 
 
 G Major + chromatic note (b2) 
 
 
 The ascending version.. 
 
 
 
 
 
 
 ex. 67 
 
 
 
 
 
 This is another good one for the old picking hand. 
 I’m using A Minor for the first eight bars and 
 A Harmonic Minor for the last three. 
 Let’s try this one on for size!!!!!!! A Harmonic Minor. 
 
 
 
 
 
 ex. 68 
 
 
 
 Example 68 uses the E Phrygian Major . 
 The Phrygian Major is built from the 5th scale step of the Harmonic Minor. 
 Therefore the E Phrygian Major comes from A Harmonic Minor . 
 
 In this example I’m using Palm Muting. This is where you lightly rest the picking hand 
 on the bridge of the guitar. This alone gives us another sound to “play” with. 
 
 Below is the fret board diagram : 
 E Phrygian Major 
 
 
 If we took A Harmonic Minor as the root we would get the following. 
 
 
 
 Breaking this figure down ,we see that’s it’s just another 2 string pattern 
 repeated in 3 octaves 
. 
 A Harmonic Minor 
 
 
 
 Lets change some things around and really milk this idea using the 
 same sequence.... 
 
 For Example.... 
 
 A Major 
 
 
 
 A Dorian b2 
 
 
 
 A Mixolydian b6 
 
 
 
 
 
 ex. 69 
 
 
 Exercise 69 uses the F# Phrygian Major. 
 Which comes from the harmonized B Harmonic Minor scale . 
 
 
 F# Phrygian Major 
 
 
 
 As always, don’t be afraid to play these ideas in different keys . 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ex. 70 
 
 
 
 Exercise 70 is another 2-string sequence, this time 
 in D Minor . 
 
 
 Here’s the same idea just on one string: 
 
 A Major 
 
 
 E Minor Pentatonic 
 
 
 
 ex. 71 
 
 
 
 
 Here we’ve got the A Harmonic Minor a little bit further up the neck. 
 A Harmonic Minor. 
 
 
 
 
 New intervals = New Scales 
 
 A Major 
 
 
 
 
 
 ex. 72 
 
 
 
 
 Example 72 is a sequence using E Super Locrian, 
 the SuperLocrian is built from the seventh degree of the Melodic Minor scale. 
 
 
 E Super Locrian (1, b2, b3, b4, b5, b6, b7 ) 
 
 *the 3rd interval shown on the fret board should be read as a b4. 
 
 
 
 
 
 
 
 
 
 
Legato 
 
In this second section we’re looking at ideas and phrases using 
the Legato technique. 
 
With Legato our left hand is really going to workout!! The right 
hand is going to be more relaxed. 
 
Legato consists of playing the notes with the fingers of the left 
hand without using the pick as much as before. This gives us a 
much more fluid sound as we don’t have the pick “attacking” the 
string as we did in the previous section. It’s very important that 
we use a metronome with all these examples. 
 
In order to get a good control of timing and overall sound you’re 
really going to have to build-up strength in your left hand. Play all 
examples with a “clean” sound. As with all other examples in the 
book we can also use a mildly distorted sound. 
 
In all examples the left hand fingering is included as are the pick 
strokes. I’m using standard fingering throughout. 
 
Really checkout the videos to see how I’m playing the examples. 
 
Remember to keep your hand as relaxed as possible, although at 
the beginning this will be difficult because your fingers will not 
yet have the strength necessary. But believe me, with time and 
practice you will get a good Legato. 
 
This section, from 73 to 119 is arranged in the following way: 
 
ü Legato with scales (73-97) 
ü Legato with Pentatonics (98-109) 
ü Legato with arpeggios (110-114) 
ü Stretching (115-119) 
 
Legato with scales (73-97) 
 
For starter, we’re going to play a few scales and modes using this 
technique. 
 
The examples start easy and get harder!! First, ideas on one 
string, then two strings and eventually all strings. We’ll also take 
a look at combining legato with alternate picking, string skipping 
and even with open strings!! 
 
We’ll also take a look at different rhythmical groups, such as 
groups of seven (90), and eleven (91). Also, combinations of 
groups of seven (92) and with slides (93). 
 
Legato with Pentantonics (98-109) 
 
Examples 98-109 we’re just going to use sequences with the 
pentatonic scale. Minor and major scales are discussed along with 
the blues scale, which will help you to visualise the pentatonic all 
over the neck. We’ll also take a look at the more unusual 
pentatonics, such as the Japanese Kumoi or the Japanese Hiro 
Joshi 
 
Legato with arpeggios (110-114) 
 
Here we’re going to look at four note arpeggios played on two 
string groups and also on all six strings. Arpeggios in groups of 
five (112-113) and triad arpeggios using string skipping over 
three and four strings and various sequences that you can practice 
over various arpeggio shapes (114) 
 
Stretching 
 
In the last part of this section we’regoing to work on your 
stretching. With a bit of practice we’re going to “open-out” our 
left hand in order to achieve bigger stretches on the fret board. 
 
Due to the fact that we are going to be using “different” 
fingerings, we’re going to be able to visualise the neck in a 
different way. Don’t jump straight in to these exercises-you have 
to have warmed-up before as these examples are very demanding. 
For this reason, when you’ve warmed-up, don’t stretch for too 
long. 15 minutes is ideal (for beginners 10 minutes). This way we 
are not going to hurt our hands. If for whatever reason you begin 
to stretch and have pain-STOP. Don’t over-do things!! 
 
All the exercises can be moved down the neck in order to get even 
bigger stretches once you are comfortable in the initial position. If 
you have problems playing the example as shown then just move-
up to an easier position. What we’re trying to do is open the 
fingers- without hurting ourselves!! VERY, VERY 
IMPORTANT. 
 
 ex. 73 
 
 
 
 
 
 
 In our first Legato example we’re using E Minor. 
 
 E Minor 
 
 
 
 
 
 ex. 74 
 
 
 
 
 In our next example we’re combining legato and Alternate Picking. 
 
 
 
 
 Here we’re using 
 E Minor 
 
 
 Don’t forget to play the descending versions of these licks. 
 
 
 
 
 
 
 
 ex. 75a 
 
 
 
 
 
 Example 75a is another idea that combines picking and legato, 
 this time in E Major. 
 
 
 
 ex. 75b 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 Example 75b uses the same sequence as 75a, only this time we’re only 
 picking when we change string. This gives us an even smoother-sounding lick. 
 
 Lets try this one out in de D Major. 
 
 
 
 
 And what about the same king of thing with a pentatonic???? 
 
 B Minor Pentatonic 
 
 
 And what about a 3-notes per string????? 
 
 B Minor 
 
 
 
 .... and two positions of a pentatonic .... 
 
 B Minor Pentatonic 
 
 
 
 ex. 76 
 
 
 
 
 In example 76 we’ve ventured onto the 3rd string. 
 And we’re staying in B Minor. 
 
 
 
 Now lets take a look at this one. 
 
 B Minor 
 
 
 
 
 ex. 77 
 
 
 
 
 
 
 
 
 
 Example77 is in A Minor and we’re covering all six strings. 
 A Minor 
 
 
 
 All I’ve done here is something that we’ve seen before, I’ve combined 
 two 3 note per string patterns. 
 
 I use this one to ascend. 
 
 
 
 And another to descend. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ex. 78 
 
 
 
 
 The above exercise is another lick in B Minor 
 We’re going for some really big intervals on this one, so take things 
 Slowly. Start further up the neck if you find this position too much. 
 
 B Minor 
 
 
 Notice that in this example we have no 6th degree. 
 This means it can be harmonically seen as either Dorian or Aeolian. 
 
 
 
 
 
 
 
 
 
 
 
 ex. 79 
 
 
 In example 79 we’re staying in B Minor and repeating the legato picking theme. 
 We’re also combining 2 three note per string scale shapes. 
 
 B Minor 
 
 
 
 Let’s try the same idea with a different scale. 
 
 G Lydian (1, 2, 3, #4, 5, 6, 7) The #4 is written as b5 on the fret board. 
 
 
 As always, there’s a lot of mileage in just the simplest of ideas. 
 
 
 
 ex. 80 
 
 
 
 
 
 
 Here’s a cool legato lick in E Minor that covers practically the 
 whole fret board. 
 Notice that in order to achieve a smoother sound I’m only using the 
 Pick when really necessary. 
 
 
 
 ex. 81 
 
 
 
 
 Here’s another idea in E Minor. This time I’m using string skips. 
 
 Here’s the diagram of the above sequence. 
 E Minor 
 
 
 
 Notice the repeating 2 string pattern.. 
 
 
 
 
 
 ex. 82 
 
 
 
 
 Ex 86 Uses a 4 string sequence in G Major 
 
 
 
 And the ascending version .... 
 
 What about if we change it about a bit ??????? 
 
 
 
 
 
 
 
 
 
 ex. 83 
 
 
 What about this one in C Major ? 
 
 We can use this idea to move both vertically and horizontally along the fret board 
 
 C Major (horizontally – 2 notes per string) 
 
 
 C Major (3 notes per string) 
 
 
 
 ex. 84 
 
 
 
 Example 84 is another idea, this time in A Harmonic Minor, that combines 
 Picking and legato. 
 A Harmonic Minor 
 
 
 
 By now you should have had enough practice to be able to come up with 
 your own phrases. 
 This particular technique is a great way to get “new” sounds from the guitar 
 because the phrases combine two techniques and this, in a way, confuses 
 the listener. 
 
 
 
 
 
 
 
 ex. 85 
 
 
 
 
 Here I’m playing a Open String lick which uses open strings. 
 E Minor 
 
 
 Lets take a look a the descending version. 
 Try using open strings with other licks and phrases. 
 Try C Major, G Major or D Major or any of their relative modes. 
 
 D Major (The same idea and sequence – this time in D Major) 
 
 (((((Try adding a few taps and the twelve fret)))) 
 
 
 
 ex. 86 
 
 
 
 
 
 
 Here I’m playing a pentatonic pattern which repeats in octaves. 
 E Minor Pentatonic 
 
 
 Refer to Example 41 for all pentatonic fingerings. 
 
 
 
 
 ex. 87 
 
 
 Here’s another legato sequence in A Harmonic Minor. 
 
 
 
 
 Don’t forget the ascending version. 
 
 
 And with other scales: 
 
 A Harmonic Minor 
 
 
 A Dorian 
 
 
 
 
 ex. 88 
 
 
 
 
 For this one we’re back to picking and legato. 
 D Minor. 
 
 
 
 
 Lets check out the same idea with a different scale. 
 
 C Phrygian ( 1, b2, b3, 4, 5, b6, b7 ) 
 
 
 
 
 ex. 89 
 
 
 
 
 Example 89 we’re descending in a legato fashion. 
 B Minor . 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ex. 90 
 
 
 
 
 
 
 Yet more legato and picking, this time in C Major. 
 
 
 
 
 
 ex. 91 
 
 
 
 
 Example 91 is another legato idea but this time we’re using groups of 11 notes. 
 Basically I’ve taken a group of 11 notes and taken it through 3 octaves. 
 E Minor 
 
 
 
 Lets burn it up!!!!!!!! 
 
 
 
 
 
 
 
 
 
 
 ex. 92 
 
 
 
 
 In this example we’re combining 7’s and 6’s. 
 E Minor 
 
 
 
 Going down. 
 
 
 
 
 
 
 
 
 
 
 
 ex. 93 
 
 
 
 
 
 
 Example 93 combines legato with finger displacements of slides. 
 
 By sliding between positions we are able to create longer phrases, whilst 
 maintaining the legato feel. 
 
 
 
 
 
 
 
 
 Let is the fret board diagram for exercise 93. this time we’re in 
 A Major 
 
 
 
 
 
 This is basically a 9-note pattern that repeats in octaves. 
 
 A major 
 
 
 
 Let’s take the above example and try the Harmonic Minor version. 
 
 A Harmonic Minor 
 
 
 The complete sequence looks like this. 
 
 
 
 
 
 
 
 ex. 94 
 
 
 
 
 
 Ex 94 And we’re back in E Minor, take careful notice of the 
 pick-strokes when changing string. 
 
 
 If you fancy, you can use your middle- 
 finger instead of the pick on the up-strokes. 
 
 
 ex. 95 
 
 
 
 
 Ex 95 Some more E Minor legato. 
 
 In this example we’re only picking once per string. 
 E Minor 
 
 
 
 Now let’s play some legato without any picking at all. 
 
 
 
 
 
 
 
 
 
 
 ex. 96 
 
 
 
 
 In the above example we’re back to A Major. 
 This time I’m using 6’s and fusas and only using the pick for the first note. 
 
 A Major 
 
 
 Try the above version seisillos y fusas de forma ascending. 
 
 
 
 
 
 
 
 
 
 
 ex. 97 
 
 
 
 
 This sequence C# Minor combines semicrochets and 5’s, all 
 within a 3 note per string pattern. 
 C# Minor 
 
 
 
 Let’s check out the descending version. 
 
 
 
 
 
 
 
 
 ex. 98 
 
 
 
 Example 98 is a 3 note per string pentatonic pattern. 
 
 
 We can play this sequenceusing any 3 note per string pentatonic pattern. 
 
 The same technique can be applied to other 3 note per string patterns. 
 
 C Major 
 
 
 
 
 
 
 ex. 99 
 
 
 
 
 Ex 99 uses legato with a more traditional pentatonic shape. 
 
 B Minor Pentatonic 
 
 
 
 The same idea but with another pentatonic position. 
 
 
 
 
 
 
 
 ex. 100 
 
 
 This lick in A Minor Pentatonic combines two traditional pentatonic shapes 
 That are linked by a slide. 
 A Minor Pentatonic 
 
 
 
 
 
 Try the same idea with triplets. 
 
 
 We could also add rests or play it with a swing feeling. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ex. 101 
 
 
 
 
 
 
 In this example we’re using string skipping and legato with a 3note per string 
 Pentatonic. 
 E Minor Pentatonic 
 
 
 
 
 ex. 102 
 
 
 
 
 In Ex.102 more legato. 
 G Minor Pentatonic . 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ex. 103 
 
 
 
 
 
 
 
 
 In this example I’ve introduced the “blue” note. 
 E Minor Blues (1, b3, 4, b5, 5, b7) 
 
 
 This exercise can be divided into 2 separate parts: 
 
 The first, a sequence of 5’s on adjacent strings. 
 And the second is basically the same idea just with string skipping. 
 
 
 
 
 This is basically a 3 note per string sequence that repeats in octaves 
 
 E Minor Pentatonic Blues 
 
 
 
 
 
 Now let’s move the whole scale up the neck. 
 B Minor Pentatonic Blues (on 2 strings) 
 
 
 
 Let’s now take a look at the individual patterns. 
 
 
 
 
 
 Minor Blues Positions 3 Notes per String 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ex. 104 
 
 
 
 
 Here’s another example using E Major Pentatonic (1, 2, 3, 5, 6). 
 
 
 Let’s see what this one looks like in the flesh.. 
 
 
 
 ex. 105 
 
 
 In the above example I’ve combined both Major and Minor Pentatonics. 
 
 B Minor Pentatonic + B Major Pentatonic 
 
 
 This type of phrase works well over B7. 
 
 
 
 
 
 
 We can add yet another note to this scale, the major third. This can be seen as 
 the Dorian scale with the b5. 
 
 
 
 
 
 Let’s check this one out. 
 
 B Dorian with b5 
 
 
 
 How about another fingering? 
 
 
 
 
 Simply by changing the minor 3rd to a major 3rd, we change the lick from 
 Dorian to Mixolydian. 
 
 B Mixolydian with the b5 
 
 
 
 
 Another fingering of the same scale. 
 
 
 
 
 
 
 ex. 106 
 
 
 
 
 Here’s an idea in F# Minor. 
 
 
 What I’ve done here is combined 3 pentatonic patterns. 
 B Minor (blue), F# Minor (green) y C# Minor (red). 
 
 
 Combining pentatonic is a great way to come up with new ideas and it’s 
 Also helps use to sound less predictable. 
 
 
 
 
 ex. 107 
 
 
 
 
 
 Example 107 uses the D Minor Pentatonic scale. 
 Here I’m using symmetrical 3 note per string patterns. 
 
 RE Minor Pentatonic 
 
 
 
 You may have realised that this pattern is made up of two smaller pentatonic 
 Shapes that are played together to make up a six-note pattern that repeats 
 in octaves. 
 
 On the next page we’ll take a look at these patterns, so that you can 
 come up with your own ideas 107. 
 
 
Major Pentatonic 
Symmetrical patterns 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Minor Pentatonics 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ex. 108 
 
 
 
 
 This example is based on the scale know as the Japanese Kumoi Pentatonic . 
 
 The Japanese Kumoi is made up of the following intervals 1, b2, 4, 5, b6 . 
 
 Lets’ take a look at the fretboard diagram 
 B Japanese Kumoi Pentatonic ; 1, b2, 4, 5, b6 
 
 
 B Japanese Kumoi Pentatonic (over all the fretboard) 
 
 From the above diagram we can come up with many other smaller patterns, 
 for example 2 notes per string, three notes per string and even symetrical patterns. 
 
 
 ex. 109 
 
 
 
 
 
 
 
 
 
 
 This phrase is also constructed using a Japanese pentatonic but in this case we’re using 
 the Japanese Hiro Joshi. 
 
 The Hiro Joshi Pentatonic is a mode of the pentatonic we looked at before. 
 Here are the intervals that make up theHiro Joshi; 1, 2, b3, 5, b6 
 
 
 The scale used in exercise 109 is therefore the Hiro Joshi Pentatonic 
 
 D Hiro Joshi Pentatonic ; 1, 2, b3, 5, b6 
 
 
 D Hiro Joshi Pentatonic; 1, 2, b3, 5, b6 (all over the neck) 
 
 
 
 
 Let’s take the same sequence that we used in exercise 109 and apply it 
 to other Japanese pentatoincs. 
 
 A Kokin Joshi Pentatonic; 1, b3, 4, 5, b7 
 
 (The Kokin Joshi is really the well-known Minor Pentatonic) 
 
 
 So what would happen if we usedthe same sequence we saw in 109 with 
 a Chinese Pentatonic? 
 
 C Chinese Pentatonic; 1, 2, 3, 5, 6 
 
 (Low and behold!!! It’s the Major Pentatonic) 
 
 ex. 110 
 
 
 
 
 
 
 
 
 
 In the above example we’re playing diatonic arpeggios in C Major. 
 
 
 From this example we can create various four note Arpeggios. 
 
 
 
 
Patterns four note arpeggios 
 
 Maj 7 (Major Seven) 7 (Dominate Seven) 
 
 
 
 Min 7 (Minor Seven) Min 7 b5 (minor seven flat five) 
 
 
 
 We can take anyone of these shapes and repeat them in octaves. 
 
 C maj7 
 
 
 
 And to get new arpeggios.... just change the intervals: 
 Maj7 (1, 3, 5, 7) Major Seven 
 7 (1, 3, 5, b7) Dominate Seven 
 Min7 (1, b3, 5, b7) Minor Seven 
 Min7 b5 (1, b3, b5, b7) Minor Seven flat five 
 Min Maj7 (1, b3, 5, 7) Minor with a major seven 
 Maj7 #5 (1, 3, #5, 7) Major seven sharp five 
 7º (1, b3, b5, bb7) diminished seven 
 7 #5 (1, 3, #5, b7) diminished seven sharp five 
 
 
 
 
 
 ex. 111a 
 
 
 Here we’re got a G Major arpeggio played using legato. 
 G Major Arpeggio. 
 
 
 
 
 
 ex. 111b 
 
 
 Here’s the same idea only this time in A Minor 
 A minor Arpeggio. 
 
 
 ex. 111c 
 
 
 
 
 Now, the same thing this time with legato. 
 
 D maj7 (Arpeggio) 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ex. 112 
 
 
 
 
 In example 112 we’re playing an A#7º (A# diminished seventh). 
 
 A# 7º (Arpeggio) Intervals; 1, b3, b5, bb7. 
 
 *In the above diagram, the 6th should be seen as a bb7 (diminished seventh). 
 
 
 
 
 
 
 
 
 
 
 
 
 ex. 113 
 
 
 
 
 Exercise 113 is almost identical to 112, but with one alteration. 
 This time we’re playing G# Diminished, which we’re playing in a different direction. 
 
 G#7º (Arpeggio) Intervals; 1, b3, b5, bb7 
 
 *As before, the 6th should be seen as a bb7 (diminished seventh) 
 
 
 
 
 
 
 
 
 
 
 
 
 ex. 114 
 
 
 
 
 
 
 
 In 114 we’re combining string skipping, legato and picking. 
 
 
 On the next page we’ll take a look at some more string-skipping patterns. 
 
 
 
 
 
Arpeggios with String Skipping 
(3 string patterns) 
 
 
 Patterns: MAJOR; 1, 3, 5 
 
 
 
 
 Patterns: MINOR; 1, b3, 5 
 
 
 
 
 Patterns: DIMINISHED; 1, b3, b5 
 
 
 
 
 Patterns: AUGMENTED; 1, 3, #5 
 
 *The b6 (flat sixth) can be seen as a #5 (sharpened fifth). 
 
 
 
 
 Patterns SUS 2; 1, 2, 5 
 
 
 
 
 
 Patterns SUS 4; 1, 4, 5 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Arpeggios with String Skipping 
(4 string patterns)MAJOR; 1, 3, 5 MINOR; 1, b3, 5 
 
 
 
 
 DIMINISHED; 1, b3, b5 AUGMENTED; 1, 3, #5 
 
 
 
 
 
 SUS 2; 1, 2, 5 SUS 4; 1, 4, 5 
 
 
 
 
 Right, lets take a look at a few sequences for some of these patterns. 
 For the examples inthe videos I’m using C Major arpeggios but, as always these ideas 
 must be taken to other positions and keys. 
 
 
 
 
 
 
 
 
 
 ex. 115 
 
 
 
 
 
 
 In this first stretching exercise we’re using a 3 note per string pattern in F Minor 
 Pentatonic. This is played using legato. 
 F Minor Pentatonic . 
 
 If you find this example a little difficult to play in this position, move it up the 
 fret board to a more comfortable position. When you’re hand becomes accustomed 
 To these wider stretches you can then start to move down the fret board. 
 
 ex. 116 
 
 
 
 Here I’ve taken a 3 note symmetrical pattern and created diminished arpeggios on one 
 string. 
 
 As with the previous example if you find this position too hard-move it up the neck. 
 
 We can use the same idea to play other types of arpeggio. 
 
 D minor 
 
 
 
 ex. 117 
 
 
 
 
 
 
 
 In this example we’re playing A Dorian. 
 These four-finger ideas are great for developing general hand strength. 
 But remember to take it easy-if it’s starting to hurt-give it a rest. 
 
 
 Ex. 118 
 
 
 
 
 
 
 
 Example 118 is really going to open-out that fretting hand. 
 
 
 
 
 Using the same basic idea that we saw in the previous example lets work on different 
 finger groupings. 
 
 Fingers: 1 3 4 
 
 We’re really making it work between the 1st and 3rd fingers!!!!!!!! 
 
 
 Fingers: 1 2 4 
 
 And how about this stretch between fingers 2 and 4. 
 
 
 Fingers: 1 2 3 
 
 Here we’re working the 1st and 2nd fingers. 
 
 
 Fingers: 1 3 4 
 
 And finally, stretching between the 3rd and 4th fingers. 
 
 Don’t forget to use different sequences with these fingerings. 
 
 
 
 ex. 119 
 
 
 
 
 
 In this example we’re using stretches to play arpeggios. 
 The example is in B Minor. 
 
 Let’s take a look at some single string arpeggio shapes. 
 
 
 
Arpeggios & Stretching 
Triad patterns (examples in D) 
 
C# Major (1, 3, 5) 
 
 
 
C# Minor (1, b3, 5) 
 
 
 
C# Diminished (1, b3, b5) 
 
 
 
C# augmented (1, 3, #5) 
 
* b6 = #5 
 
 
 
 
 
 
 
Arpeggios & Stretching (Part 2) 
Seventh arpeggios 
 
Dmaj7 (1, 3, 5, 7) 
 
 
 
 
 
 
 
 
 
 
D7 (1, 3, 5, b7) 
 
 
 
 
 
 
 
 
 
 
 
Dmin7 (1, b3, 5, b7) 
 
 
 
 
 
 
 
 
 
 
 
 
Dmin7 b5 (1, b3, b5, b7) 
 
 
 
 
 
 
 
 
 
 
 
D min Maj7 (1, b3, 5, 7 ) 
 
 
 
 
 
 
 
 
 
 
 
Dmaj7 #5 (1, 3, #5, 7) 
 
* b6 = #5 
 
 
 
* b6 = #5 
 
 
 
 
 
 
 
D7º (1, b3, b5, bb7) 
 
* 6 = bb7 
 
 
 
* 6 = bb7 
 
 
 
 
 
D7 #5 (1, 3, #5, b7) 
 
* b6 = #5 
 
 
 
 
 
 
 
 
Sweep Picking 
 
In this third section we’re going to look at some examples of sweep 
picking. This technique is mainly used to play arpeggios but as we 
will see it can also be used to play all types of scales. 
 
The principle behind this technique is to minimise movement of the 
picking hand. In alternate picking we saw how the plectrum 
maintained an up / down movement. With sweep picking we’re going 
to us the same movement from string to string down / down etc. 
 
An important factor with this technique is the synchronisation of both 
hands and we must therefore start all examples at a sensible speed, 
with a metronome and gradually increase the speed, as we get better. 
The secret here is cleanness and synchronisation. The notes must ring 
clean and not sound “mixed” with the other notes. The picking hand 
must maintain a constant downward/upward motion and not attack 
each separate string. You’ve really got to “Sweep” the strings. 
 
Check-out the videos as they will give you a better idea of how to 
practice each example. Try to keep your hands relaxed and don’t 
increase the metronome until you’re sweeping cleanly!!!! 
 
I once had the opportunity to ask one of the masters of this technique 
how he had achieved such clean, crisp sweeps to which he replied “ I 
never increase the metronome speed until I am sure that I can play it 
with my eyes closed”. Great advice mate!!! 
 
This section is divided into the following sections: 
 
ü Sweep Picking on 2 strings (120-122) 
ü Sweep Picking on 3 strings (123-127) 
ü Sweep Picking on 4 strings (128-132) 
ü Sweep Picking on 5 strings (133-140) 
ü Sweep Picking on 6 strings (141-150) 
ü Economy Picking (151-155) 
ü Ideas and phrases (156-178) 
Sweep Picking on 2 strings 
 
To start off we’re going to use two strings. The ideas cover major, 
minor, diminished and augmented triads. 
 
 
Sweep Picking on 3 strings 
 
With examples 123-127 we’re using three strings and we’re 
looking at four-note triads and their various inversions. We’ll also 
take a look at ideas that will allow us to take arpeggios all- over 
the neck but using different inversions. 
 
 
Sweep Picking on 4 strings 
 
With examples 128-132 we’re moving up a gear! With these 
examples we’re going to look at how we can add tensions to our 
arpeggios e.g. Add 9, add 11 and add 13. We’ll also look at 
mixing sweeps with alternate picking and scales to form different 
modes. 
 
 
Sweep Picking on 5 strings 
 
Here, with examples 133-140 we’re going to look at how to take 
our four-note arpeggio all over the fret board and combine this 
with ideas learnt in the previous chapter. 
 
 
Sweep picking on 6 strings 
 
With examples 141-150 we’re sweeping on all six strings. 
Various examples are presented: arpeggios, modes, pentatonics, 
combination of sweeps and alternate picking and sweeps with 
string skipping. 
Economy Picking 
 
In examples 151-155 we’re going to look at how to mix alternate 
picking and sweep picking “economy picking”. When playing one 
string we use alternate picking but when we come to change 
strings we going to use a series of “mini” sweeps. This can 
happen in either direction depending on whether we’re moving to 
the next string down or the next string up. 
 
It’s important to be aware of the number of notes that we are 
going to play on each string. With uneven numbers the pick will 
move in the same direction (from string to string) while even 
numbers will require a change of direction. Take note of example 
151 where we have three notes on each string except when we 
have to change direction (on the first and sixth strings) where we 
have four notes. Arranging things in this way we are able to play 
the last note of these strings and have the plectrum prepared for 
the sweep. 
 
Try to come up with your own examples and exercises. This is a 
very interesting technique and is an interesting alternative to 
alternate picking, although both should be learnt. 
 
 
Ideas and Phrases 
 
With examples 156-178 we’re going to look at various ideas 
previously covered in this section: triad arpeggios, four note 
triads, added 9th arpeggios, sweeping pentatonics, combination of 
sweep and economy, sweep with alternate picking, sweep with 
legato, with tapping and finger sweeps, etc. 
 
 
 ex. 120 
 
 
 
 
 
 
 In this example I’m playing triad arpeggios and a couple of possible inversions. 
 
 Tonic-root in the base. 
 Second Inversion-fifth in the base. 
 
 FUNDAMENTAL 2nd INVERSION 
 
 
 And what about the first inversion (3rd in the base). 
 1st INVERSION 
 
 
 Now, let’s change a few intervals and play the remaining triad arpeggios. 
 Major (1,3,5),minor (1,b3, 5), diminished (1,b3,5) and augmented (1,3,#5). 
 
 Starting off with the 1st Inversion. 
 
MAJOR (1, 3, 5) 
 
 
 
MINOR (1, b3, 5) 
 
 
 
 
DIMINISHED (1, b3, b5) 
 
 
 
 
AUGMENTED (1, 3, #5) 
 
* b6 = #5 
 By using this method we can come up with triad arpeggios with the root note in the base 
 and also apply the same idea to form triad arpeggios with the fifth in the base 
 
 
 Now, let’s take a look at these inversions strung-together along the fret board, 
 major, minor, diminished and Augmented C. 
 
C MAJOR (1, 3, 5) 
 
 
 
 
C MINOR (1, b3, 5) 
 
 
 
 
C_DIMINISHED (1, b3, b5) 
 
 
 
 
C AUGMENTED (1, 3, #5) 
 
* b6 = #5 
 
 
 
 
 ex. 121 
 
 
 
 
 Ex 121 is based around an F# 7º arpeggio that moves up the fret board using all 
 inversions. 
 The 6th should really be seen as a bb7. 
 
 
 You can use the same idea with cuartida arpeggios. 
 
 F# Minor Seven (1, b3, 5, b7) 
 
 Once you have the fingerings down, use them as you fancy. 
 The sequences that I’ve given you are just to help you learn them. 
 
 
 ex. 122 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 Exercise 122 is a short piece that shows us how to play arpeggios on 2 strings. 
 
 
 Of course, there are many ways of playing2 string arpeggios it’s just a case of 
 using you’re imagination. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ex. 123 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 In example 123 we’re playing diatonic seventh arpeggios in the key of C Major. 
 
 
 From this example we can obtain the following shapes. 
 
C Maj 7 (1, 3, 5, 7) 
 
 
 
C 7 (1, 3, 5, b7) 
 
 
 
C min7 (1, b3, 5, b7 ) 
 
 
 
C min7 b5 (1, b3, b5, b7) 
 
 
 As always, move these ideas around the neck and play them in different keys. 
 Just move the whole shape up or down, place the root note (green) in the appropriate 
 place and you’re there. 
 
 
 Now we’re going to repeat the process we saw before, let’s take a look at those 
 Inversions. 
 
 C maj7 (root in the base) 
 
 
 
 C maj7 1st Inversion (third in the base) 
 
 
 
 C maj7 2nd Inversion (fifth in the base) 
 
 
 
 C maj7 3rd inversion (seventh in the base) 
 
 
 
 
 
 
 
 
 
 
 The same process can be carried-out for the following types of arpeggio: 
 
 Maj7 (1, 3, 5, 7) Major Seven 
 7 (1, 3, 5, b7) Dominate Seven 
 Min7 (1, b3, 5, b7) Minor Seven 
 Min7 b5 (1, b3, b5, b7) Minor Seven flat five 
 Min Maj7 (1, b3, 5, 7) Minor with a major seventh 
 Maj7 #5 (1, 3, #5, 7) Major seven sharp five 
 7º (1, b3, b5, bb7) diminished seven 
 7 #5 (1, 3, #5, b7) dominate seven sharp five 
 
 
 Try using different sequences to practice these arpeggios. 
 For example: 
 
 To arpeggios this Cmaj7 shape, we can use any of these sequences. 
 
 
 Try combining these ideas and sequences and see what you come up with. 
 
 
 
 The possibities are endless. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ex. 124 
 
 
 
 
 
 
 In example 124 we’re playing a G minor arpeggio that we’re taking up the neck 
 through all it’s inversions. 
 G minor (1, b3, 5). 
 
 This one’s great to use if you need to remember those minor triads. 
 
 
 ex. 125a 
 
 
 
 
 Ex 125 is descending arpeggio sequence using D#7º and all it’s inversions. 
 To change things a little I’m playing groups of five. 
 
 D#7º (1, b3, b5, bb7) 
 
* 6 = bb7 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ex. 125b 
 
 
 
 In 125b we’re using the same sequence as before, but this time in G major. 
 
 G major (1, 3, 5) 
 
 
 
 
 
 We can use this idea with any triad arpeggio. 
 For example A minor. 
 
 A minor (1, b3, 5) 
 
 
 
 
 
 
 
 
 
 
 ex. 126 
 
 
 
 
 
 
 
 I’m as using groups of five here, but this time with a different arpeggio. 
 
 This time I’m using D7º. 
 
 D7º (1, b3, b5, bb7) 
 
 
 
 
 
 
 
 
 
 We can take the idea seen in example 126 and use it to arpeggios any other triad arpeggio. 
 
C major 
 
 
 
C minor 
 
 
 
 
 And the various inversions: 
C major 
 
 
 
 
C_Major 
 
 
 
 
 
 
 
 ex. 127 
 
 
 
 
 Here in example 127 we’re using 2 and 3 string sweeps which at the same time shows 
 us how to extend arpeggios (adding tension). 
 In this case we’re adding the 6th and 13th. 
 
 D major add6 (1, 3, 5, 6) 
 
 
 
 B minor add b6 (1, b3, 5, b6) 
 
 
 
 
 
 ex. 128 
 
 
 
 
 Example 128 introduces us to 4 string sweeps. 
 The arpeggios in question are C maj7 and B min7 b5. 
 
 C maj7 
 
 
 
 B min7 b5 
 
 
 
 
 Let’s take a look at the fret board diagrams or these arpeggios. 
 
 
C maj7 (1, 3, 5, 7) Major Seven 
 
 
 
 
 
C 7 (1, 3, 5, b7) Dominate Seven 
 
 
 
 
 
C min7 (1, b3, 5, b7) Minor Seven 
 
 
 
 
C min7 b5 (1, b3, b5, b7) Minor Seven flat five 
 
 
 
 
C min Maj7 (1, b3, 5, 7) Minor with a major seven 
 
 
 
 
 
C maj7 #5 (1, 3, #5, 7) Major seven sharp five 
 
* b6 = #5 
 
 
 
C 7º (1, b3, b5, bb7) Diminished Seven 
 
* 6 = bb7 
 
 
 
C 7 #5 (1, 3, #5, b7) Dominate seven sharp five 
 
* b6 = #5 
 
 
 
 
 ex. 129 
 
 
 
 
 
 
 
 In this exercise we’ve got the same right hand movement as ex.128, only this time 
 we’re playing triad arpeggios. 
 
 
 
 
 
 
 
 
 
 
 
 ex. 130 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 Example 130 is an etude which give us the opportunity to study groups of seven which 
 Really give a sense of rhythmic displacement to our playing. 
 
 
 
 ex. 131 
 
 
 
 
 
 
 This one’s great for combining sweep picking with legato. 
 It’s an E# 7º arpeggio that I’m moving around the neck without changing the fingering. 
 
 E# 7º (1, b3, b5, bb7) 
 
 
 
 
 
 ex. 132 
 
 
 
 
 
 
 
 Here in example 132 I’m combining sweeps with alternate picking. 
 
 The idea is that we add tensions to the basic triad arpeggios to form 
 more complex sequences. 
 
 
 
 
 
 
 
 Let’s take a look at the shapes used in example 132. 
 
A maj (I’ve added the 4th) 
 
 
 
 
 
F# min7 (added b6th) 
 
 
 
 
 
D maj7 (added 2nd) 
 
 
 
 
 This idea is well worth experimenting with. Try it yourself and see what you 
 come up with. 
 
 
 
 
 
 
 
 
 
 
 ex. 133 
 
 
 
 
 In example 133, our first 5 string arpeggio, we’re starting things cautiously with an 
 E Minor Seven Arpeggio. 
 
 
 One thing that stands out about this example is that it’s written in fives, so as 
 Well as helping us with our arpeggios 133 is helping us to learn this interesting 
 Rhythmic grouping. 
 We’re also using all four fingers of the left hand, so this one’s also a great test 
 for synchronising both hands. 
 
 E min7 
 
 
 
 
 
 Let’s take the previous idea and use it with other arpeggios: 
 
 
E maj7 (1, 3, 5, 7) Major Seven 
 
 
 
E_7 (1, 3, 5, b7) Dominate Seven 
 
 
 
E_min7 (1, b3, 5, b7) Minor Seven 
 
 
 
E min7 b5 (1, b3, b5, b7) Minor Seven flat five 
 
 
 Now, let’s take some of these ideas and move them around diatonically. 
 
 
 In this case C Major. 
 
 
 
 
 ex. 134 
 
 
 In example 134 I’m playing a D minor seven 
 that mixes Sweep- picking with legatos. 
 
 
 D min 7 
 
 
 
 
 Ok, as always let’s take this idea and extend it a little bit... 
 
 
 Right, we’re going to make all the seventh arpeggios we can, using D as the root. 
 
 
D maj7 (1, 3, 5, 7) Major seven 
 
 
 
 
 
 
 
D 7 (1, 3, 5, b7) Dominate seven 
 
 
 
 
D min7 (1, b3, 5, b7) Minor Seven 
 
 
 
 
D min7 b5 (1, b3, b5, b7) Minor Seven flat five 
 
 
 
 
D min Maj7 (1, b3, 5, 7) Minor with a major seven 
 
 
 
 
 
 
 
 
 
 
D maj7 #5 (1, 3, #5, 7) Major seven sharp five 
 
* b6 = #5 
 
 
RE 7º (1, b3, b5, bb7)Diminished Seven 
 
* 6 = bb7 
 
 
D 7 #5 (1, 3, #5, b7) Dominate Seven Sharpe Five 
 
* b6 = #5 
 
 
 
 Now, with these above examples let’s play some diatonic arpeggios in D Major. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ex. 135a 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 Exercise 135ª combines Legato and Sweep Picking to form Arpeggios in C Major. 
 
 
 
 
 ex. 135b 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 In 135b I’m doing the same thing as I did in the previous example but this 
 time I’m using different string groups. 
 
 
 
 For example.... if we take a Major arpeggio on the first four strings look at the notes 
 which make up the arpeggio we can then move the pattern to string groups 2, 3,4,5 
 or strings 3,4,5,6. 
 
 In the above diagram we can see three different fingerings of C major. 
 
 This is one of the drawbacks of our instrument; we have to learn different fingerings 
 even though the notes remain the same. 
 
 
 
 
 
 ex. 136 
 
 
 
 
 
 
 
 In example 136 we’re playing diatonic arpeggios and using the same sequence for each. 
 
 For this one I’m using D Major. 
 
 
 
 
 
 
 
 
 Let’s take a look at the fret board diagram for the previous exercise.... 
 
 
 Major Arpeggio 1, 3, 5 
 
 
 
 
 Minor Arpeggio 1, b3, 5 
 
 
 
 
Diminished Arpeggio 1, b3, b5 
 
*With all these patterns we’re using E as our root-note. 
 
 
 
 
 Now lets take the same idea and use it to play other diatonic arpeggios. 
 
 How about D Minor? 
 
 
 
 
 
 
 ex. 137 
 
 
 
 
 Exercise 137 shows us how to play two positions of the same arpeggio. 
 The arpeggios in question are E minor and G major. 
 
 E minor 
 
 
 G major 
 
 
 Experiment with this idea to come up with your own things. 
 
 
 
 ex. 138 
 
 
 
 
 
 
 This exercise mixes groups of five and groups of six in a sequence that combines Sweep 
 Picking and Legato. The two arpeggios are E min7 add4 and A min. 
 
 E min7 (add4) A min 
 
 * E min7 add4 = E Minor Pentatonic 
 
 
 
 ex. 139 
 
 
 
 
 
 
 
 
 
 
 
 Exercise 139 is a short etude that combines Sweep Picking with 
 Alternate Picking. 
 This exercise can also be started from the 5th string 139b 
 
 
 Let’s take a look at the basic shapes used in Ex. 139 
 
 We can basically break it down into two segments. 
 
 Triad Arpeggios + Six note Scales 
 
 
 
 If we merge the two segments together the result can be seen as 
 Major Seven Arpeggio with an added 9th and 11th, or as 
 
 A Major Scale without the 6th degree (In this case E Ionian without the 6th) 
 
 
 
 
 Lets take this idea and apply it to the other modes of the major scale; 
 Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian y Locrian. 
 
 
The Modes 
(Idea del example 139) 
 
IONIAN 1, 2, 3, 4, 5, 6, 7 
 
* Ionian (no 6th) 
 
 
DORIAN 1, 2, b3, 4, 5, 6, b7 
 
* Dorian no 6th (can be seen as either Dorian or Aeolian) 
 
 
PHRYGIAN 1, b2, b3, 4, 5, b6, b7 
 
* Phrygian no 6th 
 
 
LYDIAN 1, 2, 3, #4, 5, 6, 7 
 
* Lydian no 6th ( b5 = #4 ) 
 
 
 
 
MIXOLYDIAN 1, 2, 3, 4, 5, 6, b7 
 
* mixolydian no 6th 
 
 
 
 
 AEOLIAN 1, 2, b3, 4, 5, b6, b7 
 
* Aeolian no 6th (can be seen as either Aeolian or Dorian) 
 
 
 
 
LOCRIAN 1, b2, b3, 4, b5, b6, b7 
 
* Locrian no 6th 
 
 A great way to practice these ideas is to play then in any given key. 
 
 For example D Major. 
 
 And don’t forget-we still have the melodic and harmonic minor scales to master! 
 
 All these ideas will enable us to mix both scalar and arpeggio ideas whilst 
 improving our general music theory. 
 
 
 
 
 ex. 140 
 
 
 
 
 
 
 In exercise 140 I’m using to different shapes for the following arpeggios 
 G maj7 and A min7. 
 
 If we put these two shapes together we get the following. 
 
 Which looks amazingly like a G Major scale . 
 
 
 Let’s take a look at the separate arpeggios. 
 
 G maj7 
 
 
 
 A min7 
 
 
 
 Again, don’t be afraid to experiment with these ideas. If you like the previous example 
 Try applying the theory to other make up other seventh arpeggios. 
 
 
Maj7 (1, 3, 5, 7) 
 
7 (1, 3, 5, b7) 
 
Min7 (1, b3, 5, b7) 
 
Min7 b5 (1, b3, b5, b7) 
 
Min Maj7 ( 1, b3, 5, 7 ) 
 
Maj7 #5 (1, 3, #5, 7) 
 
7º (1, b3, b5, bb7) 
 
7 #5 (1, 3, #5, b7) 
 
 Let’s change keys and see if things come out as planned!!! 
 
 
 
 
 ex. 141 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 Example 141 is a great way to start sweeping on 6 strings. 
 
 There are quite a lot of arpeggios in the first example, but we only really 
 have to remember two patterns. 
 
 A major (First Pattern) E major (Second Pattern) 
 
 OK, let’s take this idea to other keys. 
 
 Let’s try the first pattern in A Major. 
 
 And now the second pattern E Major. 
 
 
 
 ex. 142a 
 
 
 
 Check out this other example of an A major arpeggio using 6 strings. 
 It’s really made up of smaller 3 string arpeggios (one for every beat of the bar). 
 
 This is how pianists approach arpeggio playing. 
 
 Let’s take a look at the fret board diagram. 
 A Major 
 
 
 
 Heres an important tip when practicing this or any other arpeggio- think ot the timing. 
 Let’s explain. In example 142a we’re playing sixteenth notes and the phrase starts on the 
 first of these. We can then expand on this idea by starting on each subsequent sixteenth 
 note. 
 
 Let’s take a look at this on the videos. 
 A Major starting on the first 16th .... 
 
 A Major starting on the second 16th .... 
 
 A Major starting on the third 16th .... 
 
 A Major starting on the forth 16th .... 
 
 
 
 
 
 ex. 142b 
 
 
 
 
 In 142b we’re using the same idea as before, only this time 
 we’re in A Minor. 
 
 
 A Minor 
 
 
 
 
 Try using the rhythmic ideas used in the previous example with other examples 
 shown in the book. 
 
 
 
 
 
 
 
 
 ex. 143a 
 
 
 
 
 
 
 In this example I’m using the same idea as before, taking small arpeggio forms 
 and combining them to make bigger more “monster” arpeggios. 
 B minor 
 
 
 
 
 ex. 143b 
 
 
 
 
 
 
 
 
 
 In exercise 143b we’re doing practically the same as in 143ª, only this time I’ve 
 Changed the b3 for a major third and come-up with a B Major arpeggio. 
 
 B major 
 
 
 
 
 In exercise 143a we’re playing three-note arpeggios therefore the most natural way of 
 playing this example would be to use triplets. But in this example we’re using crotchets. 
 This obviously takes a bit of practice but it’s worth the effort. 
 
 Try using the same idea but with other rhythmic groupings, how about groups of five? 
 
 
 
 In example 143b we have a B major arpegio built on a four note sequence and therefore 
 it would have been easier to have played it using sixteenth notes. But I’ve played the 
 same four note sequence using groups of six to make it sound more interesting 
 
 This is the generall idea, you must be able to play any phrase or idea using any rythmic 
 grouping. And we’re not just talking about triplets or sixteenth notes, there are also some 
 less common ones 
 
 
 Let’s take a look at how groups of seven would sound with exercise 143b. 
 
 By practing in this way you will be able to control and divide these examples and that has 
 got to be good for your technique.ex. 144 
 
 
 
 This example combines picking with 2 string sweeps. 
 For this example we’re using two positions of C minor Pentatonic. 
 
 This is a great way to practice groups of five. 
 This is a very natural way to play groups of five. 
 Let’s take a look at the fretboard diagram. 
 C minor Pentatonic . 
 
 
 As I mentioned before this example is quite easy to play. 
 
 Things start to get interesting with triplets or crotchets 
 
Don’t forget to practice this idea with other positions of the pentatonic scale or any of the 
diatonic scale shapes we looked at earlier. 
 
 
 
 
 
 ex. 145 
 
 
 
 
 In example 145 is a C maj #5 (1,3, #5) triad arpeggio. 
 We’re playing this example over three strings and playing the three inversions of the 
 arpeggio to end-up one octave higher. 
 
 Lets take a look a the fret board diagram. 
 C maj #5 (1, 3, #5) 
 
* b6 = #5 
 
 
 
 Augmented triad arpeggios, (1, 3, #5), 
 And diminished seventh arpeggios, (1, b3, b5, bb7) 
 Use the same fingering in all of their inversions. 
 
 
 
 
 
 ex. 146 
 
 
In this example we’re playing an E maj7 arpeggio that we’re playing through four 
octaves. 
 
 E maj7 
 
The fingering of this pattern can only really be used in E. Let’s see if we can come-up 
with a more “user-friendly” version of this pattern. 
 
 Something like this. 
 
 E maj7 
 
 
 Now, the next stage is memorize the patterns of the other 4-note arpeggio shapes. 
 Maj7 (1, 3, 5, 7) 7 (1, 3, 5, b7), Min7 (1, b3, 5, b7), 
 Min7 b5 (1, b3, b5, b7) , Min Maj7 (1, b3, 5, 7), Maj7 #5 (1, 3, #5, 7), 
 7º (1, b3, b5, bb7), 7 #5 (1, 3, #5, b7). 
 
 Lets take a look at a few examples. 
 
 
 
MI maj7 (1, 3, 5, 7) Major Seventh 
 
 
 
 
MI 7 (1, 3, 5, b7) Dominate Seventh 
 
 
 
 
MI min7 (1, b3, 5, b7) Minor Seventh 
 
 
 
 
MI min7 b5 (1, b3, b5, b7) Minor Seventh Flat Five 
 
 
 
 As always, these ideas can be played in other keys. 
 
 How about C Major? 
 
 
 
 
 ex. 147 
 
 
 
 
 This is a great way to practice you’re Sweep Picking on all six strings. 
 I’m using G Major. 
 
 In this example we can see how to link two positions of a triad arpeggio. 
 In this case all the arpeggios are major, so we’ll be using the same fingering throughout. 
 
 The arpeggios in question are G major, C major and D major. 
 
 G major 
 
 
 
 
 
 
 
 C major 
 
 
 D major 
 
 
 G major (one octave higher) 
 
Notice that the fingering is the same for all three arpeggios; the only thing that’s changed 
is the root note. 
 
 We can also change the intervals to make minor or diminished arpeggios. 
 
 A min (1, b3, 5) 
 
 
 A min b5 (1, b3, b5) 
 
 
 
 
 ex. 148a 
 
 
 This exercise combines alternate picking with sweep picking 
 
 I’m playing this A Minor arpeggio on the two low strings and the two high strings. 
 
 
 
 
 And the Aeolian scale on the middle two strings. 
 
 
 
 
 Let’s take a look at all the notes that make up exercise 148a. 
 
 This can be seen as A Aeolian, 
 because it contains all the intervals of the Aeolian Mode: 1, 2, b3, 4, 5, b6, b7. 
 
 
 ex. 148b 
 
 
 In example148b we’re applying the same idea as before, only this time we’re playing a 
 major arpeggio and the notes of G Mixolydian. 
 Let’s take a look at the diagram. 
 G Mixolydian (1, 2, 3, 4, 5, 6, b7) 
 
 
 
 Let’s use the same idea to play some other modes. 
 
 G Ionian 1, 2, 3, 4, 5, 6, 7 
 
 
 
 G Dorian (1, 2, b3, 4, 5, 6, b7) 
 
 
 
 
 G Phrygian (1, b2, b3, 4, 5, b6, b7) 
 
 
 
 G Lydian (1, 2, 3, #4, 5, 6, 7) 
 
* b5 = #4 
 
 G Mixolydian (1, 2, 3, 4, 5, 6, b7) 
 
 
 
 G Aeolian (1, 2, b3, 4, 5, b6, b7) 
 
 
 
 G Locrian (1, b2, b3, 4, b5, b6, b7) 
 
 
 
 ex. 149a 
 
 
 This is another example that mixes Alternate Picking with Sweep Picking. 
 This will also help us to visualise arpeggios and scale shapes. 
 
 Example 149a is made up of a triad arpeggio in B minor on strings 5,4,3,2 and 1 
 And a six-note sequence on strings 6 and 5. 
 
 Here’s the fret board diagram. 
 
Note that the 7th degree is not included in this example and therefore does not reflect the 
true sound of the mode. 
 
 If we wanted to include the 7th degree we would have to play a instead of the triad. 
 
 For Example: 
 
 B Aeolian 
 
 In this fret board diagram we have all the intervals that make-up the Aeolian mode. 
 The next step would be to change the intervals to come-up with the other modes as 
 Explained in the previous example (ex148) 
 
 
 
 ex. 149b 
 
 
 Exercise149b is based on the same idea as 149a but this time we’re using D Major. 
 
 As we saw before, this fingering does not reflect the true tonality of the mode. 
 
 If we want to play all the notes of the scale the only thing we have to do is add 
 the 7th degree to the arpeggio. 
 
 D Ionian (1, 2, 3, 4, 5, 6, 7) 
 
 
 
 Another option would be, 
 D Mixolydian (1, 2, 3, 4, 5, 6, b7) 
 
 
 Try playing the other modes using the same idea 
 
 
 Ex. 150 
 
 
 
 
 
 
 
 In this last 6 string sweep example we’re going to mix Sep Picking with some String- 
 Skipping. 
 
 
 
 
 
 
 
 
 Let’s take a look at some of the patterns that we’re going to use. 
 
 
 C maj (1, 3, 5) 
 
 
 
 
 C min (1, b3, 5) 
 
 
 
 
 C min b5 (1, b3, b5) 
 
 
 
 
 C maj #5 (1, 3, #5) 
 
* b6 = #5 
 
 
 
 
 ex. 151 
 
 
 
 
 
 In this first example I'm just going to play a scale using Economy Picking. 
 Let’s try B Harmonic Minor. 
 B Harmonic Minor. 
 
 Why not try using this idea to play other three note per string scales? 
 
 
 ex. 152 
 
 
 
 
 
 In this example I’m using both Economy and Sweep Picking in E major. 
 
 
 
 How about if we move this up the neck? 
 
 C major 
 
 
 
 
 ex. 153 
 
 
 
 
This is basically an Economy Picking sequence in one position using three notes per 
string. This time we’re using G Major. 
 
 G Major 
 
 
 
 We can apply the same idea to any other three note per string scale. 
 
 G Dorian 
 
 
 
 
 ex. 154 
 
 
 
 
 
 Exercise 154 is a descending lick that uses Economy Picking. 
 This time I’m using the A# SuperLocrian scale. 
 
 
 A# SuperLocrian (1, b2, b3, b4, b5, b6, b7) 
 
* 3 = b4 
 
 
 
 
 
 
 
 
 
 ex. 155 
 
 
 This is basically an F Major scale without the 4th degree. For this reason it could 
 also be seen as an F major 7 arpeggio to which the 9th and the 13th have been added. 
 
 
 FA maj7 add 9 13 (1, 2, 3, 5, 6, 7) 
 
 
 Because this lick has no third it works fine over both 
 F Ionian and F Lydian. 
 
 
 
 
 
 
 
 
 
 
 
IDEAS AND PHRASES 
 
 
 
 
 
 
 
 ex. 156 
 
 
 
 This example gives us another option for playing 7th arpeggios 
 Here we’re using F# min7 and G# min7. 
 
 F# min7 G# min7 
 
 We’re using the same fingering for both arpeggios. 
 
 But we can use the same idea to form other arpeggios. 
 
 A maj7 A 7 
 
 
 
 ex. 157 
 
 
 In Example 157 I’m mixing two triad arpeggios. 
 D Major 
 
 
 
 ex. 158 
 
 Example 158 can be seen as a C_maj7 add9 ( 1, 2, 3, 5, 7 ) 
 
 
 
 
 ex. 159 
 
 
 
 
 El 159 is an F# diminished Seven 
 
 
 
 The phrase is taken from this pattern- which is repeated 3 frets lower in bar 3. 
 
 We can keep repeating this pattern every 3 frets, continuing with the sameshape but 
 
 Working through the different inversions of the arpeggio. 
 
 
 
 
 ex. 160 
 
 In this example I’m adding a Tap to a Sweep picked arpeggio. 
 This ones in A Lydian. Basically it’s an Amaj7 arpeggio to which I’ve added 
 the 9th and the #4. 
 
 A maj7 add9 #4 ( 1, 2, 3, #4, 5, 7 ) 
 
* b5 = #4 
 
 We can use the same idea to play other modes: 
 
 A Ionian 
 
 
 A Mixolydian 
 
 Although these examples do not include the 6th, the Ionian, Lydian and 
 Mixolydian still retain their “flavour”. 
 
 ex. 161a 
 
 
 
 
 Example 161a shows us an A major arpeggio in various inversions. 
 Watch out for the String Skipping in bar two. 
 
 A maj 
 
 From the above diagram we can obtain three smaller shapes of A Major. 
 
 
 
 
 
 
 ex. 161b 
 
 
 
 
 El 161b is a D Major arpeggio, made by linking various patterns. 
 Let’s take a look at these patterns: 
 
 
 
 
 
 
 
 
 ex. 161c 
 
 
 
 
 
 Last but not least G#7º- where I’m also linking smaller arpeggio shapes. 
 
 SOL# 7º ( 1, b3, b5, bb7 ) 
 
* 6 = bb7 
 
 Let’s take a look at these smaller patterns.(Note that they are the same) 
 
 
 
 
 
 
 ex. 162 
 
 
 
 In this phrase I’m mixing two four note arpeggios. 
 The arpeggios in question are Amaj7 and Emaj7 . 
 This combination can be seen as Amaj7 add#11. 
 
 
 Here’s the fret board diagram. 
 
 A maj7 add#11 ( 1, 2, 3, #4, 5, 7 ) 
 
* b5 = #4 
 
 Try mixing other types of arpeggio or change the intervals. 
 
 
 
 
 
 ex. 163 
 
 
 
 
 This example uses the same idea as before. 
 The idea is to form arpeggios with added tension. 
 In this case we’ve got el B min and F# min 
 The result of combining these two triad arpeggios is a four note arpeggio 
 with the added 9th. 
 
 Bmin7 add9 
 
 
 
 
 
 
 
 
 
 ex. 164 
 
 
 
 
 In this example I’m using Sweep Picking to play a pentatonic phrase. 
 
 
 Here I’m using the D Minor pentatonic. 
 
 D minor Pentatonic. 
 
 
 This sounds quite like an arpeggio. That’s because a pentatonic can also be seen se a 
 Minor seventh arpeggio to which the onceava has been added. 
 
 
 
 
 
 
 
 
 ex. 165 
 
 
 
 
 
 Example 165, combines various triad arpeggios to form a progression of arpeggios in the 
 key of G major 
 
 This ones great for Sweep Picking. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ex. 166 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 Example 166 is another example in G Major. 
 
 As we saw in 165 we can use it as an exercise to practice out triad arpeggios 
 with Sweep Picking. 
 
 
 Let’s break thing down A minor and have a look at bars 1 and 2. 
 
 A minor 
 
 Now, we can change the intervals in order to build the remaining triad arpeggios. 
 
 
 
 
 
 
 
 
 ex. 167 
 
 
 In this example I’m mixing Sweep Picking con with legato. 
 This ones in F Major (1, 2, 3, 4, 5, 6, 7) . 
 
The b5 can be seen as a chromatic passing tone. 
 
 We could break the above example down into 3 separate parts. 
 
 1st Part 2nd Part 3rd Part 
 
 Arpeggio A min7 Arpeggio D min F Major scale 
 
 When we have divided the whole lick we can change the order of the parts to 
 Make different licks with the same notes. 
 For Example 
 2nd Part + 1rd Part + 3st Part = 3rd Part + 2ndPart + 1st Part = 
 
 I call this “Fragmentos Fraseologicos” and can be applied to any phrase or sequence 
 that you learn. 
 You can also use rhythmical variations and different positions to change things about. 
 
 
 
 
 ex. 168 
 
 
 
 
Here, we’re back to E major and I’m combining Sweep Picking with Legato and 
Tapping with two fingers of the picking hand. 
 
 
 E maj 
 
 Basically it’s an E major arpeggio to which I’ve added all the tensions 
 apart from the 11th. 
 
 
 
 
 
 
 
 
 
 ex. 169 
 
 
 In this example I’m combining Alternate Picking and Sweep Picking. 
 This time B Harmonic Minor. 
 
 This very same phrase can be seen as a B min maj7 
 to which we’ve added the 9th and the 11th. 
 
 
 Now, with the same idea and using the same sequence we can change the intervals 
 To make other arpeggios. 
 For example 
 B maj7 add9 11ª 
 
 
 B7 add9 11ª 
 
 
 
 
 ex. 170 
 
 
 
 
 
 
 Example 170 combines the B Major pentatonic and the B Minor Blues. 
 
 B Major Pentatonic (1, 2, 3, 5, 6) 
 B Minor Pentatonic Blues (1, b3, 4, b5, 5, b7) 
 
 
 These type of ideas work well over Dominate Seventh Chords 
 
 This example is good for it’s string Skipping, alternate picking and the small 
 sweeps on the first two strings. 
 
 
 
 
 
 
 ex. 171 
 
 
 
 Exercise 171 combines Sweep Picking (strings 1, 2, 3, and 4 ), 
 with Economy Picking ( 5th string). 
 This time we’re in E major. 
 
 
 If we look a little closer we’ll see that it’s made up of two small arpeggios. 
 A maj E maj7 
 
 
 
 
 
 ex. 172 
 
 
 Example 172 takes us back to the key of G Major. 
 
 
 The same idea works just a well in A Minor. 
 
 
 
 
 As we saw in the previous example, we’re using two small triad arpeggio shapes. 
 
 
 A minor and G major 
 
 
 
 
 
 
 
 ex. 173 
 
 
 
 
 This time we’re back to F Major. 
 
 
If we look how this phrase is built we can see that it is the same as the previous two 
examples (ex171 and ex 172). 
 But what makes it different is the way it’s played. 
 
 The idea of this lick is that you learn to play and kind of phrase with SweepPicking 
 but you change the rhythmic content. 
 Triplets or crotchets are fine when we’re practicing but when we come to play 
 it can get very boring if we don’t use anything else. 
 Try combining rhythms, adding silence, etc. 
 
 
 
 
 
 
 ex. 174 
 
 
 
 
 
 This example start’s with G major arpeggio in the first bar and then continues 
 with a sequence of altered picking and legato on the first two strings. 
 
 G Major 
 
 
 
 
 ex. 175 
 
 
 
 
 
 In example 175 I’m combining Sweep Picking and Legato. 
 B Minor Pentatonic 
 
 This idea is basically in B Minor Pentatonic, but also includes the 2nd degree 
 Because the phrase finishes with a F# Min7 arpeggio. 
 F#min7 
 
 
 
 
 
 ex. 176 
 
 
 
 
 
 
 This example combines Sweep Picking with Tapping to form triad arpeggios with an 
 added 9th. 
 
 
 We can use this idea to construct other arpeggios with the added9th. 
 (See next page) 
 
 
 
TRIAD ARPEGGIOS UIT ADDED 9TH 
 
A maj add 9 
 
 
 
 
A min add 9 
 
 
 
 
A min add b9 
 
 
 
 
A min b5 add b9 
 
 
 These are just some way of playing triad arpeggios with the added 9th. 
 
 By using the same idea we can now make other arpeggios with the added 9th. 
 
 
ARPEGIOS WITH THE ADDED 9TH 
 
A maj7 add 9 
 
 
 
A 7 add 9 
 
 
 
A 7 add b9 
 
 
 
A min7 add9 
 
 
 Now, all we have to do is change the intervals to come-up with other arpegio shapes. 
 Maj7 add 9 , 7 Dominant add 9 , min7 add 9 , min7 add b9 , min7 b5 add b9, 
 min maj7 add9 , maj7 #5 add9 , 7 Dominant add b9 , maj7 add #9 , 
 7 Diminished add b9 , min7 b5 add9 , 7 Dominant #5 add b9, 
 7 Dominante #5 add #9. 
 
 
 
 ex. 177a 
 
 
 Example 177a is another add 9 arpeggiobut here I’m using the pick and the middle 
 finger of the right hand. 
 It’s a bit of a mix between Sweep Picking and Finger Picking. Perhaps we could call it 
 Finger Sweep Picking !!!!!!! 
 
 The arpeggio used in this example is A min7 add9.Let’s take a look at the fret board. 
 
 A min add9 
 
 We can break this down into two separate sections. 
 
 
 First part Second Part 
 
 Amin7 add9 A min 
 
 The first part is an Amin7 add9, played with the “Finger Sweep”, 
 And the second part is an A min played with Sweep Picking. 
 
 
 
 
 
 
 ex. 177b 
 
 
 Exercise 177b uses the same idea as before, only this time we’re playing a Gmaj7 add9 . 
 
 
 The two previous examples involve barring with the middle finger which is probably 
 Not the easiest of techniques for the beginner!!!!!!!! 
 
 How about this idea which you can use as an introduction to this technique. 
 Try playing diatonic arpeggios in C Major. 
 
 C Major (with Finger Sweep) 
 
 
 
 Ok, let’s change this about a bit. This time we’re 
 plucking with the middle finger and then Sweeping the 6th and 5th strings. 
 
 The next stage is to apply this idea to other keys and other groups of three strings. 
 5th, 4th, 3rd or 4th, 3rd, and 2nd and finally 3rd, 2nd and 1st. 
 
 When you’re used to playing this on three strings try it on four strings. 
 
 
 
 
 ex. 178 
 
 
 
 
 Here’s a phrase that combines groups of 7 and groups of 6’s. This time we’re in 
 E Harmonic Minor. 
 
 We can divide this example into two sections. 
 The first part is a D Diminished Seven played on three strings and taken through all 
 it’s inversiones. 
 
 D#7º 
 
 
 The second part is a E harmonic minor scale with Alternate Picking. 
 
 
Tapping 
 
In the forth part of this book we’re going to look at various ideas 
and phrases using the Tapping technique. The technique is based 
very much on the Legato technique we looked at earlier, only this 
time we’re going to use one or more fingers of the right hand to 
tap notes on the fret board. 
 
With tapping (as with Legato) we have to press the string with 
precision in order that the note sounds clear and loud. Once we 
have tapped the note in question we then have to pull off to our 
initial position. 
 
Both the tap and the pull-off must be preformed accurately. 
 
This technique cab be preformed with any right hand finger, 
although the most habitual is the middle or index finger. Some 
people prefer the middle finger it’s all a question of personal 
taste. 
 
Tapping with the index finger might seem to be the first choice 
but this presents problems when we have to combine tapping with 
picking and therefore have to change the position of the plectrum. 
This problem can be overcome by tapping with the middle finger 
whilst holding the plectrum in the normal position. 
 
In all the examples in this book the tapping finger is always 
indicated with a number within a circle. In tab it’s represented 
with the following sign “+” 
 
Personally, I prefer to use the middle finger for the majority of 
my tapping if you fancy tapping with a different finger than no 
problem. As with the tapped notes, the fingerings are just my 
suggestions and feel free to change them if you feel more 
comfortable playing them with an alternative fingering. 
 
Apart from tapping with one finger we can in fact tap more than 
one note with the right hand. We’ll take a look at these in more 
detail later. 
 
Synchronization is very important when tapping. As with all the 
other material start slowly, with a metronome, and build up the 
speed slowly. If you’ve got the synchronisation the speed and 
fluidity will come later. Trust me!! 
 
This technique, which starts with 179-201, is laid-out in the 
following manner: 
 
ü Tapping Scales (179-191) 
ü Tapping Pentatonics (192-201) 
ü Tapping Arpeggios (202-208) 
 
Tapping Scales 
 
In this section we’re going to look at how to combine tapping 
with scales and modes. 
 
Things get harder as we go along. So, we’re going to start tapping 
on one string, then two strings, tapping and slides (181 and 185) 
and tapping with string skipping (191). 
 
All these are preformed with the middle finger but gradually we 
will incorporate more fingers. We’ll also be using groups of five 
and groups of six notes and various combinations. 
 
Tapping Pentatonics (192-201) 
 
In examples 192-201 we’re going to be tapping pentatonics, both 
the major and minor pentatonics are looked at along with the 
blues scale. We also take a look at pentatonics with open strings 
and string skipping. 
 
Tapping Arpeggios (202-208) 
 
In this last section we are going to be tapping arpeggios. We’re 
going to take a load of ideas and make triad arpeggios and also 
four note arpeggios!!!! We’ll take this idea over 2, 3, 5 and 6 
strings and we’ll also be adding tensions such as the added 9th, 
11th. 
 
 
 ex. 179 
 
 
 
 
 
 
 This first Tapping example is a melodic sequence played on one string. 
 Note that the right hand is always tapping the same note. 
 
 The scale used in this example is C Harmonic Minor. 
 
If you play this exercise on other strings the resulting scale will always be the Harmonic 
minor and the root note will always be on the fifth fret. 
 
 
 For example... 
 
G Harmonic Minor 
 
 
 
D Harmonic Minor 
 
 
 
A Harmonic Minor 
 
 
 
E Harmonic Minor 
 
 
 
A Harmonic Minor 
 
 
 
 ex. 180 
 
 
 
 
 
 
 
 
 
 
 
 Example 180 Here I’m playing in E Major. 
 
 Let’s take a closer look at this one! 
 
 E maj (Bars 1 and 5) 
 
 
 B maj (Bar 2) 
 
 
 F# min (Bar 3) 
 
 
 A maj (Bar 4, 1 and 2 beat) 
 
 
 B maj ( Bar 4, 3 and 4 beat) 
 
 
 
 
 ex. 181 
 
 
 
 
 
 This example combines tapping ,Legato and Slides. This time in E Minor 
 E Minor 
 
 This can also be seen as the combination of two pentatonic scales. 
 A Minor Pentatonic on the second string 
 E Minor Pentatonic on the first string 
 
 A Minor Pentatonic 
 
 
 
 E Minor Pentatonic 
 
 
 
 ex. 182 
 
 
 
 
 
 
 
 
 
 This idea starts in A Major and finishes with the a Harmonic Minor. 
 This ones a bit different to others because we’re playing groups of five. 
 
 
 ex. 183 
 
 
 
 
 
 In this example we combining using goups of six and groups of five. 
 This example uses the Whole Tone Scale. 
 
 This ones quite tricky as we’re using all four fingers of the right hand and two of the left 
 hand. (Or the other way around if youre left-handed). 
 
 Let’s take the idea seen in 183 and use it with different scales. 
 
 
 For Example: 
A Minor 
 
 
 
 
A Major 
 
 
 
 
 And on other strings. 
 
E Dorian 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ex. 184 
 
 
 
 
 
 
This example uses all the fingers of the right hand. (with the exception of the index and 
the thumb which are holding the pick). 
 This is a séquense in A minor on the first string which repeats on the second string 
 Where the scale changes to E minor. 
 
 Why not repeat the séquense on the other strings? 
 
 
 ex. 185 
 
 
 
 
 
 
 
 
 In this example we’re using the side of the pick to tap the notes. This is something that 
 Satriani uses quite a bit!!! 
 
 
 ex. 186 
 
 
 
 
 
 
 The idea behind lick 186 is that the right hand taps in the same position 
 And the left hand does all the work, forming sequences and melodies. 
 
 
 Here I’m using B Minor (Two string pattern). 
 
 
 
 
 ex. 187 
 
 
 
 
 In this example I’m using the a Minor Blues Scale to play a 3 string tapping lick. 
 
 A Minor Blues ( 1, b3, 4, b5, 5, b7 )ex. 188 
 
 
 
 
 
 
 
 Example188 is another Tapping idea on three strings. In this idea we can see how the 
 little finger taps the first note on each new string. 
 
 Try this sequence on other strings. 
 
 
 
 The pattern in 188 is a symmetrical pattern. 
 
 
 Just a quick note about symmetrical patterns: 
 Good Points: really easy to finger. 
 Bad points: Perhaps not the most musical thing in the world. 
 
 Whichever way you look at it chromatic and symmetrical patterns are great for sorting- 
 out Technical Difficulties (Great Tune!!!!!!). 
 
 
 Let’s see the same idea applied to a scale. 
 
 A minor Pentatonic . 
 
 How about a different fingering of the same scale? 
 
 A Minor Pentatonic 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ex. 189 
 
 
 
 
 
 
 Example 189 is a diatonic sequence in C Major played on all six strings. 
 
 
 C Major. 
 
 
 
 
 ex. 190 
 
 
 
 
 
 In 190 is another tapping lick, this time in A Harmonic minor. 
 
 
 A Harmonic Minor 
 
 
 
 
 
 
 
 
 
 
 
 
 Ex. 191 
 
 
 
 Exercise 191is a Tapping lick in which I’m string skipping a symmetrical pattern. 
 
 
 
 
 ex. 192a 
 
 In 192 I’m playing a pentatonic sequence in groups of six. 
 
 ex. 192b 
 
 
 
 Example 192b uses exactly the same pattern but the sequence is different. 
 
 A minor Pentatonic 
 
 The idea here is to practice various scales, but change the fingering now and again. 
 
 
 
 ex. 193 
 
 
 
 
 This example uses practically the same fingering as before (192), 
 but I’ve added open strings. 
 
 I’m still using the A Minor Pentatonic 
 
 A Minor Pentatonic 
 
 
 We could use any other scale or shape and then add open strings as long as the open 
 don’t grate the ear. 
 
 
 
 
 
 
 
 
 Ex. 194 
 
 
 
 
 
 Example 194 is an example of Tapping Octaves 
 
 In this example the right hand is tapping the notes one octave above the left hand 
 Fretted notes. 
 This ones is A Minor Pentatonic 
 
 A Minor Pentatonic 
 
 
 
 
 
 
 
 
 
 ex. 195 
 
 
 
 
 
 
 
 Here we’re using tapping to play groups of five. 
 This is probably one of the easiest way’s to play this rythmic group. 
 
 B Minor Pentatonic 
 
 
 
 
 ex. 196 
 
 
 
 
 In example 196 I’m taping a note with the right hand and then sliding this note. 
 This time I’m using D Minor Pentatonic. 
 The note I’m tapping is the b5, which I then slide up to the 5th and then down to 
 the b5. 
 
 Let’s take a look at the fret board diagram. 
 
 RE Menor Pentatónica Blues 
 
 
 
 
 
 
 
 
 
 ex. 197 
 
 
 
 In this example we’re using the G Minor Blues Scale. 
 
 G Minor Blues Scale 
 
 
 The idea behind this example is two play groups of 3 notes with tapping 
 
 
 
 
 
 We can take this idea and apply it to other scales. 
 
 A Minor 
 
 
 
 
 
 
 
 
 
 ex. 198 
 
 
 
 
 
 In this example the left hand always plays the same four notes it’s the right hand that 
 changes position whilst tapping. 
 
 
 For this example we’re using G Major. 
 
 
 
 Take a look at the left hand- it’s almost as if we were tapping with the left hand. 
 
 
 
 
 
 
 
 
 
 
 
 ex. 199 
 
 
 Let’s continue with this idea of “left hand tapping”. 
 
 
 We’ll use A Minor Pentatonic for this one. 
 
 
 
 Lets use this idea to ascend and descend to different patterns. 
 
 A Minor Pentatonic 
 
 
 A Minor Pentatonic 
 
 
 Let’s now apply this idea to other scales and modes. 
 
 
 
 ex. 200 
 
 
 
 
 With this example we’re going to do something new. We’ve been using various fingers 
 to tap notes on one string. Now we’re going to use two fingers to tap two different 
 strings, one finger on each string. 
 
 
 For this one we’re using A Minor Pentatonic. 
 
 
 
 Heres the same idea but with string skipping. 
 
 
 
 
 
 ex. 201 
 
 
 
 
 Example 201 is bascially an E Minor scale played in forth’s. 
 
 
 
 We can take this example and change the root note, we can make other scales or modes. 
 
 Now the same notes and pattern can be seen as D Mixolydian 
 
 
 
 ex. 202 
 
 
 
 
 In example 202 the left hand is playing a triad arpeggio while the right hand plays the 
 various tensions. 
 Here we’ve got the following arpeggios de G major7 and A minor7. 
 
 G maj7 add 13 
 
 
 This G Maj7 shape can also be seen as an E min7add9 it all depends on the root. 
 
 Emin7 add9 
 
 
 
 
 Amin7add 13 
 
 
 The same happens with the Amin7add 13 which can be seen as F#min7b5add b9 
 F#min7b5add b9 
 
 
 This concept is applicable only when the intervals that are formed with relation to 
 the root are important to the arpeggio as is the 3rd, 5th or indeed the 7th. 
 
 
 
 
 This is not totally “correct”, because if we make our root note G we don’t make 
 a defined cord because we don’t have the 3rd or the 5th. 
 A better way would be to take the A note to build a A min7 add 13 arpeggio, 
 or to add the F# and make a F# min7 b5 add 9. 
 
 This practice has its limitations but it is not the purpose of this book to go into 
 theortically explanations, this is something that I may expand on at a later date. 
 
 
 
 
 
 ex. 203 
 
 
 
 
 
 
 In this example we’ve got an A minor arpeggio with Tapping on 5 strings. 
 
 We can break this down into two smaller shapes 
 
 A min Shape 1 Shape 2 
 
 
 By breaking these shapes into smaller segments they become easier to learn 
 
 
 
 
 ex. 204 
 
 
 
 
 
 
 This is a great way to play arpeggios on two strings. 
 
 This example is in G Major. 
 
 
 
 
 ex. 205a 
 
 
 
 
 Example 205a mixes various techniques to play a G#7º arpeggio. 
 
 G#7º 
 
* 6 = bb7 
 
 To start this example, first we’ll leave-out the tapping. 
 
 G#7º 
 
 
 
 ex 205b 
 
 
 
 
 
 
 
 Exercise 205b usese the same idea as 205a onlt this time we’re using Minor Pentatonics. 
 
 
 
 
 
 Lets take a look at the patterns used in 205b. 
 
 E Minor Pentatonic 
 
 
 
 A Minor Pentatonic 
 
This same shape can also been seen as C major Pentatonic 
 
 C Major Pentatonic 
 
Or as an Amin7add 11 
 
Amin7 add 11 
 
 
 It all depends on the harmonic content and the flavour we want to give 
 the particular phrase. 
 
 
 
 
 
 
 
 ex. 206 
 
 
 
 
 
 
 The 206 is a G#7º arpeggio played on all six strings. 
 
 
 ex. 207 
 
 
 
 This phrase in G Major mixes a one string tapping sequence 
 (bars 1and 2), with an arpeggio (bar3). 
 
 And how about the arpeggio of Gmaj with tapping? 
 
 G maj 
 
 
 Now the same idea but the minor version. 
 
 G min 
 
 
 
 ex. 208 
 
 
 
 In this last example we’ve got a D major arpeggio with Tapping. 
 Here, we’re using three of the right hand fingers. 
 
 D maj 
 
 
 And once again the minor version D minor. 
 
 D min 
 
 
 
Advanced concepts 
 
Visualisation 
 
A very important point to bear in mind when practicing all scales and 
arpeggios is that of visualisation. We must be able to see all the intervals 
that make up every example and know how they relate to the root note or 
cord tone we are playing. 
 
If we take time to analyse the exercises this will help us when we come to 
change keys or indeed if we want to change a certain idea to match a 
different chord type. 
 
In order to achieve this all the examples in the book have at least one fret-
board diagram. Use these diagrams to memorise the pattern and the 
intervals contained within this pattern as you are playingit. 
 
Remember that the intervals are always related to the root note. Therefore 
if we change the root note within a specific pattern the resulting intervals 
will also have changed. 
 
It’s also a good idea to practice any scale, arpeggio or phrase in various 
keys. Don’t worry if you can’t practice 8or indeed memorise) all of the 
examples in this book. Bear in mind that the majority of even the best 
guitarists only use a few ideas, but these ideas are controlled perfectly and 
are able to be adapted to different musical situations which gives the 
guitarist their “own sound”. We can do the same as well, by taking a few 
ideas and really having a good understanding of what we are playing and 
making them our own. Because don’t forget, the idea is to make music!!!! 
 
Together with this book you will find a PDF file with blank fret-board 
diagrams, which you can use to write-down, you’re own ideas. I’ve also 
included standard treble clef sheets if you find the need to write it down in 
note form or even in Tab. 
 
Technical focus 
 
This is what I call technical focus. 
 
For example: Let’s suppose you want to practice your tapping. Were going 
to do our tapping with all the scales and modes. We can start with intervals 
3rds, 4ths, 5ths and 6ths whilst using tapping. We can also play sequences 
and scales with tapping, triads with tapping and arpeggios with tapping, 
tapping on one, two or more strings and even improvisation!! 
 
This is a great way of improving a specific technique. This can be used 
with any technique (I’ve just given tapping as an example). 
 
Melodic focus 
 
This is a way of playing a certain idea using various techniques. 
 
For example: let’s suppose you want to learn all the positions and shapes 
of the pentatonic scale in order to move around the fret-board. So, we’ll do 
the same as before. 
 
Pentatonics on one string, two strings etc. Then we could play the 
pentatonics 3 notes, or 4 notes per string- all this time we are getting more 
familiar with the fret-board. 
 
What if you’ve got the pentatonic’s down!! 
 
Well, you can move-on to arpeggios and use various techniques to play 
your arpeggios, always visualising the various patterns and intervals so 
that they can later be used in your own improvisations or indeed your own 
compositions. 
 
Improvising with ideas 
 
To really control a new idea we’ll have to be able to improvise with it. I 
recommend that after every practice session you spend at least a third of 
the time you have spent learning a new idea but now you’re going to 
improvise with it. For example, if you’ve spent 15 minutes practicing a 
new idea form the book it would be advisable to spend 5 minutes playing 
with some king of backing track. 
 
There are many ways to improvise but want we are aiming to do is to 
apply these new ideas to our improvisation and to play it enough so that 
we have total control over this new idea. At this stage don’t be nervous if 
your fingers find these new positions strange and that you can’t play the 
ideas as fast as you may like just keep playing it. Try making variations on 
the same idea but adding rests, changing the rhythmic groupings etc. 
There’s a difference between working on a certain idea and applying the 
same idea to an improvisation. When we are improvising we’re looking for 
melodies and joining small phrases whereas when we’re practing an idea 
want we want to do is concentrate on what our fingers are doing, get used 
to these new sounds- all of which will help us when we are improvising. 
It’s very important that during the practice time you devote to 
improvisation you limit yourself to using almost exclusively the new ideas 
that you want to eventually form part of your vocabulary. 
 
The idea of practising just with one idea, technique or phrase is taken 
even further when we play over different styles of backing tracks. This 
makes us change our phrasing to suit the backing whilst using the idea or 
lick we wish to perfect. 
 
There are many ways to understand and practice improvisation but this a 
subject we’re not going to delve into in this book I just thought it 
appropriate to mention several ways of using the ideas in this book. 
 
Conclusion 
 
As a student of the guitar I have seen lot’s of music book full of with 
exercises and phrases but have never seen one in which the author explains 
to the student ho to expand on what t is shown in the book. For this reason 
I decided that in my first book I would try to explain different ways to 
practice an idea, phrase or exercise. 
 
The idea is that you can take the material presented in this book and use it 
to come up with your own ideas and indeed how to practice ideas found in 
other sources: books, videos, WebPages, etc. 
 
But it’s really you who has the last word. Due to the size of this project I 
have not been able to explain perhaps as much as I would have liked to 
about certain aspects of guitar playing. But let’s not that we also have 
chords to learn and other expressive techniques such as: slides, bendings, 
vibrato etc. These are all things that when put together sort the men out 
form the boys!! 
 
I sincerely hope that this book helps you on your quest to becoming both a 
better guitarist and musician. 
 
Toni Lloret 
 
 
 
	Introduction
	Contents
	Introduction
	How to use the Book
	Using the Book
	Thanks
	ALTERNATE PICKING
	Alternate Picking
	1
	2
	3
	Ideas & Sequences on one String
	ex. 1
	ex. 2
	ex. 3
	ex. 4
	ex. 5
	ex. 6
	Sequences on 2 Strings
	ex. 7
	ex. 8
	ex. 9
	ex. 10
	ex. 11
	ex. 12
	ex. 13
	Six Strings
	ex. 14
	ex. 15
	ex. 16
	ex. 17
	ex. 18
	ex. 19a
	ex. 19b
	ex. 20
	ex. 21
	ex. 22
	ex. 23
	ex. 24
	ex. 25
	ex. 26
	ex. 27
	ex. 28
	Arpeggios
	ex. 29
	ex. 30a
	ex. 30b
	ex. 31
	ex. 32
	ex. 33a
	ex. 33b
	ex. 34
	Pentatonics
	ex. 35
	ex. 36a
	ex. 36b
	ex. 37
	ex. 38
	ex. 39
	ex. 40
	ex. 41a
	ex. 41b
	Ideas and Phrases
	ex. 42
	ex. 43
	ex. 44
	ex. 45
	ex. 46
	ex. 47
	ex. 48
	ex. 49
	ex. 50
	ex. 51
	ex. 52
	ex. 53
	Hybrid Picking
	ex. 54
	ex. 55a
	ex. 55b
	ex. 56
	ex. 57a
	ex. 57b
	ex. 58
	Ideas and Phrases II
	ex. 59
	ex. 60
	ex. 61
	ex. 62
	ex. 63
	ex. 64
	ex. 65
	ex. 66
	ex. 67
	ex. 68
	ex. 69
	ex. 70
	ex. 71
	ex. 72
	LEGATO
	Legato
	1
	2
	3
	Using Legato with Scales
	ex. 73
	ex. 74
	ex. 75a
	ex. 75b
	ex. 76
	ex. 77
	ex. 78
	ex. 79
	ex. 80
	ex. 81
	ex. 82
	ex. 83
	ex. 84
	ex. 85
	ex. 86
	ex. 87
	ex. 88
	ex. 89
	ex. 90
	ex. 91
	ex. 92
	ex. 93
	ex. 94
	ex. 95
	ex. 96
	ex. 97
	Pentatonics
	ex. 98
	ex. 99
	ex. 100
	ex. 101
	ex. 102
	ex. 103
	ex. 104
	ex. 105
	ex. 106
	ex. 107
	ex. 108
	ex. 109
	Arpeggios
	ex. 110
	ex. 111a
	ex. 111b
	ex. 111c
	ex. 112
	ex. 113
	ex. 114
	Stretching
	ex. 115
	ex. 116
	ex. 117
	ex. 118
	ex. 119
	SWEEP PICKING
	Sweep Picking
	1
	2
	3
	2 Strings
	ex. 120
	ex. 121
	ex. 122
	3 Strings
	ex. 123
	ex. 124
	ex. 125a
	ex. 125b
	ex. 126
	ex. 127
	4 Strings
	ex. 128
	ex. 129
	ex. 130
	ex. 131
	ex. 132
	5 Strings
	ex. 133
	ex. 134
	ex. 135a
	ex. 135b
	ex. 136
	ex. 137
	ex. 138
	ex. 139
	ex. 140
	6 Strings
	ex. 141
	ex. 142a
	ex. 142b
	ex. 143a
	ex. 143b
	ex. 144
	ex. 145
	ex. 146
	ex. 147
	ex. 148a
	ex. 148b
	ex. 149a
	ex. 149b
	ex. 150
	Economy
	ex. 151
	ex. 152
	ex. 153
	ex. 154
	ex. 155
	Ideas and Phrases
	ex. 156
	ex. 157
	ex. 158
	ex. 159
	ex. 160
	ex. 161a
	ex. 161b
	ex. 161c
	ex. 162
	ex. 163
	ex. 164
	ex. 165
	ex. 166
	ex. 167
	ex. 168
	ex. 169
	ex. 170
	ex. 171
	ex. 172
	ex. 173
	ex. 174
	ex. 175
	ex. 176
	ex. 177a
	ex. 177b
	ex. 178
	TAPPING
	Tapping
	1
	2
	3
	Scales
	ex. 179
	ex. 180
	ex. 181
	ex. 182
	ex. 183
	ex. 184
	ex. 185
	ex. 186
	ex. 187
	ex. 188
	ex. 189
	ex. 190
	ex. 191
	Pentatonics
	ex. 192a
	ex. 192b
	ex. 193
	ex. 194
	ex. 195
	ex. 196
	ex. 197
	ex. 198
	ex. 199
	ex. 200
	ex. 201
	Arpeggios
	ex. 202
	ex. 203
	ex. 204
	ex. 205a
	ex. 205b
	ex. 206
	ex. 207
	ex. 208
	Advanced Concepts
	Visualisation
	Technical Focus
	Melodic Focus
	Improvising with Ideas
	Conclusion