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When we apply the 4ths pattern to the guitar, we immediately notice that we often have to play notes at the
same fret on adjacent strings. This presents a major technical issue with the fretting hand, as we don’t want
these notes to ring into each other – each note needs to be fretted cleanly.

In order to do this, you need to execute a finger roll with the fretting hand. Fret the first note on the sixth
string as normal, then roll the finger sideways onto the adjacent fifth string. As you do this, the pressure on
the sixth string will be released and the note will stop sounding.

The roll technique is something I’ve worked on extensively, so I have no problem applying it with all four
fingers of the fretting hand. I practiced this a lot in my teens!

Here is the A Dominant scale played in ascending 4ths, while remaining in position.

Example 6b:

When descending the pattern, the roll technique has to work in reverse. You can’t fret the note on the first
string as you would normally, because when you want to roll onto the second string, there’s no more finger
to do it! Instead, you need to fret this first note as though you’d already rolled onto it from the second string.
This means using more of the pad of the finger, rather than the tip. Now, when you roll over onto the B string,
you’ll be fretting that note in the traditional fashion.

Example 6c:

One of my favourite ways to make these ideas sound more musical is to mix the intervals and the direction
in which they are played.

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In this pattern, we start with the A root note, then play D (4th), then E (the next sequential scale note), then
B (a 4th interval but descending from the E), then C# (next sequential scale note), then F# (4th) and so on.

Example 6d:

You can also mix up when you ascend and descend these diatonic intervals. In the following exercise,
we’re working with the exact same scale position, but instead of alternating strictly between descending and
ascending intervals we’re playing this pattern:

Down, up, down, down, up, down, down, up, down, down, up, down, up, down.

That might sound complicated but play through the pattern and you’ll get it. The point of this idea is that it
removes the element of predictability that sequences often suffer from, but keeps the “this makes sense to my
ears” feeling the listener experiences when you play something they can latch on to.

Example 6e:

We’ve devoted a little time to the E shape of this scale, but you need to be able to play these sequences
anywhere, so now let’s work with diatonic 4ths in the C shape.

As always, if you’re struggling to keep up, go back and put more time into making sure you know the scale
pattern as well as you need to.

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Example 6f:

Here’s the same idea, but now applied in the A shape. There’s nothing new here, you’re just seeing it in a
different place!

Example 6g:

Diatonic 5ths

Diatonic 4ths have always felt incredibly usable to me. They are a big part of the vocabulary of musicians I
listen to, from guitar players like Scott Henderson and Frank Gambale, to horn players like Michael Brecker
and Joshua Redman.

I’ve always found 5ths a bit trickier to work into my playing, because they’re not quite as common in the
soloing of my favourite players. However, Joe Diorio was a big fan of 5ths, and you certainly hear them a
fair amount in more modern jazz players like Julian Lage and Jonathan Kreisberg.

You can see this as a downside or a positive. By working with them, it means you’ll stand out a little more
from other players.

Here are diatonic 5ths applied to the E shape in ascending form.

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Example 6h:

And now the same in descending form. Take note of the tricky string crosses that require you to skip a string
while inside picking. Manoeuvres like this can present problems, so drilling them in our practice routines
is essential.

Example 6i:

As we did with 4ths, we can mix up the direction of the intervals to remove the sense of predictability
from the pattern and keep the listener guessing. In this example we’re alternating between ascending and
descending as we move down the scale position.

Example 6j:

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Here are diatonic 5ths in the C shape. There’s nothing new here, we’re just applying the concept to the scale
pattern in a different zone of the neck.

Example 6k:

Finally, here’s the scale ascending and descending in 5ths up in the A shape.

Example 6l:

That’s it for this routine. We’ve covered a lot of ground and we’ve only just scratched the surface of
what’s possible.

You’ve learned a series of useful scale patterns and sequences, but only applied them to one key. You could
easily mix other scales into your practice sessions or apply these ideas to the Circle of 4ths. That’s the beauty
of practice routines, they can be customised to fit your needs and focus on your problem areas.

Get to work, and I’ll see you in a week!

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Routine Seven – Double-Stops & Soul

Last week was really hard work! Maybe it felt like we were so caught up in the exercises that we forgot what
this is all about – making music. In this routine we’re going to fix that by turning all the triad concepts we’ve
learned into very musical ideas.

There’s a definite emphasis on soul music here, as that’s my main gig these days. But while this stuff is
wonderful when you’re trying to sound like Steve Cropper or Cornell Dupree, it’s worth remembering that
these ideas were also fundamental to the playing of great blues and rock players like Stevie Ray Vaughn
and Jimi Hendrix. There’s also a lot of crossover into the country world here, so there’s value for just about
any player.

As well as triad work, we’re going to look at moving between positions and connecting them with double-
stops.

Before we get into it, let’s refresh our memory of the twelve small closed voice triads we worked with in
three positions. We’ll alternate pick through them all with a triplet feel.

We’re never going to have to play something like this in a song, but it’s challenging enough to constitute a
nice technical and mental warmup.

Example 7a:

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One of the hardest habits to break on the guitar is getting stuck in “the box”, so we’ll focus on that a little here.

When you’ve been used to playing scales in positions, it can be overwhelming to see a scale diagram that
covers the whole neck, but our three-position chord system is going to give us specific areas of the fretboard
we can target when moving up or down the neck.

In the next example, we’re going to use double-stops to move from an A7 chord in the open position (A
shape) up to the E shape. We start with the root and 3rd of A7 on the third/second strings, then ascend
diatonically (raising each note a scale tone each time). A and C# become B and D, then C# and E, and we’re
into the E shape.

Next, we’re aiming for the C shape. We can continue the pattern of 3rds on the third/second strings all the
way up to the A shape and back down again.

Your goal here is to visualise the chord positions and think about how one position connects to the next.
The more you practice connecting positions with ideas like this, the more you’ll begin to intuitively connect
other chords.

After doing it on an A7 in bars 1-4, repeat it for E7 in bars 5-8. Notice that the patterns that connect the
positions are always the same.

Example 7b:

The next example swaps the chords around and plays the same connecting idea on the third/fourth strings.
We can use an idea like this with any chord and on any string set, but this is a good place to start because we
can have open strings ringing out for reference.

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Example 7c:

Here’s an example of how we can take this idea and create a rhythmic, musical part for a song. Here we
have 3rds as double-stops on the second/third strings. We can use them to play a melody that would work
wonderfully over a groove in E.

This is how I’d play rhythm to a song like Lovely Day by Bill Withers.

Example 7d:

As well as double-stops, we can use the triad forms we learned to move between positions. If we play a G
major triad in the E shape on the top strings, we can move up and play a G major triad in the C shape. To
connect these shapes, we might play an A minor triad (chord ii in the key of G Major) in between them.

In bars 1-2, play the basic pattern holding onto the chords, then in bars 3-4 add some rhythm.

If you want an extra challenge, try reading and counting this rhythm before listening to it.

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Example 7e:

Next, we’re going to use the E shape of G major to play double-stops across string sets. Here we’re adding
hammer-ons to the notes to create melodic interest.

Take a moment to visualise the G major chord in the E shape and identify the chord fragments we’re using to
create this idea. I want these associations to become automatic for you, so that whenever you view this chord
position, you know these melodic options lie around the shape, whether you’re soloing or playing rhythm.

Example 7f:

Now, let’s repeat this idea in the C shape.

These aren’t the only options, of course, but these little chordal embellishments are a good place to start.

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Example 7g:

Finally, here’s the same concept again, moved up to the A shape.

When you’re confident with these three positions, try this idea with some different chords, so you’re set to
play over anything you might need to.

Example 7h:

Now we’re going to apply this idea to a tune to create some musical riffs. This example is inspired by the
Sam and Dave classic, Soothe Me.

The only idea in this riff that you haven’t already played is the chromatic approach. Look at the last double-
stop in the first bar. These two notes (G# and C) aren’t in the key, they are a half step below the next chord
in the progression. Sliding into a chord from a half step below (or above) is always going to sound great!

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Example 7i:

Here’s another example, this time played to the chord progression of Marvin Gaye’s Let’s Get It On. Notice
that we’re using things we already know but plugging them into a different chord progression. The more we
do this, the easier it’s going to be to do it on the fly, on any chord progression.

Example 7j:

Let’s finish up by digging a little deeper into the idea of chromatic passing notes with some vocabulary I took
from great country players like Brent Mason, Johnny Hiland, and Scotty Anderson.

The following example moves from an open E chord up to the A shape with some chromatic passing tones to
connect double-stops of the same shape. Think of it as a fill-in-the-blanks approach.

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Example 7k:

Here’s the same lick moved to an A major chord, moving from the open A position up to the C shape. We fill
in the blanks between the two shapes with chromatic passing tones.

Example 7l:

There’s only so much we can cover of a genre in a single chapter. I could devote an entire book to soul or
country music. In fact, as some of my long-time readers will know, I’ve already written multiple books on
country music. Maybe books on soul will come next!

The idea here is to dip our toes into the water and find the things that excite us, so we can correct our course
and focus on the things that interest us. The goal of practice is to take us towards who we really want to be
as players.

See you in a week!

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Routine Eight – 6ths and 7ths

Last week we looked into chordal work and applied it to real life music as a break from technique, but today
we’re going to delve a little further into the world of fretboard skills and picking technique by expanding on
the diatonic interval exercises.

While I find 4ths pretty usable, and 5ths a little on the fringe, they both pale in comparison to the musicality
of diatonic 6ths. These can be used to great effect in both single note work, and to provide melodic content
for your rhythm work. They’re used prominently in blues, soul, rock, jazz, country, and many more styles.

I see 7ths as being similar to 5ths. They are not hugely common in the work of well known guitar players
(though John Scofield is a BIG fan!) and can sound a little jarring. But that doesn’t mean you can’t use them
in your playing, and even if you don’t, playing them creates a wonderful technical challenge for both fretting
and picking hands. I remember working on these for hours in music school, and while they’ve not been a big
part of my playing since, I don’t regret spending that time. They really put to the test my ability to visualise
a scale shape.

There may come a point with these exercises where you feel like you’re trying to store endless new information
and you’re at breaking point, but I want you to really consider what we’re doing here. We’re not learning
something new, we’re applying a different pattern to a scale shape you already know. We’re playing the same
scale shape we’ve drilled constantly, but approaching it in a slightly different way.

We’ll start the routine with a warm-up and play diatonic 4ths of the A Dominant scale from Routine Six, but
with a slight twist. Rather than staying in the E shape, we’re going to ascend the E shape, then move up to
the C shape via the second/first strings. Then we’ll descend the C shape and transition back down to the E
shape at the bottom.

In theory you could make a transition point anywhere within these shapes, but the top and bottom are good
places to start.

Example 8a:

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Diatonic 6ths

Now let’s look at diatonic 6ths. With their wider interval, there is enough distance between the notes to make
6ths sound very fresh, compared to smaller intervals like 3rds.

It’s important to note that 6ths are just inversions of 3rds. The distance between the notes C and E is a third,
but the distance between E and C is a 6th. It’s the same notes flipped around. Because of this, 6ths have a
similar melodic quality to 3rds, but the way they are arranged on the guitar gives them a different effect.

First, we’ll work on 6ths by playing them in an ascending pattern, using the A Dominant scale we’ve
been drilling.

Example 8b:

Now let’s play the same thing in a descending pattern.

Example 8c:

We could work with these patterns further and mix ascending/descending directions for interest, but we
covered that idea when working with 4ths and 5ths, so you know how to do that. I encourage you to work out
those patterns for yourself and practice them.

Instead, we’re going to change from playing 6ths as melodic events (one note at a time) to harmonic events
(both notes sounding together).

When it comes to playing 6ths simultaneously, we have picking options. We can play them fingerstyle with
thumb and finger, we can strum them (making sure to carefully mute the string in between), or we can hybrid
pick them.

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My preference is hybrid (I cover this technique in depth in my book Hybrid Picking Guitar Technique for
those who want to explore it). I hold the pick between thumb and first finger and pick the lower note, and
pluck the higher note with the second finger. Play the example in whatever way feels most comfortable
to you.

Example 8d:

With the E shape out of the way, it’s time to move up and look at the C shape.

I’ve waited until this point to draw attention to the modal benefits the guitar offers. So far, this shape has
been played over an A7 chord, and we’ve viewed it and heard it as the A Dominant scale. Look at it closely,
however, and you’ll see that it has the exact same pattern as the D Major scale.

How so? Well, A7 is chord V in the key of D Major, and the A Dominant scale is like playing a D Major scale,
beginning and ending on the note A.

It’s still better to view the A Dominant scale as a sound in its own right that works over an A7 chord, but in
terms of training your muscle memory, you’re subconsciously working on two things at once, and could play
these ideas over a D major chord.

Example 8e:

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Finally, here are 6ths played in the A shape. If you’re a CAGED player, you might recognise this as a D shape
D Major scale. Again, it’s all about building muscle memory and nothing will train that better than playing
scales in intervallic patterns like this.

Example 8f:

Diatonic 7ths

Now we’re going to explore diatonic 7ths. These are the widest intervals we’re going to play, and they are
both physically demanding on the picking/fretting hands, and challenging on the ear!

You may love these, or they may fall into the category of taking your medicine (like the 1234 chromatic
workouts).

Example 8g:

Now let’s play that descending. When working on this, focus on the picking motion. Pick down on the high
E, and up on the G. This is a great example of inside picking – something we can always be better at.

Example 8h:

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Now let’s play diatonic 7ths harmonically in the E shape. I quite enjoy how these sound in the higher register
– they can add a lot of spice to a solo!

Example 8i:

Next, we’ll play through those same intervals up in the C shape.

Example 8j:

And finally (whew!) in the A shape.

Example 8k:

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I don’t want to leave you on the dissonant 7ths sound, so let’s return to playing 6ths over an A chord. This
time we’ll move them across the neck, rather than remaining in position.

As we found in the last routine, this can be a great way to transition between positions, and there’s a nice
consistency when playing these intervals without changing strings.

First, let’s do that on the third and first strings.

Example 8l:

Now let’s do that on the fourth and second strings. When playing this, don’t forget to visualise the E, C, and
A barre chord shapes that these intervals come from.

Example 8m:

Finally, here’s the same idea, but on the fifth and third strings. I love using these when playing riffs in blues
and soul music.

Example 8n:

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That’s it for this routine. I want to say that you’re free of those hellish 7ths, but the reality is they’ll always
be a good exercise to keep your fretting/picking hand dexterity sharp, so don’t be afraid to work them into
your routines every now and again. They certainly can’t hurt your playing!

Good luck, and I’ll see you in a week.

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Routine Nine – Articulation & Swing Picking

So far, we’ve devoted all of our attention to what we play: note choice, phrasing, rhythm, etc. Of course, this
is essential work, because if we don’t know what to play, we’ll sit in silence! The problem is, while focusing
on the what, it’s very easy to lose sight of how we play.

Articulation is all about how we play our notes and it’s incredibly important. How you articulate what
you play will set you apart from musicians who, while technically proficient, can sometimes sound like a
computer interpreting information on the page.

When I load a transcription into Guitar Pro and press play, the sound engine plays back the notes with
uniform velocity and length. Real players don’t do that, there is dynamic variation. Some notes are connected
smoothly (legato) and some are detached (staccato), and this is what makes music interesting. Articulation is
something we will gain incredible benefit from working on.

In the first book in this series we touched on legato technique, but in a way that focused purely on legato
playing. Playing everything legato is no better than picking everything, so in this routine we’re going to
focus on a technique I call swing picking, which combines picking and legato skills and blends them into one
fluid sound to emphasise a dynamic swing in our playing.

Picked notes are always going to sound louder than notes from hammer-ons and pull-offs. This means that, if
we pick notes on the strong beats of the bar (beats 1, 2, 3 or 4), and hammer onto weak beats (the “&” of beats
1, 2, 3, 4), we’ll put a dynamic accent on the beat. If we pick the weak beats and slur the strong beats, we’ll
create a dynamic accent off the beat. The latter approach creates a really musical sense of forward motion
akin to that found in swing rhythms.

I love this technique. I love the sound and I love the way it feels. Plus, I love that it ends up making string
crossing easier in most places. I’ve been teaching this technique for a long time and it’s consistently a real
point of frustration for students! I remember it being a huge struggle for me when my teacher first introduced
it to me, but I pushed through.

It should be easy, but you’ve probably spent years training yourself to pick notes with downstrokes on the
down beats. Now you’re going to move the picking hand down, not pick a note, and instead play an upstroke
on a weak beat?! That’s going to be hard to do at first, but I promise, the time will be worth it.

Before we get into it, we’ll start this week’s routine with a review, playing diatonic 6ths on an A7 chord,
starting in the E shape, transitioning up to the C shape, and then back down.

I’m opting to do my position shifting on the fourth and second strings, but you could work on doing it on the
fifth and third, or third and first strings.

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