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John petrucci rock discipline

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John petrucci rock discipline

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  3. 3. THHE IGE CD PREFACE Ammmwmm Lessons 3nd Borldoo. .. Wridng wIdI m Band. .. OUIVIÀLLL Irtrnooucnom Inmo HUSIC ‘ruumc 2 ram’ hWARH-UP EXERCIS (un I-IAND) EXAHPLE I (Pan: I-4) ama: 2 (ram l a. 2) ama: 3 Iwrr IIIWAIlH-UP axsncnsss PICKING (RIGHT HAND) 9mm: 4 (ma. Vhrhtion # l-3) rAIrr IIuwAnn-ur (SYNCHRONIZATION or son-I HANDS) 90mm: s (Pan: I a. 2) ama: o (Pan: I a. 2) un IWTECHNIQUE (speso mo ACCURACY) mune 7 EXAMPLE a (Para I.6) ama: 9 (Dcvdopmcnt: I4) 2a ama; Io 34 PARTVITECHNIQUE (son: mmnems AND ssqueucas) 35 EXAMPLE I I (Fngmem: I-I8 3nd Development: I-4) 35 emme I2 45 EXAMPLE I3 46 94mm; I4 47 EXAMPLE Is 4a EXAMPIL I6 (Sample solo) 49 PARI‘ VI: RIGHT amo TECHNIQUE (ALTERNATE ncmnc AIII-sccnos) s4 summa I7 s4 EXAMPLE I8 se nana-vu: un I-IANo-rscmuqu: (uomo puvnnc) s1 EXAMPLE I9 (Fragnems I-6) s7 EXAHPLE 20 S7 exmns 2I EXAMPLE 22 90mm 23A a. 23s _ PAKTVlIhIIIGI-IT HANDTECHNIQUE (swssr PICKING) EXAMPLE 24 ama: 25 emana 24 EXAMPLE 27A a. 27a mm" IX: CHORDAL recnmqus AND oncuesrunon 90mm 23A - 20o EXAMPLE 29 904mm 3o mune 3| 90mm 32 EXAMPLE 33A a. 33s EXAMPLE 34A a. 34s 530mm 35 CLOSING umnxs O3 VIÀW KÌUBHHÉSSSSSSÎÎSS 55553555333: 333328338 S852 GX855 83 338516 5:50 un
  4. 4. -ur . - »« or‘ _ zÎÈIJOU‘II‘ Ilînî-‘IÎUQELGÉS. o a John Iirst begon piayìng guìtor 0t age I2 0nd had some oI the typiool influences thai rnony other kìds his oge had ai thai time; 810d: Sabbath, led Zeppeiin, The Who, 0nd Iron Maîden. A5 ho progressed, ho beoume drawn to players thot reoîty h0d o unîque styio; AIex Diamo oI Rush, Steve Howe oI Yes, 0nd Randy Rhoods Irom Ozzy Osboume. When ho heord Steve Morse’: ‘The Bosh, " a buming oountry tune by the Dîxie Dregs, he purchosed every Dixie Dregs 0nd Dregs album. Also, pioyers Iìke AI Di MeoIo, AIIan Hoidsworth 0nd Stevie Ray Voughon have been o never-ettdirtg soume 0t" inspiration. Iîessctms 6nd‘ Fîuetîfzîee. . . John never reolty took ony Formal guiter Iessons prior lo his stodìes 0t Beddee Schooi oI Music. He dìd study some cIassicoI based music theory during his IosI Iwa years 0F high school, but spent the Inojority oI the time developing Iechniqoe 0nd chops. BerIIIee introduoed whoIe new ereas oI musicionship such os arrongîng, sight singing, 0nd iazz hannony. 1021 harmony provided chord structure 0nd progressione. that have since proved Io be un involIIohle resource for both oornpositîon 0nd improvisation. Most importanti)‘, studyîng rnusìc in such a discipiined environment Iought John how Io continue Io Iearn, enobiing him to continue Io deveiop his IeveI 0t musicîanship throughout his lite. There is on unlìmited resouroe oI materiols I0 draw IIom 0nd having the obilìty I0 obsorb, understond end apply Ihis înIormation, provìdes ony ertists wîth the ehìlìty Io grow iniîniteiy. However, you have Io seek out Ihis Iype oI ìnfomatîon. John remembers classmates 0t Bedciee who diIigenIIy applied themselves; 0t the Iibrary, in the Iistening rooms, 0nd they aiways ottended conoerts 0nd recitals. They conti nued to oxeei as a resuII ai their dedioatian while other students who sat around, etipecting aII oI this inionnatian Io be spoon-Ied to Ihem, eventuali)‘ Ieit. Ùnf R‘ IIÎÎPÎÎÎEÌQ w m ne 5553:5435. . . The maiority oI the band’: aompasitions are spawrted Irom iam sessians, ‘ someone oomes in with a riff, chond progression or groave, 0nd everyone prooeeds I0 deveiop it. Out oI some 0F these ioms, oli 0F which are pedormed 03 the Iope îs roIIîng, mony solid idees start lo heppen 0nd the band begîns Io work on anangements. Not onIy does John Iunction 05 the conterstone Ior the band’ 5 innovative song structures, he oIso oontributes many 0F the Iyrics. He is constontly awore oI the importanoe oI the song’s melodie 0nd Iyriool contea-Il, 0nd how they contribute Io the song a5 0 whoie. It i5 fortunate thai eoch 0t the band members shores the same înfiuenoes; Rush, Yes, The Dregs, Genesis 0nd Frank Mori)‘ ci the attribute: oI Dreom Theoter’; styIe, odd time signatures 0nd experîmental hormonies, ore the notural result 0F these coma-ton inIIuenoes.
  5. 5. .4‘: , _, , , _. ‘JR! tfltîîfifl! ‘ i131 @4720 o ò In order to mointein end deveiop tedinique during e gîven proctîce sessîon, John subdìvides hîs technìool needs ìnto tour dìiterent categorie: ottcl prooeeds to study exomples end oxercîses thot portein specificeiiy to eoch 0t these ootegorîes. This woricout consiste 0t: l. Senior, or Iineor emmplee 2. erpeggioe 3. legato: end 4. sweep picltîng. John ho; extensive iiies oonteining informatici-i {rom instmdionol vicloos, booia, ieesons, etc. , orgonixed ocoording to specîfic topics. lîtoreicomple he oomes ocross on orpeggioezootnpie in e magazine, hewiil rìp ìtoutond file it in the orpeggîo sedion. He continuously updetes end revises the oontents in these hies end logs them on o master Iist that he keeps hondy. This gives him e vost resouroe to top into when it come: time to predice. insteod et overwheiming hîmself wîth oli ot the moterîois be hes tiled over the yeors, John will sit down and customîze o proctîoe session eech l? ho ho: obout two hours to predice on e given day, ha will End on enemple or exencîse From eoch 0F these tour categorie-s end study eech oF them tor thirty minutos. îwo hours et this disciplîned end highly productive opprooch will oover the enlire topic of tedmìque. Gititen: John use: Five diftenent oustom lbonez guitors triade o! bosswood. Each guitor ho: o roeewood, 24 het Fretboord. The fretwidth is 6t. The custom pointwork wos by Don lawrenoe. Two otthese guiters ore seven-string modeis, with the low 7thstringhtneddawntotitenotefi. Stringa: John uees D'Addario stringa, enciusively. The atring gouges on the six-string guiturs go hom .0? to ,46. The low B strìng on the seven1trîng guìtors has o diometer o? .56. Pickups: Each guîtar Faotures two DiMerzìo humbuckers; one in the necl: end one in the bridge, dìrect-mounted into the body. The pidtups were custom designer! to John's speciiîoations by Steve Blucher. Pida: Jim Dunlop Jazz III tor electric pleyìng end o Jim Dunlop 71mm tor ocoustic. The lighter geuge i: ideol tor stmrnmed possogee. Rode Everything in the rock (designer! by Muri: Snyder) is wired through o multi-pîn system that 90a: directty to o Mese] Boogie Abaco: pedal boord, including the NoiseGote, Cryboby, Volume end Peremeter pedels. This rnokes his Iive set-up os hossie-hee as possible. The rock elsa hos on Aiesis Dato Disk that etkwvs you to sove, or re-Iood ony midi prega-cm: tor the lexioon PCM70. T. C. Electronics 2290, end the pre-omps. John progmnwted mony dìlterent potches thot he use: to vory his deon end distorted tone using deiays, choruses end other effects. A perumeter pedal veries the omount of reverh or delay during soioe or other sedìons in real time. Thîs enobles hìm to instontly reduce these ettects during tester possages to avoid wnshing out the sound. Pre-Amps: lncorporoting e swîtchîng system into o custom designa} rock-mounted set-up, ollows John to choose omong three diiterent pre-empe: Two Trioxìs pre-ornps end a Meso/ Boogie Mori: IIC Plus. Speaker Cebinets: Mesa/ Boogîe speaker oobinets Iooded with Celestîon vintoge BOwott speokers.
  6. 6. vJ %5-_ . -_-. -.. -.. .2»: . m-"eus. .. . .: . -.. -. 2:-_-. -. - To start thìngs oH, here's o tronscription ot un extended iam that showcnses mony 0t the techniques which wìil be discussed thnoughout thìs book. This wos recorded Iive wîth Dreom Theotefis John Myung (boss), Mike Porthoy (drums) 0nd Kevîn Moore (keyboords). *N. C.(Ant) "lknnality implica by rhythm section (throughout) . '-. ll. Pìlcti: (Îii
  7. 7. ì di Inno Masi: 7 _ i. , - g. ._ ' ÉEIÉRÈZÌIÌ ‘ÌTÎWÉFÙ-Éîiflfllîîìrffbî ‘Pilàì’. K"ÉLIJHìQIS| Î'f7IiÎÎîÈÌGÎÎZÉHÌIÎ il’ IÈESEIIIIL'4H'BQI’ figìîg'flî—mpj 11g; 53v: jqgzfi F‘ ÈVÈÉ’ ETEÌADVÉHÎFÎQHJÌK E ÌÎ Îîîflefiîlîîflnflîì Înî Hîlk -2 ‘ . ad [îiflhîfîfiflîî-K qîfgl-ÎÎNÎKÎKHFJIW XI É. » e sxmfim-Fturumîr HÌ”"= JLFSLÉ“L', ÎT “ i . .-. . '* 4 _. m 1 nehenîuu—rw 5-1:] H-FFFTÈFÉ-u 'J*S". 'JTCJIIIFÙî" gll'îvjxrun: ndflrx. ar 15.2.5111’ n.4‘ m. .a1ur. .': -x—' îtîîn-uî _. —'_DJI un 36:1‘ 1' wuur; awni&àu1suuIaH4t ire-d rAxw-wvîywîtîr-‘Innlflùuezh-Ìfi-mwvaîlîlîtîîîl’ . ‘îîmàj-Puîîlflnîngìpuî-xxîu-H "fili-si? '44_-2 l'1 .4 —. .lf. d_x‘î. anîijlîî îàîîìlî
  8. 8. , , -.-» 7 zwzx: )ì q; in. - 8 Inno Masi: . pîfig} É. . 1 b k H r’ . .— g: k 7 v ‘‘‘‘ . i: l‘ , _ r 1km, —__‘4 ' su men-ne: suwsem-Inunafioadunu-ueàx 7. u. .-’ " 1:9 . :.Éà‘În «the. efin: —'îîlîî_ fiujnfîîîîîrnnîè—xîî_îunax—_ét xîînlnxîrzxsmîî-îî r îîlîflvk: uanrantuxgnamîhguàiîflìîgpflr. rîfiervmvnlflllvanlàfleeaurslwfflfigîeauunuju-fl 1d 1_-—; 'Ì——K— t‘—"""‘“"—'= me—rr ‘Y amk , " , ÈWE-îfitéîfl-wm- z 4 , un; 4-, g 1î —. {‘ ' . :'<>— w-illi îiînîînnrî-îîîî "T îuuîîeeî-ìî 1"- , A'n”. ETTÌJx"Î'HÎ’ L" — rkî-‘LKTQ 4 r. r-Îîîùfimu
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  10. 10. T0 Intro Masi: "HL my Mine l: Jahn Permetti. . . Aut
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  12. 12. .9, 11; o. ’ ' *t"*î': ._ Qr‘=1î:11111î1îjîjj11=îîîinîéîîîî {<9 1111 î-u-îî-Îîuîî. ..» îîîî gmd. release gmd. retta“ l I L L . : .: .2 c: " . . . . wide vib. i 1 ‘Ì w - » a d‘ ‘a ‘L , - 1 «- .2‘ .5‘ e 3)‘ ’. > V "7. ‘T. a. C-“ _. , u €1» g 1b; q, -, ».— I , .—. .- ‘ i - _ — — 1 w“—' —- I îjîîî jîî îîî îîqî îî îî îîî îî e:
  13. 13. ‘eàeàîî. a! , I HHÌHHH «m» m *a. —. &an—a—aru n: J , r‘ Ice. ” ‘W d’ — i i ‘se. . e m. . î . , îîîîîfÎÎ-lìîfiîîiîîîî - V înîîìîîîîîî î fitfiaiéàse Amar ‘estese-i afigîaîauiffixà’
  14. 14. J 4-. .- ThisseclionisoomprisedofuseriesoîearerciseshaflocusonflsestreîchirxgondindaperudenceoflîxelefihorxdfibegodÎor Ibis ìype of exercise ìs no! io develop rnega-speed, bui raiher 1o simply worm up the | eft band, moking i1 eusier and more oornforîdfle 1o perîorm more difiicoh Oedìnicol task: during o predice session, reheanol or gig. Îhe fin! insîollmelìî From Ibis series d exercises deds wifh "mirror shopes. ‘ ‘Nume îypes o‘ {ingerboord shopes involve end‘: ci the Iefi band Finger: in onder lo equoly develop the strengrh and ooordination ci eoch Finger whìle ruavìguîing lhmugh o hondful 0F perrnuîutìons o‘ the exercise’: originol sîoning paflem. AII Îour finger: are orronged in o monner Ihoî is emodly opposìîe the origina! pcmem (like a rnirrorl}. Examplo l (Par! I ) Woîking Ihrough Per! 1 o‘ ihe fini exencìse, notice how the Mo ouîside finger: (1 and 4) rernoin sfofionory, whìîe the Mo inside finger: ore reversed (beat 2). Ned, the Mo inside finger: (2 0nd 3) remoin stafionory, whîîe Ihe Mo oulside finger: ore reversed {beat 3). T0 ochieve o pofiocl "minor imuge’ of the orìginal starîing pallem, sirnply reverse the îwo insîde fingere ogoin [beat 4]. This exercise is îhen frunsferred fo the nexî Iower string group and x-ìîxlî 1-21 lJî-x“ x—' -Z———ÙΗE—ÎZD'V - Î*: —Îx’? ' '—"_" ‘—ÎQ. |I— — " "ZÎÌ- — -’_"__— ’{-—fi1î
  15. 15. f“! I‘ uîînîîfùìfîta t. " (Pari 2) ‘the seoond port of thìs exertise begins with the lett hend in basioully the some position crs it was et the begìnning et the thîrd ber et the previeus exenwple. Hewever, this pattern i: varied slightty with the ineorporvtîon 0F a sketch between the 1st end 2nd fingers. Hene, finger: 2 - 4 remeîn stationary. whìte the 1st finger reoches down 1/2 stop tothe 9th Îret. The exercise is then pertormed in an identioul manner to Port 1, this time from the lowest string group te the hîghest. ‘i mmmrzs-fsaFe ‘E (Par! 3) r", In Part 3 o? this exercise, the iett hand finger: one arronged in o manner similar te the beginning et the thîrd bar in Part 2, the only vuriatîen beìng a stretch between the 2nd and 3rd fingere. Hene, finger: 1, 3 and 4 rernein stationery, while the 2nd hngerreochesdown 1/2 steptothe10th iret.
  16. 16. 4& l'l4—. r0'. —‘. - ‘ The final pert et this enercise invetves e sketch hetween fingere 3 and 4. AI the eondusion et Pan 4, the entire exercîse (Parte 1-4) con then be repeoted 1/2 step Iawer hom îts originel startìng point by repoeitionìng Ieh hand in a rnanner simîiar to thethîrd baroiParH, endthen Iaweringttte-tth finger 1/2 step soeoch finger is ogainone tretapartes in the firstborot ‘>- r1. _ _ . »‘ _ g e _ _, îgw 'r uîr j- _. 2 îlîî î-fl îîf Il î‘ I gî IP‘ 12 11 F" . —-——"‘ y. ..- ‘ " tîzreîizîsptîe {Pari t) Thîs teoond exercise is a vorîotìon 0t the first in that the chord shopes ore strummed u: opposed to orpeggîaîed. 1t olso mahes use 0t a ‘doobie-stretch. ’ The primary drerdat figure i: similar lo that et the first bar ot Eatemple l (Part l), hut here the 1st finger i: Iowered 1/2 stop te B 19th trofei 4th stringi end the 4th finger is ruised 1/2 step to F11 (14th hetof 1st strîng), thus the ‘dooblestretdt. ’ The tefi hctnd finger: ore then shìfied in exactiy the some manner os they were in the previous exercise.
  17. 17. Purt t; Warm-Up Excrriscs I7 lxcmple 2 (Par! 2) Forthefìnulvoriatîonotttrîsexercîse, astretdìoocunbetvreetseochofthelefi handfìngers. Hthîs stnetdmoronyofthe eerlìer stretches ore o little nnncombrtcble, try moving the antine exercise up to u higher region on the Fìngerboocd whete the tra: ore closer tegeîher. Aher findìng un area that ìs comfortabîe, begìn muving the exercise downword, groduaully ìncreosing the amount 0F stretching your Ieft hond will han to enduro. Example 3 Once oomtonable with the eorlìer exnmples, Exampte 3 shouH be the next choflenge. In this ammise, some 0F the previous -. dìordcl shopes ore stretched out so that the Ieh hond i: fomed te 0ever the eotìre wìdth of the Iìngarboard. To occornplish thîs, ' the 2nd and 5th stringe ore skipped, foming the left hand finger: to grob the tnmiliur chord shupe on the 6th, 4th, 3m! and i lst strings. This figure is then arpeggio style and pennututed usîng the some ‘mirror imoge‘ opprooch enooumered = prevìousty. The slrekzhes involved olso get incmosing| y more diffiwlt us the exetcise pregressa.
  18. 18. Now that the left hond is warmed up, it's time to give it a test and focus on the right hond. The exercises that Follow ore band on the arpeggio figure depicted below which i: derived Fnom a iamilior moveabie maior barre chord shope with the root on the 6th string, and on added 3rd on the Tst strìng. In the case of on A triod (spelled 1 [A] 3 [Ctt] 5 IED. the 3rd is C1. The figure itseli is two bar: in length and is rnowed along the iingerboard to impiy the chords A, C, E, C‘, G, B ond Ftt. The intervoliic string slrips in this exercise require precise ortiouiation and pickhond ethciency. This beoomes porticulariy diiticutt when usìng aitemate picizing (oonsistent oitemation hetween down- and up-stroices) beginning with o down-stroite. In order to be oomfortubie osing alternate picking in any situotion that rnay orise, it is recornmended that any exercise proctîced to periection using aitemate picldng beginning with a clown-shake shouid also be proctioed sterling with an upstroke. This iortes the right hond to beoome equoiiy odept 0t piciting ony omongement 0t notes. Play the primary figure 0t Exampie 4 and see how reversing the piclxing trips up its pîcking potemîol. Example 4
  19. 19. Par? H: Warm-Up Exerrises i9 Excmpk 4 {Variafion i ) Create voriotions of this exercise by playing each of the notes lrom the arpeggio more than one time. ln the fivst veriation, eoch note is ployed twioe in a steody eighth-note rhythm usìng alternate piclting beginning with a down-strolte. A1 discussed earlier, os a means of moking an exentise even more chollenging, use alternate picking storting with on up-stroke însteod of a clown-svolte. To molte this exercìse as interesting a: possible, try playing through the entire chond sequenoe using this new vnriation.
  20. 20. trîzrrxîfizpîe A1:": {Variation 2) In this next varìatìon, eoch note frvorn the erpeggio is rhree times. This generate: a handful of eighth-note triplets, or three notes per beat. Beoouse there ore un odd number of notes per beat, this molces it o Iittle tricky valten it oomes to alternate picking - especiolly whert startìng wilh an up-strolce. z‘n4.hxìr"'; nwnnuwwvanuanmn-v- v - —- Excrrgaple ti {Variafion 3) The hnol variotion involvos four notes per beat, or 16th notes. Agoin strive to oonsîstently alternate piclc strolnes, picking clown, up, clown, up, etc. Repeat the entìre exercise again reversìng the pîclcing; up, down, up, down stnolces.
  21. 21. 2! d; Α_'__t: ",i_ì_th'= +‘ _È_ÙÙ‘? «i552 I‘ e * i e_. __. _.@u1 <95 D Exflflmîe E (Part I ) Alter focusing on the right 0nd Ieft hands indîviduolly, the next step is to wvork on the syndìronìzction 0t both honds by practicing exencises where eoch is ìmptemented equofly. The first exercise invotves some o‘ the 'mirror shapes’ cfiscussed eortîer, 0nd alternate picking through string slcips similur to those encountered in Exomple 3. This challenges both honds beoouse the pick needs to choose the oorrect strìng to striko, 0nd the left hand finger: Meri to be there to Fret the noto ot the exoct moment it is stmck. This ìs oalled "etficiency 0t rnotion. ” This exercise should be taken oll the way up to the 12th Fret or Excsmple 5 {Part 2) Exompîe 5 [Pan 2] is a descendìng, retrogrode 0t Pan 1, lnsteod o? hegìnnìng the pattern wìth the lst finger on the 6th strìng, the pattern stods on the îst string with the 4th finger. Aguìn, o one4oar pattern ìs used 0nd repeoted os it descends chrornoticolly. The hìgher the storting point tor this exercìse, the more 0F the Fîngerboord both honds will have to traverse, providing a thorough odditìon to ony worm-up routine. To Further hone picking chops, try performing both parts of this exercise using alternate pìcking beginnìng wirh un up-strohe os discussed in Exomple 4. 3"- ' 5 d» . — » 4- , - n- v 1 . "' = '—'AÎ. —= =—— ' = === "'î'"‘-= =‘—" si‘. -= =ÈÌÈÈ= ""‘—= %ÈÉÈÉÎ . == = - '* ——‘ ù—— É— ' ‘ l. - I — t‘! V H V xiwnile u ’ f‘? ”" _‘. ._'__ ’ 1" " ' I »A— —u—— —n— . a——-- —H— —t1-— - —-so— ' ‘ ”‘*"’ ' h ’ 4*" _ . ., , - ÎÉ ‘ V i .
  22. 22. Thìs exampte usesthescmeîournote shapehuln-afiungedtoprovîdeamudwmmaomplexwoflaomîorboîhhonds beoause oftho string skips. Once the Fìrst bari: andar control, start movîng it up chrocnefimllytolîn hîghor frets. Notethat thetîrìgerìngisoonsîstemlyî -3-4-2. . ———-‘= - = '= fizmargaîàîe n? (Pari 2) Parmisaretrogrodeoflartl deacerxdìngchromatioolty. Notethotthefingeringisoonsîstenttyld- l -3.
  23. 23. t. t t I Lire‘ al tra u‘L-d[, =>@c—3c{l- AB r __. In order lor cny artîst to reach their own creative visicn, it is essentîal that the perlormer clevelop techniqtae. ‘this con be coltivatori by metîculoos stucly al the rudîments unîque to their instrument. Such disciplinati learning is a lundamental requìmfltent tor cny performer that wishes to play with o high degree ol competency and control. One area most allected by tedmîque ìs the ability or inobîlity to play rapld passages with precision. Thìs sectìon explores tochnical enercìses used to specilìaally develop this ability. Onewayto develop speed is to set and achieve a serica al shott-term gcals. In order to set thesa goals, measurements al speed must be urtderstood. That's where usîng a metronomo comes into play. A metrcnome, in additîon to boîng un ìnvclooble aicl in rleveloping your senso al time, is also a great tool lor monitorìng your progress. {îxtàmîp Se 7' Memorizza the A maior scale in the 4th positîon. In the lorthcomîng musical enamples, notes lrom this lingerîng will be used to clemonstrate rnany wcys to incorporate a metronome into a proctice session. 521cm pE-e B (Part t) Set the metronome to click al a rate cl 66 beats per minute. Play the A maìor scale in sync with the metronomo one nate per beat (quarter notes). Although this may seem lilce a relatively slow tempo, trying to time the delivery al each note precisely with eadt click may come as a surprîsîng challertge. îhîs exercise will point to some improvements that may neecl to be made insolar a: time leel is concerned. Alsa, this pulse will have to be maintaìned when advancing to smaller rhythmìc clìvisions ol ho beat. In each al thesa examples, malne sure that strîct alternate piclnìng is rnaîntoined throughcut.
  24. 24. fîxrtaîsriprk si‘ (Pari 2) Obviously, you con increase the speed by inaeasîng the tenspo, but you con olso brîng up speed by subdîvidìng each beat into smoîter porta. The more you divide the beat the tester you play. Play the A maior scolo ot double the spoed by pìoyîng two nota: tor eoch beat; one mio on the boot [dowtrbeot] and one note in the middîe of the beat (up-beat). Rhythmîoolly, you're subdivîdîng the quorter note into two equoî ports colled eìghth notes. {îzzmsacfîxfe 5 {Pari 3) Subdividîng the quorter note into three equo! parta results in eîghth note triplets. One obstode you wîll enoountar ìs haw the pottem ot up-strokes and down-strokes reverses with euch beat. It you play the first clown-beat wîth o clown-shake then the next clown-beat wìll be played with on up-stroke. Ex: . missile «E (Par! 4) Sixteentlt notes wbdîvide the beat into tour equul pants by divicling eoch eîghth note in ha".
  25. 25. Pnrt IV: Tuthnîque 25 Excmplo 8 (Par! 5) Sixteenth-rlote triplet: subdivide tho beat into six purts by either dividi ng eîghth notes into Ììree porti o! dividing eìdIttt-note Excmplo 8 (Par! 6) The test s Ibdivision in this series o! examples ìs 32m! notes (eîght nous per boot]. Runember, even though this is much tester thon uvhotwus ployed in Pan l, the octual pulsa hosrft chungod, only the division o? the pulsa hos.
  26. 26. Once you ochieve o oertoîn îevei o? coniidenoe ployîng the diiferent subdivisions to o metronomo, it's time to wort: on deveiopingoowrocyothigh îhebosic procedure istostortwitha stowtempoontherrtetronome, pioyogiven enxercise o: mony tîrnes os it toicos to master îtat that tempo, groduoliy inareose the maronome speed (opproxîntotely 8 beat: per minute), ond repeot the exencise until it is flawless. Continue to increose the speed oi the metronomo and proctîce the exertise untit you reoch the desimd tempo. The exorcise that ioilws incorporata chromotîcs (successive hali steps) into a iour-note-perstrîng pattern ptoyed in steody 16th notes (tour notes per beat). Deveiopments 1A - D ore votiations 0t this exercise demonstrotîng the use ai the metronomo toochiweyourgoal tempo. Aithough the tingeringsore diiierent in monyoftite deveiopments, theyore stili thesomebosic exercise pnesented in this exomple tronsposed up to higher positìons. A’ , ._ w3c- '. "n_ L’; _, < a . ' ix‘ 2 nuu ÎGÎESÉÉ= E HVHVHVflVsîflIile 2 I. L" à- r r? .—. _. _._ - ' t . _ Iîîî "'—M- 7 --- '- . E- I. . '- 11 . I I——— — i q 1—I—1xu 5m . ' . . . ù— 1-1 ‘*w—«_. Iu——— ‘x - 4 _____, . t, ‘, ---— * 3. — 1 4515175259573 (Developmen! 1A) Acoent the down-hect whiie moking sure eoch group ot 16th notes iolis eveniy between metronomo clidu. This will cleoriy define the subdivision ci 16th notes. A: thîngs get tester, this oocent viîtl help tunction os o reierence point to cieorly indicate where eoch beat should occur.
  27. 27. Î f , iÎIIfiFLifit-a a (Developmenfs 1B - D) 111i: nezd serio: ai developmenh oonfinue 9o move the origine! ezoercise io higber posilîons. Deveiopmmf 1B i: demonsiruied on the recording al 176 beaîs per minute. Developmen? IC, whîcb immedioteiy follows in fine audio, is ideniîcul 1o the lesi foor bar: o? Development 1B bui played o? 184 beat: per mînuîe. Development lDdemonslrofes rhese exad some Four bora wiîh dislortion ai o bmpo ci 200 beat: per minufe. “‘ 15". x r, — w- flb. ‘ b . . - . ù , , , w — 3- -s , , . p îîîîîîìîîggìî ‘ m1 12h10 i " o‘ îîl , « —. .._. .—î_î. îî. _. îînnggîn 111111 —îl —îl ‘fi. —-——. ._. ___- juu-h-g; .îjîîuîj ' n l _ Luv l : 5 r
  28. 28. F‘ aut-zecca fifa E95 {Develo menf2 h P liatanypoìntyou foci the exeoutìon ofan exercise i: notosdean and precise a: desîred, backlhe metronomo downtoa slower speed to re-estoblish comfort. Deveiopment 2 adds sîmiiar four-note-per-stfing pattern; to Developments IA - 4B with dîfferent string set: and dìiîeront positions. The rooording is dernonstratod ai obout 170 beat; per minute. ____. ._î îîîîìîîîîîîì îîî îìîîîîîîîîî —--î— r , g_. ,v*x. 4.. ‘ ' -v*). “_1. b . 1': ’“" ‘ ' 1 l, 7. ‘L7. 1x93. , . - n 8t» r . Ziîîîî îìî îìîîîîîîflîîîîîîî= îìîîî ì 7 îîîîî-îîîîîîì —_—. __. .._—î îî i i u __ — ‘ . “ a. Q u. . ". Ì. > . ‘ .1 3- ' ' "l a . . “v “‘ ‘ . « * ti: ‘ '24 ' " i I —: ’ ' — I ———: îîî—u——îîì—uîì— 7 giîîîjî îîî . ... ... ... ... .._—î____, __î. —.î. îî—. î__î I, ‘ î . —-—— î"
  29. 29. 3 Tethrfllnquc 2; ‘ m. y w m f r. a-wgsm-zu a" sr-flswxvfleralapîof r; 422% . r L &J 112: I QXÉÉÈÎ n‘ Ì lnhflàliìmfijir‘%jt 34:43:64: 1 r4“: Lfifirfiy
  30. 30. ÎÎIFÌWÎZQLÎ-ÉB {Developmenf 3) Mora voriatîans on the origina! pattern. 1 h‘. 2 a. a 1 — Îepe eepî-Îp ì à: ‘a «q "" a a 5 . ‘ , - - . . . . . , _ 1X “k. 1 = I aappaaaaaaìîaana I d‘ aaaoîîaìîîîîaîîaaaa g v
  31. 31. Pari IV: Tochniquc 31
  32. 32. 4 4mm‘ v u. - A 4 ‘"95 a’? 22713:5156 L74 {Development 4) AFter deoiding on a target tempo, ît may be oévontogeous to start with o siightty Poster tempo morlring. For enornpIe, i? you set 208 beata per minute in your sîghts, molte on attempt te overshoot this new 90o! tempo by turnîng the metronomo to o hîgher setting et obout 216. This torce; both honds to worl: horder thon ever before. îhen baci: 0K the metronomo ogoin to 208 and see i1 thîngs Full into pbce. Deveiopment 4 is the some tour uneosures a: before preceded by sîx meosures of single-note subdîvisions 0nd followed by o Ìick bosed on the A minor pentotonic. The tempo ci the reoording is J = 208. Notice the A minor pentotonic (A C D E G) bonus Iîck at the end.
  33. 33. 3 3 P U _u. n Ln C o VI u. .. o. r. a P
  34. 34. 3-4 Par! IV: Tcchnîqua: Ixaplo I0 Proem- rranged in o three-note- . ” . _. __ Use thismadexercinebdemnsfluîelmowspeedaidocmocycanbedevebpedbyusîruga metronometomonitor Thistime loth-notetripletsbix notes per beatldorivedirontttteE minorsoalefi F} GABC D) una per-string pattern.
  35. 35. 33 Anothergoodwoytodevelop speecl iztoworlronsmall, isolated soolelrogmentsorsegmerttsvmidteanbe practiaedoncl pesleded belore they ore oombined into longer, technioolly challengîng mns. In a senso, this approoch îs lilre taking small bites ata time out al o oomplex lîclt instood ol attempting to start righi oli swollowing it whole. The lrogments that lollow, ì oller a handlul ai melodie pattern: that oon be proctioed aver and aver with the eventual goal of incorporatìng them into longer, llowing licia to be used in improvìsing.
  36. 36. ' ‘A V: Tcchnîq 25:11:17 îî1k .1 îhîùîîîì ìîîîl ìîl-i î-îìììî ì1 . . _‘.7‘»'îî. ..7î'9m u il rana rara»
  37. 37. u” Nera? » . 9.. i. ">1; rque 37 n , ,.—, î.—. q Par! V: Tachn —. . 30,4255.. . . ‘ ‘ ‘ a. uflxwmxsuxîlfriw» ' . " ’ 1’. .:—- Î- *! '—W—F Qq . .
  38. 38. sani. .4." . . ‘ , or! V: Technîque 11"‘? « H e”. a « -. . . .. /r. —sumrrîîaìear*rî= -t——. w-v-—v—w- “V551;
  39. 39. '— ' i: . . . Lnru'n'. 'n. .-iu—av. u' . H‘ ’ —‘-. ' 1h. ‘ F? ‘ '—u'-’ 4| , Éììîìîiîîîîfìîîfî in — — hlalniuiuuîn-lhuunnuîcu. _ .5‘ .4 I V ‘ V VI F777‘! FWWi-‘nfisuîfirùf’ nuvàevnj; 7"? !’ 1. mîî-I‘ rhrTfluàrrfivcgfl-N rlaîaflnhtwì Lîgxln-Iunhdai îìzîì han Ilnuflîînîuùîîîîîîîî-îîîînî: — —î—uîu-_'a: _ îîîrg‘: ———u—îuî r’ _‘ _ r“ ‘#553215 . hn‘*——= -="sw parigina-w gnu-sagome. ‘ lai-vinta: night 117'191" 5314?‘! fin’? Aiuti FF'Î ì} É-fljîirfi-‘V’ F-"—'*’D'C'V4'-T Iîun-Kîîì Xfiîîîìîîîgîìîfiîìîî-ì ' îîîlfiîîîîîflî—îîîîîl'îîî'flîl"kîl"‘ilîìî—'Ò| filflfî ; www J, i { 1! a ‘i , _ _. ._-. .,. ., , .. _r—. —.>_a . a . 1 lî'î. îî JÎÎÎ .1 r. —n1.1-—. gr —. J-Iuh_nr {n.3111 54:11:41 zninun-Latlzx-Jlî-‘zlaerxr-Inîî-î III- utili! 1 Il îVîÎΗhx*ÎÎÎÎÎÎÎÎÎÈîIIÎÎVÌÈPÉîÎEFî î îìî 1 un“ ’, —? 'înî *'î-—-——, *‘%--ì “îîîn fl , 1: —- _ “L. '— IL ' 1 : r""*-—v-—, ,:; .-r-v»—-—. ,_: ;J"”——A “ V » z » .2" ' - , ’ a r . . a - w ì " . =. . a-. ..«. ';. _ ‘l: H 3;- ; . _ ' 7 ‘r ‘€5 ‘ ‘ ' i 7 r j‘ lTifîîìrT”"""”—”î ‘îî
  40. 40. t: zr, ..rgzggàrafo ‘E i" {Development 2) Scola Îrogments con be pructioed with o metmnonxe os dîsoussed eorlìer, or by ploying the exemises overond ovor in free time begìnnîng with o slow tempo, grodoolty incmosing the spacci, then bocking 0K to (rstower tempo ugoîn. In a woy, this oooelerotion and deceîemtîon is simîlor to the newîng of on automobile or motomycle cugine. Try vorying the degree o? dynomics in oortiunction wîth these chonges in speed. In other ‘wotds, play Iouder os the tempo inaeosewond quìeter os things slow down. On the reoordîng {or the îollowîng exomple, the tempo fiucmotos {rom opproximotaîy 58 boot: per minute, to oround 200. t’! zc-îrispfe ‘E ‘E (Development 3) Another woy to dewelop speed is to play the exercise over ond over, mointoinîng o slow to moderate tempo, and then perìodîoolly blostìng out o quid: fiurry 0t notes. In other words, iog for o bit, then sprint, the-n go bodt to iogging. Thìs ìs o woy to build stomino, os weîl o:
  41. 41. . ‘t u. » r_. ;. ‘ Puri V: ' '—' y— Fmkb-A‘. untgî-îw 4| îot—-îîîî. .îîîììîîììî îque i r. m . ..«; îkn». . Techn . ”"'l. i;îîl< 11o -, = www" ÎÎ . :É s» —’-F‘î‘r ‘r——«. ,_, ,., __ îm—e. »— __. ‘ _ o. . , t _ . . . «t. .. _. uffifl t Itr t . più . Ì f ti. tl. , 5.11 r. . 45.3.12 IT41431153111 Éîrfist ìlhkaznisfiuxîduxififir Éîfilfitéfleta 04K. . .1 141111 12.103.. .. 11 fibméttflaî , .. . _%umrîoo. ..trfi értîlxrfixamkîtrfhxfilflnflnv Mail. ufiyfinfifilfiwflvfliflfoîudmmînaîdiafitAHJIÈWNÉLHÌ. t| aî I . . . | uî| |nbrurrp| . 5.:
  42. 42. ‘C tîzzfirg-gtfiseîse L E (Developmentz! ) Another hm thîng to oowith oll of these exucîses, sînoe the/ re ononged in simîlor lotto-note or lòthmote trîpÌet patron-u, i: to lry spontoneously oombînìng o Îew o? them. Try to ho os imoginative o: possìble. The followîng exompla i; performed in Free fimo. Pì-eely Ì f — -‘ C“ x671 x111 __ : -""-_. _ __. __. _ —. _._—— _ , 1111111111 7
  43. 43. .&. ..vh H. V“ «m. ‘41’î'"‘. - «un. » Teti-m 43*] mc «u; ma; Îu‘ _, _ m*s. rî<vìli. .“ ’ ' Par! V: rum "flìîiîip 1.1 . —— ' ' ‘ ' ' gfilfnl“ ' " ' manu-hm; 11-n- —Î'Ì ———îÎÉ -—’—r! ‘ ma flwflîàfiwurtvx-r r a‘ W
  44. 44. A» , >4 44 Pari Vfyìèecfinîquc , n.s. .pm. .n, m, —, m a JmÉ 1 a f, ’ — E 1% “twuflx-‘nnzfl; . _n‘-îr-‘«4 ‘ A1939 r-“WÈ-nfirjìan ràîfifàîqfiwfi’ .
  45. 45. —= à7= 4 4 _ I_. — ‘J-“l 00m‘ ' 4‘ À: menfioned beFore, eoch one o? ìhese hugmenîs oan be used in the oonfaxl of on extendòd mn. The exnmpÎe Ihoî Îoîlows bkes Ihe poflems usecl in Frogmenîs 4 and 6 hom Exompîo 11, fronsposes fhem 1o the Icey oÎAmaior (A B C18 DrE F! G41), and înoorporuîes them into o longer sequence of nohs, playîng lhem on dîfîerenî pairs o! strings. i n U i ——-"" î—-——ì—— îî-o-flîîîîîr" . —- _ . .. , n: A. ,- 1- a _z, a
  46. 46. "i I z‘ 4" ÎÉÌÎKÉÎÉILÈÎÈÈ‘? L w3- This next sequenceofnotes i: derìved humoombînctîons ofboth Frogments îfiond ‘Ihqswell o: Froqments 15cm! I6. ‘lhe dìfierenoe beve is that the subdivision used te pertorm this possoge is oonsistenlly 16th notes (tour notes per beat) and the Îfflgmentscreonoeogaîntrumposedtothekeyotk ‘- a. _‘. -'». '*“i . . . , . . 2T». , ù . "- x 1 r "é-à= === =_—-= =:= == 16.‘ 11.. .. __. ._. ._1_1î:
  47. 47. al _, .. E’ r‘ " Éîifirfifaîugfihtî s. van Here's onother exornple usîng versions 0t Frogments 17 0nd I8 in ct Iéth-note string-skîppîng possoge tronsposod to the by o! A moior.
  48. 48. .oînn îhîs is not the typioot three-note-per-stfing sode hngehrîng, this sequence stuys in thesonne positîon in order b facilitate strîng skippingwiflxoutawkururdpositîonshîftshutnotelhotttteEonttme 3rdstrìng ‘Pthtretìstvepeutedbyttsefonttxeînd strìng 5th fret. However, the Mo E notes ore 0ever bada to back in this Iick sînce string skîppîng i; invotved. A maior scafo (5th posìtîon) x l a .5. 41 L I‘ i l‘ Îsî; V1 _, ‘s . ‘ v . x "* X fîxnîrrgpEe t" 5 Here's onother sequence based on one 0t the hugment: used eorlier. xî1,-n. ‘.x5..3.‘. w.,1‘. ;m. .,nJ‘. m., 's. ‘s. .Îa. ’Î'. s=. ,x*. -. ,, l - . . - . . - - . .. - = '. = îî; ———2——a— —îî l-n îjxx—— ——x— 1 1. —-—ìî——m—v—- ——î n—-———--î-—î1——î—— ———-——1 ndvî. "“"' V H îîîî ‘j — ì-q‘ , ___ 9' — = =-= — “ = ==-= =“"’ =3%Î} : é»—= -= -—s -«- ' —' * : “". ;1Η1 — î:
  49. 49. r: atrma": ' 4' uîmiîîrafli ‘u- l. t} îhe nexî example deluoosîrules how al! the prevîously loamed scalon- hchnîques con be oppîîod io ìmpmvîsing usîng primoriîyDdofiorHDE F GABqondDoedîcn minor IDE FGABb Qsooîeaîhesetypesofmnsorenmîefiedîvewhen used os fills Ieoding into or oul o? primcry melodie idea: os o meons of buìldìng dromoîic rensîon. lislen to the recorcfing finì, tben 9o back ond try Io implemenl some o! Ihese some rypes o? idea: into your omo playing. A755 Dm‘!
  50. 50. A7sus ' = ‘ , - x “ . ‘1 : —î1——'-— 9' _. ,, J _ > M 2a pr; flzz-un-ZZ- 'G'. ‘—EÈE—= ÈE= =EE= ÉEE= EE%EE= F ‘EE= A a. ZÎÎ. _ 'nî". _.— ‘ì Qìîj-u-î 1 m. =_=3EÉ= ';'? . _——. _.. ... -——-—— - î . _. qz- V“ ' “” î__— ——
  51. 51. . Éf . . , .. .,. ..». .À Pan V: Tedmique 5 l HL-«T- . un‘! . ... _.. . -_. -_. _._. ,x_xî_, __j__, ,j, fi_ dò. » . y _ _ _v, ;.a, ,v= -_ _ . z. m ‘ , .. .:. -.. . ‘Sua; ma; suu_{nui: mgua%“uv‘« - ———, m. A {f} I 1m ti} gfîèsx. cm & ' ’*‘ m *. ì j"'ÎQ . - usaqp-gnu, m . . r a K, î, a Îw . u. . 1l. lxq11wlal l. t uîfiLfififwîîulèT-ufià | ||| n |1I. .| uuuuuu un É. . È 7
  52. 52. 52 Puri V: îerhnîqun (85-11). ... ... ... ... ... ... ... ... ... ... ... g. M m". . mm m. __ . . e A u: E} E. Î. É g". w. - . ., ____ ___. I à _ ___ _ u: .4.. . . _ 3m. x r Iv . - 10” . , a
  53. 53. “tu, àr munirsi-up — n"; —. _.. ——E- w- . . i , __w_‘__î" îrîî .9 x ( , ,.. ,.. ——
  54. 54. g» - , +L! .€-‘; r’ _ x urrj‘ _È-É. t_l_1_ion, e_: drîy; Ì 1414i; ,11 i? gzfiflflh- . , nnr _ >4 i ’ Arpeggia-s) One d the more dîîfiwlt iedwnîques [or m0o! guiiorîsb îs using oltemohe picldrxg fhrough orpeggîos sinoo mosl o? the notes vliîhin oommon orpeggìo shopen om orronged in o orxe-nole-persuîng mnner. When vsîng alternate pìcking, Ihere will be ofewittsîorxoasîhaîroquîroflropîdxîoezteduîeonwslrokoona Iwrersîring oflsro down-sùokeon uhighersîrìng. This ‘inside the sfring‘ pîcking îednnìque i: Ihe mosî diFfìcuh pîdufroko io «rosi-or. {îxxsîrìgwîe E .7’ The {ollowìng oîudo Îocuses on Ihis owkword fechnîque. in geneml, whenaver presentati wilh on creo 0F fochnîquo that modo îo bo refìned, oreafing on crude (musical oxerciso) con nucleo Ihe prooess moda moro onioyuble.
  55. 55. a» a} è? ‘ . « , 3“ ‘i’? r; ‘un À î'—în—unnînîîî f Hnd ‘Teohnique w “Îhmf” W: ":É uiîî îuflî p1‘ s:
  56. 56. While the previa»: exercise tocosed on one type otpicking sîtuotìon that orise: when alternate pìdnîng through orpeggìos, the exercîse ìtself didn't octuolty use orpeggìo shope: u: the meun: oF developing this technîque. New uppty the picking pattern in Exnmpte I7 lo on orpeggìo possoge. Îho dìfiiaxlîy hommo: immedìotely opparent in the orpeggiotion of o G mio: triod (G B D) in the 7th position. . eîzzcrmsîx «e t’ a h Insteud o) procticing thi: some orpeggio ove: and over, the toflowing etude odd: some variety by înoorpomtîng maior ond minor orpeggio shopes into the dtord progression: G, Ben, Am, Em7. Theta ore otso some trîcky string skîps.
  57. 57. 37' legato means ‘to be perlomed smoothly, wîthout ony breolc between notes. ‘ ‘lhìs i: typioolly indicated in the notatîon sta)? by o slor whîch oppeors o: o curved line over or under o serie: o? notes o) dilfenent pitches. This type ol technique i: extremely demanchng on the lelt band, o: it i: required ta articolate eoch note by a serie: ci hamnìerons and pull-oits, with minimal piclring octivity. Proctice the tollosving scale lrogment: îndependently, and then apply them to longer legato runs. ldeclly, eoch of these lragments should be proctîced tor one minute eoch, without stopping, oonneding eoch hugment into the next. iìtxesrgrgî le T5 9 Frogment I Fragment 2
  58. 58. 58 Par! VH: Lrrh Hand Ycdnniquc Example 20 ‘lheselrogmentsoan alsabeployedooanystring, using a wider stretch between notes il desired. Theyaen aisobeplayed in my posìtion and any lzey — diatonioally or chrornatioally. play 5 time: '- m l. 4 m, p
  59. 59. r, “ ; ' ‘rîîi’ _4._. .», 'gg»; ,_. ,_5. -. -— _, _ , «g. , , .,; .r. .., __w“. _". j Pari VII: Lch Rand îcrhniqvc 5 (=4!. —' . ... .._-—. ."_ -_. î. . —. a’. .. . —_. ..r—. —_— 1421141411141421 îîîîj= ìîîîîîîîîî ‘o r ùx r w r3 s x p"; ,: 1 , -.'"« .4 m‘. Dì figflîì Xî 'J'—, flî àjîJ XII îîîîîìîîîîîîîîîîîîîll îîîîîî—îîîîîîîîîîîîll 2 1 «r. "e, V >« ' 14' xx‘ slum-d 1nd E31; u ‘j’î——xxx——xîî2 ' . ;n. __. ._-.4—'. uuîn-: o -. - . . . . _ . ,Z. i‘ l ‘r > -' ai nani-ninna? ‘ Rrrî îîìflàî j. .. ì g. _. ._. ._» '. ... . 1a”: 'A, ..a. .-. ... ..-. .. . ... .-. un. -:. ... ... x I1‘? . A ' '. h
  60. 60. ÎÎIIdÎÌLîiflÉQ 32 F. ‘ New il’: time to talee the Iregments studied in Exomple 19 and put them into exponded sequence: through scale: using tlory little picldng.
  61. 61. k H _ A A . ,, . _ i , ‘ d, ‘ -——" i 511‘! ' "4 v r . a Îhi: exercise uses two dîllerent three-note-perstring Iingering: lorthe A maior suole [A B Ctl D E F} Gtt). ‘Ihe aseending pottem is based on the Iingering in the 5th positîon, while the desoending pattern use: the 7th posîtion Hngering. These ore both depided in the exomple below. A maior scale {5th position) e.
  62. 62. al The sequenoe leamed in Enomple 21 con be performed between any Nroposiîions usîng Ihree-note-per-strîng scale lingerîngs, or even using random pattern: that shift up or down in holf-steps wîthaut molrîng ony referenae ta a specîlìc tonal area. The lotter i: demonstrated in the oxample that Iollows. Freely 7 ______. ___ = I'—. __ — irîvîfl-Èîîîl i5‘ —— ____. î . —.——‘î—î"—= !'= T""'—"—'*P. ‘LGVL’ «î 1L l ' (- r g r‘ e ‘ îj’
  63. 63. .. A—-, .., _.. ... ..—‘1, erm4.es444em5———h_n—? m|—q»—n3. -9yw«ì—-x_, qgAg-t—'-s'+"‘r""‘ù"—‘t‘7%'e 5t; art VI 3B .1‘: — . :»-’*»—'1t. ro_, ,1: s- w “gag; hlLeIîI-Iund Terhnique 6J l P sul , îîîfitîî” ‘ Z-îàîîîbî: Iaflflxcî: i «i r
  64. 64. 511575119145 23.9. Thislegotopottemis inthekeyofîoeotion minot (E F1} GABC D) and requimovarìetyotshìftsfium theletthand. Example 23A is wrìtten out in stecdy sîxfeenth notes (Tour notes per boot) in on eHort to mah the possoge onore aocessîble. Tnis axwzîse olso employs Îretboord topping, which is indicoted by a '+" obave the nòtolìon and TAB staves. Here's the example a: it is perfonned slow, out o? timo. Em / ‘ . "‘-'- . ""'= ==""" Î'—-— = =—. .—= -;. -.'.1— . . p ‘t w ‘ ‘x- t 1.. ‘ *‘ 1, ‘ I ‘I- = v , 3 . A ‘. 4 - . -.GE= ..= -=_ .5‘: «a = :=_—_-. .t. _-= = _. =:%: ___- ___ ‘__ __ v , 7 ‘h " la " "1 _ , . ‘n. ”‘ i, ‘ L w k ,
  65. 65. __ 5'355’? x352 fair? ‘L4 When this enercîse is pettomted to a steody pqlse, ìt yietds on orroy ot unusuoî rhythmîc subdîvisîons (note the groupîngs 0t 5). When written out în this monner, it beccate: epperent that the esoondîng Bgute i: bosecl on a singutor otte-octuve legato sequence that is then tronsposed up into the guitor’: higher regîster. In onatysìs o? the fìrst measura, notice how the notes oontìned to this meesure una repeated vecbatim in the second Ineosvre, only one ottave hîgher, then in the next higher octave in the thîrd mecsure. Each ottave is dentonstrated independentty in the audio. îhîs is Îoîlowed by the tappîng sedîon which i: oonhned to the tourth bar. ‘the remoinìng ber; involve o descettding version 0F the origina! one-bar lick transposed to eoch Iower octave. J=1s4 ì 3 t. m'1"‘11“' ‘“ “fit _ .1_ . . _ _ . - . . ‘s. 1., É ‘-s‘ ‘h, ’ T<< ? "‘Eî ' et y îyîîîîîîîîîîlJîîìîîîîîîîî= îgg _ îîîîi p ——————-—1-——--————xux———— —1-—-—xs “5.' = : : m a. x 4| tmt "L"-—y'ÎÎL-y‘Z-" 5 ‘s. —'vnî t “k1: 31:21:22: ——à-— — u 4;; -. 3 5 . - É 5 t . zen ""-'-—-—-—-— "‘— —. _ e "" x1 e ' , t î 1J _ ìîî îîîîîîîîîî I v l , . t ‘L ‘ ‘n’ ‘ " u.
  66. 66. “Pìrf VHI Rîîfihf Hcmd Technique Amttter typo 0F left hand technique i: ohen referred to o: ‘sweep-pîddng. ’ In some circlu this technique is sometimes oalled ‘economy-piching. ’ Typiooly, this technique i: opplied to orpeggîated shopes, os opposed to senior examples, to odìieve o Îost thmy o‘ notes. In the exercises that follow, eoch orpeggîated shape inwolves primarily one note on eoch string. When played sinwluneotuly. some ot these stupes moy even be remìnisoent 0F some tomiliur mandate barre chord shcpes. Itowever, when using them in ooniunctionwith sweeppicking, itis importontto sepomteeodtotttnenotespîoyedbythetehhottdbyptesìngfiwmtottte tretbocnd one noteototime. Don't Ieteoch note ring intothenetdsoostoavoid creotingadtotdol soundJhe ‘sweeping’ ospect i: the oentrol oomponent 0t this technique. When ottempting to execute ony sweep-piddrtg possoge, it is imponmt that the pick adiculate eoch string seporotety, in sync with the lett hard, insteod 0t usîng o strumming motion. To occomplish this, otter pìotcinglltetirstnotewith o down-sttoke, allowttte picktohzll intotho neadstringsothotîtrestsupogoinstit. hlext, push the picl: right on throogh this higher string 0nd continue this motion untìl the pick ho: pussed throudt eoch 0t the strings ìndioated, using one smooth ‘sweepittg’ motion. For the descending version 0F on orpeggîo shopo, use this some Iype 0t motion, beginning with un up-stroke on the higher string, pushìng through to eoch lower odiocent string. Examplo 24
  67. 67. u Eîfiîìîîfîiù‘ ÌÉE Tlwose Iypes 0F shapes ore no! unlilto some 0F the finger ponems monumenti in Ihe eudier wurm-up ammise: whem ‘minor shnpes’ wem 0nd. Here's the some oxercise tronskmed io Ihe nena Iower ad o? 9609s. 8m throaghour , , i _ _d_— ’ ’ —"-' ‘ ‘—î"——1_. _‘q n.53 11g ‘ x — u, —_ — îhis next exencise involves the some îypes 0F shcpos erscountered in the previous axonmles, only cada Idi band finger i: stnotdned Iooooessodifierentorrangensettldnoîes. In the oooompunyirmg audio, this axercîse is ployod upb speedaî I76 beat: per minute. ‘x. b , , a, - , "x - u ‘a a. o ‘L i‘ w x 1- b‘: F; 3-1 l ‘ ‘ g‘). t- l —1_ . 1,1 —îî" îîî; T‘ —î V ' j" l —-Z———-—. ___ 'j 1111"‘ 11:13“! = -——— -—‘—'—- ‘ --' ndv * «.1.. .» "î“- -——‘_’I HHHHVVVVJÙRH:
  68. 68. x'—"'” "Î . . -. , 7’- Ì Iflfiìiîvîgîxke Alaîz. Here's one more meep-pîcking ‘enertîse. Thîs one îs oppfied lo lrìadîc orpeggîos. no! » sequence oI this ammise implîes fixo chord pmgressîon D, F5, EÌGII, À. ExompIo 27A depîcìs Ihîs scorda in sIeody eîghfis nolm and îs on gxnd îrunsctîpîion oI îhe audio. Notîoe fin! the H and A orpeggîos ore fimo some Iingerings used in Ihe pîcldng warm-up exegdses in +- 4 ‘a . ,.—» I " ‘v L I‘ " i k F’ > a. I ' 4». l‘ àaîìîî îì-î-îà- 1 îî î-"î-îîîî1- . —îîu—îînìîuîuîu îîîîîî —îîî“ îîî ‘îîî- v v u-nuni ili- v n n n n H H H v v v v î V V V V H H l‘! H / _ 4—‘°—“î"‘“' ‘(a g‘ a. î‘ w. "' ‘s. w. ' ‘ x A #4. 5 ‘o . W = g=îxîî1h nîgîg: V__ ___ n 2 1m-—î___g_= _; x = u1—u 1 1-îî, E —'—— “ VHHHHHHV VVVVVHHHHHHV VVVVV r 12:51:12: pie 1'212} Menplayedîoosfoadyîempo, înonderforeodunewdworddxongeîolandsquorelyonobeoLihedescendÌngversìonsoI Ihese orpeggìos Involve the pedormorm oI some odd rhyîhmic groupings. Nofioe how severa notes ore cmmmed into the spooeofonebeoîonbears Zanddofeach meusum. ‘Î 4‘ 9a n. 1 _ - ‘ x F’ x. i u ù ' 1. ' îîîîîî . -= î ‘îîìîîîî 7 H îìîîîîîîî "'î= :—. =_-: =,-_. -.= =-= —=, î= —— _, —_= =E= =EE 6 7 6 7 n . ... ... ... ... ... . "4 V v . ... ... ... .. -4 n ----------------- "4 V, “ v. -- - 4 ‘ <' , D‘ 1‘ HG’ z a w. I A 1 4| A 1. ' 1 1 “ I ' I‘ ' A îìîîîîî , î îîîîîîîà ns-azggj: = EE= . ""’ o 7 ** "‘ 6 7 ‘“ E sùnlle fx ’_
  69. 69. e. _î_r-: rt"«‘I-‘1:’ ; .=’ =4r <: a:i: ).i* : ‘:vr= .ì mi —, nnnnn' uflfyw’ ‘- .4 Chords) . ,_, ,. , Up lo this point, much 0t the mnterìol ha: Iocused on ÌOCIÌRÎQUO 0nd developìng New il’: time toswitch geors 0nd concentrate on buìlding un eIFedive chord vooabulary. fîxmzzpfe ‘ti; ‘Ihe exnmples that Fellow provide on mnIul 0F ever-Ioittnb) ‘power chonds‘ (root and fiIth), and aiutateci by indudîng certoîn notes Ior odded color 0nd druma t0 the basìc chord progreesìon. Bebw i: o common soquence 0F ‘power chords‘. B5 A5 DS/ A G5 E5 F‘ uxraîrscpfe E32‘! ‘Power chords’ con be voìced in o Iew difîerent wuys. Sînee there ore only M0 difiemnt notes in 0 chord (root 0nd fifth), the! outomatioulty Iimits the number 0t vufiutions the chord con have. Chord I bekwv is e bosic B ‘power chord’ whìch oonsists oI the root (8) 0nd its IiIth (F5). Îhe B con be doubled one octove higher (Chord 2) os one varìotion. The Iifth con olso be ployed on the Iowest scundìng string, yìelding the chond B5/F1 (Chord 3).
  70. 70. ‘d: ‘mafie ma“ . ,I » . I . , A "F1 r! _ . . f‘ ur- j mîmacazy-zs. e 13.4,; <2 Puttingtftefìfthîntltebossefapouwerdxordìsobooneadretnelyefiedîveeempesîtîanldevîoethdoddsmmmeetbîhe textureotcsottgmspedollyitthebosspIayerisplayîngtttechodsrootnqîebelwît. FÎ - f‘ "- t s: rassegnata: Il OneotttulypeofpawerdsordimolvesttteodditîonotflvedtodsflhhvorofldwordtftenînîhisCfltolhebosîcmotond Iifthchord stmctum. OntheIìngerboerd, ttisoduallytokesmtheplwysîcoloppeemnoeefhoponerdrordssîockodenbp otoneanother. In orderto Ihonoughly understaod where chord tono; ondchord extensîons originate, i! i: neoessarytobeoonne ìamilîar with thesoulesfromwhìch Ihese notesorederived. Bebware somecommonorìe-octmre fingeringsbrttteCmoìorflonionyC minor (Aeoîien) endCMìxoIydìan scale: (R: root. 2- 2nd noteofthe acclamata). Immediately Iotherîghtofeadnofthese seulesisancrpeggiobegînningwiththenotecîheseorpeggîosoocesseveryottnerooteoftheseeîe. lnùecmeofttreC moior scale — the male’: r0ot(C), thîrd (E). FiFth (G), seventh (8), etc. Itis this pattern lheteon beusecl tofonn ovarietyat difierentsoundîngdwordgeochwithCosflìeîrrootnoteAhlîwenfltertotesC, E,GondB(R-3-5-7)oresounded simultaneousty, the sonority thetìs genemted ìs colled e nnaior seventh chord. Îhat‘: beeouse thedrordconsîstsofu moior trîod, spelled: R (C) 3 (E) 5 (G), and the netdweoessîvedmord Ione, the seventh (B). In duomi eonstructiomoflertlte sevenlh noteofoseolefì’ in thîscnse), ttnnotesthatfoflowgobeyondmeodaveondbegînbocoaswhtureoulled "ex‘tensions. "flrenînth(D)isoneoctavennduwholestepobovefluemotnotflfljutitisstill reellyasîfttteseeoodnoteot thesoulewezelobeplayedinostapwisemorwxerfromitspoîntofefigìn lthafswhytlnefl‘ isìnporentheseeneadteltxe '9'). Hewevenifectsordlîsofsbeîng ployedolreodyeomistsotltxefownotesFremthesoalekorpeggîoallthewuyupto the seventh, any odditimol note handionseson extensîon. Thcfswhere chord symbols Ìike Cmoi9,Cm0iIl 0nd Cmoil3 eornetrom. urna
  71. 71. C minor {Aeolian} chotd ione: and exiensions C minor {Aeolian} l“ 33 11- * ‘ .3». : R 2 ba 4 s 56 57 R R 53 5 57 90) 110051306) R B7 90) ll(4) !3(6) R. qTVT-""J“fî. Ef’ t‘; L “J l rAaflafiLèi‘, n‘ 74 Beiowonevorialiomofosimplepowerchord uiteredwitfttheoddîtionofiustortenote: t C5isthe basìcpowerchord. 0AddtheitrdnotefromtheCmaiorscnleIEHocreateuCnniordmrcHC). 0 Add titeminor 3rd (Sia), bortowed Iremthe C minor (AeolionheoleJorcC minorchord (Cm). 0 Cwsî isthe reeuîtotoddîng the 2nd note homthemaior scale (D). Remember, sinoe this chond cIoes notcontuîn the3rd, thebfunctìonsosoîndinsteodotafiu. 0Intreducetluefourthnoteoititamoiorsoniemtothebosîcpwerchordtofoflnùw. Sinoethenetscftaîirdpeeeenntlme 4thîsseenossuspendingthe3rdtoo4thinsteodolflndioningosmodded11th.
  72. 72. eîzzezrscg; le 36 l Nowiet’: repeottheprooessbutthistìmeeddtwonotestotheadroro: t Add the moiorthîrd (Hondthemoiorseventit (B) ondyouhcmoCmoîchord. t ‘the oddition 0F the minor third (E5) 0nd minor seventh (B5) Cm7. ti the moior third (E) and minor seventh (B5) ore odded to the C5, this yieids the dominont chond C7. Now odd o 9th (D) to the top oI the moior ond minor triods. ‘i C(9) con be described o: o C5 with moior 3nd (E) 0nd the 9th (D) odded. t Cm(9) invoives the oddition 0t the minor third (E5) ond the nìnth (D) te the C5. C(9) Cm(9) ili)? - {Ex-ruggine 2:2 New let's include the i lth: ° When odded to the power chord, the oddition ci the moior thind (E) and the eleventit (F) create: o C(i l). - Add the minor thîrd (E5), minor seventh (B5) end the eieventit (F) ond you have o Cmll chord. This chord voicing i: orronged in o monner thot ollows Ior the 5th (G) to be pioyed in the boss. I C(lI) Cmll
  73. 73. tîzzzzîizzgs 5o 33:. With this new intormotion, it now beoornes possîbie to toice o bosic chord progression, oonsisting oI oniy power chords, 0nd deveiop the sound oI the chords to odd some spice. For exompie, let's tolte o typiooi chord progression invoiving the chords irîzzenrzsfzsîe .1’- 3 ti‘. You con moize these chonds sound much more interesting by: t Toidng the A5 end odding the minor 3rd (C) ond 9th (B), creoting un Am(9th). - The F5 ohord is tronsionned into Fsusî witit the oddition oi the 2nd (G). ° The G5 chord ìs mutoted into Gsus2 os the chord‘ s 2nd (A) is inoorporoted.
  74. 74. ago-fluttuano: a 41:11.2. e. . "(Ìvwwon-r-rxwfio ‘Ì 4" H7 tu; .1 xtLmuLm H. sul . This next exornpie point: to the importi-ance 0t ‘ordtestrotion/ ‘Ordwestrotion i: the od otossignîng spedite ports in o piace ci mosic to speciiic instmments. When done weiî, this con odd o new dimension to on ensembie. The exomple thot Ioiiows demonstrotes one woy in which o band oomprìsed 0t two guitors oouid tolte odiontoge oi their irtstrunsentotion by aeating two distinctiy dîiîerent ports. In on eitod to moximize the 050d 0t the chordx ztvdied previousiy, these types 0F eodcndod swndswerepiayed orpeggio styie on oguitorvsing odeontone soeooh ottheirdmmoticooiorsoonbedistînguîshedufln odditîorsol guitor, with o distorted tene, odds the pewer chords (rom whidi these extended sounds were originoiiy derived. Exontpie 34A is the cieon guitor pan. _. .._. __Î. _._. c— —n—. ——u
  75. 75. r‘! - . r q. T‘ tfiîrîfltîî-afnté “m”? Before you tackle the forthoomîng audio exomple, mola: ture you understand the follewìng enetysls. A side by rider comparison ‘o? the origina! '5' chord to the full voicing matte: it eosìer to see eacnctly hov/ eadr o! the Basi: chords were trunsformecl. Notîce how ohen the udditîorsoî notes ore the result 0F ollawîng open strîngs to ring that ore otherwîre muted or ovoîded when playîng iust the ‘power drord. ’ ‘F59. lzAnkftbeeomesAsusîbyoddît-vgtheîrxd. o Fìg. 2: Depîctsoas whîchpozittutheodcfitionotin 4th, beoomes B403. 0 Hg.3:8yoddingthe3rdand7thtoC5,Cmui7ìscreoted. t‘ Fìg. 4: C85 becornes Cflm7 byoddîng the minor 3rd and minor 7th. I F39. 5: 05/A i: eompletely reworkod by elîmîmtîng the 5th (A), and oddîng the moior 3rd end the I 1th to gel Dl] l). * Fìg. ézTransîonnttteC5into C(9) hyaddingthentoior 3rdortd 9th. e Fîg. 7: A5 beoornesAmtfl wîth the inoorpomtîon oHhe mînor 3rd and the 9th. t Fîg. B: AG5beeontesGsus2byoddingthe 2nd. - Fîg. .9:Addo2ndtoD5tocreateDxus2.Addthe3rdlnttrebessendthe2ndbecomeso9thresuItîngìnoDWJ/ Ffl. 4 Fîg. I0: F185 beoomes Fttmll with theaddîtion ofthe minor 3rd, minor 7th end the 11th. 0 Fìg. Il: F5chordistrunsfoanedtdFsusîwhenthe2ndîsincluded. ° 59.12: E5 isearpanded into Esus vrîthttteodditîon ofthatcltord’: 4th. * Fîg. I3: Byreptocing theAthoHhe previouschorflwîtho 3rd you have on open-positîon E. 0 Fig.14:F1t5wìth thecrddîtionotttre 3nd, themînor7th and 11th, mwlts in FWIH). 0 Fìg. l5:A5becomesA(9H: yoddîngthe3rdend 9th. - Fîg.16:85beoomesB(II)hyoddîngth-e3rdandllth. 4 Fîg. I7: C135 beoomesCitm7 litro Fîg. 4. In the oooornparrying cucito, the ‘power chords’ ore played Iive, with o dìstorted guitor tene, ogoinst o programma! sequenoer ptcyîng the arpeggìuted port.
  76. 76. 2a F15 Ffmll Eîffiîfiìîfiî E13 €5 The prevîous mmmple irrvolved o hondlul ol chords that provvide on ìnterestîng point of depurture lrorn typiool ‘power chord" sounds. However, the pmgreesion in whîch theee chorclz were plcyed lunctioned more u: o vehîcle for leomîng, u: opposed to o song-orìented chord cycle. The exomple thot lollrms incorporate: mony of the some chords, hut more Iilze o real piace of musîc thot eould be used a: o background to o vooel port, or to ocwmpony o solo. Once egoîn, the power chords wene added with distortion whîle the sequenoer play: the second guìtar part. Gtr. l (DÌSL) 1Asus2 GIB C(9) D(9)IFÌ Gsus2 Fsus2 *Gtr. 2 (Clean) Rhy. Fin. l --------------------------------------------------------------------------------- - - t 11- 11- 1 11- ì1._ u. .. ne‘. "— ‘ “' ' e} Vî-îî-fl‘ , i 5.» "f hold tltmughorrr lì I ‘Scqucnccr un‘. for su‘. tHarmony dcrived from both gtr. pan: combinod (throughout)
  77. 77. _ un. -- mmmm__ r e; rqur: -. ,,__ . ’0.c. I.n. -_-| -1-! .îésf 6.. îjî —-—I.11I îî ____. ___. .. p5: ____, . _ è _ _. .____fl. .. . : àv. lr—'. '-1M, î!gf un. n . o"‘“î; i"i . ... .x“é+"-r’-v- a " Pari IX ìèî- nìq-u w wciu m. îji; ,e 4.. _n, e_c_a, aî' lîhg. ‘ IjjîbìîA " , . x r 21th negata vwwîèfitîîk x1
  78. 78. 78 par? IX: Chorduf îexhniquc C(9) B(ll) E è è __ __ , _ h" __ ; ___: ___ m .2 a ___. ___ L, W _ u". w , ._ __, _ H01)--*----------""'""""-'“'""""”""""'"""°"“‘““‘“"""“""” ___— w La .5, : . __ M __ u H _ _ __ m __ __ ___ ___ ___ m ___ % B _ ___ , m ___. V Î ___ ___ . _ Î __ __, _ E ___ m. m; 2 N. L l. .. È . u É m . .. www c u . .
  79. 79. mnzuméeefl-flwg-mafibfln, .. ,,——, q”, ,,g. ,__. —_4,__, ,_. .._uwww-mar«A41"r2p. ..g. -_u-+—a-g. a—+—, ——. _,, .,_wì, _.—. ._. .4—-. ÉÈL-u. u.. .—-î, —___oîî—, ._. .._. gg. uqo_; -aga-—. a.—a—ikaa—sag*—au, @5491.- 4.359,15.” 49-04,,
  80. 80. .I, .?. .a. :,{. ,.. ,._wM. u.a . . H hm H. I g. , .. È : Chordal Tecbrnîque Pjan IX . .-1[I}? I,; é:% o. 8 r», I {. u. n l44l| .z. I n.11
  81. 81. a5 C1Im7 A(9) «r 1 I. 3 ' — 4 îîîî Ùî I-îî-“îî I “"'-î"""*%î ‘làài-àj-I -Ix -—x1=î= — | PM 4 PM 4 P4414" Asus9 G/ B C(9) I 1 r9- z x I ‘i. x . ... .'Z 2—îî— : — P. M.-I
  82. 82. 323%: '-—- ì ‘Dìlufllh- 4‘ _ “a; . a > , " dà eL-n. ‘ “ , « > mani. amnaznùmvk —'1îîîlîîîîntgknmînfluîîîxfixî r, '- . . In-nnqni-w-mumntîzìîî" îi là xr"= ""= rtr"""“-"""—‘î= îîrxî. v . A . .. . , ; ' ‘ A" s‘ Ì la , . I: a Ì]. x34,’ ' ' x-îuzîîuu-usnznfluîzaìxfllnfinafiuaxflnflt î-xzzmuzunuxn: îî DÎIflm‘H_flmÌIÎfl Hmìî-{HIÌÉTÉ * Inî ìn-u-îìîuzaî una: _ _ _ ìmnmrfi . . . . x ". _
  83. 83. Pur? IX: Chardal Tethniquur- 83 Fflsus C8m7 M9) C8m7 G/ B wflhy. H}. l (Gtr. 2) 1% rima B(l l) A3032 E5 C8m7

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