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I was having more and more problems with my new live-in, Arthur Itis. There was no conscious effort to write a routine. My goals were to use an interesting chord progression that could be easily learned and put into subconscious memory to facilitate the concentration on the righthand. The speeds are suggested speeds to set as a goal to attain. Although the score shows repeats, the midi playback does not repeat. The repeats are for isolation so that the guitarist can isolate the individual exercises. Exercise 1: a simple boom chuck chord pattern. As a suggested alternative, the guitarist can substitute a RH fingering on beats 2 and 4 as PIM instead of IMA. This becomes important when the guitarist wishes to play music by Chet Atkins, and other fingerstyle guitarists. Exercise 2: This pattern makes a very pretty strum for accompaniment of slower folks songs. Once comfortable with the RH pattern, vary the rhythm to "Ragged 8ths" as opposed to the "straight 8's" shown. Exercise 3: The workhorse RH arpeggio - PIMA, very commom and used by practically all guitarists including flatpickers. Exercise 4: The Reverse Arpeggio. A little tougher for some guitarists, but well worth the effort to learn. Exercise 5: This arpeggio is actually a combination of exercise 3 and 4. Surprisingly, some guitarists find it easier to play than exercise 4. If you think that this exercise isn't worth the effort, listen to Chet's later version of Autumn Leaves in A min. By the way, the chord progression used in all of these exercises was inspired by Chet's arrangement of Autumn Leaves. Exercise 6: The "Love Is Blue" arpeggio, made famous by the harpsichordist in the 1960's recording. Exercise 7: The boom chuck chuck (3/4 time) variation of Exercise 1. Exercise 8: The "Mr. Bojangles" arpeggio. This is a variation of Exercise 2. Exercise 9: The tremolo. Note the RH fingering I suggest. Although a very few guitarists play that as PIMA, classical guitar instructors since Francisco Tarrega, the father of modern classical guitar technique, have claimed it is much easier to maintain a steady rhythm with PAMI. With PIMA there is a tendency to "gallop". If this is difficult, I suggest isolating this exercise and changing the tempo to about T:10. Play it at that speed for two weeks. Don't cheat or give yourself a progress report, but instead, play this very slowly for 15 minutes a day. Your goals is to program your subconscious. Cheating defeats the programming. At the end of two weeks, guaranteed, you'll have a fine tremolo. Exercise 10: Note a return to 4/4 time. The objective is to have a very even straight 8 arpeggio in 3. This is a favorite of Charlie Byrd who exploits it in many of his improv's. Exercise 11: This is just a reverse of Exercise 10. Chet used this PMI pattern when playing very fast scales. Exercise 12: This exercise appears to be a faster version of Exercise 2; however, your goal is to make this sound like the thumb is playing a boom chuck bass and the fingers are playing the arpeggio. Exercise 13: This appears to be a reversal of Exercise 12, and it is, but it's very important. Both Exercise 12 and 13 are found in the arrangements by many guitarists like Chet Atkins. As a variation , use the P to play the I parts and alternate the I and M for the M notes. That will give you the RH technique to play the gallop made famous by Merle Travis and used by Chet and other fingerstyle guitarists. Exercise 14: Our old friend the PIMA arpeggio, but played really fast and as in exercises 12 and 13, we want our thumb notes to sound like a boom chuck accompaniment. Exercise 15: The reverse of 14 with the same goals. Exercise 16: The "La Madrugada" lick. Actually, this is a very common and useful bass pattern found throughout classical guitar music. Jerry Reed just showed thumblick guitarists how to make it swing. Exercises 17 and 18: These exercises help us develop the feel for the most common melodic patterns in thumblick guitar. Remember to "rag the 8's", instead of playing as "straight 8's". Just to see the difference, remove the S:2 (Syncopation = 2) and listen to straight 8's. I'm betting you'll reinsert the S:2! Exercise 19: This is exercise was inspired by arrangements by Larry Kuhns. It's also known as 3 over 2, and basically you're trying to play a 6/4 melody against a 4/4 bass. The choice of RH fingering is up to you. What I use is M I A M I A, as that combination seems to be easier to get a machine gun regularity to the melody. Exercise 20: Artificial harmonics with a bass accompaniment. First learn this exercise but without playing the harmonics. When you know it fluently by heart, play the melody using artificial harmonics. The thumb (P) plays the bass as usual. The I finger lightly touches the string 12 frets higher than the fretted note, and the A finger plucks this. Some guitarists use their pinkie (sometimes called the "C" finger from the Spanish "cuarto" meaning 4th). I never learned to do that because it meant another fingernail to care for!!! The Ending Harmonic: This note can be played in many locations on the guitar. I chose the natural harmonic at the 19th fret on the 4th string because its very easy to find and becomes a bit of showmanship for those that may be listening and watching and aren't guitarists. None of these exercises are cast in concrete. I encourage you to create your on favorite chord progressions and practice these exercises. Also, especially with Exercises 17 and 18, improvise your own melodies. Good luck. Mike c0w %).38Guitar Standard001100110000=1077>7:7<>7F300P022S0//0000000000001:@4/111103'::::H<1000010o0020000000008V0000000Page &p / &n&c&2&t &c&6&s &r&3&m &r&3&t - &3&s