PDF Download Guitar Aerobics: A 52-Week, One-lick-per-day Workout Program for Developing, Improving and Maintaining Guitar Technique, by Troy Nelson
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Guitar Aerobics: A 52-Week, One-lick-per-day Workout Program for Developing, Improving and Maintaining Guitar Technique, by Troy Nelson
PDF Download Guitar Aerobics: A 52-Week, One-lick-per-day Workout Program for Developing, Improving and Maintaining Guitar Technique, by Troy Nelson
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From the former editor of Guitar One magazine, here is a daily dose of vitamins to keep your chops fine tuned for a full 52 weeks. The guitar exercises cover several musical styles including rock, blues, jazz, metal, country, and funk. Techniques taught include alternate picking, arpeggios, sweep picking, string skipping, legato, string bending, and rhythm guitar. These exercises will increase your speed and improve your dexterity and pick- and fret-hand accuracy the more you practice them.
- Sales Rank: #4359 in Books
- Brand: Hal Leonard
- Model: 695946
- Published on: 2007-12-01
- Released on: 2007-12-01
- Original language: English
- Number of items: 1
- Dimensions: 12.00" h x .29" w x 9.00" l,
- Binding: Paperback
- 112 pages
- Once-per-day exercises cover:Alternate pickingArpeggiosSweep pickingString skippingLegatoString bendingRhythm guitar
Most helpful customer reviews
305 of 313 people found the following review helpful.
Six weeks in--almost nothing but praise for this book. // SIX MONTH UPDATE // FINAL UPDATE
By Braden E. Bost
Today I finish Week 6 in this book, and I honestly have only good things to say about it. Well--only good things at the end of it all, that is.
* Its day-by-day structure helps easily-distracted players like me keep a schedule. It will quickly become useless if you miss days, skip exercises, or try to use it irregularly. With that in mind, I've been able to stick with it every day, which keeps me playing everyday. Quite the feat. You COULD try to use it as a source for guitar licks, but that's not what this is meant to be and there are better books for that.
* If one's serious about using this as the skeleton to their practice method, as I have, you actually have to develop an advancement system on your own. They don't provide one. You have the daily exercise in notation and tab, a couple short paragraphs on what it's teaching and a quick tip on how to properly play it, or how to get a little more out of it (such as switching up the picking style, etc.), the bpm speed range that the rhythm CD will provide, and a couple other small tidbits of information. Unless you're an extremely gifted player, you're not going to master even the first lick at its top speed of 112 bpm on the first day. You need to keep coming back to it for a while. Also, by the time you get to the first Friday's exercise, there's no way you'll master it the first day--I still goof it up. Plus, rushing through each one to max out the speed is not useful. You need to spend time with each one at slower speeds before cranking up the metronome. Such is basic practice knowledge.
It took me a bit, but I developed a plan of attack that I like. I start each new exercise at the slowest recommended staring speed, so far 40 bpm in every case. Once I've practiced it for a while and feel that I have it down at that speed, I bump the metronome up +10 bpm to 50, and move to yesterday's exercise, which I did yesterday at 40. Once I have that down at 50, I go +10 bpm again to the day before yesterday's exercise, which I did yesterday at 50, and so on, all the way up to 10 bpm past the top recommended speed for the exercise a little over a week ago. On days when I don't have much time, I'll do my best to just quickly learn the new exercise so I can practice it more at 50 bpm the next day. Thankfully I've only needed to do that a couple times. At first I struggled with "putting away" the much older exercises when I get so far from them, but was able to relax when I reminded myself that . . .
* Each day of the week is always the same technique area. Monday is always alternate picking. Tuesday is always string skipping. Saturday is always legato (hammer-ons, pull-offs, slides). Etc. In addition to that, each new week's exercise builds on or expands the previous week's, in most cases. I was actually getting frustrated with it at one point because of that. How many legato sequences can you build out of the same Am pentatonic scale? But then one week, it switched up dramatically enough that it felt new again. This at first seemed to me like lazy writing, but I changed my opinion. It is SO important that it is done this way. It's baby steps. Even advanced players need baby steps with new stuff and with mastering new techniques. Also, this helps my personal practice approach to the book--since, for example, this Thursday's arpeggio exercise is building yet again on the same ideas from the Thursday exercise from 2, 3, 4 weeks ago, I don't need to keep practicing those ones. I'm slowly building the complexity, which means I'm able to fly through the old ones without hindrance. With this slow build, however, keep in mind . . .
* There are a LOT of exercises here. If you stick with this and actually do this over an entire year, it would be impossible for it to not improve your playing. That's not because the book is magical or something, or so amazingly clever, but because to do so means you're practicing regularly and advancing slowly but surely. At the start of my sixth week of this book, I was getting a little frustrated that I'd been at it for seemingly so long but so little progress in regards to the complexity of the exercises had been made. So I took some time to finally put both the rhythm CD and the exercise examples CD onto my iPod for easy access. Well, I had to type out and name all 53 tracks on the example CD, and got reminded about how many exercises there really are. Today I do exercise 42. Of 365. My weeks aren't even in double digits yet.
So in the end, this is a great book if you use it exactly how they suggest. Don't make it your only book or source--be sure to throw in some scale sequences, chord progressions, exercises to memorize the note structure of the fretboard, music theory study, and get some tab or something for some songs you like, too--but this book can easily be your daily motivation.
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SIX MONTH UPDATE
Today I started week 27 of 52 in Guitar Aerobics. Yes, I've stuck with it 100%, and my opinion has remained absolutely the same as it was four and a half months ago. The only thing that has changed is my personal advancement system that I described before, which is now a week-by-week system where I perfect all seven exercises over the seven days in a given week, using both a metronome and the provided drum tracks, and then come the next Monday I start with seven new exercises and do the process over again. These daily exercises keep me immersed in a variety of techniques and genres and regularly challenge me with stuff I wouldn't have thought of on my own--and more often than not, with stuff that I wouldn't have ran into any other way--and my focus is form and technique rather than getting the exercise to "sound right." Not only has my playing noticeably improved, but I've developed new skills as well, my personal favorite being hybrid picking. I can say with absolute certainty that I never would have tried hybrid picking had it not been for this book.
Again, let me reiterate that my satisfaction and success with Guitar Aerobics is not because it's the most brilliant guitar book ever written or anything like that, but instead because it provides the core of the daily motivation that I lacked in previous attempts to maintain a practice schedule (in that the book becomes pointless once you start being careless about keeping up with it). It's not flawless. I do have a few gripes, but nothing that ruins the book and nothing that I'll list so as to avoid leading anyone into opinions they might not have had otherwise. I'll do a final update again in six months. Until then: If you are looking for a guitar book with lots in it, a wide variety of things to learn, and a structure that makes it easy to keep a schedule, then you certainly can't go wrong with this one.
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FINAL UPDATE
Unfortunately I cannot hold my head high and say I made it through all 52 weeks. I got to week 44 and stalled in light of life and frustration with the monotony of this book and finally, after six weeks of not being able to stick with it anymore, put it away. I said in my last update that I didn't want to list any gripes that I have in fear that I would influence someone else to have those same gripes, where they may otherwise not. Well . . . I'll loosen that rule up a little in order to state what I think is a valid "heads-up" to anyone who sets out on the same quest as me: brace yourself for a lot of mind-numbing monotony; like, more than you expect. For example, every Friday is a sweep-picking exercise. You'll learn that there's a five-exercise (or is it seven?) cycle that gets repeated throughout almost the entire book. After about 25-30 weeks of this, it can become too much to bear. The authors fall back on this repetitive crutch for several other days of the week, too (though Fridays are by far the biggest place for it). This doesn't ruin the book--after all, it's about getting better at guitar and not about entertainment, so monotony is part of the deal--but I think knowing what you're in for a little more might help one to weather more of it than I eventually could.
This is still a 5-star book in my opinion, though. As I've stated before, without this book providing the daily motivation, I wouldn't have advanced to where I am on guitar nearly as much. I had a solid 7-8 months of 90 to 180 minutes of daily practice largely due to using this book. I'll take it back out eventually, too, and maybe try to advance through it a different way or a different pace. It's by far the most important guitar book I own.
363 of 374 people found the following review helpful.
Pretty nicely organized
By M. Howard
The author spotlights 7 important techniques (alternate picking, arpeggios, sweep picking, string skipping, legato, string bending, and rhythm guitar) one for each day of the week, and builds on each every week. So every Monday is alternate picking day, and builds on the lesson of the Monday before. It's a great idea. The author says that an intermediate player can skip to around week 17 and an advanced player can probably go to week 36. I'd say I'm lower intermediate, after some 10 years of playing both steel-string acoustic and electric. I've worked my way through the first 10 weeks of lessons in 4 or 5 days. I find some of the skills like string bending, arpeggios, legato, and rhythm to be very easy, but I've never done sweep picking and found it to be a challenge. And the string skipping is something I've never done much concentrated work on, so it's great. I'm sure that when I get up to week 17 the other skills will get more challenging for me.
JR has a good point that there's not as much guidance on technique as I'd like on a couple of things. I think he was overly critical though. There are short notes on each day's lesson about technique. One was to keep the fretting pinky in place on the G while you shift from a G to an E chord - it helped me to stop fumbling around for the E shape. Another that I have not mastered, is in sweep arpeggios, to mute each note after you play it by slightly releasing the pressure on the fretting finger. That's one that I would like more details on, because I find it hard to do, especially if I'm barring the 1st and second string with my index finger on say the 3rd fret while catching the 3rd string with my middle finger. Do I roll them off, or do I ease up on all strings between each pick?
Anyhow, I like the breakdown into small bite-size daily chunks that I can spend 10 or 15 minutes on a day, as part of my regular practice.
449 of 466 people found the following review helpful.
Counter to the lower ratings
By Jackstraw
Under normal circumstances I am not one to take the time to write book reviews. This is going to be short and to the point. Disregard the reviews that do not give this book a high rating. I am a beginner and dearly wish that I had purchased this book before spending hundreds, maybe thousands, of dollars on worthless instruction books and lessons from mediocre guitar teachers.
The critics are correct in their statements that the book does not contain thorough instruction on each and every aspect, i.e. holding the pick, building speed, how to hold your mouth, etc., of playing the guitar. But, look at the price of it...... There are pages and pages of free material on the internet regarding the actual mechanics of playing. This book provides exactly what is advertised; useful exercises for "Developing, Improving, and Maintaining Guitar Technique"
If you are fortunate enough to have stumbled across this book before spending countless dollars on other worthless material and instruction, consider yourself blessed and buy this book.
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