SHRED ALERT!!!
THE
ULTIMATE
DVD
GUIDE!
DVD
SHRED ALERT!!!
1. ALTERNATE UNIVERSE
Using alternate picking and note skipping to play interesting arpeggio patterns
2. READY TO RUMBLE
8. SHAPE SHIFTING
9. SNAKE-CHARMING LICKS
The fifth mode of harmonic minor
PHOTOGRAPHER TKTKTK
GU I TA R WOR L D
Photograph by PHOTOGRAPHER
CHAPTER 1
ALTERNATE UNIVERSE
GU I TA R WOR L D
FIGURE
1 1
FIGURE
FIGURE
2 2a Em triad
FIGURE
FIGURE 2b2b
FIGURE
sweep arpeggio
FIGURE
FIGURE
3a 3a
4
4
12 16
99
2
2
14
1210 14
12 14 12 14 12
12 10
3
3
* = downstroke = upstroke 3
3
3
FIGURE
3d
FIGURE
FIGURE
FIGURE
3c
FIGURE
3b 3b
FIGURE
3c
FIGURE
3d
FIGURE
4a 4a
sim.
14 14 14 14
14
17
17 17
14 17
10
14
14
14 14
12 15
12 14 15 14
15 15 15 15
FIGURE 4b4b
4c 4c
FIGURE
FIGURE
FIGURE
19
19
19
17
20
17
17
2017
17
20 17
16
16
16
16
16
16
14 1714 17
14 1714 17
17 14
17 14
14
14
121415 14
121415 14
15 12
*
P.M.
FIGURE
FIGURE
5a 5a
Em
8
9
9
7
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
9 10
FIGURE
FIGURE
7a 7a
sim.
7
7
5
9
8
9
10 X
10 9 10
12
9 11 12
X
X
X
13
X
X
X
12
15
14 13
12
14
X
X
X
5
5
3
X
X
X
4
3
5
3
13
!
12 14 15 12 12 10
12
10 9
10
14 12
12
14
15 12
12
9
10
10
12
13 X
11 12 11 12
10 14
4
3
15
15
12
12
15
15
11
12 11
14
13
5
3
FIGURE
FIGURE
66
F# G
(root) (maj3)
12
13
12
14
17
15
19
(#4)
17
18
19
( 18)
1/2
18
17
19 18
10
!
20
21
1/2
17
19
20 17
A diminished-seven arpeggio
14
14
15
16
17
14
15
(5)
20
FIGURE
FIGURE
8a8a E Dorian
14 15 20
13 17 19
E blues scale
13
P.M.
9 12
FIGURE
FIGURE
7b 7b
8
!
FIGURE
FIGURE 7c 7c
10
C5
7
7
5
FIGURE
FIGURE
5b 5b C Lydian mode
( )
151919
D5
8
9
9
7
17
16
17 14
17
17
19
20
CHAPTER 2
QUICK, EFFECTIVE PICK-HAND WARM-UP EXERCISES
0
0
FIGURE
FIGURE
12a4a
GU I TA R WOR L D
FIGURE11 3
FIGURE
Am
Am
P.M.
P.M.
= downstroke
3
= upstroke
P.M.
15
sim.
10
3
13
14
14
14
13
FIGURE
FIGURE12c4c
Am
12
13
FIGURE
FIGURE
12b4b
sim.
Am
P.M. throughout
14
14
7
5
13
10
3
5
10
10
3
5
12
14
13
14
3
10
12
10
10
9
10
8
9
sim.
15
13
10
P.M. throughout
14
14
13
12
10
cresc.
14
14
3
10
13
14
mp 3
mf
3
10
14
cresc.
mp
13
mf
P.M. throughout
sim.
FIGURE
FIGURE12d4d
10
5
7
7
7
Ddim7
Am
P.M. throughout
sim.
FIGURE
FIGURE12e4e
4
7
10
7
10
13
10
12
10
13
16
12
13
15
16
13
15
14
12
13
14
Em
N.H.
sim.
12
12
12
Am
ON
DISC
FIGURE102
FIGURE
Em
5
5
(slow down)
0
5
5
5
7
READY TO RUMBLE
CHAPTER 3
GU I TA R WOR L D
Now lets apply our picking technique to these chord shapes, as demonstrated in the second part of FIGURE
14. Following an eighth-note pickup
on the fourth string, picked with a
downstroke, each eighth-note triplet
is picked up-up-down on the second,
third and fourth strings, respectively.
Notice that I like to use palm muting
throughout (rest the edge of the pickhand palm across the bridge saddles)
to attain a more percussive attack and a
clearer separation of notes.
Now that you have a handle on the
concept, lets experiment by moving
these chord shapes around the board in
different patterns: as shown in FIGURE
15, I begin by descending in the same
FIGURE
FIGURE
13 1
Freely
E79
1/2
12 10
13 12 10 9 10 9
FIGURE
FIGURE
14 2
10
9 10
E E79 Am E7 F E Dm E
13
13
14
12
10
12
10 9
9 7
10 9
5 A
P.M.
7 9 7 6 7 6
13
10
14
E79
Am
13
12
14
10
10
12
9
9
3
3
10
10
10
10
9
9
6
7
10
5
7
14
10
13
14
12
12
10
10
13
15
14
13
13
Dm
sim.
3
3
3
1
3
4
0
0
1
2
2
0
E7
= downstroke = upstroke
12
3
6
10
7 7 7 5 7 5 4
3
sim.
6
12
13
14
8 7
13
9 10 9
10
P.M. throughout
3
6
10
14
6 5 3 1
5 4 2 1
7 6 3 2
3
5
FIGURE
FIGURE
15 3
1/2
12
3
10
15
1
CHAPTER 4
GU I TA R WOR L D
FIGURE
FIGURE
16 1 A minor pentatonic scale
8
5
1
0
5
17
FIGURE 183
FIGURE
FIGURE
17 2
FIGURE
17
0
7
17
19
5 7
17
19
17
20
5 7
20
17
20
17
19
17 19
17
20
0 3 5
3 5 7
5 7
5 7
17 19
17 19
17 19
17
20
17 20 20 20 17
20 17
17 19
20
1
0
20
0
5 7
20
FIGURE
FIGURE
19 4
index:
middle:
ring:
pinkie:
1
2
3
4
1
2
3
4
FIGURE
FIGURE
205
1
2
3
4
1
2
3
4
1
2
3
4
12
15
10
12
1
2
3
4
1
2
3
4
1
2
3
4
12
14
10
etc.
etc.
etc.
etc.
9
12
12
14
12
14
CHAPTER 5
FIGURE
FIGURE
21 1 q = 152
B5
3.
4
4
2
GU I TA R WOR L D
D5
G5
E5
B5
D5
F#5
P.M.
12
12
10
12
10
8 10
12 10 9 10 12
9
X
(repeat
prev. beat)
12
15
0 15 17 19
3
12
10
12 10
14 12 10 12 14
19 17 15 17 19
3
12
14
12 14 15
14 15 17
10
12
17 15 14 15 17
14
19 17 15 17 19
15 17 19
3
19 17 16 17 19
10
10 12
14 12 10 12 14
3
16 17 19
19 17 16 17 19
16 17 19
10 12 14
12 14 16
14 16 17
16
19 17 16 17 19
10
12
11
16
14
9 10 12
14
17 16 14 16 17
16
12
11
16 14 12 14 16
14 12 10 12 14
12
12 10
16 14 12 14 15
19 17 16 17 19
9 10 12
17 15 14 15 17
P.M.
16
12
15 14 12 14 15
12 14 16
12
12
15 14 12 14 15
3
12 10
16
16
15 14 12 14 15
15 17 19
12
10 12 14
9
9
7
P.M.
9 10 12
10
12 14 15
P.M.
12
9 10 12
10
P.M.
15 14 12 14 15
sim.
P.M.
10
Em
12
sim.
12
FIGURE
FIGURE
22a2a
12
9
9
7
P.M.
9 10
9
9
7
E5
= downstroke = downstroke
E5
Em
P.M.
11
11
9
FIGURE
FIGURE
22 2
P.M.
P.M.
7
7
5
G5
P.M.
4
4
2
P.M.
9
9
7
2.
E5
P.M.
12
12
10
P.M.
9
9
7
P.M.
14
14
12
G5
P.M.
9
9
7
P.M.
12
12
10
A5
1.
E5
P.M.
7
7
5
P.M.
7
7
5
15
D5
P.M.
FIGURE
FIGURE
23 3
16
19 17 16 17 19
P.M.
CHAPTER 6
GU I TA R WOR L D
FIGURE
24a1a
FIGURE
FIGURE
24b1b
FIGURE
Em
Em
7 5
8 5 7
8 5
13 10
12
!
17 13
15
!
Em
13 10 12
10
FIGURE
24f1f
FIGURE
Em
15 14
14
17 13 15
sim.
8 7
7
10 7 8 10 7
= downstroke; = upstroke
* alternate picking:
FIGURE
FIGURE
24d1d
12 10
FIGURE 24c1c
FIGURE
8
!
Em
10 8
12 8 10
FIGURE
FIGURE
24e1e
15 12 13
12
15 12
19 15
17
!
FIGURE
24g1g
FIGURE
Em
17 15
19 15 17
15
10
!
14
!
Em
14 12
12 8
FIGURE
FIGURE
25 2
Em
19 17
14
12
15
17
20 17 19
12
12
13
(play 5 times)
20 17
15
12
12
17 15
10
13
15
19 15 17
10
12
10
15 14
19 15
13
10
10
17 13 15
12
10
14
10
10
7
!
12
*T.H.
1/2
17 13
7(19)
!
*Tap harmonic
FIGURE
26 3 legato (w/pull-offs)
FIGURE
Em
19 17
12 10
20 17 19
13 10 12
10
17
13 10
20 17
10 8
17 15
19 15 17
12 8 10
12 8
15
19 15
8 7
15 14
10 7 8
17 13 15
10 7
14
17 13
7 5
14 12
8 5 7
15 12 13
(play 3 times)
5
8 5
12
15 12
1/2
!
7
CHAPTER 7
GU I TA R WOR L D
.. ..
.
5 !
8
FIGURE
FIGURE 27a1a
Am
fret-hand: 2
Am
5
9
FIGURE 27d1d
FIGURE
Am
8
11
12
9 5
1/2
A7
8 7 7 5
FIGURE 29d3d
FIGURE
A(7)
grad. bends
1/2
11
1/4
10
5 8 5
8 7
8 7 5
5 7 7 7 5
5 5 7 7 5
5 5
A(7)
1/2
FIGURE 29b3b
FIGURE
FIGURE
30 4
FIGURE
1/2 1/2
8
12 8
5 8 8 5 8 5
5
9
FIGURE 29a3a
FIGURE
1 1/2
1/2
freely
1/2
FIGURE 29c3c
FIGURE
A(7)
10
!
8 5
Cm
8
8
Am
(play 3 times)
FIGURE 282
FIGURE
(play 3 times)
5
FIGURE
FIGURE 27b1b
8fr 9fr
7fr
FIGURE
FIGURE
27c1c
8
3fr 5fr
A5
1/2 1
11
1/4
8
8 12
1/2 1/2
1/2 1/2
5
6
1/2 1/2
5
3
2 0
2
2
0
2
2
0
CHAPTER 8
SHAPE SHIFTING
FIGURE
FIGURE
FIGURE
IVE FOUND IT VERY helpful as
FIGURE
FIGURE
FIGURE
FIGURE
31 11
FIGURE
32 22
FIGURE
33 33
A5
A5
A5
a guitarist to familiarize myself
A5
A5
A5
a)a)
b)b)
c)c)
a)a)
b)b)
with the layout of the keyboard
12
12
10
10
10
10
on a piano. This in turn has
99
66 99
77
77
77
made it easier for me to visual77
44 77
5
5
5
ize patterns on the guitar fret5
5
5
board. A quick look at the black keys on
a piano reveal the logic with which they
c)c)
12
12 9 9
12
99
12
12
12
are laid out: starting on the far left and
10
10
10
10
99 66
99 66
moving right, there are two blacks keys
77
77
followed by three black keys, and the
77 44
55
pattern repeats across the entire key33
33
33
33
board. The great thing for piano playFIGURE
FIGURE
ers is that any scale, chord or musical
FIGURE
34 44
FIGURE
3555
FIGURE
FIGURE
phrase in one position and octave can be
12
55
55 99 99
12
10
55
55
55
10
easily moved to another because it will
66
66
66
99
7
7
7
7
7
7
7
7
look exactly the same; you only have to
44 77
77 44
44 77
77
55
55
55
memorize its shape.
The guitar, however, is not like this;
33
33
33
33
33
33
33
depending on the string or fretboard
FIGURE
3666
FIGURE
37b7b7b
FIGURE
37a7a7a
FIGURE
FIGURE
FIGURE
FIGURE
FIGURE
FIGURE
position, the shapes of scales and
A5G5
G5E5E5
A5
riffs can change quite a bit, even when
20 20
20
1719
1920
20
20
17
18
18
18
18
playing exactly the same notes. But Ive
17
1416
1617
17
17
14
15
15
developed an approach to the guitars
77 55 55
15
15
15
1214
1415
15
77 55 55
15
12
fretboard wherein you can use the same
13
13
55 33 11
13
13
shapes, and very easily move them
33
33
through different octaves.
11
FIGURE
FIGURE
7c7c
FIGURE
FIGURE
FIGURE
37c
FIGURE
38a8a8a
As shown in FIGURE 31, there is an A
17
19
20
17
1715
1513
13
17 19 20 17
17
note located on the sixth strings fifth
1818
fret, another A one octave higher lo1515141416161717
12
14
15
10
7 7 9 910
cated on the seventh fret of the fourth
10
131312 14 15
7 710
string (two strings over and two frets
higher), and another A located at the
FIGURE
FIGURE
39a9a9a
FIGURE
10th fret on the second string (two
C#m75
C#m75
strings over and three frets higher).
8fr8fr
Its very valuable to memorize the
FIGURE
FIGURE
positions of these three A notes, because
FIGURE
FIGURE
FIGURE
38b8b8b
FIGURE
39b9b9b
TT 2 2
33
11
the patterns of many licks based around
12
14
15
12
14
15
12
15
12
15
one of these A notes can easily be moved
11
12
9 911
12
12
9 912
to either of the other two A notes. This
10
10
10
7 7 10
7 7 10
7 7 10
is especially true if the lick falls on the
77 99
77 99
77 99
sixth and fifth, fourth and third, or secFIGURE
ond and first strings, because these pairs
FIGURE
39c9c9c
FIGURE
A7
A7
of adjacent strings are tuned in fourths,
and the shape of any lick on these pairs
of strings will be identical.
1/2
1/2
1/2
1/2
A simple example is an A5 power
12
15
14
14 14
1412
12
12
12 15 14 14
12
chord: FIGURE 32a combines an A root
10
15
13
10
15
13
12121414
12
14
note on the sixth string with an E note,
9 9 12
14
11
7 79 9 11
7
10
which is the fifth, on the fifth string; you
7 10
55 77 99
can move this shape up an octave to the
55
55
55
33
fourth and third strings, two frets higher (FIGURE 32b), or the second and first
strings, three frets higher (FIGURE 32c).
which is a little more work for the brain
Lets apply the concept to an E minor
FIGURE 33a illustrates an A major triad
because it involves different shapes.
lick (FIGURE 38a). We can move this up
(A Cs E) played on the bottom two
Lets use this approach to create licks.
one and two octaves, as shown in FIGURE
strings; we can move this same trianFIGURE 35 incorporates the root/fifth
38b, fretting it exactly the same way. For
gular shape over to the other A notes
power chord concept, with the notes
fun, try improvising around those shapes.
(FIGURES 33b and 33c) and yield the same
played separately and in sequence. Given
FIGURES 39a-c incorporate this conmusical result in higher octaves.
a chord progression like A5-G5-F5, as
cept with a Csm7f5 arpeggio; for an
In comparison, fingering the notes of
shown in FIGURE 36, you can play that lick
additional twist, FIGURE 39c positions a
this arpeggio across all of the strings in
in F over the F5 chord. Add a few notes
Csm7f5 arpeggio-type lick over an A7
one position would give us something
to that shape, and we can get an F Lydian
chord, which yields a cool, fusion-y A9
like what is illustrated in FIGURE 34,
sound, as shown in FIGURES 37a-c.
(A Cs E G B) sound.
10
GU I TA R WOR L D
00
!
!
00 00
!
!
00
!
!
!
!
CHAPTER 9
SNAKE-CHARMING LICKS
THE FIFTH MODE OF HARMONIC MINOR
FIGURE
40 1 B Phrygian dominant mode
FIGURE
FIGURE
1
FIGURE
1 B
B Phrygian
Phrygian dominant
dominant mode
mode
B7(9)
B7(9)
FIGURE
1 B Phrygian dominant mode
B7(9)
FIGURE
1 B Phrygian dominant
mode
B7(9)
7 9
7
7 9 10 dominant
10 9
B7(9)
7 9
9
7mode
FIGURE
1
B
Phrygian
7
7
7 8 11 7 9 10
10
7 9 10
10 9
9
7
8
11
B7(9)
7 9
7
7 8 11
FIGURE
2b
7 9 10
10 9
7
9
7
7
8
11
FIGURE
2b
FIGURE
41b B7(9)
FIGURE
2b
7 9 10
10 9
freely
7 8
B7(9)
12 117 8 9
7
freely
FIGURE
2b11 788 11
freely B7(9)
9
10
10 9
11
12
11
8
1112 8 11 12 11 8 12 11 8 11 12
FIGURE
2b11
freely7 8B7(9)
8
11
12
12
11
8
8
11
12
11
8
11 12
12 11 8 11
11 12
12
freely 8B7(9)
FIGURE
2b
8 11 12 8 11 12 11 8 12 11 8 11 12
freely B7(9)
FIGURE 41a2a
FIGURE
FIGURE
2a
FIGURE B7(9)
2a
FIGURE B7(9)
2a
B7(9)
FIGURE 8B7(9)
2a11 12
8 11
11 12
8
FIGURE B7(9)
2a 12
8 11 12
B7(9)
8 11 12 11 8
8
11
12
11
8
8 11 12 11 8 12 11 8
8
8 11 12 11 8 12
12 11
11
8
11 8 9
7
8
11
12
11
8
12
11
8
7 11 8 9
8 11 12 8 11 12 11 8 12 11 8
11 8 9
7
11 8 9
8
7
8 11 12
12 11
8 11 8 9
8 11 12 11 12 11 8
8 11 8
8
8
7
8
8 11
12
8 1211
12 11
11 12
12 11
11 8
8 12 8
8 11
11 8
8 12 8
8 12 11 8
8 12 11
11 8 8 911 12 8 11
8 12
11
12 11
11 8
8 11
11 12
12 8 11 12 11 12 11 8 12
12 8 11 8 12
12 8 12
12 11
11 8 12
12
11
8 12 11
8 11 12 8 11 12 11 8 12 11 8 11 12 8 12 11
8 11 12 8 11 12 11 12 11 8 12 8 11 8 12 8 12 11 8 12 11
8 11 12 8 11 12 11 12 11
5 8 12 8 11 8 12 8 12 11 8 12 11
8 11 12
8 11 12
12 11 8 11 12
12 11
12 11 8
12 11
11 8
12
8 12 11
1
12 11 8 12
12 11
11
1
12 11 8 12 11
8 11 12 12 12 11 8 12 11
1
8
8
8
1/2
1/2
1/2
GU I TA R WOR L D
1/2
11 12
11
11 12
12
1/2
11 12
1/2
11 12
11 12
1
1
1
1112 11
1112 11
11
1112
1112 11
1112 11
1112 11
1
1
1
1
1
1
11
5
12
12 12 11
12 11
FIGURE 3a
FIGURE 42aB7(9)
5
FIGURE
3a
FIGURE
3a
B7(9)
512 14
FIGURE11
3a
B7(9)
11 12 14
11
12 14
14
11 12 14
5 12
B7(9)
FIGURE11
3a
11 12 14 11 12 14 11 12 14
B7(9)
12 14 11
11 12
12 14
14 11 12 14 11
11 12
12 14
14
FIGURE11
3a
11
12 14 11 12 14 11 12 14 11 12 14
B7(9)
8 11 12
12 11 8 !
11
8
11
12
12
11
8
11
8 12 11 8 !
8 11 12
11
8 12 11 8 !
8 11 12
11
11 12
3 14 11 12
3 14 11 12
3 14
8 11 12
12 11 8 !
11
8FIGURE
333 14 11 12
FIGURE 3b
4
3
3
3
3
3
3
FIGURE
3b
FIGURE
4
8
11
12
12
11
12
11
8
11
11
12
14
11
12
!
14
3 3
FIGURE B7(9)
3b
FIGURE 4B7(9)
3
3
B7(9)
B7(9) 14 15 17
FIGURE
42b83b
FIGURE
43 4B7(9)
11 123 14
3
FIGURE
FIGURE
11 12 14 12 11 8
8 11 12 !
12
B7(9)
3
312
11 12 14 12 11 8
14 15 17
11 12 14
883b
144B7(9)
17 11
14 8 11 12 8
8 11
11 12
12 !
12
B7(9)
FIGURE
FIGURE
11 12 14 12 11 8
16 17 14 15
12 14 11 12
3 14
3 11 12 83 11 12 3
8
11
14
16
12
14
8
8
11 12
12 14
14 12
12 11
11 8
8
17 11
11
12
12
B7(9)
B7(9)
14
16 17
17 14 15
11
12
14
8
11
12
!
FIGURE
3b
FIGURE
4
8 11 12 14 12 11 8
14 16 17 14 15 17 11
12
12 14 11 12 14
8 11 12 8 11 12 !
14B7(9)
8B7(9)
3 17 14 15
3 17 11 12
3 14 11 12
3 14
3 12 8 11
3 12 12
16
8 11
11
12
14
12
11
8
FIGURE
5
!
3
3
3
3
3
3
3
3
3
3
FIGURE
5
8
14
8 11 12
FIGURE
5 11 12 14 12 11 8
8B7(9)
8 14 1633 817 33 11 12
3
3 14 14 14 312 11 12 3
B7(9)
11
8 12 11 12 11 8
8 11 8
11 12
11
11
B7(9)
FIGURE
5
44 88B7(9)
11
8 12 11 12 11 8
8 11 8 8
11 312 14 14 14312 11 123
11
3 8
3
3
11 14 11
11
FIGURE
FIGURE
5 11 12 8 12 11 12 11 8 12 8 11 8 12 8 12 11 8 12 11 8 11 12 14 11 12 14 14 14 12 11 12
8B7(9)
12 8 12 11 12 11 8 12
12 8 11 8 12
12 8 12
12 11
11
12 311
11 8
8 11
11312
12 14
14 11 312 14 14 14312 11 123
14 11
11 14
3 8 12
12
FIGURE
85 11
11 12 8 12 11 12 11 8 12 8 11 8 12 8 12 11 8 12 11 8 11 12 14 11 12 14 14 14 12 11 12
11 14 11
B7(9)
3 8 12 8 12 11 8 12 11 8 11 12 14 11 12 14 14 14 12 11 12
11 14 11
8 111112 8 12 11 12 11 178 12178 11
314 14 15 15
141114
12
12
12
12 11
12 11 8
12 14
14
14 12 11
17
17
14
14
15
15
14
14
3
11 14 12 11 17 17 14 14 15 15 17 17 14 14
16 16 17 17 14 14 16
14
14 12
12 11 14
14 12
12 11
11 17 17 314 14 15 15 17
17 17
17 14 14
16 16
16 17
17 17
17 14
14 14
14 16
16
16
14 12 11 14 12 11 17 17 314 14 15 15 17 17 14 14 16 16 17 17 14 14 16
14 12 11 14 12 11 17 17 14 14 15 15 17 17 14 14 16 16 17 17 14 14
16
14 15 17 15 17 15 14 14 15 14
14
14
11 12 14
12 11
17 17
16 16 17 17 14 14 16
14141216 17 1414
14 15
15 17
17 15
15 17
17 15
15 14
14 14
14 15
15 14
14 17 14
14 17 16 14
1417 16 14 11 12 14 11
11 12
12 14
14
11 12 14
14 16
16 17
17 14 15 17 15 17 15 14 14 15 14 17
17 14 17
17 16
16 14 17
17 16
16 14
14 11
12 14 11 12 14
14
14
15
17
15
17
15
14
14
15
14
14
14
16 17
17
17 16
17 16 14 11 12 14 11 12 14
14
10 3!
12 14
14 12
12
11
11
12
14
11
11
8
11
12
8
811
8
8
8
12
11
11
12
14
11
11
8
11
12
8
811
8
8
8
3
3 14 14 12
3
3 12
14
14 12 11 8 311 12
12
12 11 12 11 8 10 3!
3
10 10
10
14
14
14
12
14
12
11
8
11
12
12
12
12
11
12
11
8
12 14 12
11 14 12 11 8 11 12 8 11 12 3
8 12 8113 8 12 8 12 11 8 12 11 8
10
3 11 14 11 12314 14 11 14 12
10 3!
3
3
12 14 12 11 14 11 12 14 14 11 14 12 11 14 12 11 8 11 12 8 11 12
8 12 811 8 12 8 12 11 8 12 11 8
10
10 !
3 11 8 12
3 11 8
12 14 12
5 11 14 11 12
3 14 14 11 14
3 8 12 811
3 8 12 8 12
3 12 11 14
3 12 11 38 11 12 38 11 12
10
10 !
3
3
3
3
3
3
3 12 14
3 12 11 3
38 11 12 3
FIGURE 6 55 14
3 11 12
3 11 8
3
3
3
3
14 14
12 3 12
12
FIGURE 6
6
FIGURE
3 7 03 12 12 8 0
3 7 03 8 8 3 5 0 3 7 7 4 30 8 8 3 5 0 10 10
10
776 4554 00 88 3355 00 10
FIGURE
10 10
10
7 0
03 8
8 8
83 5
5 0
0 37
7 7
7 4
4 30
0 8
8 8
835
5 0
0 10
10 10
10
7 0
03 12
12 12
12 8
8 0
0
3 7
3 7
7 4 0 8 5 0 10
FIGURE
76 54 0 8 35 0 10 10
3 7 03 12 12 8 0
3 7 03 8 8 3 5 0 3 7 7 4 30 8 8 3 5 0 10 10
45 76 34 0 8 35 0 10 10 7 0 8 8 5 0 7 7 4 0 8 8 5 0 10 10 7 0 12 12 8 0
FIGURE
FIGURE
7 334 0 8 335 0 10 10 7 0 FIGURE
8 8 7
5 0 7 7 4 0 8 8 5 0 10 *10= upstroke
7 0 12=12
8 0
downstroke
= upstroke
FIGURE
3
* =
= downstroke
downstroke
FIGURE* 7
7
3
*
upstroke
=
grad.
increase
speed
*
FIGURE* 87
8
12 12 38 0 10 3
grad.
increasespeed
speed
*
= downstroke
= upstroke
grad.
increase
8 12 10 8
8 12 10 8
*7
8
FIGURE
11 8 12 10 8 11 grad.
= upstroke
= downstroke
12
12
8
0
10
12
10
8
increase
speed
12 12 38 0 10 3
12 10 8 11
12 10 8 11 *
8
8
*7
11
11
FIGURE
FIGURE
increasespeed
= upstroke
= downstroke
12 12 8 0 10
46* 8 12 10 8 11 8 12 10 8 11 *grad.
increase
speed
8 12 105 8 11 8 12 105 8 11 grad.
12 12 8 0 10
12 1055 8
5
12 12 8 0 10
12 10
5 8 11
11
5
5
5
5
8 11 12 12
8 11
11 12
12
8
12 12
8 11 12 12
8 11 12 12
1
1
1
CHAPTER 10
UNITED MUTATIONS
MASTERING MUTING TECHNIQUES
12
GU I TA R WOR L D
8 5 8 7 55 5 7 5
5 8 8 5 5 8 77 5 55 77 77 55 55 77
7
5 7
play note as short as possible.
** == staccato;
staccato; play note as short as possible.
FIGURE
FIGURE
3
3
3
3
FIGURE
4933 3 3 3
FIGURE
50 4
* = staccato; play note as short
as possible.
FIGURE
FIGURE
*
* 3
44
*
* 3
FIGURE
FIGURE
5
8
5 5 8 5
5* 8 88 5 55 88 7 55 5 8 88 5 55 88 7 55 5 7 5
* 5 5 5 5 5 5 5 5
5
5 8
5
5 8
5
7
7
5 7 7 5 5 7
8 5875
55 55 55 55 55 55 55 55
5
8
5 8
5
7
5 7 7 5 5 7
7
5 7
5
7
5 7 8 5 5
7
5 7
5
8
5
7
5 7
5
** == tenuto:
upstroke
*
downstroke
FIGURE* (Am)
5a = tenuto: allow note to ring as long as possible.
= upstroke
(Am)
FIGURE 5a
5 sim.
(Am)
sim.
7 55 88 77 88 77 55 8 5 88 77 55 8 55 8 7 55 8sim.7 5
7 5 7 5
5
5
77 5 8 7 8 7 5 88 5 8 7 5 88 5 88 77 5 88 77 55 77 55 77 55 77 55 77 55 77 66 55 77 66 55 77
7 6 5
7 5
7
7 6
7
3
3
3
11 8
3
8 10
11 8
88 10
5
7 5
5
5 6 7 5 7 7 5 7 5 7
10 11 8
X
X
X
X
X
X
XX XX XX XX XX XX XX XX
14
X 12
X 19
X
X
X 15
X 17
XXX77 XXX99 10
X 12
X
X 15
X 17
X 19
X
10
14
X
X
X
X
X
XX7 XX9 10XX 12XX 14XX 15XX 17XX 19XXX
X33 X33 X33 X33 X33 X33 X33 X33
FIGURE
47 1
FIGURE
FIGURE
48 2 pick muting
FIGURE
FIGURE 1
FIGUREX
1 X
X X
1/2
1/2
1/2
1/2
1/2
1/2
1/2
1/2
1/2
1/2
1/2
1/2
6
6
3
3 5 3
3 5
6
7 6 5
3
sim.
8 5 3 5
sim. 11 10 8 10 11 10 8 10
10
10
sim. 11 10 8 10 11 10 8 10
10 11 10 8 10 11 10 8 10
5
5
7
7
6
6
5
5
8
8
5
5
5
5
3 5
3 5
3
3
5
5
3
3
5
5
7
7
5 6 7
3 5 3 5 7
3
5 3 5
3
10 11 10 11 10 8
10
3
10 11 10 11 10 8 10 10 10
10
10
10 11 10 11 10 8
10
10
10
8
8
512
12 14 12 14 12 12 13 14 13
14
15
12
13
14
15
12 13 14 12 14 12 14 12 14 12 13 14
12
12
15
13
14
15
12
13
14
14
12 14 12 14 12 12 13 14
15
12
12 13 14
14
12
15
3
3
FIGURE(Am)
5b
FIGURE(Am)
5b
(Am)
10
14
10
10 10 10 10 10 10 10 10 10 10 10 10
10 10 10 10 10 10 10 10 10 10 10 10
10
14
1
1
14
1
1
8
8 10
10
10 10 10 10 10 10 10 10 10 10 10 10 10 8
10
1
rit.
rit.
3
3
3
3
rit.
9
9
9
8
8
10 13
10 13
10 13
5
5
1/2
1/2
3
3
1/2 hold bend
1/2 hold3bend
1/2
8
8
sim.
10
13 10
11
12 11 10 12 13 10
14
11 10 12 11
12
10
13 10
10
11
12 11
12
10
sim.
14
15 14 15 14 12 12
14
12
14
15 14 15 14 12 13 12
14
12 13
sim.
12 14 12 14 13 14 12
13
14 15 14 15 14 12 12 12 14 14 12 14 12 14 12 14 13
13
13
14 13
12 14 12 14
14 12
14 13
12
10 12 13 12 13 12 10
12
12 14 13 12
14 13 12 15 12 10 12 10 12 13 12 13 12 10 12 12 12
12
15 12 10 12
12
12
14 13 12
10 12 13 12 13 12 10
12
15 12 10 12
12
12
hold bend
14
14 14 14
14
14 14 14
10
10
5
5
FIGURE
FIGURE
51b5b
5 6 7
10
10
1/2
12 10
10 11 12 12
12 10 12 10 11 12 12
12
12 10
10 11 12 12
12
10
1/2
1/2
12
13 14
13 14
13 14
14 14
14
10 10 10 10 10 10 10 10
1/2
1/2
1/2
1/2
A7sus4
A7sus4
5
A7sus4
5
10 8 110 8
5
1/2
1/2
10 8 10 8 10 9 8 5
5
7
10 9 8 5 8 7 5 8 7 5
5
7 5
10 8 10 8
5
8 7
8 7 5
7
7
6
5
7
10 9 8 5
5
7 5
5
5
8 7
8 7 5
7 6 5 8 5 3 7
7 5
8 5 3 5
7
3
rit. 7 6 5
8 5 3 5
3
rit.
12
12
1/2
1/2
grad. bend
grad. bend
1/2
1/2
rit.
CHAPTER 11
BREAKIN OUT
13
GU I TA R WOR L D
FIGURE
FIGURE
52 1
7
X
5
7
X
5
7
X
5
7
X
5
7
X
5
G5
Th
N.C.(A)
7
X
5
X
X
X
5
5
3
5
5
3
5
5
3
5
5
3
5
5
3
5
5
3
Th
FIGURE
FIGURE
53 2
E5
12 13 12
15
1215 13 15 13 12
12
15 13 15 13 12
14
12 13 15
12 14 12 14 12
14
12 13 15
12
15
12 15 14 15 14 12 15 14 15 14 12
3
7
15 13 15 13 12 11 12 11
14
11 14 12 14 12 11 14 12 14 12 11
15
14
11
14
grad.
bend
12 14 12 11
14
9
11 12 11
14
11 14 12 14 12 11 12 11 19
12
12 11 12 11 9
9
12
12 10 12 10 9
12
10