Beginning

Picking Techniques for Lead and Rhythm

Picking Techniques forMuting
Lead and Rhythm

HARD ROCK
A. Down Techniques
Picking Picking w/Palmfor Lead and Rhythm
Picking
A.
Fig. 1a openTechniques
Down Picking forMuting
E stringw/Palm Lead and
Fig. 1b Rhythm
open A string Fig. 1c open D string
Picking
A. Down Techniques
Picking w/PalmforMuting
Lead and Rhythm
Fig.Down
A. 1a
* openPicking
E stringw/Palm Muting Fig. 1b open A string Fig. 1csim.open D string
Fig.
A.
T 1a
Down open E
Pickingstring w/Palm Fig.
T 1b
Muting open A string Fig.
T 1c open D string
Fig.
A * 1a
*
open E string Fig.
A 1b open A string Fig. 1c
A sim.
sim.
0
open
0
D string
0 0 0 0 0 0
T
Fig.
B 1a * 0 open
Picking E string
Techniques for T
Fig.
Lead
B 1b
0 open
and 0 0A string
Rhythm0 0 0 0 0 T
Fig.
B 1csim.open D string

& METAL!
A
T 0 0 0 0 0 0 0 A
T A
T 0 0 0 0 0 0 0 0
B * 0 an
A
T 0 20 0 0 0 0 0 B 0 an
A
T 0 0 0 0 0 0 0 B sim.
A
T 0 0 0 0 0 0 0 0
A.
B Down
A
T 0
P.M. 0
Picking
0
an
0
3
0 w/Palm
an
0
4
0 Muting
an
0 B
A
T 0 0 20 an
0 3
0 an
0 4
0 an
0 B P.M.
A
T 0 0 0 0 0 0 0 0
B
A 0(palm anmute) 20
0 an
0 3
0 an
0 4
0 an
0 B P.M. 0
A  an 2 an 3
0 0 0 0 0
an
0
4
0
an B P.M.
A 0 0 0 0 0 0 0 0
Fig.
B 1a  open
P.M. an 20E string
an 3 an 4 an Fig.
B 1b0P.M.
 open
0
an 20A string
0
an 0
3 0
an 0
4 0
an Fig.
B 1cP.M.open D string
*0 0 0 0 0 0 0
P.M.= downstroke
* (palm
 mute) 2
an an 3 an 4 an P.M. an
 2 an 3 an 4 an P.M.
sim.
(palm mute)
* P.M. P.M.
T * (palm
an
mute)
2
 = downstroke
P.M.= downstroke
an
T
3 an 4 an 
P.M.
an 2 an 3 an 4 an
T P.M.

A 1d moving from one string to another

Fig. * (palm mute) A A 0 0 0 0 0 0 0 0
B * open
= downstroke
0E 0 B 0 0 0 0 0
open A
0 0 0 B
Fig. 1d moving from
0 0 0
one
0
= downstroke string
0 0
to another
Fig. 1d moving from
P.M.
one (repeat previous bar)
string to another

Andy Aledort
open E 2 3 open
anA 4
Fig.
T 1d moving from
 an
an 3
one
an
string
4 an
to another  an 2 an an P.M.

with Guitar World 's

open
P.M. E
P.M. (repeat previous bar)
P.M. open A
A
Fig. 1d moving from one string to another
open
P.M. E (repeat previous bar) open A
T
B
(palm mute)
P.M. 0 0 0 0 0 0 0 0
A
T * open
0 0E 0
0 0 0
0
= downstroke
0 (repeat previous bar) open A
B
A
T P.M.
0 0 00 0 0
0 0
(repeat previous bar) 0 0 0 0 0 0 0 0
B
A
T 0 0 00 0 0
0 0
0 0 0 0 0 0 0 0
B 1d moving from
A
Fig. 0 0 00 0 one
0 string
0 0 to another 0 0 0 0 0 0 0 0

introduction 8 scales for heavy riffs B 0open0 E 0 0 0 0 0 0 0

open A
0 0 0 0 0 0 0
P.M. (repeat previous bar)
• E Minor Pentatonic open E open D
1 getting a hard • A Minor Pentatonic T
A open E open D
rock/metal sound • E Blues Scale B open
0 E0 0 0 0 0 0 0
0 0 0 0 0
open0 D 0 0 0 0 0 0
0
0 0 0

• A Blues Scale open0 E 0 0 0 0 0 0

0 open D
0 0 0 0 0 0 0 0
open E open D
2 picking techniques for 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0
lead AND rhythm 9 more scales for heavy riffs 0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0 0 0 0 0 0 0 0 0
• Downpicking with Palm Muting • E Aeolian 0 0 0 0 0 0 0 0
open E open D
• Alternate Picking with • A Aeolian open A open E
Palm Muting
open A open0 E 0
0 0 0 0 0 0
• Tremolo Picking 10 drop-d tuning open0 A 0
0 0 0 0 0 0 open E
0
open0 A 0 0 0 0 0 0 open
0 0E 0 0 0 0 0 0
open0 A 0 open E
3 heavy single-note riffs 11 soloing, open position
0 0 0 0 0 0
0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0
• E Minor Pentatonic 0 0 0 0 0 0 0 0
B. 0Alternate Picking w/Palm Muting 0 0 0 0 0 0 0 0
4 first-position power chords • Soloing Over a Chord Progression 0 0 0 0 0 0 0
0 0 0 0 0 0
Fig.
0
2c
0
open D
B. Alternate
2a Aopen E Picking w/Palm Muting
Fig.open Fig. 2b open A open E
• E Blues Scale B. Alternate Picking w/Palm Muting
Fig. 2b open A Fig. 2c open D
5 first-position power chords Fig. *2a open E Picking w/Palm Muting
B. Alternate Fig.
Fig.
B. 2a open
Alternate
T 0 *2a0 open E Picking w/Palm Fig.
T 2b
Muting open A T 2c
Fig. 2c
open D
open D
combined with single notes 12 soloing, closed positions Fig.
A *
0 0E 0 0 0 0 Fig. 2b open A A 0 A0 00 0 0 0
T
Fig. T
Fig.
B 2b 0 0open
0 0 A
0 0 0 0 0
T
Fig.
B 2c open D
• A Minor Pentatonic B *2a open E
A
T A
T 0000
A
T 0000000000000000 B 0P.M.0 0 0
A
T
6 “barred” power chords • A Blues Scale B * 0 0ee an
A
T B
A
T 0P.M.0 0 0
B
A
B.
B
A
0 0
Alternate da 20 ee
0 0 0 30 0
Picking
an da 0 da
ee an
T 0P.M.0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0
w/Palm
4 ee an 0
da B 0000
A
Muting
T T 0000
• Sixth-String Root Power Chords • Building-Block Licks B
A * 0 0ee an B 0P.M.0 0 0
A B P.M.
A 0 0 0 0
• Fifth-String Root Power Chords • Trills Fig. 2a 0 da
open 0 20 ee
E0 an 0 30 ee
0 da 0 an
0 da
0 40 ee
0 an
0 da
0 Fig.
B 2b 0open
0 0 A Fig.
B 2c P.M.open D
B P.M. ee= an
0 0
downstroke;
0 da
0 20 ee
0 an
= upstroke
0 30 ee
0 da 0 an
0 da
0 40 ee
0 an
0 da
0
0
P.M.
P.M. P.M.
• Combining Sixth- and Fifth-String • A Aeolian * P.M.
ee an da 2 ee an da 3 ee an da 4 ee an da
= downstroke; = upstroke

Root Power Chords T

* P.M.
ee= an da 2 ee an da=3 upstroke
downstroke; ee an da 4 ee an da T P.M. T P.M.

A * P.M.= downstroke; = upstroke A A 0 0 0 0

13 fretboard tapping B * = downstroke; = upstroke
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
B 0 0 0 0 B
7 pedal tones • The Basics P.M.
 ee an da 2 ee an da 3 ee an da 4 ee an da P.M.
• Combined with Two-Note • Tapping Over a Chord Progression P.M.
Power Chords * = downstroke; = upstroke 
• The “Galloping” Rhythm 14 bonus! how to read tab



2 GUITAR DVD
Cover PHOTOGRAPHS: (Clockwise from upper right): dale may(slipknot); Dale may (donegan);
ross halfin (iommi); Dale may (Avenged Sevenfold); justin borucki (hammett); neil Zlozower (dimebag) GUITAR DVD 3 
 Fig. 2d moving from one string to another
open E (repeat previous beat) open A
T
A
B 0 0 0 0
0 0 0 0
10 0 0 0 8 0 0 0 7 0 0 0 5 0 0 0 8 0 0 0 7 0 0 0 5 0 0 0 3 0 0 0 2 0 0 0 5 0 0 0 3 0 0 0 1

open E
Fig. 4d move to high E w/tremolo picking
12 0 10 0 8 0 7 0 10 0 8 0 7 0 5 0
0 0 0 0
T
A
0 0 0 0 0 B
10 0 0 0 8 0 0 0 7 0 0 0 5 0 0 0 8 0 0 0 7 0 0 0 5 0 0 0 3 0 0 0 2 0 0 0 5 0 0 0 3 0 0 0 1

open D open A open E

0 0 0 0
0 0 0 0
0 0 0 0 0 Fig. 4d move to high E w/tremolo picking
8 0 7 0 5 0 3 0 7 0 5 0 3 0 1 0
12 0 10 0 8 0 7 0 10 0 8 0 7 0 5 0
T
A
C. Tremolo Picking 0 0 0 0 0 B
Fig. 3a Fig. 3b ascending chromatically
T T First-position Power Chords (also known as “root-fifth” chords)
A A
B 0 B 0 1 2 3 4 5 6 7 Fig. 5a Fig. 5b
* E
8 0 7 0
E55 0 3 0
E5 7 0 5 0 3 0
A 1
A5
0
A5
*alternate pick as quickly as possible

Fig. 3c descending chromatically 21 2 1 111 11 1

(play 3 times) 11 21

T
A First-position Power Chords (also known as “root-fifth” chords)
B 12 11 10 9 8 7 6 5 4 3 2 1 0 Fig. 5c Fig. 5d
Fig. 5a
D D5 D5 Fig. 5b
G G5
E E5 E5 A A5 A5

Fig. 3d ascending and descending on high E string Fig. 3e

(play 3 times) 12 1 1 21  2 4
0 1 2 3 4 5 6 7 12 11 10 9 8 7 6 5 21 2 1 111 11 1
T T 11 21
A A
B B
Fig. 5e practice downstrokes w/palm-muting
Fig. 5c Fig. 5d
DE5 D5 A5 D5
sim.
D5G G5 G5 A5

Heavy Single-note Riffs T 3

3
3

Fig. 4a A 2
2
2
2
0
0
0
2
2
B 2
01  2 1
0
1 21  2 4
X
3
0
3
N.C.(E5)
4 3 2 1 0
T
A
B 5f practice downstrokes w/palm-muting
Fig. 5e
3 0 0 0 0 0 0 0 3 0 0 0 5 3 0 0 0 0 0 0 0
A5 G5 D5 G5 A5
Fig. 5g
E5 A5 D5 E5 G5 A5
3 3 sim. 3 3
T 3 3 3 3 X X X X 3 3 3 T 3
Fig. 4b Fig. 4c T
A 2
2
0
0
0
0
2
0
2
0
X
X
X X X
X 2X X
2
0
0
0
0
0
2
2
2
2 3 X
X
X
X
X
X
X
X A 2 3
A
B 20 X
3 3 2 X
3 3
0 0 2
0 X X X X B 2
0
0
0
2
2
T T B 2
0
0 X
3
0
3
A A
B 3 0 0 0 5 0 0 0 6 0 0 0 5 0 0 0 3 0 0 0 5 0 0 0 6 0 0 0 5 B 12 0 0 0 10 0 0 0 8 0 0 0 7 0 0 0

4 GUITAR DVD
Fig. 5f Fig. 5g GUITAR DVD 5
 A5 G5 D5 G5 A5
E5

3 3 3 3
 Fig. 8b
First-position Power Chords Combined w/Single-note Riffs Fig. 8b
A5 B 5 B5 C5 C 5 D5 D 5 E5 F5 F 5 G5 G 5 A5
Fig. 6a A5 B 55)
(A B5 C5 C 55)
(D D5 D 55)
(E E5 F5 F 55)
(G G5 G 55)
(A A5
(A 5) (D 5) (E 5) (G 5) (A 5)
D5 A5 G5 A5 ½ ½ ½ ½ D5 T
3 T
A 2
2
3
3
4
4
5
5
6
6
7
7
8
8
9
9
10
10
11
11
12
12
13
13
14
14
3 3 T 3 A
B 2
0
2
3
1
3
4
2
4
5
3
5
6
4
6
7
5
7
8
6
8
9
7
9
10
8
10
11
9
11
12
10
12
13
11
13
14
12
14
2
0
2
2
0
0 A 2
2
2
2
2
2
2
2
2
2
2
2
2
0 B 0 1 2 3 4 5 6 7 8 9 10 11 12
0 X
3 B 0
3
0 0
3
0
3
0
3
0

Fig. 6b Fig. 6c C. Combining Sixth- and Fifth-string-root Power Chords

C. Combining Sixth- and Fifth-string-root Power Chords
Fig. 8c Fig. 8d
A5 D5
½ ½ ½ ½ D5 A5 Fig. 8c
E5 D5 A5 Fig. 8d
E5 D5 A54 times)
(play G5 A5 G5 C5 G5
T 3 T 3
(play 4 times) G5 A5 G5 C5 G5
A 2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
0 A 2
0
2
2
2
2
2
2 T T
B 0 0
3
0 0
3 3
0 0
3
0 B 3 0
3
3 0 0 T
A 9 9 9 9 7 7 T
A 5 7 7 5
5
5
5
5 5
A
B 7
9 0 0
7
9 0 0
7
9 0 0
7
9 0 0
5
7 7
7
5
A
B 5
5
3
7
7
5
7
7
5
5
5
3
5
3
5
5
3
5 5
5
3
B 7
0 0
7
0 0
7
0 0
7
0 0
5 7
5 B 5
3
7
5
7
5
5
3
3 3 5
3

D5 A5
3 A5 G5 C5 G5 A5 G5 C5 G5 A5 G5 A5
2 2 2 2 2 2 2 2 2 A5 G5 C5 G5 A5 G5 C5 G5 A5 G5 A5
2 2 0 2 2 2 2 2 2
0 0 3 3 0 3 0 0 0 0 3 0 5 5 5 5
3 3 3 3 7 7 5 5 5 5 7 7 5 5 5 5 7 7 5 7 7
7 7 5 5
3 5
3 5 7 7 5 5
3 5
3 5 7 7 5 7 7
7
5 7
5 5
3 5 5 5
3 7
5 7
5 5
3 5 5 5
3 7
5 7
5 5
3 7
5 7
5
7 7 5 3 3 5 7 7 5 3 3 5 7 7 5 7 7
5 5 3 3 5 5 3 3 5 5 3 5 5

“Barred” Power chords

Pedal Tones
A. Sixth-string-root Power Chords Pedal Tones
A. Combined w/two-note Power Chords
Fig. 7a Fig. 7b A. Combined w/two-note Power Chords
Fig. 9a Fig. 9b
(three-note) or (two-note) E5 F5 F 5 G5 G 5 A5 A 5 B5 C5 C 5 D5 D 5 E5 Fig. 9a
N.C. Fig. 9b
E F F5 F5 (G 5) (A 5) (B 5) (D 5) (E 5) N.C.
(E5) B5 B 5 F 5 G5 B5 B 5 F 5 G5 (play 4 times) N.C. C5
T (E5) B5 B 5 F 5 G5 B5 B 5 F 5 G5 (play 4 times) N.C. sim. C5
A 2 3 4 5 6 7 8 9 10 11 12 13 14 T T
sim.

B 2
0
3
1
4
2
5
3
6
4
7
5
8
6
9
7
10
8
11
9
12
10
13
11
14
12 T
A 4 3 4 3 T
A 5 5
231 13211 13 13 A
B 0
2
4 1
3 0
4
2
5
3 0
2
4 1
3 0
4
2
5
3
5
3
5
3
A
B 2 3 2 3 3
0 1 2 0 2 3 0 1 2 0 0 5
3 5
B 2 1 4 5 2 1 4 5 5 5 B 3 3
3
0 0 2 3 0 0 2 3 3 3 0 1 0 2 0 1 0 0 3 3

Fig. 7c 1 2
G5 N.C. G5 N.C. A5 N.C. G5 N.C. G5 N.C. G5 N.C. E5 C. The “Gallop” Rhythm
C. The “Gallop” Rhythm
T Fig. 9c
A N.C. C5 B5 B 5 Fig. 9c
5 5 7 5 5 5 14 14
B 5
3 0 0
5
3 0 0
7
5 0
5
3 0 0
5
3 0 0 0 0
5
3 0 0 0
14
12
14
12
N.C. C5 B5 B 5
T
5 4 3 T
A
0 1
2
0 2
3
0 1
3
5
3
2
4
2
1
3
1
A
B 0 0 0
0 1
2
0 2
3
0 1
3
3
2
2
1
1 B 0 0 0
Fig. 7d Fig. 7e
N.C. B 5 B5 B 5 A5 G5 A5 G5 F 5 G5 F 5 N.C. N.C.(E5) B5 B 5 A5 B 5 A5 G5
(E5) (E5) (play 4 times) Fig. 9d
Fig. 9dE5 C5 G5
T T E5 C5 G5
A A P.M.
P.M.
P.M.
P.M.
P.M.
P.M.
B 0
8
6
9
7 0
8
6
7
5 0
5
3
7
5 0
5
3 0
4
2
5
3
4
2 0 B 0
9
7
8
6
7
5
8
6
7
5
5
3 T
T
A 2
5
5 5
A
B 2
2
0 0 0 0 0 0 0 0 0 0 0 0
5
3
5 3 3 3 3 3 3 3 3 3 3 3 5
5
3 3 3 3 3 3 3 3 3 3 3 3
B 2
0 0 0 0 0 0 0 0 0 0 0 0
3 3 3 3 3 3 3 3 3 3 3 3 5
3 3 3 3 3 3 3 3 3 3 3 3
B. Fifth-string-root Power Chords
Fig. 7f Fig. 8a Fig. 9e
(three-note) or (two-note) Fig. 9eN.C.(A5)
D5 E5 G5 F 5 G5 F 5 E5 D5 E5 G5 D5 A5
A B B 5 B 5 D5 A5 N.C.(A5)
T
T 7
7
7
7
7
7
7
7 7 7 7 7 T
A 5
5
5
5
7
7
5
5
A 7
5
7
7
5
7
7
5
7
7
5
7 7
7 7
7 7
7 7
7 A
B 5
5
5
5
7
7 0 0 0 0 0 0 0 5
5
B 12
10
14
12
17
15
16
14
17
15
16
14
14
12
12
10
14
12
17
15
17
15
X
X 111 1333 13 13
5 5 5 5 5
7
5
5
7
5
5
7
5
5
7
5 B 0 0 0 0 0 0 0

1
6 GUITAR DVD GUITAR DVD 7

 
 Fig. 9f
C5 G/B N.C.(A5) 5 5 5 7 5 5 5 5
5 7 7 5 7 5 7
T 0 0 0 5 7 0 0 5 7 7 5 3 0
5
5
7
7
5
5 5
5
5 A 7
7
5
5
5
5
0 0 0 3 2 B 0 0 0 0

B. A Minor Pentatonic
Fig. 12c up two octaves Fig. 13a A minor pentatonic,
G5 D5 5th-position “box”
3 5 8
7 5 5 5 5 7 5 5
3
0
3
2
T 12 12 12 14 12 T 5 8
7 5 5 5 5 7 5 5 0 0 A 12 14
12 12 12 14 12
14 12 14 12 14
12 12 12
A 5 7
5 7
0 0 (0) 0 0 0 X
3
0 B 0 0 0
12 14
0 0
12 14 14 12 10 B 5 8
5 7

Scales For Heavy Riffs

Fig. 13b A minor pentatonic, extended position Fig. 13c A minor pentatonic, 17th-position “box”
A. E Minor Pentatonic 8 10 12 17 20
T 8 10 T 17 20
Fig. 10a “open” position (“box”) Fig. 10b E minor pentatonic, extended position A 5 7
5 7 9
A 17 19
17 19

0 3 10 12
B 5
3 5 7 B 17 20
17 19
T 0 3 T 8 10 12
A * 0 2
0 2
A 5 7 9
7 9
B 0 3
0 2 B 0 3 5 7
5 7

*root in
Fig. 13d A minor pentatonic, extended position (high) Fig. 14a
1
N.C.(A5)
Fig. 10c E minor pentatonic, 12th-position “box” Fig. 10d E minor pentatonic, extended position (high) T 20 22
20 22 22
T
12 15 15 17 19 A 17 19
17 19 21
A 5 7
T 12 15 T 15 17 B 17
15 17 19 B 5
3 (3) 5 (5) 7 5 3
5
3 (3) 5 (5) 7
A 12 14
12 14
A 12 14
12 14 16
B 12 15
12 14 B 12
10 12 14

Fig. 14b Fig. 14c

Fig. 11a Fig. 11b artificial “pinch” harmonics N.C.(A5) 1 N.C.(A5)
N.C.(E5) A.H. T 8 10 T
T T A 7
5 (5) 7 (7) 7 7 5
7
5 (5) 7 (7) 9
A 5 7 7
5
7
A A B B 0 0

B 0 0 3 0 5 0 3 0 (0) 0 3 0 5 7
5 B 0 0 0 0 0 0 0 0

move pick attack move pick attack

toward fretboard toward bridge

C. E Blues Scale
Fig. 11c up one octave Fig. 11d up two octaves 1 2 Fig. 15a “open”-position “box”
N.C.(E5) 1 0 3
T 0 3
T T 12 14 12 12 12 15 5 7 7
7 5 7 5
5 7 7 A * 0 2
0 2 3

A 5 7 5 5 7 9
7
A 14 14
12
14
14
14
12
14 (14) 14
12
14
14 0 0 5 7 5 3 B 0 3
0 1 2
B 7 7 7 7 7 (7) 7 7 B * 5
3 3

Fig. 12a Fig. 12b up one octave

N.C.(E5) G5 A5 N.C. Fig. 15b E blues scale, extended position Fig. 15c E blues scale, 12th-position “box”
T T 10 12 12 15
A 0
0
2
2 A 5 5 7 5 5 5 T 8 10 11 12 T 12 15
B 5 X 0 B 5 7 7 5 7 A 5 7 8 9
7 9
A 12 14
12 14 15
0 5 7 3 3 0 0 0 5 7 0 0 5 7 7 5 3
B 0 3 5 6 7
5 7 B 12 15
12 13 14

8 GUITAR DVD GUITAR DVD 9


 Fig. 16a Fig. 16b
Fig. 16a
E5 G5 E5 Fig. 16b P.M. Fig. 19c
T E5 G5 E5
T P.M.
N.C.(E5) ½ ½ ½
A
T 2 0
0 2
X
X
X
X 0 2 0 A
T 9 9
B 202
A 0
X
0
3
2
2
0
X
X
X
X
X
X 0 3
0 1 2
0
2
2 0
2 1 0
3 B 79 0
A 0 0
7
9 5 6 7
5
5 6 7 T
B 20 X
3
2
0
X X
0 3
0 1 2 2 2 1 0
3 B 7 0 0 0
7
5 6 7
5
5 6 7 A 4 4 (4) 4 4 (4)
4 2 0
4 2 0
B 0 0
2 2
0 0

Fig. 16c 1 B. A Aeolian

F5 F 5 G5 Fig. 16c 1 1
F5 F 5 G5 1 Fig. 20a Fig. 20b
T A5 N.C.
9 9 A
T 5 5 7 (7) (7) 5 7 5 0 1 3 5
7
9 0 0 0
7 3
9 1
4
2
5
3 B 7 7
A 5
5
7 5 7 5
7 6 5 3
7 7 5
7 5
7 5
7 (7) (7) 5 7 5 T 0 1 3 T
7
0 0 0
7 3
1
4
2
5
3 B 7 7 5 7 5 7 5
7 6 5 3
7 7 5
7
7 5 A 0 2 3
0 2
A 2
2 2 3 2 0 0
B 0 2 3 B 0 3 3 2 0 2 0
3

Drop-D Tuning
D. A Blues Scale
D. A Blues Scale Fig. 21a
2
E5
Fig. 17a A blues scale 5th-position “box” A5 D5 F5 G5 A 5 A5 A 5 G5 F5 D5
2
E5
Fig. 17a A blues scale 5th-position “box”
5 8
T 5 8
5 8
T
2 A
T 5 7
5 7 8
5 8
2
2 2 3 2 0 0 2 3 5 A 0 3 5 6 7 6 5 3 0
7 6 5 0 3 7 6 5 0 3 0 7 6 5 0 3
2
2
0 B 5 8 5 6 7 5 7 5 7 8
A 0 3 B 0
0
3
3
5
5
6
6
7
7
6
6
5
5
3
3
0
0
7 6 5 0 3 7 6 5 0 3 0 7 6 5 0 3
2
0 B 5 8 5 6 7

Fig. 21b
D5 F5 D5 A 5 G5 F5 D5 F5 D5 N.C. D5 F5 D5 A 5 G5 F5 D5
Fig. 17b A blues scale, extended position Fig. 18a
Fig. 17b A blues scale, extended position Fig. 18a
N.C.(A5) T
N.C.(A5)
P.M. A 0 0 0 3 0 6 5 3 0 0 0 3 0 0 0 3 0 6 5 3 0
T 8 10
8 10 11 12
T P.M. B 0
0
0
0
0
0
3
3
0
0
6
6
5
5
3
3
0
0
0
0
0
0
3
3
0
0 3 5
3 0
0
0
0
3
3
0
0
6
6
5
5
3
3
0
0
8 10 11 12
A
T 5 7
5 7 8 9
8 10 A
T 5 5 5
B
A 5
3 5 6 7
5 7
5 7 8 9
B
A 5 8
5 6 7
5
5 6 7
5
5 6 7
5
B 5
3 5 6 7 B 5 8
5 6 7 5 6 7 5 6 7

Fig. 21c 1
D5 E 5 E5 F5 E5 E 5 D5 E 5 E5 F5 G5
Fig. 18b F5 D5 N.C.
1
sim.
1
Fig. 18b T
sim.
T 0 0 3 0 3 A 0 0 0 1 1 1 2 2 2 3 3 3 2 2 1 1 0 0 0 1 1 1 2 2 2 3 3 3 5 5
5 7 5
7 (7) (7) 5
A
T 5 7
5
5 7
0
0
0
0
3
3
0
0
3 5 B 0 0 0 1 1 1 2 2 2 3 3 3 2 2 1 1
0 0 0 1 1 1 2 2 2 3 3 3 2 2 1 1
0 0 0 1 1 1 2 2 2 3 3 3 5
0 0 0 1 1 1 2 2 2 3 3 3 5
5
5
5 8
5 6 7
5 7 5
7 (7) (7) 5
B
A 0
5 7
0 0 0 0 0 5 0
5 7
0 0 0 0 0 5 7 5 3

5 8
5 6 7 B 0 0 0 0 0 0 0 0 0 0 0 0 5 7 5 3
3
3
Soloing in the Open Position
More Scales for Heavy Riffs
More Scales for Heavy Riffs
A. E Aeolian A. E Minor Pentatonic w/Open Strings
A. E Aeolian 2
Fig. 22a scale studies, triplets ascending
Fig. 18c Fig. 19a
Fig. 18c
5
Fig. 19a 0 2 3
D5 E 5 E5 F5 C5 D5
T 5
8 5 T 0 1 3
0 2 3 T
A
T 8 5
8 7 5
7 5
7 5
7 5 7
5
7 5 A
T 0 2 4
0 2
0 1 3
0 0 0 1 1 1 2 2 2 3 3 3 10 10 0 A 0 0
B
A 8 7 5
7 5
7 5
7 5 7
5
7 5
7 6 5 3
5
5 3
5 B 0 2 3
A 0 2 3
0 2 4
0 2
0 0 0 1 1 1 2 2 2 3 3 3 10 10 0 B 0 0 2 0 2 2
B 7 6 5 3
5
5 3
5 B 0 2 3 0 2 3 0 0 0 1 1 1 2 2 2 3 3 3 10 10 0 0 3 0 3 3

3 3 3 3

Fig. 19b Fig. 22b triplets descending

Fig. 19b
E5 B5 C5 E5 B5 C5
0 0 3 3 0 0
T E5 B5 C5 E5 B5 C5 0 0 3 0 3 3 T 3 3 0 3 0 0
A
T 4 5 5 4 5 5 2 0 2
0
2
0 2 0 2 2
A 2 2 0

B
A 2 2 2
4
3
5
3
5
2 3 2 2 2 2
4
3
5
3
5
3 5 3 2 B
0 0 0 5 3 2 0 0 0 5 3
B 2
0
2
0
2
0
3 3 2 3 2
5 3 2
2
0
2
0
2
0
3 3 3 5 3 2
5 3
3 3 3 3 3 3 3 3 3 3

10 GUITAR DVD GUITAR DVD 11


 Fig. 23c 1 2
E5 D5 A5 D5 A5
Fig. 23c
(Gtr. 2 repeats previous chord progression)
1 2
Gtr. 1
2 0 0 E5 D5 A5 D5 A5
2 2 0 2 0 0 3 0 0
2 2 0 2 0 T (Gtr. 23repeats
0 previous
3 0 chord
3 0 progression)
0
3 0 A
Gtr. 1 2 2 0 2 0
2
2 0
2 0
0
2 0 2 0
2 0
2 0
0
2 0 2 0 2
3 3 3 3 3
B
T
3 0
3 0
0
3 0 3 0 0
2 2 0
3 0
2 2
A 2 2 0 2 0
2
2 0
2 0
0
2 0 2 0
2 0
2 0
0
2 0 2 0 2
B 2 2 0
3 0
2 2

Fig. 22c quadruplets ascending C. E Blues Scale

Fig. 24a
T 0 0 3 0 3
0
0 3
0 3 3 C. EE5Blues Scale D5 A5 E5
A 0 0 2 0 2
0
0 2
0 2
2
0 2 0 2 2
Fig. 24a
(Gtr. 2 repeats previous chord progression)
B 0 3
0 2
3
0 2 0 2 2 Gtr. 1
E5 D5 A5 E5
3 0 0
T (Gtr. 2 repeats
3 previous
3 0 chord
3 0progression)
0
A1
Gtr. 3 3 2 3 2 0 2 0
2
0
2 0 2
2 0
2
0
2 0 2 0 0
B
T
3 0
3
0
3 0 3 0 0
2 2 1
A 3 3 2 3 2 0 2 0
2
0
2 0 2
2 0
2
0
2 0 2 0 0
B 3 3 3 3 3 3 3 3 3 3 2 32 1
Fig. 22c quadruplets descending
3 3 3 3 3 3 3 3 3 3 3
T
3 0
3 0
0
3 0 3 0 0 Fig. 24b
A 2 2 0 2 0
2
2 0
2 0
0
2 0 2 0 0 E5 D5 A5
B 2 2 0 2 0
3
2 0
3 0 0
Fig. 24b
(Gtr. 2 repeats previous chord progression)
D5 A5 Gtr. 1
E5 D5 A5
T (Gtr. 2 repeats previous chord progression)
D5 A5 A1
Gtr.
0 2 0
0
2 0 0 2 0
0
2 0 2
2 1 0 1 0
3 0 B
T 0 3
0 1 2 2 1 0
3 0 0 3
0 1 2 2
A 0 0
Soloing Over a Chord Progression 2 31 0 1 30
3 0 B 0 3
0 1 2
0 2 0 2 0
2 1 0
3 0 0 3
0 1 2
0 2 0 2 0
2
2

Fig. 23a
3 3
E5 D5 A5
Gtr. 1 (lead) ½
3 0 0 E5 D5 A5
T 3 3 0
A 2 (2) 0 2 0
2 0 0 0
B 2 0
3 0
E5
0 2 3
0 3 0 3 0
3 2 0 0 2 3
0 3 0 D5 3 0 A5
5
0 2 2 0 0 2
0 0
0 3 0 3 0 0 3 0 3 0 5
0 2 3 3 2 0 0 2 3
0 2 2 0 0 2
Gtr. 2 (rhythm)

T 3
A
B
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
0
2
2
0
Soloing, Closed Positions
0 0 0 0 0 0 0 0 0 0 0 0
Soloing, Closed
A. A minor Positions
pentatonic
Fig.
A. A25aminor
triplets ascending
pentatonic
Fig. 23b T 25a triplets ascending
Fig. 5 5 8 5 8
5
8
5 8
E5 D5 A5 E5 A 5 5 7 5 7
5
7
5 7 5 7 7
(Gtr. 2 repeats rhythm part)
1 (Gtr. 2 repeats previous chord progression) B
T 5 8 5 8
5
8
5 7 5 7 7
5 5 8 5 8
5
8
5 8
Gtr. 1 Gtr. 1 A 5 5 7 5 7
5
7
5 7 5 7 7
3 0
3
0
0 3
0
0
5 (5) 3
5 3 5 T
3 0
3
0
3 0 3 0 0
B 5 3
8 5 8
5 3
8
5 7 35 7 37 3 3 3 3 3 3

A 2 2 0
B Fig. 25b triplets descending
3 3 3 3 3 3 3 3 3 3

8 5 5
3 3 3 3
T 25b triplets
Fig. 8 8descending
5 8 5 5
A 8 5 7 7 5 7 5
7
5
7 5 7 5 5
B
T 8
5
8 5 8 5 5
7 7 5 7 5
8
5
8 5 5
A 7 7 5 7 5
7
5
7 5 7 5 5
D5 A5 E5 D5 A5 B 3 3 3 3 3 3 3 7 37 5 7 35
8
5 3
8 5 5
½
3 3 3 3 3 3 3 3 3 3
2 0 0 0 2 (2) 0
Fig. 26a quadruplets ascending
2 2 0 2 0 0 0 0 2 2 5 5 8 8
2 2 0
3 0 3
0
3
0 2 0 2 2 T 26a quadruplets ascending
Fig. 5 5 8 5 8 5 8
A 5 5 7 5 7
5
5 7
5 7
7
5 7 5 7 7

3 3 3 3 3 3 3 B
T 5 8 5 7 8 5 7 5 7 7
5 5 8 5 8
5
5 8
5 8 8

A 5 5 7 5 7
5
5 7
5 7
7
5 7 5 7 7
B 5 8 5 7 8 5 7 5 7 7

12 GUITAR DVD GUITAR DVD 13

10 11
 Fig. 26b quadruplets descending
Fig. 26b quadruplets descending
Fig.
T
Fig. 26b
8 5 quadruplets
26b
5
quadruplets
8 5 8 5 descending
descending
8 5 5
Fig.
T 26b
8 5
A 88 55 quadruplets
8 5
5
5 8 5 7 descending
8 5 7 5 5 7 5
7
7 5
7 5
5
7 5 7 5 5 Fig. 28b
T
A
B
T 8 5 5 8 5 7 8 5 7 5 5 7
8 5 8 5 5 8 5 7 8 5 7 5 5 7
5
7
7 5
7 5
5
7 5 7 7 5 7 5 5 7 5 7 5
A
T
B
A 8 5 8 5 7 8 5 7 5 5 7
5
5 7
7
7
5
5 7 5
5
5 7 5 7 7 5 7 5 5 7 5 8
8
7 5 8
8
5
5
5
5
A5
Fig. 28b C5
B
A
B
7 7 5 7 5 7
7
7 5 7
7
5
5
5 7
7
5
5
7
7
7
7
5
5
7
7
5
5
5
5
7
7
5
5 8
7
7
5
5 8 5 5
(Gtr. 2 repeats previous chord progression)
B 7 7 5 7 5 8
8
7 5 8
8
5
5
5
5
Gtr. 1
Fig. 28b
A5 C5
Fig.
T 1 28b
Gtr.
5
5 previous chord progression)
(Gtr. 2 repeats
8 5
Fig.
A 28b 7
A5
A5 5
8 7 5
7
7
7
5
7 5 C5
C5
Fig. 27a T
B (Gtr.
(Gtr.
25repeats previous
8 chord
5 progression)
2 repeats previous chord progression)
7 6 5
Fig. 27a A5 C5 A5 D5 N.C. A 11 A5
Gtr.
Gtr.
7 8 7 5
7
7
7
5
7 5
8 5 C5
Fig.
Gtr. 1 27a
Fig. 27a
A5
(lead) C5 A5 D5 N.C. B1
T
(Gtr. 2 repeats
5
5
previous chord progression) 7 6 5
Fig. 27a
A5
Gtr. 1 (lead) C5 A5 D5 N.C. AT 77 355 5 88 355 88 77 355
Gtr.
7
3
5
3 3 8 5
T A55
8
A5
Gtr. 1 (lead) 5 C5
C5
A5
8 5
A5 7 5 D5
D5
N.C.
N.C. AT
B 35 8 35
7
7
7 7
37
5 7
7
5
35 7 6 35
T
A
Gtr. 1 (lead)
8 5
Gtr. 1 (lead)
7 5 5 7 5
7
5
5 7 5 5 8 5 5 5 7 5
7
5
5 7 5 5 7
5 7 5
AB 7 8 7
3
5 7 5 7 6 5 8 5
T
A
B
T 8 5
8 5
7 5
5
5 7 5
7
5
5 7 5 7 5 7 5 8 5 7
8 5 7
5
5
5 7 5
7
5
5 7 5 7 5 7
5 7 5
B
7 7 7 5
7 6 5
8 5
A
T
B
A 8 5
7
7 5
5
5
7
7
5
5 7
5
5 5 7 5 7 5 7 5 8
8
5
5
8 5 7 5
5
5
7
7
5
5 7
5
5 5 7 5 7 5 7
5
5
7
7
5
5 3
3
3 3
3 3
3
3
3
3
3
3
8 5
B
A
B
7 5 7 5 7
7
5 5
5
7
7
5
5
7
7
5
5
7
7
5
5 8 5
7 5 7 5 7
7
5 5
5
7
7
5
5
7
7
5
5
7
7
5 7 5
C. Building-block Licks
B 7 7 5 8
8
5
5
7 3 3 3 3 3 3

Gtr. 2 (rhythm)
C. Building-block
Fig. 29a Licks Fig. 29b Fig. 29c
1 1
Gtr. 2 (rhythm)
T Fig.
C. 29a Fig. 29b Fig. 29c
T Building-block Licks
3 5 8 5 8 5 5
Gtr. 2 (rhythm)
T
A 2
Gtr. 2 (rhythm)
2
2
2
2
2
2
2
2
2
5
5
2
2
2
2
2
2
2
2
2
3
0
C. Building-block
71
5 Licks T 5 5 T 71
5 8 5
Gtr. 2 (rhythm)
T
A
B
T
2
0
2
2
0
2
2
0
2
2
0
2
2
0
2
5
3
5
2
0
2
2
0
2
2
0
2
2
0
2
2
3
0 3 A
C.
Fig.Building-block
29a 5 Licks A 29b
Fig. 8 5 8 5 A 29c
Fig. 5
A
T
B 2
0 2
0 3 2
0 2
0 3 2
0 5
3 2
0 2
0 3 2
0 2
0 3 3
2
3 3 Fig.
B 29a
T 5 Fig.
B 29b
T 5 5 Fig.
B 29c
T 5 8 5
A
B
A
2
2
2
0
2
2
2
0 3
2
2
2
0
2
2
2
0 3
2
2
2
0
5
5
5
3
2
2
2
0
2
2
2
0 3
2
2
2
0
2
2
2
0 3
2
0
2
0 3 A 71
Fig. 29a 1 A 29b
Fig. A 29c
Fig.
71
1
B
B
2
0 2
0 3 2
0 2
0 3 2
0 5
3 2
0 2
0 3 2
0 2
0 3 0 3
B 5 B 8 5 8 5 B 5
0 0 3
3
0 0 3
3
0 3 0 0 3
3
0 0 3
3
3 T
T 135 5
7 5
T
T
8 35 5 8
5
35 5
5 T
T 13 5 5 38 5
5 8 5
A
A 7 5 A
A 8 5 8 5 A
A
7
7 5
Fig. 27b T
B 35 T
B 3 5 3 5 T
B 3 5 38 5
Fig. 27b B
A 7 B
A B 7
A
Fig.
(Gtr. 227b
repeats previous chord progression) B B B
Fig.
Fig.
(Gtr. 227b
27b
repeats
A5 previous chord progression) C5 A5 D. Trills
3
3 3
3
3
3 E. A Aeolian 3
3
3
3
Gtr.
(Gtr.1 2 repeats previous chord progression)
(Gtr. 2 A5
repeats
8 5 previous5 chord progression) C5 A5 3 3 3 3 3
Gtr.
T
(Gtr.1 2 repeats
Gtr. 1 8 A5
A5
previous chord progression)
5 8 5 8 5 8 5 7 5 C5
C5 A5
A5
D. Trills
Fig. 30 E. A31aAeolian
Fig.
T 11 A5
A
Gtr.
8 5 8 5 8 5 8 5 7 5 7 5 7 5
7
5
7 5 7 5 C5
5
7 5
A5 7
5
7 5 7 5 5
Gtr.
T
A
B
T
8 5 8 5 8 5 8 5 5 7 5 7 5 5 7 7 5 7 5 5 7 7 5 Fig.
D. 30
Trills Fig.
E. A31a
Aeolian
A
T
B
A
8 5 8 5 8 5 8 5 7
8 8 5 8 5 7
5
5
7
7
5
5
7
7
5
5
7
7
5
5
7
7
5
5
7
7
5
5 7
5
5 7 5 7
7
5
5
7
7
5
5
7
7
5
5
7
7
5
5 7
5
5 7 5 D.
T Trills 5 (8)
5 (8) E.
T A Aeolian 5 6 8
5 7 8
B
A
B 3 3 3
7
3
7 5 7
3
5 7
7
5 7
37
5
5
7
7
5
35
7
7
5
5
7
37
5
5
7
3
5 7
7
5 7
37
5
5
7
7
5
35
7
7
5
5
7
37
5
5 D.
A Trills
Fig.
Fig. 30
30
5 (7) E.
Fig.A
A 31a
Fig. Aeolian
31a 4 5 7
B 3 3 3 3 3 3 3
7
3
7 5
3 3 3
7
3
7 5
T
B 3 (5) 5 (7)
5 (7)
5 (8)
5 (8)
T
B 5 7 8
5 7
5 6 8
5 7 8

3 3 3 3 3 3 3 3 3 3 3 3 Fig.330
A (5) 5 (7)
5 (7) Fig.
A 531a7 8 5 7
4 5 7
3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3 B
T 3 (5) 5 (7)
5 (8)
5 (8)
5 (8) B
T 5 7 8
5 6 8
5
5
7
7
8
8
T 3 (5)
A 5 (7) 5 (8) T 5 7 8
A 4 5 7 5 6 8
Fig. 27c A
T
B 3 (5) 5 (7)
5 (7)
5 (7)
5 (7)
5 (8)
5 (8)
A
T
B 5 7 8
5
5
7
7
4 5 7
5 6 8
5 7 8

Fig. 27c B 33 (5)

A (5)
3 (5) 5 (7)
5 (7)
5 (7) B 55 77 88 5 7
A 8
5 7
4 5 7
Fig.
(Gtr. 227c
Fig.
repeats previous chord progression) B 3 (5) 3 5 (7) B 5 7 8 5 7 8
(Gtr. 227c
(5)
D5 N.C.
D5 N.C. Fig.
Gtr. 27c
repeats
A5
(Gtr.1 2 repeats
previous chord progression)
previous chord progression)
C5
D5 N.C. (Gtr.
Gtr. 2 A5
repeats
8 5 previous
1 2 repeats 5 chord progression) C5
D5
D5
N.C.
N.C. T
(Gtr.
Gtr. 1 8 A5
A5 5 8previous chord progression)
5 8 5 7 5 8 5 7 5 C5
C5
T 11 88A5 55 8 55 8 5 7 5 8 5 7 5
A
Gtr.
Gtr.
7 5
7
5 7 5
7
5
7 5 5 C5
Fig. 31b triplets ascending
7 5 3 5 3 3 T
A
B
T 8 8 5 5 8 5
8 5 8 5 8 5 7 5 8 5 7 5
5 7 5
7
5 7 5
7
5
7 5 7 5 7 5 3
7 5 3 5 3 5 3 A
T
B
A 8 8 5 7 5 8 5 7 5
7
7
5
5
5
5
7
7
5
5
5
5 7 7 5 3 5 3
Fig.
T 31b triplets ascending
5 7 7 7 5 5 5 3
7
7
5
35
3
3
5
5
3
33
3
3 B
A
B
7 7 7 5 7
7
5 7 5 7
7
5 7
7
5
5
7
7
5
5
7
7
5
5
3
3
5 5 6 5 6
7 5 3 5 3
5
5 3 B 7 7 5 3
5
5
3
3 A 5 5 7 5 7
4
7
4 5 4 5 7 5 7 7
3 3 5 5 3
T
B 31b
Fig.
Fig. triplets
7 5 7 ascending
5 5 7 5 7 8 7 8 8 5 5 6 5 6
3
3
3
3 A 31b 5 triplets ascending
8 7 8 8
5 5 7 5 7
4
7
4 5 4 5 7 5 7 7
3 3
Fig.
B
T 31b triplets ascending5
7 35 7 8 37 8 38
5 7
3
5 7 8
3
7 8
3
8
3 3 3 3 5 3 5 6 35 6
T 5
B. A Blues Scale A
A 5 5 7 5 7
4
4 7
4
4
5
5
4
4
5
5
7
7
5
5
7
7
5 7
7
5 6 5 6

B. A Blues Scale T
B
B 55
3 3 5 3 5 7 35 7 8 37 8 5 38 5 7 35 7 37 3 3 5 3 5 6 35 6
B.
Fig.
B. A
28aBlues Scale A 7 5 7 8 7 8 5 8 5 7 5 7 8 7 8 8 4 4 5 4 5 7 5 7 7

B. A 28aBlues
Blues Scale
7 5 7 8 7 8 8 5 5 7 5 7 7
Fig.
Fig.
A 28a
Scale
(Gtr. 2 repeats previous chord progression)
B 5 7 35
3
7 8 37
3
8
5
38
3
5 7
3
3
5 7 8
3
3
7 8
3
3
8
3
3
3
3
3
3
3
3
3
3
3
3
Fig.
Fig. 28a
28a
(Gtr.
A5 2 repeats previous chord progression) 3 3 3 3 3 3 3 3 3 3 3 3
A5 D5 N.C. Gtr. 1 (Gtr.
A5 D5 N.C. A5 22 repeats
(Gtr.
previous chord progression)
repeats previous chord progression)
8
A5 5 8 D5 N.C.
Gtr. 1 (Gtr.
T A5
Gtr. 1 A5
2 repeats previous5 chord
5 progression) Fig. 31c triplets descending
A5 5 7 8 7 5
8
A5 7 7
5 7 5
7
5
7 5 5 7 5 5
D5
D5
N.C.
N.C. AT
Gtr. 1 A5
5 7
5
5 5
5 7 5
8 5 8 7 5 7 5 7 5 7 5 7 5 7 5
8 5 7 8 7 5 7 5 7 5 7 5 3
Gtr. 1
AT
B
T 5 6 7 5 7
5
5
5
5
5
5 7 5 7 8 6 8
5
8
5 7 5 7 8 Fig.
T 31c triplets descending
8 7 5 7 5
8
5
8 6 8 6 5 6 5 5
5 7 5 5
8 5 7 8 7 5 7 5 7 5 7 5 7 5 7 5 7 5 7 5 7 5 3 5
5
3
3
5
5
A
AT
B 5 6 7 5 7
5
5
5
5 7 5 7
A 8 7 5 7 5 7 7 5 7 5 4 5 4
7 7 5 7 5 7 5 7 5 7 5 7 5 7 5 7 5 5 3 AB 5 6 7 5 7 5 5 7 5 7 5 5 7 5 7 8
Fig.
B 31c
5 7
31c triplets
triplets descending
7
7 7 7 5 7 5
7
7 5 7
7
5 7
7
5
5
3
3
5
5
3
3
5
5 B
B 5 6 7
5 6 7 5 7 7 5 7
7
8 6 8 8 T
Fig. descending
8 8 6 8 6 5 6 5 5
5 3 5 A
Fig. 31c
8 7triplets
5 7 5descending
7 7 5 7 5 4 5 4
7
8 36 8
5
5 38
5
5
7
7
5
35
7
7
8
8 B
T
5
8 37 5 7 35 8 5 38 6 8 36 5 6 35 5 3 3 3
8 6 8 8 T
A
8 8 6 8 6 5 6 5 7 5 7 5 7 5 4 5 4
8 36 8
5
38
5 7 5
3
7 8
A
T
B
8 7 5 7 5
3 3 8
5
38 6 8 36 5 6 35
7
5 3
7 5 7
3
5 4 5
3
4 7
7
½
½
C5
C5
A5
A5
B
A 7 7 5 7 5 4 5 4
7
7 ½ 7 5 C5 A5 5 8
3 3 3
B 3 3 3 3 3 3 3 3
5 7
7 ½ 7
7 5
5 C5 7 A5
8 5 8 8 7 5 7 5 5 5 5 3 3 3 3 3 3 3 3 3 3 3
5 7 5 7 ½ 7 5 C5
7 5 7 A5
8 8 7 5 7 5 7 5 5 7 5 5
5 7 7 7 5 7 5 5 8 7 7 5 7
5 7
7 7
7 5
5 7 8 5 8 8 7 5 7 5 5 5 5 3 3 3 3 3 3 3 3 3 3 3
5 7 5 7 7 5 7 5 7 8 5 8 8 7 5 7 5 7 5 5 7 5 7 5
5 7 5 7 7 5 7 5 7 8 8 7 5 7 5 7 5 5 7 5 5
5 7 7 5 7 7 5
7
7
7
13
13
12 14 GUITAR DVD GUITAR DVD 15
12 13
13
 A5 F5 G5
Fig. 32a quadruplets ascending (Gtr. 2 repeats previous chord progression)
Gtr. 1
5 5 5 7 8 8 8 8 7 5
T 6 8 8 8 5 8 5
7 5 4 4 5 4 5
4
7 5 7 5 5 A 5 7 5
7
5
8 8 7 8 7 5 7 5
8
5
8 7 8 7 5 (5) B 5 7 8
5
7 8
5 7
8
5 7 8 5 7 8

3 3 3 3 3 3 3 3

A5 F5 G5

5 5 7 5 7 8 8 7
5 5 6 5 6 8 5 6 8 6 8 8 7 5 3 5 5 7 3 3 2 3 2 2 3 2
4 4 5 4 5 7 4 5 7 5 7 7 5 3 (3) 3
5 7 5 7 5 7 7
7 8 8
3

A5 F5

6 6 5 6 5 6
Fig. 32b quadruplets descending 5 7 7
4 5 4
7
4
7
7 5
2 2 3 2 3 5 7
8 7 5 7 5 5 5 3 5 5
T 8 8 6 8 6 5 8 6 5 6 5 5
A 7 7 5 7 5 4 7 5 4
7
5 4
7 5 3 3 3 3 3 3
B

G5 A5

8 6 8 (8) 6 5 5 6 5
7 5 4 4 5 4 4
7 5 7

3 3
4
7 5 7 5 5
8 8 7 8 7 5 8 7 5 7 5 5
8 8 7 8 7 5 5
Fretboard Tapping
A. Tapping Basics
Fig. 34a
E Am
*T
Fig. 33 A Aeolian T T T T
12 4 7 12 4 7 12 5 8 12 5 8 12
A5 F5 G5 T
Gtr. 1 (lead) A
T 5 5 6 5 5 6 B
A 7 7
4 5 4
7
4
7 3 3 5 7
4 5 4 5 4 5 4
7 5 7
4 5 7 7
B * RH
3 3 3 3
1 4 RH 1 4 RH sim.
3 3 3 * T = tap w/right-hand middle finger; 1 = left-hand index finger, 4 = left-hand pinkie

Gtr. 2 (rhythm)

T Fig. 34b
T T T T T T T T T T T T T T
A 2
2 3 5
B 0
0
3
1
5
3 T
12 4 7 12 4 7 12 5 8 12 5 8 12 6 9 12 6 9 12 7 10 12 7 10 12 6 9 12 6 9 12 5 8 12 5 8 12 4 7 12 4 7 12 0

A
B
3 3 3 3 3 3 3 3 3 3 3 3 3 3

14
16 GUITAR DVD GUITAR DVD 17 15
 Fig. 34c
E B G
T
T T
12 7 4 0
T 12 7 4 0
A 12 7 4 0
B

D A E
T T T

12 7 4 0
12 7 4 0
12 7 4 0

B. Tapping Over a Chord Progression

Fig. 35
A5 F5 G5

11 134 134
T T T T T T
12 8 5 12 8 5 13 8 5 13 8 5 15 10 7 15 10 7
T
A
B
3 3 3 3 3 3

C5 F5 Dm

134 231
T T
T T T T
15 12 8 15 12 8
13 10 6 13 10 6 15 10 6 15 10 6

3 3 3 3 3 3

Bm7 5 E5

1324 23
T T T T
12 9 6 12 9 6 13 10 5 13 10 5

3 3 3 3

18 GUITAR DVD
16