Mediatheque sca de Pris MORE ACCELERATE se | OUR Featuring 77 estonia exercise and 7 ecing demo perforones! ‘This DVD wl lp tke you plying to he net eve. Proeter Tao Fuji shares it Proven mathod for improving he euanl hls eared to ploy wih thor musicons and to rely express yourslf onthe guitar, Prfeor Fue hs been leaching at Barkne Callege of Masi nce 1993 one contest be one of the mos sought for ‘nd effective guitar and ensenbl teachers. He har played ui wih the Tony Aver ond Pulizer Prize wining musi Ret, and as shared he stoge wi etl sch 2 Phil Clin, Reon of Sus, end Dery Jones ad he Satrdby Nigh ive Bond, 1 name afew Ationaly, Tomo is he winner of Boss Bas Guiorit Compaition, aed hols wom erica acclaim in Guar Payer and Guta Shap mogeines. This OVD oles eomytounderstnd oxercizas ene domonsations tht con be opp! to al levels nd sips, These inlade: + SCALE EXERCISES + CLASSICAL, BLUES, ‘AND JAZZ ETUDES + EAR TRAINING » READING EXERCISES # WAIKING BASS. & (COMPING + ROCK, JAZZ AND BLUES DEMONSTRATIONS ‘ler cnd dead nsrcin i gen bah onscreen and inthe accompanying book Laity Produced and Directed by Hiroshi Noguchi and Sam Kove —_————— — —Contents _ INTRODUCTION. 4 Scale Exeris Exercisela 5 "In position"/ C Mojor Scale. 6 Bxercisolb 5 "in Postion"/ G mojorscole 10 Exercise2a in Position / 2 noes fin rds sequencing 12 Exercise2b In Position / 4 noes sequencing 13 Exerciso2e In Position / 3 notes (riads) sequencing 15 Exerciso2d In Postion / 8 noes sequencing 16 Exercise 7 "Broken Position" 18 Exerciseda "Broken Poston” / Sequence of nds intervals... 20 Exercised "Broken Poston’ / Sequence of Sd intervals oo-21 Exercivode "Broken Posiion” / Sequence of dh intervals.....22 Exercised "Broken Posion* / Sequence of Sth interval un 23 Exercisede "Broken Poston” / Sequence of th inter nso 24 Exercisodf "Broken Postion” / Sequence of 7th interval oxo 25 Exercisodg "Broken Posiion* / Sequence of Bh intervals... 26 Exercise5 "Single Shing" 27 Exerciseba "Single Sing" / 2 notes (in Sr] sequencing... 28 Exercise6b "Single Sing” / 3 notes sequencing... 2 Exercise6e. "Single String" / Snotes sequencing with "Bending®... 30 Exercise6d "Single Sing” / 4 notes sequencing. 32 Exereise7a strings / 6 notes sequencing 33 Exercise7b strings / 3 note triads sequencing . 34 Exercise7e strings / 4 notes (7th chords) sequencing 35 Exereise8 Sequences of some notes in ciferent postions... 97 pam, _ Classical Etudes. one 3B Exercise? Kreutzer / Etude #5. 39 Exercise10 Kreutzer / A port ofthe Etude #7 ¥ 42 Exercise] Rode / From Caprice #2. “4 parts Reading Exercises... Blues Etudes... Exercsel7 Blues Scale I Brorcise18 sles scala wih "Bending? 82 Exercise]? Callan response FA Exercise20 Harmony in of Side = 55 Exercise2] Harmony in of hs 58 Exercise22 —Mivolydion phraze. 58 parte Jazz Eudes so Exercise23 BS jazz blves | Exercse24 Bo jazz blues 2 Exercse25 Cm jazz blues 1 Exercise26 Cm jozz blues 2 Exercise27 —_Be-Bop changes. partz Welking Boss Line & Comping Exorcise28af 17 -IV7 Exercise2%arg lm? - V7 Ini? coca 2 ExerciseQ00-b ll 7P5] - V7 = m7. . 74 Exercise orb lim? ~ 7 - Vie? = V7 « Imai 75 Exercise20f 1+ VI-II-V-I - 76 Exercie33 Bs jazz blues - 7a Exercise34 —Fjazz blues 79 Exarcise35 Cm jazz blues 80 Exercise36 Bebop Change: 81 ‘ABOUT EACH DEMONSTRATION, cnn 4 CONCLUSION... so or) PROFILE,‘he poople ot Ror Music asked me make this Volume ll DVD as © result of many requests from guitar players who enjoyed Volume | of Accelerate Your Guitar Paying. So, before we begin, | would like to ‘honk those guitar players for their support. | always appreciate the ‘pportuity to present new material fo folks who love music Like the exercises in Volume I of AYGP, the exercises prosented hore are the same exercises that | use with my students in private lessons and in classes that | teach ot Berklee Colloge of Music. However, unlike Volume |, the exercises here are geared much more foword soloing and improvisational ideas. Demonstrations appear on the DVD, and the explanations appear inthis booklet ‘This Volume I includes many nbre exercises than Volume | of AYGR. IF you ty to move through these motrals too fas, you may become frusrated. 1 recommend that you use a jus! a few ofthe exercises at 0 time, and that you practice thom corel, slowly and steady. You moy find that this approach will help to dovelop your playing abiliy, spice ‘up your performances, ond mos! impertonly, make guitar playing more fun, Good luck, Tomo Summer 2007 PARTI Scale Exercises A first lets start with basic scale exereses using major scales In order to improve your improvisation, is very important that you cam ply the phrase, which you imagine in your mind in various fingering patterns. Here, | introduce three difforent types of useful fingering patterns. Haring choices is important, thus do no iit yoursllo only one way of learning but keep wel balanced what you have learned, ee Te es MEE CERES ELEGY LEE LNT 1. In Position (position playing) This is a Fingering pattern methed which uses o grouping of a fow frets based oround chord forms of tiods (bare chords). There ore five postions agains each chord form. This type of fingering pater les within a span of four frets In general, your firs, second, third and litle fingers each cover one fret ‘When there is @ note ouside ofthis four fret span, you have to srelch your fist or litle finger o each the noe. This called "fingor stretch (Fs! ‘A number of early jazz guitarists played in these positions and this approach has been the basic method in Berklee College of Music [Berklee Guitar Method). The advantages ofthese fingering pattems are less stretching ofthe fingers and the easy movement into other positions. There are many sitvations where you will not be able to improvise only in tis fingering pattorn but wll have fo ke an "In Fosion’ frm thai ite broken, 2. Broken Position Broken poston isthe way for hong theee noes in each sking, Thre tare seven positions starting with each degre. These fingering pattems are able lo cover wide ronges through a furher horizontal movement compared with "In Psion’ pottorns that has only vertical movement. They are preferred by mony rock quits itis easy o play a sequencing phrose, sliding and bending. Howeves, there is © disadvonlage to be created with such a mecharical phrase as 0 scale exercise 3. Single string This isthe method of using just one string to play scales. tis easy o see the ciffeence between whole notes and half noes, because the order of scale noes ore ina line jst ke « keyboard This technique has a limited range and is not good for playing fost passages. However, there is an advantage in which you can play {ree wih your feelings without having to use a fingering peter. Pat ‘Metheny, John Scofield and Mike Stem offen use this "Single String’ ‘oppcocch and develop their improvisation freelyExeriseMo Five of "In position" / C Major Scale J=55 Introduction Main Section | C form Cfom ® * wen 215 Ds WS So) “e910 1213 RoW RH Ast finger stretch Ath finger stretch Grd aod fas Ending Play 6 forms trom higher to lower position+ rca Ten C mojr sal Pst. | showed isin agro frm rater thon @ zor help you vialz the ingrng pit 1 This en's explanation ive by "ht, "Wain Seon" nd "Ending Poy th C chord in Fie dill frms poitins. I you thin of th Frm eeave cove ft arn life form, ere ae forms | Whon you 2y hata chord 1s played in "A Form Tha mons that you tke the A open chord shape ad transpoce tp 0 mine Se. ‘When you ae ging up lay draton of eats ec For erry form, Then when yu regain dw, poy it vice 98 fo, That means you ploy durations of 2 beats exch For evry form, Hay he Cop chord with ling Sr ton th sing, This cero nots jut on accent, Than rove ano he "Man Secon. "Moin Sctin™ Play chords fist, ond then play the scale in the poitians areurd the chords Centnue doing some hing and moving ito nex poston Tho the scare ofthe fst poston (C fem) inp. Pay sce afr chr and ‘xcend the sole Bis rm tho root (inthe ogra! 8 the highest olen the potion and hen descend he soe 1 th lowes net aed acon hack to th rot [begining al, Do the same ting in ether Forms oo. {D frm has rect es the lowest note so stop datening on he rot) {SECS SSRN a HAR ea dng" Prey ha sme hare showin "hk" but ha higher forms + Play the sos by olrate picking down picking on the bat and up picking off the bua in thi uci * La ond ging pater aro explained en 5, A Fingers cover och & es, the notes ouside ofthe 4 et span ore covered by fs ile ge techn, (So the pico on * Think abou (fe he rlatinship betwen the chord forms ond cle sins when you play the sels. beta f you con say the nae of te ols you ae jst laying ond should undersond te nero (Sagrets) on each of th notes against the rot Also yt oo funded he connection bebaen each fhe fxs (C, AGED)Exerdse Tb _ - Five of "In Posit Section [ introduction G form Sten Re WS 7898 wie “345678 "345678 Play these forms Tn reverse C form «Thins onsposed Texto! fo ey ©, De nt aki foo any, boca ony tho ky ‘Atorm is changd, Hay he ech single noe carcl 5 + When key is ansposed, the postion will bo oboluely chonged Its very Soe ted impotent ht you know exocly where he oo son each sting, “Try th same hing in thar ay. Each ne, ry tho lowest postion in ha ey oe rie he postion up in that rd RBH 25 45 16 Caution !1! “Thre ero mory execs hat ue the Sgr fhe eh ard in he flowing Ending Play 6 forms trom higher to loner poston cerca grup. yo el any pin in yur loge eho, you mus op procing ond ret for wil, Dont getoo cary wh protic.ee Exercise 2a Exercise 2b 7 In Position / 2 notes (in 3rds) sequencing In Position / 4 notes sequencing — —| —— == + Ply al the nts evenly by alma idking. For smooh piling, donot move the idk eo mich oto dep. “Try ati up youre hand's ngerse igh rm he et boo * Dont tp up the tempo until you remorse the pte, 2 1aee Exercise 2c In Position / 3 notes (triads) sequencing m7 sin 125 45 67 S45 67 8 ‘Arcondng and Descending —_—Aacendingand Descandng stn > a S670 5K Te owe ‘Ascending and Descending Ascending and Descandng Root > andl ew eS WS “Asconding and Descending 3rd v5 HSN 1 This eo praca fr playing he cole 7 “chen Poston’ inthe C mejor xl Same os Bx.Ta, 1b n order oval tha Frgring pores fis show iin ara frm. So P37 fr dei “This erin it mode op fhe "ein Secen® en ihe "Ending. Main Seon Fistor wih th Psion the noi sort rom i which isthe th degre of he CCiejor soe The Sat cl i which «the lowest nat, tha Ts 0 the ih Sting The mcinsacon eons going ip th highest noe which Ba tho 7th ret cn the i sting ond hen goes bak down the sal he lowe nate, De the sme ng on oar pions. Descending ony Ascenging ony > andl is wis 6 1 "os HS Root > mn) ‘aos 78 oie Descnnaing ony Tcenaing onl, 6th > sin sera 90 SHS OTR ‘Gouptosatetonsisting ath) > tn T2545 67 Tess 67 dng Poy all 7 potions a the hight pion Ploy just esconding or descending lines in evry ether postion. Far example, ‘sending in 3rd pesiton ond descending inh postion. This piace wil el faster than "Main Seaton” bacase you hove ploy tiple agin he Bt nes you Pye inthe "Main Secon"AAAS eae OTD Exerdise4a Exercise 4h _ - "Broken Position” /Sequence of 2nds intervals "Broken Position” /Sequence of 3rds intervals 1 Esercs dag re segue * Sh Broken Psion inthe C moor ela * This isos poplar saienes of Sener Practice the content i ises evenly. You wll be ob to ploy ony cembination of notes ate You most his orci. + Exec da is. sequence of 2d nero “There are some cific pors oven though tok ke on easy sequence phase Fererorple, when you hovel ple sarees on he Zn and sings, you may ‘henge the Bngaring peril it. Think cout »Exercise 4c " Broken Position” /Sequence of 4th intervals Tht sequence of th interval + Yur picking mation becomes rely buy because you have 0 pick every nate on fern sings, ht mokeitsound sna + In order play 4th ine, You have ote he sore Sger on th sea fo hol he ret sting, Be coe not hl 2 noes che sme ine (ay inviol roe ‘This is saqunce of heh inkl, + There ore fingering yes tiho powar cher no Sin he ving, commonly sed in Rack msi and yea pping th ns sting 0 och he nes. vy % + Ths exis comprised of laying he se 3 note vias in al positon inthe © rojo sale +1 played tha "CE sare on the BD, bt yal che ec blow {CO fot, 2nd, 3rd / whoo co + whole not) DEF (2nd, Sd th whole oe +h re) FG Crh, Sh hl vote + whole oe) EGA lth Sth, th / whee + whale oe) GAB (GI, 7h cle rote + whale oe) ‘BI 7h, Reo / whale nate al nl) {C0 17h, ot, Zr / Hal note + whol oe) 11 inpacnt to mameriz th nels ofeach in si which ove “We eto + Whole na, "Whole not-+ Hel naa "Hal role + Whale al, hare isthe pcr of thm cbos. You con play any ies oF 3 noe in moor sale by ang on of hem. And af core th rlatonsip of ae 3 es wal er be argo 9 mar the poston orang, Thi simple wey yl of inking ery «fico for ngrvisg, + Protcng Hes kins of eerie hsp you tobe leo py any phe, which yo imaged in yur min, oy poston, insorily Adina posilons rd ing his in your playing will hp mui your choices atone cites tat can be iad, This ao fat meos your mised sxpretion range wll pane, ”SS EE PART2 Classical Etudes | picked up the pieces for the violin composed by Kreutzer and Rode {Both ore 18h canury classical musicions), | used the metronom inthis exercise on DND. But you do not have to 120i for the fist fime through. Use © metronome to kee the time when you se the whole picture ofthe etude. It might be better ose the tempo to about "Ha notes = 50" whichis litle bit slower than se empo. You can see how much you can keep the tempo ifyou play that slow. If you feel comforlable playing this piece as i is, ry to play it with dynamics and change the nuance of picking. Try to ploy this piece with rnuch feeing and without thinking of tos an etude. Exerise9 Kreutzer / Etude #5 Pee re ellinmipinige | Ota Tithe aes ao ie rater es It ioe pe hress eR CRSA ee TR be tag A pe, ge eet lerees terse ssi 5. ee campos by Kt Tey in . ‘Play by the C form and the A form in hey of Eb majoe. “9 il inary rc wi «sw pu hs cis reson ht yo la herp oH ke = 50 ih soar thon th gud ng you con hy sy wi mp up he emp. bi ge sep ow don be wr. + ako hd ge od ba ot i eo igh +s ar ping lh wy eth, Do sche pick wie Le yur picking rane ma * Thi cbot ening a of or ach ming a come omg eto sei 00 play with ch ss Do not forget about mute withthe polm of your right hand when you mave to other ‘gs fais er Saah1 ARTS a A nen ReaD Exercise 10 Kreutzer / A port of the Etude #7 "Ti find your ann fingering pats thle et shone by ab, 2 aSe Exercise 11 - Rode / From Caprice #2sa gee RNS PC RES Part 3 - _ Ear Training ‘hove introduced some ear taining in my "ACCELERATE YOUR GUITAR, PLAYING 1 DVD." This Hime, | inroduce on eer-raining exercise thot i comprised of playing he guitar wih singing, "Singing natural notes practice" ae in exercises 120-124, "singing all note ofthe chromatic scale including sharps ond fl! practice is, in exorcise 13 ond "singing practice of chord tones" isin excises Vor These exercises begin with you playing low C or the C maior chord There are two kinds of singing exercise. One is playing the guitar to confirm he pitch of the noes afer you sing, another one is singing the 10 epg to [19-99 —te 8g ye harmony ofthe noles you ployed agains the quia. Both exercises are Tae eae as 6 Berets aT ing your sense of alaive pitch = Lee ‘ery god for supporting you Pi = ST) | STII Uo ent nein 1 é eek gf fe - Ce ie Etre? os Cm Cmaj? Emer cy Hye ett 345 345 345 345 345 This des the ist lof #2 in 24 Cope” comport by Sod Ther oe ary parts whee you eve ply areas of is, shiping stings end fngr seta. S here ie avery hard aging pte, Slop practicing igh may you fol ny pain’ yer ges, * Ty tind yur own ngring pters and pote dont hk he fogrng | hove shown yous the bes wy. You con lean al fom ning your own Math. es thing doi il ond ever. Yel hove more cscs + ploy hs pio in dete knw my oon ability andl et the coeion of my laying en ory gv dy.‘art 4 eading Exercises "have introduced the reading exercises fo help you understand the thythms, in oer words, the deration of the notes, in my "ACCELERATE ‘YOUR GUTTAR PAYING 1 DvD" Vinmroduce the exercise of reading the plc ofthe notes on this DVD. ‘You have to watch ths DVD in erdr fo dal ofthese exercises, might be a bit difficult to do this exercise ot first becouse you have to play the notes, which appeared on ‘he upper right side ofthe sereen. Buti is very simple. Try to do it as f you are playing a game. The onswer [Names of pitch and numbers, for example 5:3 means the note on 3rd ‘rot by 5th string. wl be showed on sereen when | play that noo. Exercivs 150~15d are he pracices hat use only the Sh string between the O fo 12h fet. Use natural nots in 150, natural notes and lat notes in 15, natura notes and share: noes in 15e ond ll of notes which are notre notes, lat notes ed sharp noes in 15 Ifyou feel tha these exercises are too dificult, prep with this score below. Tr o play the notes witout looking at Fingerboard, you do not know abou pitches, put down your gutor fr a while and iy guessing the pitches onthe screen Fst, Ifyou feel hese exercises are easy or have alady memorized he order ofthe notes in these exercises, ink about arranging these exercises in your ovm wey. For example, play the nots in diferent positions or hide the notes end “answers by puting apiece of poper on the screen ond playing the noes by drawing on the sounds or fl | played. You con think about ll he \woys of arangeme Theve reading exercises ore erranged fortis DVD, I have my students play 4 bars of quarter note phrase tha I wrote for my private lesons. Sih ring / 0-12 fas ABCOEFGA a soe tho Th sting / 0-4 frat EFGARBCOEFGARCDEFEGBes is made by various elements oher than jst patems.| picked some of them, which | thought fo be especially imporiont, and composed tunes a eudes tht include hese elements The only way you can learn particular feelings and chythms of blues is by listening othe real blues tunes. It does not make sense to jus study knowledge and scales before you start to play blues. For practicing bles, you can use the shortcut thot is copying these exercises that ore formed of ol music, Phrases i hese exerci ore practical soho! you ‘on vie those in actual imprvistion. Copy those and use when you improvise on blue. ‘Ty the tempo at half note = AC, 55 or 50, Ifyou tend to be rushing, set the tempo hal note = 50, ond yo be able to grcove in slow tempo. + This oxo i fine onthe Bhs soe, + eof decloing « Wo-br phe mei All odd nankars of means ae te seen yins see ba 9, + Watch he DVD corel a moke sara the yh and uc are ight W's inprtnt ply wih hight fs. 5Exercise 19 Galland response lea pies Ee i. re A Beye Poy bbe Paper: ina a & ee igre i gig! pee is io Fae on he Ther xe 3 peso Bnd he ering Down which oe “hall i + hissy iia corr tho ich, 10 ugg hat you bagin wih a sow lp. “+ Here 88. Kings phrase inthe borer i Handi’ prose hos bending the Sh up mina 7H in he Bb *+ You hove fo bend ih note ean te rhs tht ae pls in quater ne is ‘oro hep the right syns and ples in ht par, be ae 2 re re meet ei anes i icc! Ae SS! pestle prog puviige Fern L Sets + Ths ede made up by boi Bun ina and response ae of hal * Bago ploy! the bss ine et. ye fl emfortble wih ad he response phos * One end to mak nies whan moving the pha ram boss ine. Bo nove ton your ger mach +s importa eel bth af yeurhands whan you ply