© 2026 Philip John Jatzek & STORM (Team Member/Collaborator from ChatGPT). All rights reserved.

JATZEK MUSICMASTER PERIODICAL 7

Left and Right Guitar Techniques

Right Hand Strumming Left Hand Techniques and Playing Style

Philip John Jatzek & STORM (ChatGPT) | Working Draft | 2026

Purpose

Periodical 7 explains how a guitarist turns the scales, ShadowScales, chords, power chords, octave chords, progressions, and blue-note ideas of the JATZEK MusicMaster system into physical guitar playing. The right hand creates pulse, attack, rhythm, and dynamics. The left hand selects, frets, connects, and colours the notes.

Tuning and numbered system Tuning and numbered system All examples use D G C F A D tuning, lowered two semitones. Teaching diagrams number strings top- All examples use D G C F A D tuning, lowered two semitones. Teaching tablature numbers strings top-to-bottom as String 6 D, String 5 G, String 4 C, String 3 F, String 2 A, String 1 D. Exercise numbers identify practice order. to-bottom as String 1 D, String 2 G, String 3 C, String 4 F, String 5 A, String 6 D. Exercise numbers identify practice order.

Contents

PART I RIGHT HAND	Picking, timing, strumming, rhythm and slur control
1	How the Two Hands Create Music
2	Right Hand Foundation
3	Numbered Strumming System
4	Rhythm Accents, Muting and Dynamics
	Right Hand Styles and Techniques
	Advanced Right Hand, Harmonic, Percussive and Tone Methods
	Guitar Style Reference and Aligned Tablature
PART II LEFT HAND	Fretting, chord shapes and articulation
5	Left Hand Foundation
6	Chord Changes, Power Chords and Octaves
7	Left Hand Articulation and Style
8	Blue Notes Over Chords
9	Coordinating Both Hands
10	Progressive Practice Studies
11	Performance Blueprint
APPENDICES	Exercise Index, Colour Standards and Sources

1 How the Two Hands Create Music
A chord chart shows where the fingers go, but a performance depends on time, touch, movement, and phrasing. The right hand decides when a sound begins and how strongly it begins. The left hand decides which notes speak, which notes are muted, and how one sound moves into the next.

Number	Focus	Goal
1	Right hand alone	Steady movement and even timing
2	Left hand alone	Clean notes and economical

 

JATZEK MUSICMASTER PERIODICAL 7

PART I RIGHT HAND

Picking, strumming, rhythm, styles and sound production

The right hand establishes time, attack, subdivision, dynamics and silence.

Slurs belong here when picking determines which notes are attacked and which remain connected. Style examples follow the rhythmic engine that gives each sound its place.

Philip John Jatzek & STORM (ChatGPT) | 2026

 

		movement
3	Hands together	Reliable coordination
4	Musical application	A listenable progression with expression

2 Right Hand Foundation
Hold the pick firmly enough to control it but loosely enough that it passes the strings without catching. Keep the wrist relaxed and use a small repeatable motion. The hand should continue moving through the beat even when a stroke is not played.

STRUMMING
Strumming is the organized movement of the picking hand across selected strings. The main strumming families used in this periodical are downstroke strumming, upstroke strumming, alternating down-up strumming, accent strumming, rest strumming, muted strumming, palm-muted strumming, syncopated strumming, shuffle strumming, swing strumming, arpeggiated strumming, power-chord strumming, octave-chord strumming, and dynamic performance strumming.

Type	Main idea
Downstroke	Every attack moves downward
Upstroke	Every attack moves upward
Alternating	Down and up strokes share the pulse
Accent	Selected beats receive extra emphasis
Rest	The hand moves while a stroke is silent
Muted	A percussive x replaces the pitch
Palm-muted	The picking palm shortens the sound
Syncopated	Attacks fall between expected beats
Shuffle or swing	Long-short subdivision creates blues feel
Arpeggiated	Strings are sounded one at a time

Test tablature Alternating eighth-note strumming
This first example uses a held two-note power chord across String 5 A and String 6 D. The other strings are muted or unused. Read the timing header from left to right. Every downstroke and upstroke occupies one eighth-note subdivision.

NOTE-VALUE TIMING PYRAMID - 4/4 COUNTING
Read from top to bottom: each level subdivides the same four-beat measure into more attacks.

Count steadily from left to right. Each row fills one four-beat bar; the triplet row groups three notes per beat. Silence is counted the same way in the rests table that follows.

RESTS AND SILENCE IN 4/4

A rest occupies time without a sounding note. Continue counting and keep the picking hand moving through the silent subdivision. Each symbol below shows a different duration of measured silence.

Rest	Duration	One bar in 4/4	Count and silent beats
Whole rest	4 beats	one rest	1 2 3 4
Half rest	2 beats	two rests	1 2 | 3 4
Quarter rest	1 beat	four rests	1 | 2 | 3 | 4
Eighth rest	1/2 beat	eight rests	1 & 2 & 3 & 4 &
Sixteenth rest	1/4 beat	sixteen rests	1 e & a 2 e & a 3 e & a 4 e & a
Thirty-second rest	1/8 beat	thirty-two rests	Count as two equal silent slots per sixteenth

Example: quarter note on beat 1, quarter rest on beat 2, two eighth notes on beat 3 and a quarter rest on beat 4: PLAY | REST | PLAY PLAY | REST. Count 1, 2, 3-and, 4.

DOTTED NOTES AND RHYTHMIC EQUIVALENTS

A dot adds one-half of the original value. Each row shows the equivalent undotted notes.

Dotted value	Equals	Example count
Whole	whole + half	6 quarter beats, often across a barline
Half	half + quarter	3 quarter beats: 1 2 3
Quarter	quarter + eighth	3 eighth pulses: 1 & 2
Eighth	eighth + sixteenth	3 sixteenth pulses: 1 e &
Sixteenth	sixteenth + thirty-second	3 thirty-second pulses

A dot after a rest also adds half its value. For example, a dotted quarter rest lasts one and a half beats. Keep counting silently until the next attack.

SLURS - 5, 7, AND 9 NOTES IN SUCCESSION

A slur is a curved line joining notes that should be played smoothly as one connected phrase.

The red curved line marks each complete slur. In these practice diagrams, one continuous blue beam connects all 5, 7, or 9 note stems so the full phrase is easy to see. Count the notes evenly. Pick the opening note, then connect later notes with hammer-ons, pull-offs, slides, or sustained legato as the passage requires.

This is true six-line tablature: horizontal lines represent the six strings, fret numbers identify frets, x marks muted strings, and vertically aligned numbers are played together as one strum. The timing and pick-direction lines tell exactly when and how each attack occurs.

Timing	1	&	2	&	3	&	4	&
String 1 D	x	x	x	x	x	x	x	x
String 2 G	x	x	x	x	x	x	x	x
String 3 C	x	x	x	x	x	x	x	x
String 4 F	x	x	x	x	x	x	x	x
String 5 A	5	5	5	5	5	5	5	5
String 6 D	5	5	5	5	5	5	5	5
Pick	D	U	D	U	D	U	D	U

The x marks show strings that are not part of the chord. The repeated fret numbers show the chord continuing while the right hand alternates direction. Once this layout is approved, the same six-string tablature format can be used for every other strumming type.

Exercise	Count	Pattern	Instruction
RH-01	1 2 3 4	Down Down Down Down	Quarter-note foundation
RH-02	1 & 2 & 3 & 4 &	Down Up Down Up	Continuous eighth-note motion
RH-03	1 & 2 & 3 & 4 &	Down - Down Up - Up	Keep the hand moving on rests
RH-04	1 e & a	D U D U	Sixteenth-note control

3 Numbered Strumming System
The numbered system gives each rhythm a short reference name. The same pattern can be applied to a major chord, ShadowScale chord, two-note power chord, or three-note octave chord.

Pattern	Written motion	Use
S1	D D D D	Ballad and foundation
S2	D U D U	Even rock or folk motion
S3	D - D U - U	Open space and lift
S4	D x D U x U	Percussive muted rhythm
S5	D U - U D U	Syncopated chord pulse
S6	D - U D U - U	Driving offbeat groove

3.1 Note Timing Chart
The timing value tells how long a note or strum lasts inside the measure. At any tempo, the values remain proportionally related. Count slowly first, then let the metronome establish the pulse. A rest is measured silence and must receive the same timing attention as a played stroke.

Value	Common count	Strumming use
Whole note	1 - - -	One sustained strum for four beats
Half note	1 - 3 -	Strum on beats 1 and 3
Quarter note	1 2 3 4	Four even downstrokes
Eighth note	1 & 2 & 3 & 4 &	Alternating down and up
Sixteenth note	1 e & a	Driving detailed rhythm
Thirty-second note	1 e & a ...	Fast fills and brief accents

Dotted notes last one and a half times their normal value. A dotted quarter lasts three eighth-note counts. Ties join two values across a beat or bar; play the first attack and allow the sound to continue through the tied time.

3.2 Blues Timing Swing and Shuffle
Straight eighth notes divide the beat evenly: 1-and-2-and. In a blues or shuffle feel, the first eighth is longer and the second is shorter, creating a long-short lilt. Begin with a gentle ratio rather than forcing an extreme triplet. The pulse must remain steady while the subdivision changes.

Feel	Count	Character
Straight	1 & 2 & 3 & 4 &	Even, direct subdivision
Light swing	1 (trip) let 2 (trip) let	Relaxed blues lift
Shuffle	LONG-short LONG-short	Driving blues and rock motion
Blues break	Attack - rest - answer	Space for a vocal-like phrase

3.3 Slurs and Connected Timing
A slur connects notes so that the phrase sounds like one gesture rather than separate attacks. A hammer-on and pull-off are left-hand slurs; a slide is a moving slur between two frets. Pick the first note, keep the rhythm exact, and let the left hand create the connection. Slurs may begin before or after a strum, allowing a chord to become a short melodic answer.

Slur	Action	Timing instruction
Hammer-on	Pick lower note, fret higher note	Keep the second note inside its subdivision
Pull-off	Release higher note to lower note	Do not rush the release
Slide	Move between frets under pressure	Arrive exactly on the target beat
Tie	Continue one sounding note	Do not re-strum the tied note

4 Tablature and Timing Notation
This periodical uses six-string tablature so every strumming pattern, chord shape, scale run, and solo phrase can be read directly on the guitar. The lines are numbered in the established teaching order: String 1 D at the top, followed by G, C, F, A, and String 6 D at the bottom. A timing header sits above each beat so the player knows exactly when every note or chord is played.

String	Teaching line	Tuning
1	top line	D
2	second line	G
3	third line	C
4	fourth line	F
5	fifth line	A
6	bottom line	D

Timing headers may show 1 2 3 4 for quarter notes, 1 & 2 & for eighth notes, or 1 e & a for sixteenth notes. Chord symbols are placed across the required strings at the same vertical beat position. A dash means the previous note continues; x means a muted strike; 0 means an open string.

4.1 Tablature symbol key

Symbol	Meaning	Playing action
h	Hammer-on	Pick the first note, fret the higher note
p	Pull-off	Release to the lower note without a new pick
/ or \\	Slide	Move to the target fret while sounding
b	Bend	Raise the pitch to the target
~	Vibrato	Create a controlled pitch

		movement
x	Muted strike	Touch the string without a pitched note
-	Continue	Let the previous note or chord ring
r	Rest	Count silence for the written value
T	Tie	Continue sound without re-attacking

4.2 Chord strumming notation example

Timing	1	&	2	&	3	&	4	&
Action	D	U	D	U	D	U	D	U
Chord	G	G	-	G	G	-	G	-
Mute	-	-	x	-	-	x	-	-

The header identifies the exact subdivision. The action row identifies the pick direction. The chord row identifies when the chord sounds, and the mute row shows the percussive spaces. This notation can describe open chords, power chords, octave chords, or any inversion.

4.3 Solo tablature timing example

Timing	1	e	&	a	2	e	&	a
String 1 D	5	-	7h	-	9	-	7p	5
String 2 G	-	-	-	-	-	-	-	-
String 3 C	-	-	-	-	-	-	-	-
Techniq ue	pick	hold	hammer	hold	pick	hold	pull	pick

The solo example shows that timing belongs above the tab, while technique symbols remain attached to the notes they modify. The same layout will be used for scale runs, blue-note answers, and melodic fills over chords.

4.4 Timing notation for slurs
A slur begins with a picked note and connects to one or more notes through left-hand motion. The timing header remains unchanged: the player must place the hammer-on, pull-off, or slide inside its written subdivision rather than rushing it. This lets rhythm and melody remain synchronized.

4 Rhythm Accents Muting and Dynamics

Accent makes an important beat clearer.

RIGHT HAND STYLES AND TECHNIQUES

Picking and rhythm belong here. Keep the fretting hand relaxed while the picking hand establishes pulse, attack, subdivision, accents, muting, dynamics, and groove. All exercises transfer to D G C F A D tuning.

Right-hand success is measured by steady time, controlled string contact, intentional accents, and silence between attacks. Begin on muted strings, count aloud, and add chord shapes only after the motion is dependable. [2][4][5]

Practice order

• Mute all six strings lightly with the left hand and practise the right-hand motion alone.

• Use a metronome at 50-70 BPM. Count quarter notes, eighth notes, triplets, and sixteenths.

• Accent one subdivision without changing tempo.

• Move the same pattern to one string, two-string power chords, three-note octave chords, then full chords.• Record one minute. Listen for rushing, uneven upstrokes, string noise, and accents that distort the beat.

Philip John Jatzek & STORM (ChatGPT) - 2026

Periodical 7 expanded page 1

Pick Grip and Attack  

How to do it: Rest the pick on the side of the index finger, close the thumb over it, expose only a small tip, and keep the wrist loose. Angle the pick slightly so it glides rather than catches.

Control and sound: Change pick depth, angle, and distance from the bridge. A shallow stroke is faster; a deeper stroke is louder but easier to snag.

Used for: Every pick-based style. Near the bridge is brighter; nearer the neck is rounder.

Common errors: Pinching too hard, exposing too much pick, locking the wrist, or striking farther through the strings than necessary.

Sources: [2]

Downstrokes, Upstrokes, and Alternate Picking  

How to do it: Play down on the numbered beat and up on the “and.” Keep the hand moving continuously, including across rests. For single notes, use the smallest motion that clears the string.

Control and sound: Make down and up attacks equal first; later accent selected strokes. Practise starting on either direction so phrases do not depend on one stroke.

Used for: Rock rhythm, punk downstrokes, funk sixteenths, reggae upstrokes, scale runs, and solos.

Common errors: Pausing over rests, making upstrokes weak, changing pick depth, or allowing the forearm to tense.

Sources: [2][20]

Economy and Sweep Picking  

How to do it: When changing to a neighbouring string in the same travel direction, continue the pick through as one controlled motion. For a sweep, release each fretted note before the next sounds so the result is an arpeggio, not a chord.

Control and sound: Begin with three strings and a metronome. Synchronize each fret-hand release with the next pick contact. Reverse slowly.

Used for: Fast arpeggios, jazz lines, fusion, progressive rock, and metal.

Common errors: Dragging across strings without timing, letting notes overlap, or increasing speed before synchronization.

Sources: [11][12][21]

Philip John Jatzek & STORM (ChatGPT) - 2026

Periodical 7 expanded page 2

Palm Muting  

How to do it: Place the fleshy edge of the picking palm lightly where the strings meet the bridge. Pick while moving the palm millimetres forward for a shorter sound or backward for more sustain.

Control and sound: Match the amount of pressure across repeated notes. Combine muted and open attacks without changing tempo.

Used for: Rock and metal riffs, country bass notes, punk control, dynamic accompaniment, and percussive chord patterns.

Common errors: Resting too far from the bridge and killing pitch, pressing so hard the pitch bends sharp, or muting inconsistently.

Sources: [3]

String and Scratch Muting  

How to do it: For a right-hand stop, land the palm or unused fingers on the strings immediately after the attack. For scratch rhythm, let the left hand prevent pitch while the right hand continues the subdivision.

Control and sound: A mute must have rhythmic placement: attack, stop, and next attack all belong to the count. Practise alternating pitched and x strokes.

Used for: Funk, reggae, ska, R&B;, rock stops, blues answers, and modern percussive acoustic playing.

Common errors: Treating the mute as an uncounted pause, leaving open strings ringing, or squeezing the left hand and accidentally producing pitch.

Sources: [5][20]

Accents, Dynamics, and Ghost Strokes  

How to do it: Keep the motion even but drive selected strokes slightly deeper or faster. Ghost strokes preserve the hand motion with muted or nearly silent contact.

Control and sound: Practise accent grids: beat 2 and 4; every “and”; then one sixteenth position at a time. Increase loudness without speeding up.

Used for: Groove, funk, blues backbeat, rock choruses, reggae offbeats, and phrase shaping.

Common errors: Accenting by tensing the entire arm, rushing loud notes, or stopping hand motion on quiet subdivisions.

Sources: [4][5][20]

Philip John Jatzek & STORM (ChatGPT) - 2026

Periodical 7 expanded page 3

Fingerstyle and PIMA  

How to do it: Assign p (thumb) mainly to bass strings and i, m, a to higher strings. Plant or hover the fingers close to their strings, pluck through the string toward the palm, and alternate fingers rather than repeating one finger unnecessarily.

Control and sound: Balance bass and melody separately, then combine. Move the contact point to change colour and use rest/free strokes deliberately.

Used for: Classical, flamenco, folk, acoustic pop, bossa nova, blues, and solo chord-melody.

Common errors: Pulling outward so strings snap, collapsing finger joints, repeating one finger during fast passages, or burying the melody under the bass.

Sources: [7][8]

Travis Picking and Independent Bass  

How to do it: Alternate two bass strings steadily with the thumb while index and middle fingers place treble notes between or together with bass attacks. Learn thumb alone first, then add one treble note at a time.

Control and sound: The thumb is the timekeeper. Keep it even while changing the treble rhythm; accent melody notes without disturbing bass.

Used for: Country, folk, singer-songwriter, acoustic blues, and fingerstyle arrangements.

Common errors: Letting the thumb follow the melody, losing the alternating bass during chord changes, or trying the complete pattern before each layer is stable.

Sources: [6][15][19]

Hybrid and Chicken Picking  

How to do it: Hold the pick normally while the middle and ring fingers pluck higher strings. Pick the bass or lower chord tone, then snap or pluck treble notes with the free fingers.

Control and sound: Practise two-note alternation before double-stops. Match volume between pick and fingers unless a deliberate pop is wanted.

Used for: Country chicken picking, rockabilly, fusion, jazz, funk, and wide string skips.

Common errors: Dropping the pick grip when fingers engage, excessive snapping, and inconsistent timing between pick and fingers.

Sources: [21][15]

Philip John Jatzek & STORM (ChatGPT) - 2026

Periodical 7 expanded page 4

Arpeggiation and Crosspicking  

How to do it: Hold a chord and sound its strings individually in a repeating order. Use alternate picking or finger assignment; keep each string ringing unless the style requires separation.

Control and sound: Accent the top melody or bass note. Practise forward, reverse, and non-adjacent string orders.

Used for: Folk, pop ballads, classical textures, country, progressive rock, and chord-melody.

Common errors: Looking only at the picking hand, striking neighbouring strings accidentally, or allowing one weak string to disappear.

Sources: [8][20]

String Skipping and Tremolo Picking  

How to do it: For skipping, clear the unwanted string with a compact motion and mute it with either hand. For tremolo, alternate rapidly on one note while keeping motion small and relaxed.

Control and sound: Speed is accepted only when strokes stay even and pitch remains centred. Use short bursts followed by relaxed pauses.

Used for: Metal, surf, classical tremolo, dramatic rock, soundtrack textures, and wide-interval riffs.

Common errors: Large motions, forearm locking, unmuted skipped strings, or measuring success only by speed.

Sources: [1][11][12]

Rasgueado and Percussive Strumming  

How to do it: For rasgueado, release individual right-hand fingers outward across the strings in sequence while the thumb stabilizes the hand. For golpe-like percussion, tap the guitar top only with safe, controlled force and appropriate instrument protection.

Control and sound: Count the finger releases as a rhythm, not a flourish. Begin with one finger, then two-, three-, and four-stroke fans.

Used for: Flamenco and flamenco-influenced rumba; percussive acoustic accompaniment.

Common errors: Flicking from the whole arm, losing compas, striking the instrument dangerously, or treating all flamenco rhythms as the same pattern.

Sources: [17][18]

Philip John Jatzek & STORM (ChatGPT) - 2026

Periodical 7 expanded page 5

Right-Hand Rhythm Families

The hand must keep the subdivision moving even when pitch is absent. The table separates the motion from the style result. [5][20]

Feel	Count	Right-hand action	Typical use
Straight eighths	1 & 2 & 3 & 4 &	Even D-U motion	Rock, pop, country, reggae grid
Shuffle	1-trip-let 2-trip-let	Attack first and third triplet	Blues, boogie, rockabilly
Swing eighths	1 & 2 &	Long-short phrasing	Jazz, blues
Sixteenth groove	1 e & a	Continuous small D-U	Funk, R&B, disco
Backbeat	1 2 3 4	Stronger 2 and 4	Rock, blues, soul
Offbeat skank	1 & 2 & 3 & 4 &	Short attacks on offbeats	Reggae, ska
Tremolo	Even repeated subdivision	Very small alternate strokes	Surf, metal, classical

Right-hand checkpoint
• Can the hand continue moving through rests?

• Are muted attacks counted and placed exactly?

• Can accents change without changing tempo?

• Can the same pattern move from muted strings to power chords and full chords?• Can the player stop unwanted strings immediately?

Philip John Jatzek & STORM (ChatGPT) - 2026

Periodical 7 expanded page 6

RIGHT-HAND TIMING, MUTING AND DYNAMICS

Timing belongs to the right hand. The count continues whether a stroke sounds, rests, remains muted or allows a previous note to ring. Practise the motion before adding any left-hand shape.

RIGHT-HAND CONTROL CHECK

• Keep the hand moving through rests and tied or ringing notes.

• Accent selected attacks without changing tempo.

• Use palm contact near the bridge for a tighter sound.

• Count muted x strokes as real rhythmic events.

• Practise soft, medium and strong attacks without rushing.

FOUR-BAR RIGHT-HAND STUDY

Bar	Action	Dynamic	Goal
1	S2 on muted strings	p	Even motion
2	S2, accent beats 2 and 4	mp	Accent without rushing
3	S4 palm-muted	mf	Count every x stroke
4	S2 full ringing attack	f	Stop precisely after beat 4

SLURS AS A PICKING DECISION

A written slur tells the right hand not to re-attack every connected note. Pick the opening note or the specifically marked attacks; allow hammer-ons, pull-offs or slides to fill the remaining subdivisions. The right hand still owns the count and must re-enter at the exact written position.

Philip John Jatzek & STORM (ChatGPT) - 2026

Right-hand timing practice

ADVANCED RIGHT-HAND, HARMONIC PERCUSSIVE AND TONE METHODS

Right-hand sound production begins with pulse and attack, then expands into classical strokes, folk and banjo-derived picking, harmonics, percussion, tone-location control, electric effects and carefully limited experimental methods. Slurs are included here as a picking and phrasing decision: the hand chooses which notes receive attacks and which continue without re-picking. Every diagram aligns notation, action and tablature on one vertical grid.

READING AND SAFETY RULES

• Letters describe the action: P/I/M/A = thumb/index/middle/ring; D/U = down/up; T = tap; H = hammer; EB = electronic bow.

• Technique abbreviations above notation apply until changed. Special symbols vary between publishers, so always read a score legend.

• Begin acoustic and percussive effects softly. Remove jewellery and protect the guitar top. Stop if hardware binds or the finish is at risk.

• Amplified feedback and scraping require low starting volume, deliberate muting and hearing protection.

• Prepared and third-bridge sounds belong to the experimental category and should use purpose-made, removable, non-damaging materials only.

REFERENCE BASIS

• Yamaha Musical Instrument Guide - electric guitar techniques and tremolo-arm operation.

• Classical Guitar Corner - notation for pizzicato, Bartok pizzicato, rasgueado, one-hand playing and percussion.• Premier Guitar - cascading/harp harmonics and expanded fingerstyle practice.

• Open educational Sight-Reading for Guitar - snap pizzicato, tambora and golpe.

• Hub Guitar - tone-location effects, behind-the-nut bends and experimental sound warnings.

Philip John Jatzek & STORM (ChatGPT) - 2026

Advanced techniques introduction

ADVANCED AND LESSER-KNOWN TECHNIQUES

1. Campanella RIGHT HAND / FINGERSTYLE  

How to do it: Alternate open and fretted notes on different strings. Hold each note so the tones overlap like bells.

Control and sound: Do not release a ringing note merely because the next note begins; mute only when the harmony changes.

camp.

2. Apoyando (Rest Stroke) RIGHT HAND / CLASSICAL  

How to do it: Pluck through the string and let the finger come to rest on the adjacent lower-pitched string.

Control and sound: Use a relaxed knuckle and consistent depth. The landing string stops the motion; the fingertip does not hook upward.

apoy.

3. Tirando (Free Stroke) RIGHT HAND / CLASSICAL  

How to do it: Pluck across the string toward the palm without allowing the finger to land on the next string.

Control and sound: Keep the hand stable and make the return motion small. Use it for arpeggios and simultaneous voices.

tir.

4. Carter Scratch RIGHT HAND / FOLK  

How to do it: Play melody notes on the bass strings with the thumb, then brush the upper strings as rhythmic answers. Control and sound: Keep the bass melody louder than the brush and make every brush land exactly on the subdivision.

bass + brush

5. Clawhammer / Frailing Guitar RIGHT HAND / FOLK  

How to do it: Strike downward with the back of a fingernail, then let the thumb release a bass or drone string. Control and sound: The hand moves as one relaxed unit. Avoid pulling upward like ordinary fingerstyle.

frail

6. Crosspicking RIGHT HAND / FLATPICK  

How to do it: Use alternate picking across a repeated three-string roll so chord tones sound like a banjo pattern. Control and sound: Keep pick travel shallow and preserve the pulse when crossing back over a string.

roll

7. Harp / Cascading Harmonics HARMONICS  

How to do it: Alternate normal fretted notes with artificial harmonics touched twelve frets above each fretted pitch.

Control and sound: Touch lightly, pluck with another finger, then lift the touching finger immediately so every harmonic rings.

A.H. 12

8. Rake Picking RIGHT HAND / PICK  

How to do it: Drag the pick across muted strings immediately before the target note, using one controlled travel direction.

Control and sound: The muted attacks lead into the target; they must not become separate loud notes.

rake

9. Harmonic Strumming HARMONICS  

How to do it: Lay one finger lightly across the twelfth-fret harmonic nodes and strum through the strings.

Control and sound: Release the touching finger after the attack. Keep it directly over the fret wire, never pressed to the fretboard.

N.H. 12

10. Banjo Rolls on Guitar RIGHT HAND / FINGERSTYLE  

How to do it: Repeat a forward, backward or alternating thumb-finger sequence across chord tones.

Control and sound: Practise the right hand on one held chord until the roll stays even without watching the fingers.

forward roll

11. Tambora PERCUSSIVE  

How to do it: Strike the chord strings near the bridge with the side of the thumb using a light rebounding wrist motion. Control and sound: Aim for a drum-like attack plus audible pitch. Never drive the thumb into the bridge or guitar top.

tamb.

12. Golpe PERCUSSIVE  

How to do it: Alternate a played note or chord with a controlled fingertip tap on a protected tapping area of the top. Control and sound: Use a golpeador on flamenco instruments. Do not strike an unprotected finish forcefully.

golpe

13. Bartok / Snap Pizzicato PERCUSSIVE STRINGS  

How to do it: Grip the string, pull it straight away from the fretboard and release it so it snaps against the frets. Control and sound: Begin very softly. Excessive force can break strings, mark frets or damage delicate instruments.

snap

14. Etouffee / Guitar Pizzicato RIGHT HAND / MUTING  

How to do it: Rest the palm edge just in front of the bridge while the thumb or fingers pluck short, pitched notes. Control and sound: Use only enough contact to shorten sustain. Moving toward the neck creates a drier sound.

pizz.

15. Body Percussion PERCUSSIVE  

How to do it: Assign distinct safe zones for a bass-like palm hit and a lighter fingertip tap, then alternate them in time. Control and sound: Use moderate force, remove rings, and avoid pickups, controls, braces, bridge and unsupported thin wood.

body

16. Rasgueado Variations RIGHT HAND / FLAMENCO  

How to do it: Release ring, middle and index fingers outward in sequence; add the thumb only when the pattern requires it. Control and sound: Count every finger release. Start with one finger, then build two-, three- and four-stroke fans.

rasg.

17. Pinch Harmonics HARMONICS  

How to do it: Let the pick strike, then allow the edge of the picking thumb to touch the string immediately afterward. Control and sound: Expose only a small pick tip and search along the string for strong nodes; mute adjacent strings.

P.H.

18. Tapped Harmonics HARMONICS / TWO HANDS  

How to do it: Fret each note normally and tap sharply on the same string exactly twelve frets higher.

Control and sound: Tap directly over the fret wire and rebound immediately. A heavy tap chokes the harmonic.

T.H. +12

19. Behind-the-Nut Harmonics HARMONICS / EXPERIMENTAL  

How to do it: Lightly touch and pluck the short string length between the nut and tuning post on a suitable headstock. Control and sound: Use gentle contact and expect non-standard pitches. Keep fingers clear of sharp string ends.

BTN H.

20. Volume Swells ELECTRIC / DYNAMICS  

How to do it: Pick with the volume reduced, then raise the guitar control or pedal smoothly so the attack disappears. Control and sound: Coordinate the swell with the beat and reset silently before the next picked note.

swell

21. Sul Ponticello TONE LOCATION  

How to do it: Pick close to the bridge to emphasize upper partials and create a bright, metallic colour.

Control and sound: Keep timing and pick depth unchanged while moving the contact point; do not strike the bridge hardware.

sul pont.

22. Sul Tasto TONE LOCATION  

How to do it: Pick over the end of the fingerboard or nearer the neck for a soft, rounded colour.

Control and sound: Use lighter attack and avoid hitting fretting fingers when the left hand moves into high positions.

sul tasto

23. Pick Scrape RIGHT HAND / EFFECT  

How to do it: Tilt the pick edge and drag it along a wound string toward or away from the pickups. Control and sound: Use moderate pressure. Keep the scrape off plain strings, the finish and pickup covers.

scrape

24. Reverse Rake RIGHT HAND / PICK  

How to do it: Begin on the target note and continue through muted neighbouring strings in the reverse travel direction. Control and sound: Make the target clear, then keep the following muted contacts lighter and rhythmically even.

rev. rake

25. Controlled Feedback ELECTRIC / AMPLIFIER  

How to do it: Sustain a fretted note near an amplified speaker and change position or angle until a stable overtone blooms. Control and sound: Begin quietly, use hearing protection, mute unused strings and never place the instrument against the speaker.

feedback

26. Whammy-Bar Harmonic Dips TREMOLO / HARMONICS  

How to do it: Sound a harmonic, then press the tremolo arm smoothly to lower pitch and return it to its neutral point. Control and sound: Use small movements first. Check that the bridge returns to tune and never force the arm past resistance.

N.H. dip

27. E-bow Sustain ELECTRIC / SUSTAIN  

How to do it: Place the electronic bow above one string as directed by its maker and let its magnetic field sustain the note. Control and sound: Approach the string gradually to avoid a volume jump. Use only compatible magnetic-string instruments.

E-bow

28. Prepared Guitar EXPERIMENTAL - SAFETY FIRST  

How to do it: Alter timbre with a purpose-made removable preparation placed by an experienced player or technician.

Control and sound: Never jam tools under strings, use sharp metal, touch active electronics or risk the finish. Test on a suitable instrument.

prep.

29. Third-Bridge / Behind-Bridge Sounds EXPERIMENTAL - SAFETY FIRST  

How to do it: Excite the short string section beyond a bridge, or use a purpose-built removable third bridge to divide string length. Control and sound: Use only designs that cannot scratch, short electronics or overload the top. Non-standard pitches are expected.

3rd bridge

GUITAR STYLE REFERENCE

1. Blues  

Right hand: Shuffle or swing subdivision; backbeat accents; fingerstyle or pick; space between vocal-like answers.

Left hand: Minor/major pentatonic mixtures, bends, vibrato, slides, double-stops, call-and-response.

Starting study: Count a 12-bar form. Play a two-note shuffle with the right hand; answer each two-bar chord phrase with one controlled bend or slide. Sources: [14][19]

2. Rock  

Right hand: Straight eighths, firm downstrokes/alternate strokes, power-chord accents, palm-muted verses and open choruses. Left hand: Power chords, slides, hammer-ons, bends, vibrato, octave shapes, compact riffs.

Starting study: Alternate two muted eighth-note bars with two open-accent bars; add a one-bar scale answer. Sources: [1][3][10]

3. Metal and Progressive Metal  

Right hand: Tight palm-muted alternate/down picking, tremolo, string skipping, economy/sweep picking, odd-meter accuracy. Left hand: Power chords, legato, tapping, wide shifts, harmonics, controlled bends and vibrato.

Starting study: Practise a D-root pedal tone against changing two-note shapes; stop after every group to verify silence. Sources: [11][12]

4. Jazz  

Right hand: Swing or straight time, comping with varied attack, fingerstyle/pick options, dynamic interaction and space.

Left hand: Guide-tone and extended voicings, arpeggios, chord-scale lines, chromatic approaches, smooth voice leading.

Starting study: Play four beats of a compact chord, then four beats of an arpeggio; keep the time continuous and volume conversational. Sources: [13][20][22]

5. Funk, R&B, and Soul  

Right hand: Continuous sixteenth-note motion, syncopated accents, scratch mutes, short chord attacks, pocket and dynamic control. Left hand: Partial chords, double-stops, immediate pressure release, slides into chord fragments, melodic fills.

Starting study: Mute all strings and accent one sixteenth location; replace only selected accents with a two- or three-note chord. Sources: [5][20]

6. Reggae and Ska  

Right hand: Continuous eighth-note grid; short offbeat skanks; controlled up/down choice; deliberate silence after each chord. Ska is often faster and more driving.

Left hand: Small chord voicings, light pressure release, left-hand muting, occasional melodic fills.

Starting study: Count 1 & 2 & 3 & 4 &: muted motion on numbered beats and short chord attacks on every &. Sources: [16]

7. Country and Rockabilly  

Right hand: Alternating bass, Travis picking, hybrid/chicken picking, boom-chuck rhythm, clear dynamic accents.

Left hand: Open/movable chords, double-stops, pedal tones, slides, bends, hammer-ons, pull-offs.

Starting study: Keep a steady thumb or bass pick while adding one syncopated treble note; then add a double-stop answer. Sources: [6][15][21]

8. Folk and Singer-Songwriter  

Right hand: Even strumming, bass-note strum, arpeggiation, fingerpicking, dynamics following lyric phrases.

Left hand: Open chords, partial capolike shapes, smooth common-finger changes, hammer/slide ornaments.

Starting study: Play the same progression softly, moderately, and strongly without changing tempo; add one treble ornament. Sources: [8]

9. Fingerstyle and Acoustic Blues  

Right hand: Independent alternating bass, syncopated treble melody, thumb-led groove, optional bottleneck slide.

Left hand: Chord melody, held bass shapes, pull-offs, slides, hammer-ons, movable fragments and open-string control. Starting study: Establish two bars of thumb-only bass; add one treble answer without changing the bass. Sources: [6][19]

10. Classical  

Right hand: PIMA assignment, free/rest strokes, arpeggios, tremolo, deliberate tone-colour placement and dynamic voicing.

Left hand: Position discipline, slurs, shifts, vibrato, barres, harmonics, independent voices.

Starting study: Play a four-note arpeggio while making the top voice louder than the inner notes; reverse the emphasis. Sources: [1][7][18]

11. Flamenco and Rumba  

Right hand: Compas first; rasgueado, thumb work, rapid arpeggios, percussive effects, accent cycles.

Left hand: Phrygian-family harmony, fast slurs, barres, position shifts, controlled ornaments.

Starting study: Clap and count the compas before touching the guitar; add one simple rasgueado pattern without moving accents. Sources: [17][18]

12. Surf  

Right hand: Fast even alternate/tremolo picking, driving eighths, strong rests, reverb-aware articulation.

Left hand: Simple melodic shapes, slides, vibrato-arm or finger vibrato, double-stops and position shifts.

Starting study: Tremolo-pick one scale tone for one bar, rest one beat cleanly, then move to the next tone. Sources: [1][12]

13. Punk and Alternative  

Right hand: Consistent downstrokes or straight alternation, aggressive accents, palm-muted/open contrast, concise rests. Left hand: Power chords, octaves, slides, chord anticipation, controlled string noise.

Starting study: Play eight muted eighths, then eight open eighths; keep tempo identical and stop both groups cleanly. Sources: [3]

14. Latin and Bossa-Inspired Guitar  

Right hand: Independent bass/chord rhythm, syncopation, fingerstyle balance, restrained dynamics.

Left hand: Compact seventh chords, smooth voice leading, held common tones and economical shifts.

Starting study: Alternate bass on beats while placing short upper-chord attacks between them; never let the bass lose time. Sources: [5][18][20]

15. Hybrid MusicMaster Style  

Right hand: Choose the right-hand grid first: straight, shuffle, triplet, sixteenth, or offbeat. Add rests and accents deliberately.

Left hand: Hold a scale-built chord, power chord, or octave; connect nearby scale, ShadowScale, and blue notes with controlled articulation.

Starting study: Play two bars of chord rhythm, one bar of two-note blue-note answers, and one bar of a 5-, 7-, or 9-note slur. Return to the chord exactly on beat 1. Sources: [20][22]

MORE GUITAR STYLES TO EXPLORE

Each style below combines techniques already taught with a distinct role, feel or sound. Exercises are original; apply the book’s D G C F A D tuning throughout.

16. Bluegrass Flatpicking

Right hand: Alternate bass and chord attacks, then flatpick melody notes and rolling crosspicked arpeggios. Keep the bass pulse clear even when a fill begins.

Left hand: Hold chord tones close to the fretboard; place short walk-ups between chord changes without losing the downbeat.

Practice: Play two bars of bass–chord accompaniment, then two bars of melody with a three-string crosspick fill. Use D G C F A D string labels, not standard-tuning chord diagrams. [S1]

17. Gypsy Jazz Swing

Right hand: Use compact, dry chord attacks in a steady swing pulse. Alternate fuller accents and short releases; reserve space for the soloist.

Left hand: Fret movable small chord voicings and release pressure immediately after each attack to shorten the sound.

Practice: Count four quarter notes per bar; play a chord on each beat and release after every stroke. Then add a two-bar melodic answer. [S2]

18. Neo-Soul Chord Embellishment

Right hand: Pluck selected chord voices, often with a soft backbeat; alternate a brief chord with a melodic reply.

Left hand: Use close chord movements, double-stops, hammer-on ornaments and passing chords. Keep shared notes held while another voice moves.

Practice: Hold a three-note chord for two beats, move one top voice for two beats, then return. Write the actual fret numbers for D G C F A D tuning. [S3]

19. Slide Blues and Country

Right hand: Pick one string at a time and damp unwanted strings with spare fingers or the palm.

Left hand: Place the slide directly over the fret wire, use light contact, and mute the length of string behind it. This is a physical slide, distinct from sliding a fretting finger.

Practice: On one string, sound two target pitches, glide between their fret wires, then stop both pitches cleanly. Check intonation by ear; do not assume the book’s D G C F A D tuning is an open chord. [S4]

20. Percussive Solo Acoustic

Right hand: Combine a steady thumb bass, upper-string melody and occasional muted string or soundboard taps. Preserve the guitar’s main pulse.

Left hand: Hold the harmony and release selected notes for short percussive attacks without silencing the melody.

Practice: Alternate bass on beats 1 and 3, light taps on 2 and 4, and one treble melody note on each “and.” Start with muted strings before adding harmony. [S5]

21. Jazz Chord Melody and Walking Bass

Right hand: Sound a low moving bass note with a separate upper chord or melody; let each voice have a clear duration.

Left hand: Choose compact voicings whose top note follows the melody while bass notes approach the next chord root.

Practice: Play four quarter-note bass notes in a bar, placing an upper chord on beats 2 and 4. Then place one melody note above each chord. [S6]

22. Progressive Odd-Meter Tapping

Right hand: Tap a high voice while the fretting hand supplies a lower repeating shape. Accent the start of each group.

Left hand: Keep the bass or chord pattern even while the tapped voice changes; mute all unused strings.

Practice: Count 7/8 as 2+2+3, then tap on the first eighth of each group. Begin slowly and keep seven counted eighths per bar. [S7]

STYLE-BUILDING WORKFLOW

A style becomes convincing when time, articulation, note choice, tone, and silence agree. Build one layer at a time.

• Choose metre and subdivision. Count it aloud.

• Choose the right-hand engine: strum, alternate pick, fingerstyle, hybrid, tremolo, or rasgueado.• Choose attack length: ringing, lightly muted, sharply stopped, or mixed.

• Choose left-hand vocabulary: chord fragments, power chords, octaves, slurs, bends, slides, harmonics, or blue notes.

• Choose phrase density. Leave deliberate space.

• Choose dynamics and tone colour only after the rhythm works.

• Record, listen, and correct one category at a time.

Cross-hand diagnostic

Symptom	Check right hand	Check left hand
Rhythm feels weak	Subdivision and accents	Release exactly on beat
Too much noise	Palm/unused-finger muting	Adjacent-string contact
Legato is uneven	Pick only intended attacks	Hammer/pull strength and timing
Chord sounds muddy	String selection and depth	Fretting angle and unused strings
Bend sounds wrong	Do not over-attack	Target pitch and supported bend
Style sounds generic	Change groove and dynamics	Use characteristic voicings/articulation

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Periodical 7 expanded page 6

10 Progressive Practice Studies

Study 1 Steady Foundation
One D-root chord with S1 for eight bars. Count aloud.

Study 2 Alternating Motion
S2 over two related chords; change on beat 1.

Study 3 Space and Response
S3 with silent rests; add a three-note run after the final upstroke.

Study 4 Power and Blue Note
Strike a power chord, add one blue note, and return.

Study 5 Octave and Run
Play an octave chord with S2, then answer with a three-note run.

Study 6 Full Performance
Use S2 for the opening, S4 for the middle, and S5 for the final section.

11 Performance Blueprint
Choose the progression, right-hand pattern, emphasized strings, left-hand shapes, one or two blue-note moments, and a controlled final chord.

Section	Chords	Strumming	Left-hand colour
Intro	Power or octave	S1	Clean open attack
Main groove	Full chords	S2 or S4	Light muting
Variation	Inversions or ShadowScale chords	S3 or S5	Blue-note answer
Ending	Final root chord	One downstroke	Vibrato or ringing release

Appendix Exercise Index

Code	Area	Purpose
RH-01 to RH-04	Right hand	Stroke control
S1 to S6	Strumming	Reusable rhythms
LH-01 to LH-04	Left hand	Fretting and movement
C-01 to C-04	Chord technique	Power and octave applications
B-01 to B-04	Blue notes	Chord and melody connection
Study 1 to Study 6	Both hands	Progressive practice

 

JATZEK MUSICMASTER PERIODICAL 7

PART II LEFT HAND

Fretting, shapes, articulation and connected pitch

The left hand selects pitch, controls sustain and shapes chords.

Hammer-ons, pull-offs, slides and fretted slurs are explained here. Both-hand techniques follow the left-hand foundation so their coordination is clear.

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LEFT-HAND FOUNDATION

Place fingers close behind the fret, press only hard enough for a clear note and keep the thumb supportive rather than squeezing. Move related fingers together and retain useful common tones between shapes.

FOUNDATION EXERCISES

• LH-01: Play one clean note on each string.

• LH-02: Fret 1-2-3-4 and reverse 4-3-2-1 with minimum lift.

• LH-03: Change between two shapes while keeping common fingers planted.

• LH-04: Release pressure to mute, then re-fret without losing position.

• LH-05: Test every string of a chord and remove unnecessary pressure.

CHORD CHANGES, POWER CHORDS AND OCTAVES

Power chords and octave chords bridge scales and full chords. Their compact shapes make the root clear while leaving nearby fingers available for scale and blue-note movement.

• Form the complete shape silently before applying pressure.

• Move the shape as one unit and land close behind each destination fret.

• Keep unused strings touched or blocked so only intended notes sound.

• Release pressure without lifting away when the right hand requires a rhythmic mute.

• Practise adding and removing one nearby scale note while the main chord tones remain stable.

LEFT-HAND SUCCESS CHECK

Every note is centred, every shift is economical, every unused string is controlled and every release is silent. Timing is supplied by the right hand; the left hand prepares and completes each physical movement without changing that count.

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Left-hand foundation

LEFT-HAND TECHNIQUES - DETAILED METHOD

Sound the later notes with the fretting hand while the picking hand supplies only the required attacks.

HAMMER-ON TAB: h  

What it does: A hammer-on raises the pitch to a higher fret without a second pick attack.

Correct motion: Fret and pick the lower note close behind its fret. Keep that finger planted. Lift the next finger only a short distance, strike the higher fret firmly with the fingertip, and leave it pressed so the new note sustains.

Timing and sound: The hammered note must land exactly on its written subdivision and should be nearly as clear and loud as the picked note.

Avoid: Do not slap from high above the neck, land on top of the fret wire, bend the string sideways, or repick the second note.

Practice: Repeat 5h7 slowly on every string with finger pairs 1-2, 1-3, 1-4, 2-3, 2-4, and 3-4.

1 D
2 G
3 C
4 F

5 A

5

h7

6 D
Pick 5 once; hammer firmly onto fret 7.

PULL-OFF TAB: p  

What it does: A pull-off lowers the pitch to a prepared lower fret without a second pick attack.

Correct motion: Fret both notes before starting: the lower target with the first finger and the higher note with another finger. Pick the high note, then release the high finger with a small downward or inward plucking motion while the lower finger stays firm.

Timing and sound: The lower note must begin in time and speak clearly. Use only enough sideways motion to restart the string.

Avoid: Do not merely lift straight away, drag the string far out of tune, release the lower finger, or let unused strings ring.

Practice: Repeat 7p5 on every string, then join 5h7p5 with one pick attack.

1 D
2 G
3 C
4 F

5 A

7

p5

6 D
Prepare fret 5 first; pick 7, then pull cleanly to 5.

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Left-Hand Technique 1 of 4

LEFT-HAND TECHNIQUES - DETAILED METHOD

Slides and slurs connect notes into phrases. The destination note must still arrive on the beat.

SLIDES TAB: / up, \ down  

What it does: A slide carries one fretting finger along the same string from a starting pitch to a destination pitch.

Correct motion: Pick the first note, keep the fingertip pressed, relax only enough to travel, and move in one smooth line. Stop immediately behind the destination fret and hold it. Reverse the motion for a descending slide.

Timing and sound: Choose whether the slide begins immediately or late, but make the target note arrive exactly at its written rhythmic position.

Avoid: Do not lose contact, press so hard that movement sticks, overshoot the target, scrape across strings, or stop on the fret wire.

Practice: Alternate 5/7 and 7\5. Listen for a clear starting pitch, a connected movement, and a stable arrival pitch.

1 D
2 G
3 C
4 F

5 A

5

/7

\5

6 D
One finger stays on String 5 A for the up-and-down slide.

SLURS, LEGATO, AND TRILLS Notation: curved slur; tr  

What it does: A slur joins a group of notes into one smooth phrase. On guitar, the connected notes are commonly produced with hammer-ons, pull-offs, and slides. A trill rapidly alternates two notes.

Correct motion: Pick the first note unless another attack is marked. Keep the hand relaxed and use the smallest useful finger motion through the 5-, 7-, or 9-note succession. For a trill, hold the lower note and alternate hammer-on and pull-off evenly.

Timing and sound: Each connected note still owns a rhythmic position. Match the volume of every note instead of rushing the middle of the slur.

Avoid: Do not treat the curved slur as extra time, blur uneven notes together, or allow the phrase to fade after the first few notes.

Practice: Build 5h7p5h7p5, then seven and nine connected notes at a slow metronome setting.

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Left-Hand Technique 2 of 4

LEFT-HAND TECHNIQUES - DETAILED METHOD

Bends and vibrato change pitch. Always hear the target pitch first and return to pitch under control.

STRING BENDS TAB: b, r  

What it does: A bend raises a fretted note by stretching the string sideways. Common targets are a half-step (one fret) and whole-step (two frets).

Correct motion: Fret near the target fret with the ring finger and support it with one or two fingers behind it. Keep the fingertips together and rotate the wrist and forearm as a unit; do not rely only on one fingertip. Bend toward the centre of the fretboard.

Timing and sound: First play the target fret normally, remember its pitch, then bend the lower note until it matches. Hold the target before releasing if a release is written.

Avoid: Do not guess the height, collapse the fingertip joint, choke the note against another fret, release too quickly, or let adjacent strings sound.

Practice: Compare fret 5 bent a whole step with the pitch at fret 7. Practise bend, hold, release, and bend with vibrato.

1 D
2 G
3 C
4 F

5 A

5

b7

r5

6 D
Bend fret 5 to the pitch of fret 7, hold it, then release to 5.

VIBRATO TAB: ~  

What it does: Vibrato gives a sustained note controlled pitch movement after the note is established. Correct motion: Fret the note securely, support the active finger, and use a small repeated wrist rotation to bend slightly away from pitch and return to centre. Keep the finger behind the fret and mute nearby strings.

Timing and sound: Choose the rate and width deliberately: slow and narrow, slow and wide, fast and narrow, or fast and wide. Begin only after the note is in tune.

Avoid: Do not shake the whole guitar, slide along the string accidentally, drift permanently sharp, or make irregular pulses.

Practice: Hold fret 5 for four beats: plain on beat 1, then add four even vibrato pulses over beats 2-4.

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Left-Hand Technique 3 of 4

LEFT-HAND TECHNIQUES - DETAILED METHOD

Control unwanted sound, move economically, and combine the techniques into a clean musical phrase.

LEFT-HAND MUTING AND RELEASES TAB: x  

What it does: Left-hand muting stops unwanted strings and creates short percussive notes without changing the picking motion.

Correct motion: For a dead note, touch the string with one or more fingers without pressing it to a fret. To stop a fretted note, release pressure while keeping contact. Let spare fingertips lightly touch neighbouring strings when safe.

Timing and sound: Mute exactly where the rest or x appears. The sound should stop cleanly without an accidental harmonic or open string.

Avoid: Do not lift far away, squeeze during a dead stroke, touch only at a harmonic node, or allow the released string to ring open.

Practice: Alternate one fretted 5/5 power chord with one fully muted x stroke through 1-and-2-and-3-and-4-and.

1 D
2 G
3 C
4 F

5 A

5

x

5

x

6 D
Fretted note, dead stroke, fretted note, dead stroke.

POSITION SHIFTS AND TECHNIQUE CHAIN Practice: slow to musical  

What it does: A position shift moves the hand to a new fret area; a technique chain combines slide, hammer-on, pull-off, bend, vibrato, and muting into one phrase.

Correct motion: Look at the destination before moving. Release excess thumb pressure, lead with the active finger, keep the hand close to the neck, and land behind the fret. Retain common fingers when changing shapes.

Timing and sound: Move during the allowed note value or rest. Begin slowly enough that every arrival, articulation, and mute remains intentional.

Avoid: Do not jump blindly, drag a tense thumb, twist the wrist, speed up during legato, or sacrifice pitch for speed.

Practice: Play 5h7p5/9, add controlled vibrato, then mute. Repeat evenly before adding it as a blue-note answer over a chord.

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Left-Hand Technique 4 of 4

Slides
Keep pressure even while moving to an intentional arrival note.

Bends
Listen for the target pitch rather than relying only on distance.

Vibrato
Use a controlled small pitch movement after the note is secure.

Legato
Connect notes with minimal repeated picking.

Muting
Use both hands to prevent unwanted strings from ringing.

8 Blue Notes Over Chords
A blue note is a small melodic note placed around a chord to change its colour. It does not replace the chord. Strike the chord, add one nearby note, return to the chord, and listen to the contrast. One or more blue notes may be played as short runs over a held power chord, octave chord, or full chord.

Exercise	Chord action	Blue-note action
B-01	Strike power chord	Add one neighbouring scale note
B-02	Hold octave chord	Play a three-note ascending run
B-03	Strum S3	Answer with a descending run
B-04	Use progression	Place a blue note before each change

9 Coordinating Both Hands
Keep the right hand predictable and change only what is necessary with the left hand. Begin with one chord, add a second only after the rhythm is steady, then add one blue note at the end of the bar.

Stage	Right hand	Left hand
1	S1 four bars	One chord
2	S2 four bars	Two-chord change
3	S3 with rests	Power-chord progression
4	S4 muted accents	Octave progression
5	S5 syncopation	Chord plus blue-note answer

LEFT HAND STYLES AND TECHNIQUES

The left hand belongs in its own section. It selects pitch, controls sustain, connects notes, colours attacks, shapes chords, bends pitch, and prevents unwanted strings from sounding.

Left-hand success is measured by accurate pitch, minimal pressure, economical movement, clean releases, and intentional articulation. Practise each motion without tempo, then place it precisely inside the right-hand count. [9][10]

Fretting, Pressure, and Release  

How to do it: Place the fingertip just behind the fret, press only until the note speaks, and keep unused fingers close to the strings. Release pressure without lifting far away.

Control and sound: Compare minimum pressure with excessive pressure. The correct note is clear, in tune, and easy to release.

Used for: Every style; especially clean chord changes, legato, and fast passages.

Common errors: Fretting on top of the fret, squeezing the neck, flattening fingers onto neighbouring strings, or lifting too far.

Sources: [1][9]

Hammer-ons and Pull-offs  

How to do it: Pick the first note. For a hammer-on, strike the higher fret firmly with a curved fingertip. For a pull-off, maintain the lower note first, then release the upper finger with a small downward-and-inward pluck.

Control and sound: Make the unpicked note equal in volume and exactly in time. Keep other strings muted.

Used for: Blues, rock, metal, country, jazz, folk, and legato scale runs.

Common errors: Dropping the hammer slowly, lifting rather than plucking a pull-off, bending the string sideways, or rushing the second note.

Sources: [9]

Slides and Position Shifts  

How to do it: Fret the starting note, maintain controlled contact, move along the string, and arrive just behind the destination fret on the correct beat. Reduce pressure slightly during silent shifts.

Control and sound: Choose audible slides for expression and silent shifts for repositioning. Keep the thumb mobile rather than clamped.

Used for: Blues phrasing, rock riffs, country connections, jazz position changes, slide effects, and vocal-like melody.

Common errors: Stopping between frets, overshooting, scraping every shift loudly, or arriving late.

Sources: [9]

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Periodical 7 expanded page 1

Bends and Releases  

How to do it: Support the bending finger with one or two fingers behind it. Rotate the wrist and forearm rather than pushing with one isolated fingertip. Hear or fret the target pitch first, then bend to match it.

Control and sound: Practise quarter-, half-, and whole-step targets with a tuner or reference note. Hold pitch, add vibrato only after arriving, and release in tune.

Used for: Blues, rock, country, metal, soul, and expressive lead playing.

Common errors: Bending without a target, using one weak finger, letting adjacent strings ring, or releasing below/above the starting pitch.

Sources: [10][12]

Vibrato  

How to do it: Fret the note securely and make a controlled repeated pitch movement with wrist rotation or a small bend-and-return. Return through the centre pitch each cycle.

Control and sound: Control width and speed independently: narrow/slow, narrow/fast, wide/slow, wide/fast. Begin vibrato after the note settles.

Used for: Sustained notes in blues, rock, metal, jazz, country, classical, and melodic phrasing.

Common errors: Shaking randomly, drifting sharp, using the same vibrato for every phrase, or beginning before the note is in tune.

Sources: [10][12]

Legato Runs and Slur Groups  

How to do it: Pick the first note of a group, then combine hammer-ons, pull-offs, and slides so the left hand supplies later attacks. Practise 3-note groups before the MusicMaster 5-, 7-, and 9-note slurs.

Control and sound: Keep each note rhythmically equal and audible. Accent the first or last note deliberately rather than letting finger strength decide.

Used for: Fluid scale playing, fusion, rock, metal, jazz, and expressive connections between scale and blue notes.

Common errors: Unequal volume, collapsing rhythm, weak little-finger notes, and allowing sympathetic strings to ring.

Sources: [9][12]

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Periodical 7 expanded page 2

Left-Hand Muting and Chord Release  

How to do it: Touch unwanted adjacent strings with the fretting fingers. For a rhythmic stop, release finger pressure while maintaining contact so the chord becomes silent without open-string noise.

Control and sound: Coordinate release with the exact subdivision. Practise sound-stop-sound patterns before adding chord changes.

Used for: Funk, reggae, ska, rock stops, blues rhythm, octave shapes, and power chords.

Common errors: Lifting completely and exposing open strings, squeezing during x strokes, or stopping after rather than on the beat.

Sources: [20]

Barres, Partial Barres, and Chord Voicing  

How to do it: Lay the index finger close to the fret, rotate slightly toward its bony edge, and add only enough arm support for clear required strings. A partial barre covers only the strings used.

Control and sound: Test strings individually, then release unused pressure. Move common fingers first during changes.

Used for: Rock power shapes, funk partial chords, jazz voicings, reggae skanks, soul triads, and movable harmony.

Common errors: Over-squeezing, barring unused strings, collapsing the index knuckle, or leaving the thumb fixed during shifts.

Sources: [1][13]

Double-Stops, Octaves, and Blue-Note Connections  

How to do it: Fret two selected scale or chord tones together. For octaves, allow the fretting index finger to mute the string between the octave notes. Add nearby blue notes as short melodic answers while the chord shape remains available.

Control and sound: Keep the two structural notes balanced; let added notes enter and leave cleanly. Move the complete interval shape without losing muting.

Used for: Blues, country, rock, funk, soul, reggae, and JATZEK MusicMaster chord-plus-scale playing.

Common errors: Allowing the middle string of an octave to ring, treating every nearby note as equally stable, or losing the chord pulse while adding runs.

Sources: [14][20][22]

Philip John Jatzek & STORM (ChatGPT) - 2026

Periodical 7 expanded page 3

Natural and Artificial Harmonics  

How to do it: For a natural harmonic, touch lightly above the fret wire, pick, then lift the touching finger. For an artificial harmonic, fret normally and use the picking hand to touch twelve frets higher while plucking.

Control and sound: Find the node precisely and use a clean attack. Let the harmonic bloom before moving. Used for: Classical, folk, rock, metal, ambient, country, and colour tones over chords.

Common errors: Pressing the node to the fretboard, touching between nodes, lifting too early before the attack, or muting immediately.

Sources: [1][12]

Tapping  

How to do it: Fret or hold the lower note, strike a higher fret with a picking-hand finger, then pull off to the prepared lower note. Mute unused strings with both hands.

Control and sound: Begin with one tapped note and one pull-off. Keep tapped and fretted notes equal in rhythm and volume.

Used for: Rock, metal, fusion, legato textures, wide intervals, and chordal tapping.

Common errors: Hitting too hard, failing to prepare the lower note, uncontrolled open strings, or using gain to hide uneven timing.

Sources: [11][12]

Chord Vibrato, Pre-bends, and Controlled Noise  

How to do it: Apply subtle common motion only to suitable chord fragments; pre-bend silently to the target starting pitch; use scrapes and rakes only when their timing and destination are intentional.

Control and sound: Separate expressive noise from accidental noise. Rehearse the target note and the silence around it.

Used for: Blues, rock, metal, country, and experimental textures.

Common errors: Bending full chords out of tune, guessing pre-bend pitch, or allowing noise to cover weak synchronization.

Sources: [10][12]

Philip John Jatzek & STORM (ChatGPT) - 2026

Periodical 7 expanded page 4

Left-Hand Technique Progression

Level	Technique chain	Success condition
1	Fret - release - mute	Clear pitch followed by exact silence
2	Hammer-on - pull-off	Equal volume and timing
3	Slide - target - vibrato	Arrival on beat; controlled centre pitch
4	Bend - hold - release	Matches reference pitch both directions
5	Double-stop - blue-note answer	Chord remains stable; answer is clean
6	5-, 7-, 9-note slur	Connected notes preserve counted rhythm
7	Shift - legato - position return	No uncontrolled open strings
8	Tap or harmonic colour	Effect enters and exits intentionally

Left-hand checkpoint
• Does every note start and stop on the count?

• Do bends reach a heard target?

• Does vibrato return through the centre pitch?

• Can unwanted strings remain silent during slurs, tapping, octaves, and bends?• Can the hand use less pressure without losing clarity?

Philip John Jatzek & STORM (ChatGPT) - 2026

Periodical 7 expanded page 5

LEFT-HAND CHORD TECHNIQUES

These techniques use the fretting hand to shape, move, release, and re-attack a complete chord. Keep the chord shape relaxed and let the written count determine when the strings rise, stop, or return.

CHORD BENDING TAB: bend chord / release  

What it does:Chord bending raises two or more fretted chord tones together by pushing the strings as a coordinated group. It creates a rising harmonic swell and can resolve back to the original chord.

How to do it:Fret the chord cleanly with only enough pressure for every note to sound. Support the shape with the thumb behind the neck, keep the fingers together, and push the bendable strings in the same direction with a small, controlled wrist and forearm movement. Mute strings that should remain silent.

Timing and sound:Hear the destination chord first. Start the bend on the written beat, raise the chord evenly, hold the target momentarily, and release together if a release is written. The chord should rise as one gesture, not as separate notes.

Avoid:Do not force low or unwound strings, over-bend the chord, let the fingers separate, or allow open and muted strings to scrape into the sound. Stop if the strings feel too tight or the chord loses control.

Practice:Begin with a two-string power chord at frets 5 and 7. Pick once, bend both fretted strings a small amount, hold, and return. Then try a three-string octave or partial chord. Practise slowly over four beats: chord, bend, hold, release.

Chord bend: PICK -> RAISE TOGETHER -> HOLD -> RELEASE TOGETHER

BOUNCE CHORD TAB: chord / lift / chord  

What it does:A bounce chord is a rhythmic chord release in which the fretting hand lifts the chord slightly off the strings and immediately replaces it. The repeated lift-and-land motion creates a short, percussive separation while the picking hand keeps the pulse.

How to do it:Form the chord and pick or strum it. Immediately relax the fretting pressure and lift the fingers only far enough to stop the notes; keep the hand close to the strings and preserve the chord shape. On the next subdivision, place the shape back down together and repeat.

Timing and sound:Count the lift as part of the rhythm: play on the beat, lift on the chosen offbeat, and replace exactly on the next attack. Begin with quarter-note bounces, then eighth notes, then syncopated patterns.

Avoid:Do not lift so high that the hand loses its position, squeeze the strings while trying to mute, change the chord shape between bounces, or let open strings ring unless the exercise calls for them.

Practice:Strum a D-shape or power chord on beats 1, 2, 3, and 4. Lift immediately after each attack, then replace on the next count. When steady, keep the right hand moving in eighth notes and bounce only on selected attacks.

CHORD SLIDE  

What it does:Moves a complete chord shape to a new position while keeping the chord connected.

How to do it: Pick the chord, keep even pressure, then slide the fretting shape along the strings to the target fret.

Timing and sound: Keep the shape quiet but connected during the move; arrive exactly on the next count and re-attack cleanly.

Chord slide: PICK -> HOLD SHAPE -> SLIDE TO TARGET -> RE-ATTACK

Bounce chord: STRUM -> LIFT TO STOP -> REPLACE -> STRUM AGAIN

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Left-hand chord techniques

ADVANCED LEFT-HAND AND BOTH-HAND TECHNIQUES

The left-hand half develops pitch selection, fretting pressure, chord control and articulation. It includes the detailed execution of hammer-ons, pull-offs, slides and connected slurs, followed by bends, vibrato, muting and techniques shared by both hands. The right hand may initiate a phrase, but the left hand controls the connected pitch movement and release.

READING AND SAFETY RULES

• Letters describe the action: P/I/M/A = thumb/index/middle/ring; D/U = down/up; T = tap; H = hammer; EB = electronic bow.

• Technique abbreviations above notation apply until changed. Special symbols vary between publishers, so always read a score legend.

• Begin acoustic and percussive effects softly. Remove jewellery and protect the guitar top. Stop if hardware binds or the finish is at risk.

• Amplified feedback and scraping require low starting volume, deliberate muting and hearing protection.

• Prepared and third-bridge sounds belong to the experimental category and should use purpose-made, removable, non-damaging materials only.

REFERENCE BASIS

• Yamaha Musical Instrument Guide - electric guitar techniques and tremolo-arm operation.

• Classical Guitar Corner - notation for pizzicato, Bartok pizzicato, rasgueado, one-hand playing and percussion.• Premier Guitar - cascading/harp harmonics and expanded fingerstyle practice.

• Open educational Sight-Reading for Guitar - snap pizzicato, tambora and golpe.

• Hub Guitar - tone-location effects, behind-the-nut bends and experimental sound warnings.

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Advanced techniques introduction

CHORD HARMONICS  

A two-hand chord technique using a fretted chord and tapped harmonics.

What it does: Turns a held left-hand chord into a clear, bell-like harmonic chord.

Left hand: Form and hold the complete chord. Fret each chord note cleanly and mute unused strings.

Right hand: Tap each sounding string exactly 12 frets above its fretted chord note, then lift immediately.

Timing and sound:Pick or sound the chord, then tap the matching higher fret in sequence or together.

Keep the left-hand shape steady and let each harmonic ring without releasing the chord.

Practice: Begin with a two-note power chord. Locate both 12-fret harmonic points, tap lightly,

and then expand to three-note octave chords and complete chord shapes.

Avoid: Tapping too hard, touching the fret wire, moving away from the 12-fret node, or

letting the left-hand chord collapse before the harmonic has sounded.

Chord harmonics: LEFT-HAND CHORD -> RIGHT-HAND TAP +12 FRETS -> LIFT -> REPEAT

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Two-hand chord technique

TWO-HAND EXTENDED HAMMER-ON / PULL-OFF  

A linked two-hand technique that makes a longer, fuller hammer-and-pull phrase.

Left hand: Fret the 5th and 7th frets. Pull off from 7 to 5 while keeping the lower note prepared.

Right hand: Tap the 12th fret during the left-hand movement, then lift for the next pull-off.

The two hands share the phrase instead of one hand doing everything.

How it sounds: The 12th-fret hammer adds a higher voice and makes the pull-off ring larger.

It creates a fuller, more powerful two-hand sound.

Timing and control: Start slowly: 5 -> 7 pull-off, right-hand tap at 12, then repeat evenly.

Keep both hands synchronized and mute unused strings.

Practice: Begin on one string, then move the 5-7-12 pattern across strings.

Expand it from one note into two-note and chordal phrases.

Avoid: Tapping too hard, missing the 12-fret node, or letting the left-hand

shape collapse before the higher tap has sounded.

Two-hand phrase: LEFT 5 -> LEFT 7 PULL-OFF -> RIGHT 12 HAMMER -> LIFT -> REPEAT

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Two-hand articulation technique

ADVANCED AND LESSER-KNOWN TECHNIQUES

1. Harmonic Bends HARMONICS / LEFT HAND  

How to do it: Sound a natural or artificial harmonic, then carefully raise its pitch with a bend or controlled tremolo action.

Control and sound: Move slowly enough to hear the target. Harmonics can disappear if the fretting or touching pressure changes.

N.H. b

2. Two-Hand Tapping Chords TWO HANDS  

How to do it: Tap part of a chord with each hand so widely separated tones sound together or in rapid alternation.

Control and sound: Land close behind the fret, release vertically and mute unused strings with both hands.

L.H. + R.H. tap

3. Touch-Style Tapping TWO HANDS  

How to do it: Treat both hands as fretting hands, tapping independent lines from opposite sides of the fretboard. Control and sound: Begin with one note per hand. Balance volume before attempting contrary motion or chords.

touch

4. Fret-Hand-Only Playing LEFT HAND  

How to do it: Start from silence with a firm hammer-on, then continue using hammer-ons, pull-offs and slides only. Control and sound: The first hammer must create a full pitch. Keep the thumb supportive and all unused strings muted.

m.g.

5. Trill with Moving Harmonics TWO HANDS / HARMONICS  

How to do it: Maintain a left-hand trill while the right-hand touching finger travels to different harmonic nodes. Control and sound: Keep the trill even and move the light touch without pressing the string to the fretboard.

tr. + A.H.

6. Behind-the-Nut Bends LEFT HAND / EFFECT  

How to do it: Sound an open string, then press its short length behind the nut to raise the pitch.

Control and sound: Use only guitars with accessible string length and smooth hardware. Stop if the string binds or feels sharp.

BTN b

7. Slide Harmonics SLIDE / HARMONICS  

How to do it: Touch the slide lightly at harmonic nodes and move smoothly while the harmonic rings.

Control and sound: Keep the slide parallel to the fret wire and use very light pressure so it does not fret the string.

slide H.

ADDITIONAL RIGHT AND LEFT HAND TECHNIQUES

These studies add control to the techniques already taught. Use the book’s D G C F A D tuning and its string order: String 6 is the lowest D, String 1 the highest D. Start slowly, keep the pulse steady, and record one pass to hear whether attacks and releases occur where intended.

RIGHT HAND Selective string attacks  

Aim at only the strings named by the chord shape. For a bass note followed by a treble chord, pick the bass string alone on beat 1 and brush the selected upper strings on beat 2. The picking hand must stop before reaching an excluded string; the fretting hand may also touch it lightly as a backup.

Practice: Four-bar task: play one bar bass–chord–bass–chord, one bar with only the upper chord, then repeat both bars softly. Listen for unwanted open strings.

RIGHT HAND Accent displacement  

Keep an even eighth-note down–up motion while shifting the accent to a different eighth-note position. Count 1 & 2 & 3 & 4 &. Accent the numbered beats for one bar, then the four “&” positions for one bar. The hand motion and tempo remain unchanged.

Practice: Four-bar task: alternate those two accent bars twice over a muted chord. Replace only the last accent of each bar with a ringing chord.

RIGHT HAND Attack and release length  

Use identical attacks but stop the sound at different points: immediately for a short stab, on the next eighth note for a medium note, or at the next beat for a longer note. A rest begins when the previous note stops, not when the next note is played.

Practice: Three-bar task: play four short chords, four medium chords, then two longer chords; count the silent space aloud.

RIGHT HAND Pick versus finger balance  

In hybrid picking, sound a bass string with the pick and a treble string with a free finger. First make both notes equally loud; then bring the treble note forward as a melody. Release the finger toward the palm without snapping unless a deliberate snap is required.

Practice: Two-bar task: play four simultaneous bass–treble pairs, then four pairs with the treble arriving on the following “&”.

LEFT HAND Guide finger and common tone  

When two chord shapes share a note, keep that finger close to its string while moving the other fingers. A guide finger may slide lightly to its destination; a common tone can stay fretted and continue ringing. Choose which movement is audible and which is silent.

Practice: Four-bar task: change between two nearby chord shapes every bar. On the first pass lift all fingers; on the second keep the shared finger. Compare timing and string noise.

LEFT HAND Finger substitution  

Fret and sustain one note, then place a second finger on the same fret before the first leaves. Transfer pressure without a new attack or pitch change. This frees the first finger for the next chord or melodic note.

Practice: Task: hold a note for four beats while switching fingers on beat 3. Repeat until the pitch and volume remain steady through the switch.

LEFT HAND Pivot and partial release  

Keep one finger as a pivot while a second finger moves to a nearby note. For a rhythmic chord release, ease pressure just enough to stop the sound while the fingertips remain in contact with their strings. Reapply pressure on the next counted attack.

Practice: Two-bar task: alternate one ringing eighth-note chord and one muted eighth-note stroke for a bar; then let beat 1 ring while keeping the offbeats short.

LEFT HAND Prepare the next position  

After a phrase, release only the fingers that must move. Shift the whole hand during a written rest rather than rushing the next attack. Arrive with the thumb and fingertips balanced so the first note in the new position speaks clearly.

Practice: Task: play three beats in one position, rest on beat 4, and begin the next bar in another position. Repeat with shorter rests only after the arrival is clean.

BOTH HANDS Note-ending synchronization  

Practice the end of each note as carefully as its beginning. Stop a phrase by relaxing the fretting finger and damping with the picking hand at the same counted instant. This is especially useful before a chord change, a drum stop, or a quiet vocal entrance.

Practice: Four-bar task: play on beat 1, stop precisely on beat 3, remain silent through beat 4, and resume on the next beat 1. Record and inspect the silence.

BOTH HANDS Layered bass and melody  

Hold a bass note while the upper voice moves, then reverse the roles: sustain an upper note while the bass changes. Give each voice its own attack and release. If one string must keep ringing, avoid touching it with either hand during the other voice’s movement.

Practice: Task: play a two-note interval. Sustain one string for four beats while sounding the other on beats 1, 2, 3, and 4; swap the sustained string.

BOTH HANDS Phrase and response  

Make the right-hand attack and left-hand articulation serve a short musical sentence. Play a two-beat chord question, leave one beat of silence, then answer with a one-beat slide or two-note slur. Vary loudness and note length before increasing note count.

Practice: Four-bar task: question, rest, answer; repeat with a softer question and a stronger answer. Keep every entrance on the count.

FURTHER TECHNIQUE STUDIES

These entries extend the earlier techniques without changing their original exercises. Follow the numbered source key below for the teaching references.

RIGHT HAND Flamenco picado

Alternate index and middle rest strokes on a single-note run. Each finger comes to rest briefly against the next string; do not tense the wrist.

Practice: Play four slow notes ascending and four descending on adjacent strings; listen for equal volume and even timing. [S8]

RIGHT HAND Flamenco alzapua

Use the thumb for a low note followed by a compact down-and-up brush across selected strings. It is a thumb-based rhythmic figure, not a full-hand rasgueado.

Practice: Count three equal subdivisions: thumb bass, thumb down, thumb up. Repeat softly until each attack is distinct. [S8]

RIGHT HAND Flamenco pulgar

Use the thumb as the principal melody voice on bass strings, with deliberate accents and controlled rest strokes.

Practice: Move a four-note bass phrase across strings 6, 5 and 4; allow a thumb stroke to land briefly on the next string. [S8]

RIGHT HAND Classical finger tremolo

Alternate a thumb bass note with repeated treble notes by ring, middle and index fingers (p–a–m–i). This finger tremolo differs from rapid pick tremolo and an amplifier tremolo effect.

Practice: Hold one treble note and play bass–treble–treble–treble evenly; move the thumb bass on every new group. [S9]

RIGHT HAND Percussive string click

Return the plucking fingers lightly to muted strings between chord and bass attacks to create a controlled click. Keep the click in the subdivision.

Practice: Bass on beat 1, chord on the “and,” muted click on beat 2; repeat without speeding up. [S10]

LEFT HAND Bottleneck-slide intonation and damping

Glide a physical slide over the fret wires with light pressure. The spare fingers behind it damp trailing string noise; pluck only intended strings.

Practice: Play a target fret, glide up, pause directly over the target wire and compare its pitch with a normally fretted note. [S4]

LEFT HAND Unison bend

Sound two pitches on adjacent strings, then bend only the lower pitch until it matches the stationary upper pitch. Verify the unison by ear.

Practice: Choose a reachable pair, sound the fixed note first, then raise the bent note slowly to the same pitch; release silently. [S11]

BOTH HANDS Walking bass with upper chords

Give the low string a quarter-note pulse while the upper strings supply short chords or melody. Fret compact chord shapes that leave the bass line room to move.

Practice: Four bass notes in a bar; insert a short high chord on beats 2 and 4. Reverse the arrangement with a held upper note. [S6]

BOTH HANDS Chord melody

Place a recognizable melody note at the top of a chord and choose only the supporting chord tones that fit beneath it. Release inner voices when a new melody note arrives.

Practice: Write a two-bar melody first, harmonize only beats 1 and 3, then fill additional beats if the melody remains clear. [S3][S12]

BOTH HANDS Odd-meter chordal tapping

Group the rhythm before increasing speed; let one hand maintain the lower shape while the other taps a higher countervoice.

Practice: Count a 7/8 bar in 2+2+3 eighth-note groups; tap only the group starts and record whether each measure contains seven counted eighth-note slots. [S7]

SOURCES FOR THE ADDED STYLES AND TECHNIQUES

S1 ArtistWorks, bluegrass crosspicking. https://blog.artistworks.com/bluegrass-guitar-lesson-crosspicking/

S2 Berklee, guitar playing styles (menouche and swing). https://college.berklee.edu/news/guitar-playing-styles-to-explore-and-master

S3 Pickup Music, neo-soul guitar pathway. https://www.pickupmusic.com/guitar/guitar-classes/neo-soul-pathway

S4 Fender, slide guitar technique. https://www.fender.com/articles/techniques/slide-guitar

S5 Pickup Music, percussive acoustic fingerstyle. https://www.pickupmusic.com/guitar/guitar-instructors/nathaniel-murphy

S6 Berklee, walking bass and chords for guitar. https://college.berklee.edu/courses/ilgt-325

S7 Pickup Music, odd-meter two-handed tapping. https://www.pickupmusic.com/guitar/guitar-classes/two-handed-tapping

S8 Flamenco Explained, picado, alzapua and pulgar terminology. https://flamencoexplained.com/education/flamenco-terminology/

S9 ClassicalGuitar.org, classical tremolo exercises. https://www.classicalguitar.org/2010/07/free-stuff-tremolo-exercises-1/

S10 Taylor Guitars, Latin fingerstyle and percussive click. https://blog.taylorguitars.com/latin-guitar-grooves-with-wayne-johnson

S11 Berklee Online, country guitar string bending. https://online.berklee.edu/takenote/country-music-guitar-essentials-chicken-pickin-string-bending-and-more/

S12 Berklee Online, jazz guitar chord melody. https://online.berklee.edu/takenote/start-playing-jazz-guitar-an-interview-with-jane-miller/

THREE PERFORMANCE CHECKS

Time: Record a slow pass with a metronome. The accents may move, but the beat must not.

Pitch: Verify that fretted notes stay in tune and that any sustained voice survives the chord or position change.

Silence: Listen between attacks for ringing strings, late releases, and scraping that hides the intended rhythm.

These practice tasks are original exercises for Periodical 7. Technique background is consistent with the existing Fender and Berklee references in the Sources section.

FINAL PRACTICE ROUTINE

• Mute the strings and play the right-hand rhythm alone for one full minute.

• Add one left-hand note on each counted event, then add a two-note power chord or three-note octave chord.• Apply one connected slur, bend, slide or harmonic colour while the right hand keeps the same subdivision.• Finish with a complete chord, a short blue-note answer and a clean release on the final count.

• Record the result. Correct timing first, then pitch, then tone and expression.

The goal

When timing and notes are coordinated, the guitar stops feeling like two separate tasks. The right hand gives every idea a place in time; the left hand gives that idea pitch, harmony, movement and expression. That is the foundation for scales, ShadowScales, chords, styles and listenable music.

Philip John Jatzek & STORM (ChatGPT) - 2026 • Conclusion - both hands

Appendix Colour Standards

• Red-filled circle: chord root.

• Yellow-filled circle: master chord tone.

• Small light-blue circle with black outline: nearby valid parent-scale or blue-note option.

• Blue notes are smaller than master chord tones.

• Fretboards use String 6 D, String 5 G, String 4 C, String 3 F, String 2 A, String 1 D.

Copyright notice: Philip John Jatzek & STORM (ChatGPT), 2026.

SOURCES

The reference section uses educational material from established instrument makers and Berklee College of Music/Berklee Online. Links were accessed September 2026.

1. Berklee College of Music. “Guitar Playing Styles to Explore and Master.”
https://college.berklee.edu/guitar/news/guitar-playing-styles-to-explore-and-master
2. Fender. “How to Hold a Guitar Pick.” https://www.fender.com/articles/techniques/get-a-grip-how-to-hold-a-pick
3. Fender. “3 Keys to Ace Your Palm Muting.” https://www.fender.com/articles/techniques/3-keys-to-ace-your-palm-muting 4. Fender. “How to Use Dynamics to Improve Your Guitar Playing.”
https://www.fender.com/articles/techniques/how-to-use-dynamics-to-improve-guitar-playing
5. Berklee. “Two Cool Rhythmic Devices.” https://www.berklee.edu/berklee-today/fall-2009/the-woodshed/rhythmic-devices 6. Fender. “Learn the Travis Picking Guitar Technique.” https://www.fender.com/articles/techniques/travis-picking-on-guitar 7. Fender. “What Is PIMA?.” https://www.fender.com/articles/techniques/what-is-pima
8. Berklee Online. “Acoustic Guitar Techniques.” https://online.berklee.edu/courses/acoustic-guitar-techniques
9. Berklee Online. “Hammer-ons, Pull-offs, and Slides.”
https://online.berklee.edu/takenote/guitar-techniques-hammer-ons-pull-offs-and-slides/
10. Fender. “How to Solo on Guitar.” https://www.fender.com/articles/techniques/how-to-guitar-solo
11. Berklee Online. “7 Fundamental Metal Guitar Techniques.”
https://online.berklee.edu/takenote/metal-guitar-video-tutorial-by-shaun-michaud/
12. Berklee Online. “Steve Vai Guitar Techniques.” https://online.berklee.edu/courses/steve-vai-guitar-techniques
13. Berklee Online. “Jazz Guitar 101.” https://online.berklee.edu/courses/jazz-guitar-101
14. Berklee Online. “Blues Guitar.” https://online.berklee.edu/courses/blues-guitar
15. Fender. “Learn Classic Country Guitar Techniques.”
https://www.fender.com/articles/techniques/how-to-play-classic-country-on-guitar
16. Fender. “Fender Play Live: Reggae Playlist.” https://www.fender.com/articles/fender-performances/fender-play-live-reggae-playlist 17. Berklee. “Rumba: A Gateway to Flamenco.” https://www.berklee.edu/berklee-today/summer-2016/rumba
18. Berklee Online. “Classical Guitar 101.” https://online.berklee.edu/courses/classical-guitar-101
19. Berklee Online. “Acoustic Blues Guitar.” https://online.berklee.edu/courses/acoustic-blues-guitar
20. Berklee Online. “Rhythm and Groove Guitar.” https://online.berklee.edu/courses/rhythm-and-groove-guitar
21. Fender. “Chicken, Tremolo, Sweep: Picking Styles.” https://www.fender.com/articles/techniques/what-type-of-picker-are-you 22. Berklee Online. “Guitar Improvisation Techniques.” https://online.berklee.edu/courses/guitar-improvisation-techniques

Philip John Jatzek & STORM (ChatGPT) - 2026

Periodical 7 expanded page 7

JATZEK MUSICMASTER APPENDIX D MUSIC AND PRODUCTION TERMINOLOGY

Appendix D contains 1,342 definitions across music, arrangement, composing, orchestration and DAW recording. The focused Periodical 7 glossary follows at the end of this chapter.

Terminology references

Berklee College of Music, rhythmic devices and syncopation: https://www.berklee.edu/berklee-today/fall-2009/the-woodshed/rhythmic-devices

Musicnotes, guitar tablature and technique symbols: https://www.musicnotes.com/blog/how-to-read-guitar-tabs/

Flamenco Explained, flamenco terminology: https://flamencoexplained.com/education/flamenco-terminology/

Fender, slide guitar and muting: https://www.fender.com/articles/techniques/slide-guitar

Berklee Online, arranging and orchestration: https://online.berklee.edu/takenote/what-is-arranging-in-music-6-courses-to-help-you-get-started/ ; https://online.berklee.edu/takenote/orchestration-how-to-write-for-an-orchestra/

Ableton Live 12 manual, recording, routing and timing: https://www.ableton.com/en/manual/live-concepts/ ; https://www.ableton.com/en/manual/routing-and-i-o/

Avid Pro Tools, recording takes and mixing: https://www.avid.com/pro-tools/user-guide/playlists ; https://apps.avid.com/proToolsFirstHelp/version12.3/ENU/Pro%20Tools%20First%20Help/mix1.basic.54.01.html

PreSonus, Studio One Pro 7 manual and workflow: https://support.presonus.com/hc/en-us/articles/8768283634317--8-Studio-One-Pro-7-Where-Can-I-Find-the-Studio-One-Pro-7-Manual ; https://support.presonus.com/hc/en-us/articles/210044123-Studio-One-What-are-Layers-and-how-do-I-use-them-in-Studio-One ; https://support.presonus.com/hc/en-us/articles/210044093-Studio-One-Is-there-an-easy-way-to-export-stems-in-S1

NEED TO KNOW | PERIODICAL 7

Technique checks and musical application

Separate the sound and the symbol

A slur joins selected notes in one gesture; a hammer on, pull off, or slide specifies the physical motion. Show both the notation and the exact starting and ending fret numbers inside the tablature staff.

Control legato volume

Compare a picked note with the following hammer on or pull off at a slow tempo. Adjust finger speed and contact so the unpicked note speaks clearly without an unwanted string ringing.

Coordinate hands before adding speed

For an alternate picking phrase, play short groups with a metronome and check that fretting releases and pick attacks agree. Change tempo only after clean, even repetitions.

Use muting as part of the technique

For bends, slides, tapping, and two handed passages, identify which unused strings each hand damps. Record a dry take and listen for stray notes between intended attacks.

Choose the phrase, then the motion

Try the same two bar melody with picked, legato, and hybrid picking articulation. Preserve its beat positions and choose the technique whose attack best fits the passage.

Further reading

https://online.berklee.edu/takenote/guitar-techniques-hammer-ons-pull-offs-and-slides/

https://online.berklee.edu/takenote/signature-tone-and-picking/

https://online.berklee.edu/courses/guitar-ensemble-techniques

GUITAR TECHNIQUE AND RHYTHM GLOSSARY

Naming conventions

Names for fretting, picking, articulation and readable rhythmic notation.

A

Accent

Extra stress placed on a note or chord attack.

Alzapua

A flamenco thumb technique combining a bass note with rapid down-and-up thumb strokes.

Articulation

The way a note begins, connects to another note, and ends.

B

Backbeat

An accent commonly felt on beats 2 and 4 in 4/4.

Bar

A measured group of beats; also called a measure.

Barline

A vertical line marking the boundary of a measure in notation or tablature.

Beam

A horizontal stroke that joins the stems of shorter note values, showing their rhythmic group.

Beat

The regular pulse counted through a piece of music.

Bend

Raising a fretted note's pitch by moving its string sideways.

Bottleneck slide

A glass or metal tube used to glide between pitches over the strings.

BPM

Beats per minute, a numerical indication of tempo.

C

Campanella

A ringing fingering that lets successive melody notes overlap on different strings.

Capo

A clamp across strings at a fret that raises open-string pitches; it changes the sounding key of familiar fingerings.

Compound meter

Meter whose main beats commonly divide into three equal parts, such as 6/8.

Cut time

A meter written 2/2, commonly felt as two half-note beats per bar.

D

Dotted note

A note extended by half its original written value; a dotted quarter lasts one and a half beats in 4/4.

Dotted rest

A rest extended by half its original written value.

Downbeat

A numbered beat, especially the first beat of a measure; compare with offbeat.

E

Eighth note

A note lasting half a quarter-note beat in 4/4.

Eighth rest

A silent duration equal to half a quarter-note beat in 4/4.

Eighth-note beam

One horizontal beam connecting stems of adjacent eighth notes within a rhythmic group.

Eighth-note triplet

Three equal notes performed in the time of two ordinary eighth notes.

F

Fermata

A mark asking a performer to hold a note or rest beyond its written duration, with length chosen musically.

Flamenco compás

The recurring accent cycle and rhythmic framework of a flamenco form.

Free stroke

A pluck after which the finger moves clear rather than stopping on the next string.

G

Glissando

A continuous sweep across a range of pitches, by instrument-appropriate means.

Golpe

A flamenco percussion tap on a suitable guitar top or tap plate.

Grace note

A small notated note that ornaments a main note and borrows a little time from nearby music.

H

Hairpin

A wedge-like sign that shows a gradual crescendo or diminuendo.

Half note

A note lasting two quarter-note beats in 4/4.

Half rest

A silent duration normally equal to two quarter-note beats in 4/4.

Hammer-on

Sounding a higher fretted note by striking the string with a fretting finger after the first note.

Harmonic node

A contact point that supports a particular overtone when the string is touched lightly.

Hemiola

A rhythmic regrouping that briefly makes two groups of three feel like three groups of two, or the reverse.

Hybrid picking

Using a pick and one or more free plucking fingers together.

M

Marcato

Marked and emphatic, with each indicated note brought forward.

Measure

Another name for a bar: a group of beats bounded by barlines.

N

Natural harmonic

A harmonic made on an open string by lightly touching a node and releasing.

Natural sign

An accidental that cancels a sharp or flat for the affected note.

Notation

Written symbols representing musical pitch, duration, articulation and other instructions.

Note stem

The vertical line attached to most filled or half-note heads.

O

Offbeat

A position between the main numbered beats, often counted as “and” in eighth-note subdivision.

Ornament

A short decorative note pattern added around a main pitch.

P

Picado

A flamenco single-note scale technique commonly using alternating index and middle rest strokes.

Pick scrape

A noisy effect made by dragging the pick along a wound string.

Pinch harmonic

An overtone produced when a thumb edge lightly contacts a string as the pick attacks it.

Portato

A gently pulsed articulation, often marked by dots beneath a slur.

Pre-bend

Bending a string before it is picked, then sounding or releasing it at the raised pitch.

Pulgar

Flamenco thumb playing, often on bass strings with a prominent rest-stroke attack.

Pull-off

Sounding a lower note by releasing a fretting finger with a small plucking action.

Q

Quarter note

A note occupying one counted beat in 4/4.

Quiet dynamic

A general instruction to play softly; a score normally specifies p, pp or another marking.

R

Rallentando

Gradually slow down, often with a broadening sense.

Rasgueado

A flamenco strum formed by sequential finger strokes.

Reggae skank

A short chord accent on an offbeat, followed by a deliberate release.

Repeat sign

A pair of barline dots directing performers to repeat a marked passage.

Rest

A notated duration of silence; the count continues while it lasts.

Ritardando

Gradually slowing the tempo.

Rubato

Expressive flexibility of tempo while preserving the broader musical phrase.

S

Septuplet

Seven equal notes placed within a notated time span defined by the tuplet mark.

Sextuplet

Six equal notes placed within a notated time span defined by the tuplet mark.

Sforzando (sfz)

A sudden strong accent on a note or chord.

Simile

Continue playing in the same manner as the preceding passage.

Sixteenth note

One quarter of a quarter-note beat in 4/4; counted “1 e and a.”

Sixteenth rest

A silent duration equal to one quarter of a quarter-note beat in 4/4.

Sixteenth-note beams

Two parallel beams joining stems of sixteenth notes within a rhythmic group.

Slur

A curved notation mark indicating notes connected in one phrase or articulation, often by hammer-on or pull-off on guitar.

Slur beam

A beam connecting rhythmic stems where their note values call for beaming; the curved slur separately shows legato phrasing.

Staccatissimo

Very short and detached, usually more separated than staccato.

Staccato

A detached note made shorter than its full written duration.

Staff

Five horizontal lines on which pitched music is written.

T

Tablature

Guitar notation showing strings and fret positions; timing may need separate symbols above it.

Tap

Sounding a fret by striking it with a finger of either hand rather than first picking the string.

Tenuto

Sustain a note for its full value or give it gentle weight as context requires.

Thirty-second note

One eighth of a quarter-note beat in 4/4.

Thirty-second-note beams

Three parallel beams joining stems of thirty-second notes within a rhythmic group.

Tie

A curved mark joining two notes of the same pitch so their durations combine without a second attack.

Time signature

Numbers indicating beat grouping and the notated beat unit, such as 4/4 or 7/8.

Timing alignment

Vertical positioning that places a rhythmic symbol directly above the corresponding tablature note.

Treble clef

A G clef placing G above middle C on the staff's second line.

Tremolo bar

A guitar bridge arm used to change string pitch; its common name differs from volume tremolo.

Trill

A rapid alternation between a main note and a neighbouring note.

Triplet

Three equal notes occupying time normally divided into two notes of the same written value.

Triplet bracket

A numeral 3, sometimes with a bracket, showing a group of three in another normal time span.

Triplet subdivision

A beat divided into three equal rhythmic parts.

Tuplet

A marked grouping that fits a specified number of equal notes into a different normal rhythmic space.

Two-hand tapping

A technique in which both hands sound notes on the fingerboard by tapping and releasing strings.

U

Unison bend

Bending one note until it matches another sounding note.

W

Whole note

A note lasting four quarter-note beats in 4/4.

Whole rest

A symbol that often denotes a complete bar of silence; in 4/4 its ordinary measured value is four beats.