MB21103M
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2 Title
Audio Contents Dur.
Track
Page
Minor Patterns ............................... 2:30 ....... 1 ................. 5 Major Patte Patterns rns...... ........... .......... ........... ............ .......... .... 2:30 ..... ......... 2 ...... ........... .......... ....... 6 Super Arpeggio Arpeggio ...... ............ ........... .......... .......... ......... .... 1:15 ..... ......... 3 ...... ........... .......... ....... 7 Super Arpeg Arpeggio-G gio-Grou roups ps of 3 .......... ..........:33 :33 ..... ......... 4 ...... ........... .......... ....... 8 Super Arpeg Arpeggio-G gio-Grou roups ps of 4 .......... ..........:33 :33 ..... ......... 5 ...... ........... .......... ....... 9 Flamenco Flame nco Right-Hand Right-Hand .............. ................... ........ ...:48 :48 ..... ......... 6 .... 10 & 11 Am7 - D7 Arpegg Arpeggio io Study ..............:45 ..............:45 ..... ......... 7 ...... ........... ........ ... 12 Am7f5 - D7f9 Arpegg Arpeggio io Study..... Study ......... :45 ..... ......... 8 ...... ........... ........ ... 12 Dm7 - G7 Arpeggi Arpeggio o Study ........ ............. ....... :45 ..... ......... 9 ...... ........... ........ ... 13 Dm7f5 - G7f9 Arpeg Arpeggio gio Study Study ...... ...... :48 ..... 10 ...... ........... ........ ... 13 A7 - D7 .......................................... .............................................. 1:20 ..... 11 .............. 14 C minor Be-Bop...... Be-Bop ............ ........... .......... ........... ........ 1:18 ..... 12 ...... ........... ........ ... 15 Three Thre e String Major Pattern Pattern ........ ............ ....:58 :58 ..... 13 ...... ........... ........ ... 16 Four String String Geome Geometry try ..... .......... ........... ...........:53 .....:53 ..... 14 ...... ........... ........ ... 17 Chromati Chro maticc Geometry Geometry ..... .......... ........... ............:32 ......:32 ..... 15 .... 18 & 19
Title
Dur.
Track
Page
Whole Tone Patterns Patterns ..... ........... ............ ........... ....... :56 ..... 16 .... 20 & 21 Add a Note ..... ........... ........... .......... ........... ............ ........... ......... :49 ..... 17 ...... 22 - 25 Arpeggio Arpeg gio Study Study ...... ............ ........... .......... ........... ............:45 ......:45 ..... 18 .... 27 & 28 Thirdss .............. Third .................... ........... .......... .......... ........... ........... ......... ....:41 :41 ..... 19 .... 29 & 30 Fourthss ...... Fourth ........... .......... .......... ........... ........... .......... ........... ...........:39 .....:39 ..... 20 .... 32 & 33 Etude In G Majo Majorr .......... ............... .......... .......... ..........:29 .....:29 ..... 21 ...... ........... ........ ... 35 Minor Etude ..... ........... ........... .......... ........... ............ ........... ....... :40 ..... 22 .... 36 & 37 Diminished Dimin ished Pattern Pattern ..... .......... .......... ........... ...........:27 .....:27 ..... 23 ...... ........... ........ ... 38 I,VI, ii,V Etude .................................... :46 ..... 24 .... 39 & 40 F Minor Study ...... ........... ........... ............ ........... .......... ........ ...:44 :44 ..... 25 .... 41 & 42 Around Aro und The Circle Circle ..... .......... .......... ........... ........... ......... :35 ..... 26 .... 43 & 44 Circle Circ le Variat ariation ion ...... ............ ........... .......... ........... ............:33 ......:33 ..... 27 .... 45 & 46 G Minor Minor Line Study ..... .......... ........... ............ ..........:35 ....:35 ..... 28 .... 47 & 48 Major Blues Blues ........... ................ ........... ............ ........... .......... ......... :36 ..... 29 .... 49 & 50 Minor Blues Blues ...... ............ ........... .......... .......... ........... ........... ......... :28 ..... 30 .... 51 & 52
Contents Acknowledgements ........... ...................... ...................... ...................... ............. .. 3 Introduction ........... ....................... ....................... ....................... ........................ ............ 4 Warm-Up #1 ............ ....................... ....................... ........................ ...................... .......... 5 Warm-Up #2 ............ ....................... ....................... ........................ ...................... .......... 6 Warm-Up #3 ............ ....................... ....................... ........................ ...................... .......... 7 Warm-Up #4 ............ ....................... ....................... ........................ ...................... .......... 8 Warm-Up #5 ............ ....................... ....................... ........................ ...................... .......... 9 Warm-Up #6 ............ ....................... ....................... ........................ .................... ........ 10 Warm-Up #7-11 .......... ...................... ........................ ........................ ................ .... 12 Warm-Up #12 ............ ....................... ....................... ........................ .................. ...... 15 Warm-Up #13 ............ ....................... ....................... ........................ .................. ...... 16 Warm-Up #14 ............ ....................... ....................... ........................ .................. ...... 17 Warm-Up #15 ............ ....................... ....................... ........................ .................. ...... 18 Warm-Up #16 ............ ....................... ....................... ........................ .................. ...... 20
3
Warm-Up #17 ............ ....................... ....................... ........................ .................. ...... 22 Warm-Up #18 ............ ....................... ....................... ........................ .................. ...... 26 Warm-Up #19 ............ ....................... ....................... ........................ .................. ...... 29 Warm-Up #20 ............ ....................... ....................... ........................ .................. ...... 32 Warm-Up #21 ............ ....................... ....................... ........................ .................. ...... 35 Warm-Up #22 ............ ....................... ....................... ........................ .................. ...... 36 Warm-Up #23 ............ ....................... ....................... ........................ .................. ...... 38 Warm-Up #24 ............ ....................... ....................... ........................ .................. ...... 39 Warm-Up #25 ............ ....................... ....................... ........................ .................. ...... 41 Warm-Up #26 & 27 ........... ...................... ....................... ...................... .......... 43 Warm-Up #28 ............ ....................... ....................... ........................ .................. ...... 47 Warm-Up #29 ............ ....................... ....................... ........................ .................. ...... 49 Warm-Up #30 ............ ....................... ....................... ........................ .................. ...... 51 About the Author ........... ...................... ....................... ........................ .............. .. 54
Acknowledgements Acknowledgeme nts • I would like to thank Robert Gish (an author in his own right) for helping to organize this text. • I wish to thank my good friend Mitch Holder for introducing me to Bill Bay. • The audio was recorded at CasaBlanca Prod., www.casablancaprod.net www.casablancaprod.net
4
Thirty Challenging Guitar Warm-Ups Introduction
These warm-ups are intended for any guitarist willing to practice who wants to improve both right and left-hand dexterity. They are challenging, jazz-oriented exercises in concept an d in execution and primarily most suitable for players at intermediate to advanced levels. I use these studies throughout my teaching—in university and secondary school jazz classes and in private lessons. Some of these studies offer suggestions, including left-hand fingering, on how to play them though you are encouraged to experiment. Some are in 4/4 time but some are in odd meters like 6/4 and 10/4 to exploit a given position on the guitar. Most of these studies involve a musical premise; however, some are based on a geometric shape. Remember too that correct practice and repetition will help assure mastery of these etudes and their application in your playing. Good luck and have fun.
Warm-Up 1
5
Good for both hands. Based off of the 1,2,3,5 degrees from F minor and continuing up in fourths (1,2,3,5 B f minor, etc). A two-string pattern, using five keys in one area of the guitar, reversing itself when descending, ending on F minor. Alternate picking advised at first with downstroke, then reverse, starting with upstroke. Then explore other possibilities. Move up and down in half or whole steps to the 9th or 10th position. Pos I
1
etc.
3
1
4
3
4
T A B
4 3 3 3 1
3
1
3
1
3
1
3
2
4
5
4 5
4
4
4
4
etc.
1
4 4
3
1
3 4
3
1
3 4
3
1
3 4
3
1
2
4
2
Warm-Up 2
6
This is a continuation of WUl but is based on 1,2,3,5 degrees of a major chord. You may stretch between finger one and two (preferred) or three and four.
2
Pos I 1
2
1
4
2
4
3
2
4
T A B
4 3 3 3 1
3
1
3
1
3
1
3
2
4
4
6
6
5
5
5
5
etc.
4 5
3
1
3 5
3
1
3 5
3
1
3 5
3
1
2
4
2
Warm-Up 3
7
My students call this the “Super Arpeggio.” It is based on thirds on a diatonic scale in one position. In the low position it’s a Df with F as the lowest note. Practice at first by repeating the first two bars. This exercise is movable and thus should be practiced in other keys. The second level of practice involves playin g the first two bars ascending chromatically and then descending. Diatonically these can be worked out for every degree of the scale and are equally sonorous.
3
Pos I 1
T A B
4
3
1
4
3
2
1
1
4
4
2
3
4
4
3 1
1 2
3 1
Ascend chromatically to desired fret then descend in the same manner.
1 3
4
4
1
2
Warm-Up 4
8
This exercise, excellent for developing technique in both hands, is built off of WU3 but is in the fifth position (the key of F). Play the pattern in groups of three.
4
Pos V 3
3
1
T A B
4
3
3
4
3
1
3
1
1
4
3
4
3
2
3
4
4
1
3
3
3
3
3
2
5 6 7 5 7 5
8
7
5
8
5
8
7
3
8 5
6
3
5 6
7
3
3
6
6 7
7
8
7 8
7
8 5 8 5
5 7
8
7 8
Arpeggio and Diagram for #4 and #5 5
T A B
5 6 7 5 7 5
8
8
8
5
Warm-Up 5
9
This is a further development of WU4 in groups of four.
5
Pos V
1
1
3
4
4
3
4
1
1
3
4
3
4
1
2
3
4
2
1
3
5
T A B
6 7 5
5
7 5
8
5
7
8
6
7
8
5
7
8
8
7
8
4
8
5
5 6
6 7
6 7
7 8
7 8
5
8
5
8 7
5 7 8
5
Warm-Up 6
10
This exercise bears a flamenco influence and is equally rewarding for right-hand technique with fingers or pick.
6
Pos I Finger = Fret
T A B
3
3
3
3
3
3
0
0
0
0
0
4
4
3
3
2
2
1
1
3
3
3
0
0
0
0 3
0
2
2
0
1
1
0
0
0
0
4
4
0
3
2
2
3
3
3
3
3
3
3
3
3
0 1
0
0
0 4
0 4
3
0 3
0
2
2
0
1
1
0
0
0 4
0 4
0
3
3
2
0 2
1
3
3
3
3
3
3
3
0
0 1
2
0 2
3
0 3
4
0 4
0 0
1
0 1
2
0 2
3
0
3
0 3
3
0 0
0 1
3 3
1
0
3
3 3
1
3
3
3
3
3
0 3
4
0 4
0 0
1
0 1 2
2
11 3
3
3
3
3
3
0 0 0 3
0 3
4
0
0 0
1
0 1
2
0 2
3
0
3
3
3
0 0 1
3
0 1
2
0 2
3
3
3
0 3
4
0 4 5
0 5
3
4
Diagram for #6 Pos I
o
o
o
o
o
1
1
1
1
1
2
2
2
2
2
3
3
3
3
3
4
4
4
4
o
o
o
o
o
1
1
1
1
1
2
2
2
2
2
3
3
3
3
3
4
4
4
4
Warm-ups 7-11
12
Movement here is up and down in half steps. They may be sequenced as warm-ups 7-9; 8-10 or in parallel order. Numbers 7-10 are ii-V progressions, while number 11 is a Dominant 7 exercise.
7
D7
A m7
1
T A B
3
4
3
1
4
1
3
3
3
1
4
1
5
8
7
1
5
7
7
7 5
4
7
5 5
1
9
5
8
8
5
#7 through #11 – Move up and down in whole or half steps
8
D7 9
A m7 5
1
3
4
2
1
4
4
5 8
3
1
3
8
5
4
1
5 6
3
7
8
4
1
1
7 8
7
5 7 9
5 5
13
9 D m7
1
T A B
3
4
3
2
1
4
G7 3
4
2
3
1
5
8
8
9
5
4
1
6
7
7
7 5
1
7
6 5
4
8
8
10
5
G7 9 D m7 5
1
3
4
2
2
1
5 8
4
3
1
2
4
5
3
1
6 6
4
7
8
4
1 1
7 9
8
6 7 9
5 5
14 A 7
11
1
T A B
1
2
3
1
1
3
4
4
3
1
2
3
5
7
8
7
5 7
9
9
D7 3
1
4
3
3
1
5 9
4
1
3
7
7
8
5
3
1
5
7
3
1
7
5
1
6
7
7 5
4
5
6 5
3
3
4
1
5 7 7
5 7 9
5
Warm-up 12
15
This etude is based on two bebop licks and may repeat continuously in one key up or down in whole steps.
12
C minor Study Pos III
1
1
4
4
3
1
4
2
4
1
3
4
1
1
3
3
3
2
1
4
3
2
1
4
2
3
6
4
3
2
1
4
1
4
6
3
6
2
4
1
3
T A B
5 3 3
3
6
5
2
5
5
6
3
3
3
6
6
5
4
4
4
5
5
5
3
V 1
2
1
4
3 2
3
2
1
4
2
1
1
3
IV 1
III
II
4
2
1
2
4
2
3
1
4
1
4
3
1
4
1
3
1
4
3
3 3
6
4
3
4
4
5
4
5
6 5
5
5
8
5 7
8
6
5
6
8
6
7
4 6
5
3 5
2
16
Warm-up 13
Warm-up 14 14
17
Geometric 4-String Pattern 4
4
3
2
3
2
1
4
3
2
1
2
3
4
1
etc. 2
3
4
1
1
9 9 9
10
10
10 11
1
11
2
3
4
8 9
11
8 10
12
9 11
12
8 10
9 11
12
10 11
In the same manner of #13
12
11
Warm-up 15
18
Another flamenco pattern handed down as a speed drill, based here on both chromatic an geometric patterns. 15 0
T A B
1
2
3
4
0
1
2
3
4
0
1
2
3
4
1
0
0 0 0 0
1
2
1
2
3
3
4
5
3
4 4
1
2
3
1
2
3
2
1
3
2
0
1
2
3
4
0
1
2
3
4
0
1
2
3
4
0
1
2
3
4
1
2
3
2
3
4
1
2
3
3
4
4
4
1
2
3
4
1
2
3
4 4
1
2
3
4
1
2
1
2
3
3
4
1
2
3
4
5
10 11 12 6
9 10 11 1 2 4
5
6
7
8 5
6
7
8
7 6
7
8
9
8
9 10
9 10
11
19
4
4
1
2
3
4
3
2
1
4
3
2
1 4
3
3
2
1
11 10 9
8
4
3
2
1
4
3
2
1
4
3
2
1
4
3
2
1
7
6 5
4
4
3
2
1
2 1
11 12 13 14 13 12 11 13
1312 11 10 12 1110 9
6 5 4 10 9 8 7
8 7 9 8 7
4
3
2
1
4
4 5
4
3
2
3
3
2
2
1
1
0
4
3
2
1
0
3
2
1
0
4
3 2
1
0
6
5
4
3
2
1
0
4
3
2 1
0
6
4
3
2
1
4
3
2
1
0
0 4 3 2 1 0 3 2
1 0 4 3 2 1 0 0
3
Warm-Up 16
20
Patterns based on the whole tone scale. Each one can be practiced individually or may be connected. 16 A
Whole Tone Patterns
T A B
1
2
4
1
3
5
7
3
2
4
4
6
1
2
1
2
4
1
6
8
4
2
4
5
7
1
2
4
1
3
3
5
1
2
2
4
1
6
2
4 4 5 6
4
1
3 4
2
4
1
2
4
1
4
1
3
4
2
4
1
2
1
6
2
4
1
2
4
2
4
4
6
1
2
3 4 3 2 3
5
2 3
4
6
2
6
5
5 6
7
4 5
6
8
4
4
21 16 B 1
4
2
1
3
7
5
3
2
1
4
2
6
4
1
4
2
1
4
8
6
4
2
1
4
2
7
5
4
3
1
5
3
4
6
4
2
1
4
2
1
4
3
1
4
2
1
4
2
1
4
2
1
6
2
1
2
4
2
6
4
3 4 4 5 2 3
2 5
3
2
1
4
2
4 5
1
4
3 4
2
1
6
4
2
6
3
5 6
4 7
5
8
6
4
6
1
3
Warm-Up 17
22
This may be referred to as “add a note” and is based on the C major scale. Play the first notes of the scale and then return to the first note and continue up, adding a note as you go. This may apply to other forms, using the principle of ascending movement. Next step is to apply the principle in descending order.
17 Add-a-Note VII 2
T A B
4
1
2
4
1
7 7 8
10
8
10
7 10
8
8
7
10
7 10
8
8
10
8
7
10
7 10
8
8
10
10
3
7 10
8
7
7 10
8
10
8
10
9
4
7
7 10
8
7
7 10
8
10
8
10
9
10
23 1
7 9
7
7 10
8
7
7 10
8
8
9
10
10
9
7
10
10
8
7
10
7 10
8
4
3
7 7 10
9
10
9
8
10
7
7 10
9
7
7 10
8
7
7 10
8
10
8
10
9
10
9
10
9
24 17 Cont'd 2
1
T A B
8 7
7 10
9
7
7 10
8
7
7 10
8
8
9
9
10
10
9
7
10
10
9
7
10
10
4
8 7 7 10
8
7
7 10
8
10
8
10
9
10
9
10
10
8 10
9
7 10
9
7 10
8
7 10
25
1
7 8 7 7 7 8
8
9
9
10
10
8
10
10
9
10
7 10
9
7
10
10
8
7
10
10
2
7 8 7 7 7 8
10
8
10
9
10
9
10
10
8
26
Scale and Diagram for #17 C Major
Pos VII 2
T A B
4
1
2
4
1
3
4
1
7 7 7 8
8
9
10
10
8
10
3
9
4
10
2
4
8
10
1
2
7
8
Warm-Up 18
27
These are basic arpeggio forms in the key of G with the added seventh. This is a parallel arpeggio etude. Each one of these may be practiced individually first, then as written.
18 Pos III
3
3
G M7 5
G Maj7 2
T A B
1
4
3
4
3
2
1
2
2
3
2
4
3
1
1
2
2
3
4
2
4
5
5
4
4
5
5
2
2
4
5
5
4
4
4
2
3
3
3
G m7
G m7 5 4
3
1
3
1
1
4
3
6
1
1
4
2
1
3
1
3
4
3 3 3 5 3
2
2
3
1
3
3
4 2
3
2
3 4
1
6
5
1
3 6
3
6 3
3 5
3
3 5
4 6
3
6
5
6
6 6
3 5
3 4 6
28 3 3
3
G7 2
1
4
2
3
2
1
G7 5
1
4
2
G aug 3
1
1
3
3
1
1
4
3 3 6
2
6
4
4
3 5
4 5 3
2 5
5 2
2
2
6
2
6 4
4 5 3
5
4
4 2
2
3
G dim 4
2 3
1
4 3 1
7 3
3 4
5 4
3 5
5 6 2
4 6
6
3
3
6
G 7sus4
4
1
1 3 1 3 3 1 4
6 3
1 1
3 5
3 6 6
3
5 5
3 5 4
3 5 6
3
1
4
3 7 4
3
3
3
6
3 5
3
3
4
3 6 3
1
1
6 3 5 5 3 5 3 3
Warm-Up 19
29
Etudes in thirds. May be practiced individually or connected. Nineteen B is the inversion of nineteen A.
Pos II 3rds
19 A
2
1
4
2
1
4
2
4
1
3
1
4
3
1
4
3 1
4
3
2
4
4
2
5
3
1
4
2
T A B
3 2 2 2 3
3
3
2
5
4
3
2
5
4
4
2
5
4
2
1
4
2
3
2
5
3
5
5
5
5
5
2 5
3
5
3 5
4
5
2
4
2 5
4
5
2
4
2 5
3
5
2
3
2 5
3
5
2
3
30 19 B 2
1
2
4
1
4
1
2
2 3 2 2 2
3
3
2
5
5
4
4 3
5
2
4
4
2
3
5
5
4
3
5
2
3
5
5
5
5
5
3
2 5
3
5
3 5
2
4 5
2 4
2
5
4
2 5
3
5
2
3 5
2 3
2
5
3
31
Scale and Diagram for #19 A and B G Major 2
T A B
4
1
2
4
1
3
4
1
2 2 2 3
3
4
5
5
3
5
3
4
4
5
2
4
3
5
1
2
4
2
3
5
Warm-Up 20
32
Same idea as number nineteen, only this deals with intervals of fourths.
Pos V 4ths
20A
4
4
III
2
2
8
T A B
1
1
6
8
3
4
4
2
1
1
1
3
3
4
1
3
4
3
1
1
4
4
5
8
6
7
5
7
5
8
7
8
5
7
5
8
7
8
V 1
1
2
1
3
4
4
1
1
3
3
4
4
1
1 3
3
4
1
1
2
3
5
6
4
1
8
5
5
1
2
5 5 5 5 3 3
5 5
7 6
1
5
5 8
1
1
1
5
6
7
III
3
2
8 8
5
7 7
8 8
5
7 7
6 5
8
7
3
2
4
6 6
8
33
20 B
V 4
4
4
2
8
2
1
1
6
4
3
1
2
1
6
5
4
3
8
7
3
1
7
5
4
3
III
3
1
1
4
4
6
5
8 7
5
5
8
7
V 1
1
2
3
4
4
1
1
3
3
4
4
1
5
8
3
1
4
1
5 5 5 3
5
7 5
6
8
5 8
7
8 7
8
6
5
3
1
3
3
5
1
5 7
8
1
7
2
1
1
8
1
1
5
8
III
3
7 5
7
5 8
2
4
6
8
3
1
5 7
1
2
5
6
2
4
6
8
34
Scale and Diagram for #20 A and B G Dorian (Gm7) 1
T A B
1
2
4
1
3
4
1
3
4
1
5 5 5 3
5
6
7
8
8
3
7
8
3
7
1
2
4
5
6
8
1
2
4
5
6
8
Warm-Up 21
35
Gmaj 7 to C-7, I to IV minor etude; triplets challenging especially in the second part.
20A Pos II G Maj7
1 2
II
III
G Maj7
C m7
1 4
3 4 3 2
1 2 1 2 3 4
1 2
1 3
3 1
2
3 1 2 3
2
3
4
1
3
3 3
4
4
4 5
3 4 5
4 2
2 3
1
4
4 1 2 3 1 2 3 1 2
3
2 4
3
3
2 3 2
T A B
4 1
III
6 3
4 5
3
3
2 3 5 2 4 6
3
4 5
3573 4
4
3 5
5
2 5 2 3
V
IV 3
3
3
3 3
3
3
3753 4574 7
5 5
6 7
8
875
5 6
3
3
3
5
IV 3
3
3
36 4574
III
G Maj7
3
3
3
II
III
C m7
3 5
43
4 5
6 5 3
2
3
23 5 357 45 7 457 5
Warm-Up 22
36
A standard minor progression. Here on the first set of four strings. Works down in whole steps in three keys (similar to “This Masquerade” progression).
Pos X
22
IX
Dm
3
1
1
1
3
4
3
1
1
10 12 13 12 10
T A B
VIII
C aug
D m7
2
4
1 2
9
10
VII
2
3
3
1
G
9 10 12
8 10
10
3
4
3
1
3
3
1
10 12 10
8
12
4
3
8
10 11 9
1
7
10 10
2
1
7
10
10 9
VIII Fing. = Above Cm
B aug
8 8 8 10
10 11 10
8
C m7
7
F
7 8
10
6 8
8 8
8 9
7
8
8
10
8
6
5 6 5 8
7
37
VI Fing. = Above B m
A aug
6
8
9
8
6
B m7
5
6
E
5 6
8
4 6
6
6
8
6
4
3
6 6
8
4
6 7
5
3
6
6
IV A m
3
E 7
1
1
1
4 4 4 6
3
6
4
7
3
6
1
4
1
A m
3
2
4
2
1
3
1
4
3
1
3
3
3
4
3
7
6
1
3 5
4 6
4
3
3 5
3 6
5
5
6 6 4
5
Warm-Up 23
38
Dominant 7 arpeggios, ascending and descending in minor thirds which spells out a diminished scale; good for both left and right hand.
23 Diminished Patterns Pos II III D7
1
F7
0
0
2
3
1
1
VI
IV
A 7
4
3
II
1
3
IV
VII
etc.
B7
1
I
1
4
3
1
2
4 2
1
1
2
4
1
1
T A B
3 4 0 0
3 3
2
3
6 6
6
5
4 9
1
2 6
5
4
1
2
1
4 4
7
5
7 8
4
6
8
X D7
2
B7
1
1
A 7
etc.
F7
4 1
10 10 11
7 13
7 8
4 10
4 5
1 7
3
4
3
2
2
5
4
4
4
7
6
6
6 8
3 9
3 5
4
7
4
2
1
6 2
10
Warm-Up 24
39
Line study on I, VI, ii, V progression in major with the line moving up in minor thirds.
Pos II
24
G Maj7
1
2
T A B
2
3
E7
4
5
2
3
1
4
2
5
3
1
3
A m7
3
1
2
1
4
2
4
1
D7
1
2
1
2
3
4
3
1
4
4
1
3
4
4
6
7
9
10
1
2
2
4 3 4
2
4
1
3
4 3
2
2 5
3
2
5
2
5
2
4
5
5
3
V Fing. = Above B Maj7
5
6
G7
8
6
C m7
F7
5
7 8
6
6 7
5
7
4
7 6
5
5 8
6
5
8
5
6
8
6 8
5
7
8
7
40 XI Fing. = Above
VIII Fing. = Above D Maj7
8
B 7
E m7
E Maj7
A 7
9 11 9 8
10 11 9
9 10
8 10 7 9
10 8 11
8 11 9 8
11 8
11
XII F m7
1412
8 10 11
13
9
IV C 7
11 12 14 12 11
9 10 12 13
X
G add2
B7
IX
D add2
4 1 1 3
4 1 2
4
4 1 2 4
VIII
4 1
2
4
3
13 12 11 1310 12 11
13 11 14 1412 11 14 11 12
121315 16 14
11 13 14
1512 1214 1310 11 13 12 9 1012 11 8 9 11 10
Warm-Up 25
41
F minor 7 pattern from bottom to top, top to bottom, the entire length of the fingerboard. Bars 1-8 in the same pattern ascending up the root third and fifth of the chord. Bar 9 begins a new pattern for the descent.
25 Fm Study Pos I F m7 1
T A B
4
3
III 1
4
3
1
4
1
2
1
3
1
4
3
1
1
4
1
3
4
3
1
1
1
4
3 1 3 1
5 5
3
1
4
3 3
3
6
5
2
3
6
5
3
2
4
3
2
4
2
1
6
4
3
2
5
3
2
6
1
3 4 4
4
3
3
3
1
5
3
6
3
5
4
3 4
1
6
VIII 1
2
5
5 6
3
5
4
2
1
6
4
3
4
2
3
2
1
8 6
9 9
10
4
IX 3
11 10
1
4
2
3
3
8
1
4
3
1
4
1
11 15 13 11 11
13 12
13
15 12
42
VII
2
1
4
2
1
4
2
1
2
11 15 13 11 13
1
8 15 13 11
III
IV
4
3
4
1
11 10
2
1
2
8
9
11 9
8
1
4
2
1
4
8
6
4
6
4
2
1
8
6
4
3
2
1
4
2
1
6
4
3
I 3 3
5 6
2
1
4
3 5
1
4
3
1
4
3
3
5 6 5
3
6
1
4
3
1
4
1
4
6
3
6
3
1
5
3
4
3
1
6 5
3
4
2
6
4
1
4
3
3
6
5 3
1
4
2
1
1
6
4 3
1
3 6
5
3
1
5
3
3 4 5
4
3
Warm-Ups 26 and 27
43
Circle of 4ths and 5ths down the neck. Begins with C Dom 7 upward, one bar each. These may hook up with each other.
26 Circle of 4th and 5th Down the Neck F7 VII C 7 2
T A B
2
4
1
2
1
8 7
4
3
7 10
4
2
1
8
7
4
3
1
2
1
4
7
10
3
4
2
1
9
8
3
2
1
10
9
7
2
4
1
4
9
11
8
1
7
10
B 7
1
9
7
10
10
9
7
8
8
8
VIII E 7
1
A 7
4
1
9 8 8
11
4
1
2
3
2
1
8
D 7
1
2
1
4
2
3
1
4
3
8 11
10
8
9
9
8
9 11
10
8
10 11
11
10
11
44
VI G 7
B7
4
4
3
2
3
4
1
4
E7
1
2
4
8
2
7
9
9
8
7
9
6
6 9
2
6
9
9
8
6
1
4
6
9
2
1
7
6
7
7
VII A 7
2
D7
1
6 7
4
9
2
1
8
7
3
9
2
8
1
6
1
7
G7
1
4
7
10
2
1
8
7
4
3
1
2
10
9
7
8
C7
1
2
1
8
7
4
2
3
1
9
7
4
7 8 10
10
4
3
1
9
8
6
45
27 Circle of 4th and 5th Up the Neck Pos II C 7 F7
2
T A B
1
2
4
1
3 2
4
1
3
III B 7
1
2
2
2
5
5
4
2
2
1
4
3
4
5
3
5
2
4
1
2
1
1
4
3
6
1
4
3
6
2
1
4
3
4
3
1
6
5
3
4
3
1
6
5
3
3
3
3
E 7
2
A 7
1
2
1
4
3
4
2
3
1
5
3
4
D 7
3
4
3
2
4
1
6
5
4
6
3
4
2
2
1
4
3
3 4
4 6
5 6
6
4
46
IV
G 7
B7
2
4
1
3
2
1
5
4
6
3
6
2
5
1
E7
1
3
1
4
4
7
2
1
5
4
4
3
1
2
7
6
4
5
1
2
1
5
4
4
2
7
D7
3
4
3
2
4
1
4
2
G7
1
4
6 7
7
6
5
7
4
4 7
5
7
2
1
5
4
4
7
3
6
6
4
5
4
V
4
1
4
4
A 7
3
1
4
2
5
C7
1
4
4
7
2
1
6
5
3
2
1
7
6
4
1
5
Warm-Up 28
47
Line study on I, VI, ii, V progression in G minor, using the five basic scale forms.
28
V
III Gm
1
T A B
E m7 5
3
4
3
3
A m7 5
1
1
2
D7
1
2
4
3
4
6
Gm
1
4
3
1
3
6
5
3
4
1
7
4
E m7 5
3
3
1
3
7
3
4
1
7
8
5
7
5 5
2
5
5 3
1
5
6
6
VII A m7 5
1
D7
4
2
Gm
3 1
1
3
1
E m7 5
4
4
3
1
1
A m7 5
1
3
4
1
D7
4
2
8 5 5 6 5
8
4
7
8
7
8 8
7
5
4
5
7
8
7
10
1
4
7
10
1
4
8
11
2
48 X Gm
1
E m7 5
2
3
1
2
A m7 5
3
4
1
2
XII
D7
1
3
Gm
1
3
4
10
12
13
E m7 5
2
3
1
11
14
12
1
1
2
1
4
3
4
15
14
15
10 11
10 12
11
10 12 13
10
10
12
12
13
12
11
V A m7 5
1
D7
2
13 12
1
12
4
3
15
14
Gm
4
2
15
13
1
3
4
1
3
1
11
14
15
11
14
12
1
2
1
13
12
4
12 15
Warm-Up 29
49
Line study on C major blues, using the tri-tone principle (first bar is C arpeggio, shifting to G f major arpeggio); bars 5 and 6 use the same principle as the first bar. Bars seven and eight the line is patterned around Em7 shifting to E f7. Bar ten melodic pattern is a tri-tone (diminished fifth) above the Dm7. Bar 12, beats 3 and 4 is a descending line using the tri-tone interval.
29 Major Blues Pos II C 7
2
T A B
1
4
III
IV
1
2
4
3 2
5
1
6
V
1
4
2
5
8
7
1
4
4
2
1
6
9
8
6
5
4
3
1
8
7
5
5
4
2
1
8
6
5
4
4
3
1
8
7
5
3
IV
III
I
II
IV
V
F7
1
4
3
1
1
4
3
1
1
0
3
2
1
4
2
1
2 4
1 7
6
4
3
0 6
5
3
1
3
2
4
3
4
5
1
4
1
4
2
4
7
6
1
4
1
5
8
6
50
VI
VII E m7
2
1
1
A7 3
V
B m7
1
1
E 7
1
3
1
1
1
3
D m7 3
1
3
2 3
1
4
3
1
3
4
5
7
8
3
1
7
5
4
3
1
8
7
5
7 8
7
7
6
9
7
6
6
5
9
5 8
6
5 8
VI G7
1
3
4
3
1
4
3
1
V
IV
C
A7
1
4
3
1
2
II
III
D m7
4
3
1
2
G7
4
3
1
1 1
5 7 8 6
8
9
6
7 9
8
6
5
6
4
5
6
4
4
C7
2
4
3
2
3
5 6 5 4
3
Warm-Up 30
51
A line study C minor Blues etude.
29 Minor Blues Pos III C m7
Dm7 5 1
3
2
3
2
1
3
2
4
2
G7 1
C m7
3
1
2
T A B
3 5
4
4
3
4
5
6
4
3
5
4
3
6
5
3
4
5
6
1
4 3
V
3
VIII
C7 3
1
4
2
6 5 6
3
3 5
5
2
1
7
8
1
2
5
6
F m7 1
4
8 5
2
1
2
1
6
5
4
3
4
8
7
8
1
2
3
8
9
10
6 5
52 VIII
VII
XI
IV
A 7
C m7
1
3
1
1
10
1
1
3 4
3
8
8
1
3
11
13
4
8
G7
9
7 6 4 6
4
2
6
10
III G7 3
1
11 13
C m7
3
3
3
1
14 13 11 13
I
1
3
7 10
3
1
13 8
4
3
4
3
4
3
1
3
4
3
1
1
2
3
C m7 1
2
1
3
3
5
5
3
5 3
1
2
3
4 3
53
54
About the Author Known as the Dean of New Mexico jazz guitarists, Michael Anthony lives, teaches, and performs in Albuquerque and Santa Fe — traveling often to Los Angeles to perform with friends and colleagues where he was a studio musician throughout the 1960s and 70s. His credits include touring with Andy Williams, Henry Mancini, and Michele Legrand, to name a few, and long tenure with the orchestras of “The Carol Burnnett Show” and “The Flintstones,” among many other network television shows (e.g., Barbara Streisand, Dean Martin, Sonny and Cher). In addition, He worked countless sessions at the major recording studios for the likes of Burt Backarach (“Raindrops Keep Fallin’ on My Head”), and Diana Ross (“Theme from Mahogany”). Jazz performances include appearing with Quincy Jones, Blue Mitchell, Ray Brown, Louie Belson, and Gil Evans (accompanying Miles Davis at the 1965 Monterey Jazz Festival). At sixteen Anthony was already passionately dedicated to the guitar, copying difficult licks from Les Paul’s, Barney Kessel’s, Tal Farlow’s and other guitarists’ recordings, leading to lessons and the formal study of music in college, The mentors who influenced Anthony most, however, were Howard Roberts and Joe Pass. It was an early recording session with Roberts that led to Anthony’s studio career.
55 Anthony applies his talent and experience as a guitarist and educator in classes and workshops at both the secondary and university levels, heading up jazz guitar studies at the University of New Mexico. His discography includes five CD’s the most recent being New Journey with his Natural Instincts Trio (Lone Guitar Publishing, 2004, www.michaelanthonyonline.com).
