Lesson Plan One

As you can see in the Chord Section, there are ten forms spread out over every two pages. (Turn to the Chord Section and note.) These are the basic chrod Forms that you will be learning over the course of this entire system. We will start by learning one Form at a time.

Step #1

Start by memorizing all the Form 1 chords on page 24. Strum each chord four times usinng a simple down strum and be able to switch from G to Gmaj7, to G7, Gmaj6. The square note on the sixth string, third fret, is the chord root (or chord name note). This is your guide note. It will help you move to other frets along the sixth string while keeping this Form 1 chord position in place. You creat the same four chords except in different positions with a new root name. An example of this would be to move the four chords in Form 1 up to the V position. The root note on the sixth string, fifth fret, is A. These four chords would now be A, Amaj7, A7, Amaj6. Practice the four Form 1 chords by starting from the first fret, sixth string, which is F, memorizing the chord name in that position. The move up one fret to F# or Gb and practice switching the chords (strum each one four times) while memorizing their names in that position. Repeat this same procedure moving one fret higher each time. Remember, before moving to the next higher position, you must be able to switch the chords smoothly and know them by their chord names and frets.

Step #2

Once you have memorized the Form 1, G, Gmaj7, G7, Gmaj6 in all positions, turn to page 26 and repeat the same practice procedure with Form 1, Gm, GmM7, Gm7, Gm6. Remember to follow the sixth string root. Start at the first fret and work you way up the fretboard on position at a time, learning to play these chords while memorizing the chord names and fret positions.

Step #3

Turn to page 28 and follow the same procedure of learning all four chords in Form 1, Gmaj7, Gmaj9, Gm9, G6/9.

Step #4

Turn now to page 30 where you'll find Form 1, G7, G9, G7(b9), G7(#9). Make sure to practice these chords by following the same procedures as in the previous steps.

Step #5

Turn to page 32 and find the diminished chords. Unlike previous chords in Form 1, there is only one chord switch to make here, G7 to Gdim.

Important Note: Any note in a diminished chord may be considered the root. In this system we are keeping the root as the lowest note in this chord. The diminished chords repeat themselves (the notes of the chord being inverted) every four frets.

Step #6

Turn to page 34 and practice Form 1, G7, G7(b5), G7(#5).

Step #7

Turn to page 36 and practice Form 1, Gmaj7, Gmaj7(#5), Gmaj7(b5), Gm7(b5). Make sure to continue following the previous procedure when practicing these chords. Remember to learn the chord names and fret positions.

Step #8

Turn to page 38 and memorize Form 1, G7, G7sus4, Gm11, G9(+11).

Step #9

Turn now to page 40 and memorize Form 1, G13, G13(b9), G13(#9). Follow the same procudere as in all previous steps.

Step #10

Turn to page 80 to the Jazz Chord Exercise Studies 1 and memorize exercise 1. Once this has been memorized, practice this exercise in other positions, just as we learned the different chords Forms in different positions.

Step #11

We now take you to the page 85 for the 12 Bar Blues chord patterns. Please read the introduction to this section on page 84 before you start. Practice playing exercise 1, 2, and 3, memorizing each pattern. Once you have done this, try these 12 Bar Blues patterns in other positions and memorize them as well.

Step #12

Turn to page 42 and read the introduction to the Scale Section. After reading the introduction, turn to page 43 and you will find the Form 1, A Major Scale written out with five different fingerings all starting on the 5th fret, sixth string root. Begin by memorizing the A and B fingerings of the A Major Scale. Make sure to use the right fingerings and to read the notes on the staff. Always know what note you are playing and where it is on the fingerboard as you go along the scale.

Practice these two scales as shown in the Major Scales exercises, which you will find on page 46. These exercises will help you to learn how to read and play in the most commonly used rhythm patterns. These exercises are written out for you in fingering A. Practice these exercises with fingering pattern B as well. Once you have done this, learn to play these scale fingerings A and B in other positions, as you did with the chords in Form 1, using the sixth string as your root.

Step #13

Now turn to page 62 and read the introduction to the Arpeggio Section. Turn to page 63 and memorize the fingerings A, B, and C to the A Major and A minor arpeggios.

Remeber, these Form 1 fingerings once again have a sixth string root, so once you have memorized these, you can practice them in other positions working from the sixth string root.

Make sure to practice playing each arpeggio ascending and descending all in smooth and fluid eighth notes.

Lesson Plan Two

Steps #1-9

Turn to the Chord Section, pages 24 thru 41, and start memorizing all the chord fingerings in Form II, following the same practice procedure as in Lesson One. Be able to switch smoothly from C, to CMaj7, to C7, to CMaj6. Remember, the Form II chords have a fifth string root. Once you have memorized the Form II chord fingerings and their names, start from the first fret, fifth string, which is Bb, and work these four chords in each position, moving up the fingerboard one fret higher each time.

Step #10

We now turn to page 80 and practice exercises II, III, IV, and V in the Jazz Chord Exercise Studies I sheet.

Strumming Tip: With any of the exercises or tunes in this book, for practice purposes, remember to use a simple down strum for each beat of the measure. What is important right now is to be able to switch chord changes smoothly, while memorizing their names and their positions.

Important Note: Once you have completed memorizing the Form II chords on all the pages in the Chord Section, we suggest testing yourself by playing any chord in two different positions.

EXAMPLE: (FMaj7) would be played at the (first fret) sixth string root, (FMaj7) would be played at the (eighth fret) fifth string root, (Gm7) would be played at the (third fret) sixth string root, and (Gm7) would be played at the (tenth fret) fifth string root.

As you move on to the other chord Forms, you will be learning how to play each chord ten different ways. We have found that most guitar players generally have three or four "pet" chord Forms for every chord. As you go through this System, you will have the opportunity to choose your favorite chord Forms, but of course if you can use all ten chord Forms, that is even better.

Remember, when playing rhythm chords in an actual band situation, you will want to keep your chords close together and avoid large leaps. If you jump all over the fingerboard, the chances of a mistake will be greater. Also, generally speaking, the best chordal sounding range of the guitar falls between the first fret and the eighth fret. Again we are talking strictly about rhythm chord accompaniment. You will also' notice that most of the chords in this system are not six string chords. That means that you should learn to strum only the notes that are marked in each chord Form and nothing more. As we move along, you will learn that it is not necessary to play more than a three or four tone chord. There are certain notes in a chord that are more important to play than others. Usually, the least important tones are the root and perfect 5th. The 3rd and the 7th are the most important. We strongly suggest picking up a good book on music theory to help you understand some of the terms mentioned in this system. We want to state clearly that this system is not a text on theory.

Step #11

Turn to page 86 and begin to memorize exercises IV and V in the 12 Bar Blues chord patterns. Once you have mastered these exercises, memorize these 12 Bar Blues in other positions.

Step #12

Now turn to page 43 to the Major Scales and memorize fingerings C and D. Practice these two scale fingerings along with the A and B fingerings, ascending (going up) and descending (going down) in eighth notes, eighth note triplets, broken thirds, and sixteenth notes. Examples of these rhythmic patterns are on page 46.

Now turn to pages 48 and 49, and work each scale fingering pattern as shown.

Step #13

Turn to page 63 and memorize the fingerings A, B, C, and Form I of the AMaj7 and AminMaj7 arpeggios. These arpeggio fingerings should be mastered in every position, ascending and descending in eighth notes.

Lesson Plan Three

Steps #1-9

Memorize all the chords in Form III. Repeat steps #1-9 as in Lesson Plan One and Lesson Plan Two. Start on page 24 working through to page 41.

Step #10

Memorize exercise VI and VII on the Jazz Chord Exercise Studies I sheet on page 81.

Step #11

Memorize the 12 Bar Blues patterns VI & VII starting on page 87. Again, memorize these patterns in every position.

If you have been keeping up with your Lesson Plans, you should be able to play both the basic chords and chord substitutions without much trouble. If you have any problems, we suggest going back to Lesson Plans One and Two and reviewing them.

Remember, the strumming technique is a simple down strum for every beat of the measure. As you play through the chord changes, pay special attention to chord substitutions and their application. The chord substitutions really begin to set up the chord substitutions for the rest of the tunes in this section. On page 109 you will find a handy Master Guide For Basic Chord Substitutions, which might also help you understand and memorize these substitutions.

Step #12

Turn to page 44 and memorize fingering E, Form I, A Major Scale and follow the same practice procedure as in Step #12, Lesson Plan Two.

Step #13

Turn to page 63 and memorize fingerings A, B, and C, A7, Am7, arpeggios. Again, these fingerings must be memorized in every position.

Now turn to page 65 to the Form I Arpeggio Studies I. Exercises A, B, and C on this page must be practiced and memorized in all positions ascending and descending as written.

Lesson Plan Four

Steps #1-9

Memorize the fingerings of all the chords in Form IV, on pages 24 through 41.

Step #10

Turn to page 81 and memorize exercises VIII, IX, and X in the Jazz Chord Studies I.

Step #11

Pick up the Bugs Bower Rhythm Book Volume I and II and begin to sight-read all the exercises on the first four pages in the various positions, as mentioned in Lesson Plan Three, Step #11. Do not memorize these exercises or you will be defeating the purpose of sight-reading.

Sight-Reading Tip: First choose the right position for each exercise, and without playing, try to count out the rhythmic pattern for each measure. Then go back and play the exercise. Begin practicing slowly, gradually trying to increase the tempo. We suggest going through each eight bar exercise three to four times per night.

Step #12

Turn to page 88 and memorize the 12 Bar Blues pattern VIII. Again, memorize this pattern in every position. Next, turn to page 92 and learn the chord changes to the tune "Ritmo De La Noche." Transpose and learn in other positions.

Once the chord changes in this tune have been mastered, begin to read the melody. We suggest learning to read all the tunes in this System and in any of the Suggested Supplementary Materials in several positions.

If you are weak with your reading, we suggest that you pick up any of the various beginners' books and review all of your notes.

Step #13

Turn to page 70 and begin to memorize the fingerings A, B, C, Form II, D Major and D minor arpeggio. Remember to practice and memorize these fingerings ascending and descending in every position.

Step #14

Turn to page 64 and memorize fingerings A, B, C, Form I, A7(b5) and Am7(b5) arpeggios. Memorize these in every position, ascending and descending.

Now turn to pages 66 & 67 and work on Form I Arpeggio Studies II and III.

Lesson Plan Five

Steps #1-9

Memorize all the chord fingerings of Form V (pages 24 thru 41).

Step #10

Practice and work out both the chords and melody to "Dinner Music Of The Gods" on page 95. Also, try "AI Di's Dream Theme " on page 100. Practice both the chords and melodies in different positions.

Step #11

Turn to page 82 and memorize exercises I and II in the Jazz Chord Studies II.

Step #12

Practice the exercise on the next six pages of the Bug Bower books.

Step #13

Get a copy of Classical Studies for Pick-Style Guitar, and begin to practice the first piece, "Caprice." This book will not only introduce you to some good classical pieces, but it will also help further improve your picking technique and reading skills. We suggest going slowly and mastering each piece, one at a time. There will be no time limit for completing each piece in this book.

Step #14

Turn to pages 52 & 53 and memorize all the fingerings of both Form I, A minor. Pure Scale and Form II, D minor. Pure Scale. All these fingerings will be practiced and memorized in every position, ascending and descending, in eighth notes, eighth note triplets, broken thirds, and sixteenth notes.

Step #15

Memorize the fingerings for A7(#5) and Adim7 arpeggios Form I (page 64).

Turn to pages 68 & 69 and practice exercises 4 and 5 on the Form I Arpeggio Study sheets. Again, all three exercises on each sheet must be completed and practiced in every position.

Lesson Plan Six

Step #1-9

Go to the Chord Section and memorize all the chord fingerings to Form VI (pages 24 thru 41).

Step #10

Turn to page 89 in the 12 Bar Blues section, and practice and memorize the chords to patterns IX and X. Practice in every position.

Step #11

Turn to page 82 and memorize exercise III and IV in the Jazz Chord Studies II.

Step #12

Practice the next six pages in Bugs Bower's book. From this point on, we suggest taking six to eight pages in this book every two weeks.

Step #13

Pick up the book Melodic Rhythms by William Leavitt and begin practicing the chords and melodies to the first three exercises. Once you have mastered these exercises, we suggest averaging four exercises per two week practice period.

This book will help improve your knowledge of the use of chords, chord progressions, chord turn-arounds, and it will help improve your ability to sight-read.

Step #14

Turn to pages 54 and 55. Practice and memorize all the fingerings to both A minor Harmonic Scale Form I and D minor Harmonic Scale Form II.

Step #15

Turn to page 64 in the Arpeggio Section and memorize all the fingerings for the AMaj6 and Amin6 arpeggios Form I.

Now go to page 69 and memorize exercises 6 and 7 in the Form I Arpeggio Studies.

Lesson Plan Seven

Steps #1-9

Practice and memorize all fingerings to the Form VII chords (pages 24 thru 41).

Step #10

Turn to page 90 and memorize the 12 Bar Blues exercise XI.

Step #11

Turn to page 82 and memorize exercises V and VI in the Jazz Chord Studies II.

Step #12

Turn to pages 56 and 57. Practice and memorize all the fingerings to both the A Jazz Melodic Minor Scale and the D Jazz Melodic Minor Scale, Form I.

Step #13

Turn to page 70. Practice and memorize, in all positions, the fingerings to DMaj7 and Dmin/Maj7, Form II.

Lesson Plan Eight

Steps #1-9

Memorize all fingerings of chords in Form VIII (pages 24 thru 41).

Step #10

Turn to the Tune Section and practice the chords and melody to "Lady Of Rome, Sister Of Brazil." Try playing both the chords and melody in different positions.

Step #11

Turn to page 83 and memorize exercises VII and VIII in the Jazz Chord Studies II.

Step #12

Turn to page 50 and memorize all the fingerings of the Modes. Be sure to read the important footnote on page 51 explaining how the Modes are built.

Step #13

Now turn to pages 70 and 71. Memorize and practice the fingerings to D7, Dm7, D7(b5), and Dm7(b5) arpeggios. Form II, in every position.

Turn to pages 72, 73, & 74. Practice exercise A, B, and C of Form II Arpeggio Studies 1, 2, and 3.

Lesson Plan Nine

Steps #1-9

Memorize all fingerings to the Form IX chords (pages 24 thru 41).

Step #10

Memorize the chords to exercise XII of the 12 Bar Blues patterns on page 90. Learn in other positions.

Step #11

Memorize exercises IX and X in the Jazz Chord Exercises II on page 83.

The chords and melodies to all the tunes should be coming to you a little more easily by now. If you are having any problems with the chords or the melodies, we suggest going back and reviewing those sections.

Step #12

Turn to page 47. Memorize all the fingerings of the Pentatonic Scale.

The Chromatic, Minor, and Funky minor Pentatonic Scales will probably sound more familiar to you than the other scales you have been learning up till now. These three scales are the most popular scales used for rock and blues improvisation. Many leads are built from these scales by using either the entire scale or just a few notes from the scale and making up some simple blues licks.

Once you have mastered the fingerings to all the Pentatonic Scales, turn back to the 12 Bar Blues exercises II, III, and IV, and see if you hear the MINOR, Chromatic, and Funky minor scales over the chord changes. This is really the beginning of improvisation.

A Tip On Blues Improvisation: One of the reasons why rock and blues lead players use the Minor, Chromatic, Funky minor Pentatonic Scales is because one scale will sound right over all the 12 Bar Blues progression. An example would be playing a G Funky minor Pentatonic Scale over G7. C7, and D9 chords in the 12 Bar Blues exercise II. Remember, you don't have to keep playing the entire scale. You can use Just a few notes from the scale. The more you keep practicing with these three scales, the more you'll start to hear how they fit. As we mentioned before, listen to your favorite artists and hear how they phrase their leads. Listen, experiment, and then listen, experiment, and practice some more. This is not something that is going to come to you overnight. Be patient.

Step #13

Turn to page 71. Practice and memorize all the fingerings of D7(#5), Ddim7, DMaj7, and Dm6 arpeggios. Form II. Once again, as in previous lessons, these fingerings should be memorized ascending and descending in every position.

Step #14

Turn to page 75 and practice and memorize exercises 4 and 5 in the Arpeggio Studies, Form II.

Lesson Plan Ten

Steps #1-9

Complete all the fingerings of Form X in the Chord Section (pages 24 through 41).

Step #10

Memorize exercise XI and XII in the Jazz Chord Exercises II on page 83.

Step #11

Memorize the chords to exercise XIII of the 12 Bar Blues on page 91.

Step #12

Memorize the fingerings to all the Diminished Scales on pages 58 and 59.

Step #13

Turn to pages 60 and 61. Begin practicing and memorizing the fingerings to the Whole Tone Scales.

Step #14

Turn to pages 77 and 78 and complete exercises 6 and 7 in the Form II Arpeggio Studies.

Step #15

Turn back to the first tune in the Al Di Meola Tunes Section. Beginning with this tune, look over the Master Guide chart for Chord/Scale relationships starting on page 106 and the Master Guide Chart for Chord/Arpeggio relationships on page 108. Begin trying to improvise over the basic chords, first by experimenting with the scales and modes, then the arpeggios. Once you feel comfortable improvising over the chord changes to this first tune, pick the next tune and go on from there. You can do this with the 12 Bar Blues pattern as well.