Chapter 3 of 4 · Groove and articulation · Lesson 6 of 6

Lesson 18: Legato with consistent volume

Suggested stage · practice days 120-126

Lesson 18 of 26

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Main goal and readiness

This lesson's goal: Legato with consistent volume.

Tuning: Standard: E-A-D-G-B-e.
Optional review reference: Picked versus hammered G-string 5-7. Use the weekly scale and chord tasks below for your two two-minute blocks; do not add time.
Technique cue: Pick 5, then hammer 7 on the following eighth-note slot.

How to read the tabs and symbols

Standard tuning is E-A-D-G-B-e, thickest to thinnest. In the tab, top e is thinnest and bottom E is thickest. A number means fret; 0 means open. Vertically aligned numbers are a chord. A dash means that string is not played at that slot. ~ holds the previous note without another pick; r is a silent rest. h7 means hammer onto 7 at that slot; p5 means pull off to the already fretted 5. /7 means slide from the preceding note and arrive on 7 at that slot.

Eight columns fill one bar of 4/4: count 1 & 2 & 3 & 4 &. Each column is half a beat. Sixteen columns fill one bar: count 1 e & a 2 e & a 3 e & a 4 e & a. Each column is a quarter of a beat. The metronome clicks only on 1, 2, 3, 4. Learn finger placement slowly first, then apply this written rhythm. A bar always lasts four beats. Stop or hold the final note as indicated.

Power chords on E/A use the upper string two frets higher: E5 0/2, G5 3/5, A5 5/7. On A/D, A5 is 0/2, C5 3/5, D5 5/7. Use index and ring finger where comfortable, and pick only those two strings. Drop D power chords use the same fret on low D and A. Palm muting means resting the picking-hand edge lightly on the strings near the bridge. Move it slightly until notes are short but pitched. For rests, use both hands to stop all ringing strings.

Technique

Technique exercise

Weekly picking focus: P2: compare fully picked notes with hammer-ons at the same slow tempo. Use the 1-minute rhythm + 2-minute picking + 1-minute technique split above.

Bar A:

Plain-text tab — Bar A

Plain-text tab and fingering reference

Single notes.
   1   &   2   &   3   &   4   &
e| -   -   -   -   -   -   -   - |
B| -   -   -   -   -   -   -   - |
G| 5   h7  5   h7  5   ~   r   r |
D| -   -   -   -   -   -   -   - |
A| -   -   -   -   -   -   -   - |
E| -   -   -   -   -   -   -   - |

Bar B:

Plain-text tab — Bar B

Plain-text tab and fingering reference

Single notes.
   1   &   2   &   3   &   4   &
e| -   -   -   -   -   -   -   - |
B| -   -   -   -   -   -   -   - |
G| -   -   -   -   -   -   -   - |
D| 5   h7  5   ~   7   ~   5   ~ |
A| -   -   -   -   -   -   -   - |
E| -   -   -   -   -   -   -   - |

Bar C:

Plain-text tab — Bar C

Plain-text tab and fingering reference

Single notes.
   1   &   2   &   3   &   4   &
e| -   -   -   -   -   -   -   - |
B| -   -   -   -   -   -   -   - |
G| 5   h7  5   h7  5   ~   r   r |
D| -   -   -   -   -   -   -   - |
A| -   -   -   -   -   -   -   - |
E| -   -   -   -   -   -   -   - |

Scale and chord work

This week's scale and chords

Weekly scale: A minor pentatonic. Use the seven-day scale routine above.

Plain-text tab and fingering reference

Hand position V; upper-neck/upper-register route.
   1   &   2   &   3   &   4   &
e| -   -   -   -   -   5   ~   ~ |
B| -   -   -   5   8   -   -   - |
G| -   5   7   -   -   -   -   - |
D| 7   -   -   -   -   -   -   - |
A| -   -   -   -   -   -   -   - |
E| -   -   -   -   -   -   -   - |
LH 3   1   3   1   4   1   -   -
Pos V   V   V   V   V   V   -   -

Hand position V; upper-neck/upper-register route. • LH 3 1 3 1 4 1 - - • Pos V V V V V V - -

Weekly chord/neck task: Triad lab: Cm on strings 2-3-4; root position, first inversion, second inversion. Follow the two-minute triad routine. Use the atlas for reference, and name each bass note.

Chord tabs (static shapes, not rhythm):

Plain-text chord reference

Plain-text tab and fingering reference

   Cm            Cm/Eb         Cm/G          
e| -             -             -              |
B| 8             13            4              |
G| 8             12            5              |
D| 10            13            5              |
A| -             -             -              |
E| -             -             -              |
   root          1st inv       2nd inv       
Bass C/Eb/G; suggested LH fingers low-to-high within each group: 3/1/1 ; 2/1/2 ; 2/2/1

Original piece

Piece corner · Week 18: Connected Lines

Your music · use the existing seven-minute block

Play “Connected Lines”

Your musical focus: legato with consistent volume. Start with the first two beats of bar 1, then build bars 1–2 before adding bars 3–4. The complete original piece and its visual tabs are directly below.

2 min · isolate3 min · connect2 min · perform

Isolate: count the hardest two beats slowly, then play them. Connect: add the notes immediately before and after, working towards one complete phrase. Perform: give a count-in and play the section you know without stopping to repair every mistake.

Use this plan on original-piece days (1 and 3). On familiar-song days (2, 4 and 5), apply the same approach to your ongoing song section. Day 6: record and listen. Day 7: enjoy an easy review. These replace the music block, not the rest of the routine.

Ready to extend? Play your current section three times with a steady pulse, clear note starts, quiet rests and comfortable hands. Add the next two beats. The weekly check below is the goal for the complete piece; repeat the week if needed.

Make it musical: hear the phrase as a question and answer, leave its written rests, and settle the final note. Keep finished pieces in your repertoire. There is no need to start a new full song each week.

A complete original four-bar melody using this week's scale notes and hand route. Play bars 1-2 as a question and 3-4 as its answer. Play all four bars twice, then stop on the held final root. Aim for a gentle opening, a slightly stronger bar 3 and a settled ending. One run lasts about 16 seconds at 60 bpm; repeating it makes about 32 seconds. Use your comfortable tempo, not a required target. These are original pieces, not excerpts from the named artists.

Bar 1:

Plain-text tab — Bar 1

Plain-text tab and fingering reference

   1   &   2   &   3   &   4   &
e| -   -   -   -   -   -   -   - |
B| -   -   -   -   -   -   -   - |
G| -   -   -   -   7   5   -   - |
D| 7   7   7   r   -   -   7   ~ |
A| -   -   -   -   -   -   -   - |
E| -   -   -   -   -   -   -   - |

Bar 2:

Plain-text tab — Bar 2

Plain-text tab and fingering reference

   1   &   2   &   3   &   4   &
e| -   -   -   -   -   -   -   - |
B| -   -   -   -   -   -   -   - |
G| 7   ~   5   ~   -   5   7   ~ |
D| -   -   -   -   7   -   -   - |
A| -   -   -   -   -   -   -   - |
E| -   -   -   -   -   -   -   - |

Bar 3:

Plain-text tab — Bar 3

Plain-text tab and fingering reference

   1   &   2   &   3   &   4   &
e| -   -   -   -   -   -   -   - |
B| 5   -   -   -   8   ~   -   - |
G| -   7   5   ~   -   -   7   ~ |
D| -   -   -   -   -   -   -   - |
A| -   -   -   -   -   -   -   - |
E| -   -   -   -   -   -   -   - |

Bar 4:

Plain-text tab — Bar 4

Plain-text tab and fingering reference

   1   &   2   &   3   &   4   &
e| -   -   -   -   -   -   -   - |
B| -   -   -   -   -   -   -   - |
G| 5   ~   -   -   -   -   -   - |
D| -   -   7   ~   ~   ~   ~   ~ |
A| -   -   -   -   -   -   -   - |
E| -   -   -   -   -   -   -   - |

Music-block plan: day 1 learn bar 1 then bar 2; day 2 work on your familiar-song section; day 3 learn bars 3-4 then join the piece; day 4 familiar-song section; day 5 song consolidation or your weakest piece transition; day 6 record the whole mini-piece twice and listen; day 7 play your favourite earlier piece slowly. The piece REPLACES the old A/B/C form during music time. A/B/C remain short technique studies. Scale fingerings are your guide for the same notes here; the MusicXML piece file also contains suggested fingers. Do not try to fit every reference exercise into one session.

This is an original study written for the course, not a transcription of an artist recording.

Real-song corner

One small song section

Use this on music days 2, 4 and 5, inside the same seven minutes. Continue a song across weeks if it is unfinished. These are suggested fragments and practice adaptations, not a claim that the complete songs fit your current level.

Recommended: Black Sabbath — Paranoid

Stretch option: a small main-riff fragment, slowly. Pick notes first if hammer-ons are tense; keep that labelled as your practice adaptation.

Open the song lesson / source version ↗

Paranoid by Black Sabbath | Easy Guitar Lesson — JustinGuitar Songs

Alternative — only if you want to swap

Alternative — only if you want to swap: Cream / Eric Clapton — Sunshine of Your Love

One short main-riff fragment. Learn the notes in the source, then reconnect its rhythm at a slower pulse.

Open the song lesson / source version ↗

How to play Sunshine Of Your Love | Guitar Lesson — JustinGuitar Songs

Simplifying rule: shorten the passage and slow the pulse first. Any change of technique, rhythm, key or chord voicing is your practice adaptation. Use the linked lesson for actual song notes. If both options need unfamiliar skills, keep your current song or use the original piece instead. Match the lesson/recording tuning before playing along; all original studies remain separate.

Steve Vai — For the Love of God: listen to note length and expression; the performance is a long-term reference.

Daily practice

Your practice plan for these seven days

Day

One-minute technique task (inside the four-minute block)

Seven-minute music assignment

120: Learn A

Read and clap A; play its first half, then its second half.

Weekly piece: learn bars 1-2, one bar at a time. Hum the phrase, play slowly, then join it.

121: Learn B

Learn B slowly; isolate any chord change or string crossing.

Song focus: use the familiar-music section for this week; learn one small fragment, repeat it slowly, then join it to the previous fragment. If you cannot access the lesson, use the original weekly piece instead.

122: Connect notes

Pick G-string 5, hammer 7, pull off to a held 5 slowly; then learn C.

Weekly piece: learn bars 3-4; join all four bars and finish on the held root.

123: Connect

Practise the B-to-A transition in two-bar loops.

124: Make it musical

Play A once softly and once more strongly without changing tempo.

125: Record and assess

Repair the hardest two beats, then reconnect their full bar.

Record the complete weekly piece twice. Listen for pulse, quiet rests and a clear ending; repair one transition.

126: Light review

Listen to your recording and clap its pulse; identify one improvement.

Play an earlier weekly piece slowly for four minutes; enjoy or hum a familiar-song section for three minutes.

Check

Completion check

Weekly check: record the four-bar weekly piece, repeated twice with a steady pulse, audible note starts and quiet rests. Log the tempo and the hardest transition. Advance using the rule above.