Warm-up and sync between fretting hand and picking.

• One finger per fret: index on 5, middle on 6, ring on 7, pinky on 8.
• Strict alternate picking: down-up-down-up.
• Keep idle fingers hovering close to the frets.

Finger independence, especially ring and pinky.

• Same positions as the spider, in the order 1-3-2-4.
• Once it is easy, try 1-4-2-3 and 2-4-1-3.
• If a finger flies away from the fret, slow down.

Smooth position shifts across the neck.

• Each string starts one fret higher than the previous one.
• Let the wrist follow and slide the thumb behind the neck.
• Make every note the same volume.

Picking-hand speed and accuracy without string changes.

• Groups of 4: accent the first note of each group.
• Small motion from the wrist, not the elbow.
• Add 4 BPM only after 3 clean repetitions.

Clean picking when jumping between strings.

• First half: the pick moves "outside" the two strings.
• Second half: the pick stays "inside", between them.
• Mute unused strings with the picking-hand palm.

Fretting-hand strength and control.

• Pick only the first note of each triplet.
• Hammer-on (H): strike firmly, close to the fret.
• Pull-off (P): pull the string slightly down as you release.

Fast, fluid lines with few pick strokes.

• Pick only the first note on each string.
• Hammer-ons going up, pull-offs coming down.
• Legato notes should be as loud as picked ones.

Accurate string skips and wide intervals.

• Play a string, skip one, come back.
• Mute the skipped string with your picking palm.
• Start slow: accuracy matters more than speed here.

Bends that land exactly on the target pitch.

• First play the target note (two frets up) and memorise it.
• Then bend (B) until the string matches it.
• Push with three fingers together: ring, middle and index.

Even vibrato that gives long notes a voice.

• Hold each note for the full beat.
• The motion comes from the wrist, like turning a door knob.
• First slow and wide, then narrow and fast.

The core shape of every rock and blues solo.

• One finger per fret: the root is under your index on the low E.
• Say the root's name out loud each time you play it.
• Go up and down without stopping, in time with the click.

Know the scale all over the neck.

• Pick a position from the menu: each one starts on a different scale note.
• Learn one position a week and connect it to the previous one.
• The roots are highlighted in the Scales section.

Turn the scale into melodic phrases.

• Play 3 notes, step back 2 and start again.
• Accent the first note of each triplet.
• Try using the sequence over a backing track.

Fluency and confidence across string changes.

• Play 4 notes, step back 3 and start again.
• Strict alternate picking.
• Once you know it, start from another position.

Add the blues colour to the pentatonic.

• The blue note is the flat fifth: Eb in A.
• Use it as a passing note, never rest on it.
• Try sliding through it between the 4th and the 5th.

The full scale in a fast, logical shape.

• Three notes on every string: perfect for triplets.
• Alternate picking: notice how down/up swaps on each string.
• It is the basis of the modes: start elsewhere for Dorian, Phrygian, Mixolydian…

Play in intervals instead of just running the scale.

• Each note is followed by the one two steps above (a third).
• Hear how much more melodic it sounds than the plain scale.
• Then try fourths: skip three steps instead of two.

See the neck horizontally, like a piano.

• The whole minor scale on the high E string.
• Use slides and finger changes: choose your own fingering.
• Repeat on the other strings: the best way to link positions.

Travel across the neck instead of staying in one "box".

• Pentatonic with three notes per string: each string moves the hand higher.
• Use a slide for the position change.
• Great for solos that build in intensity.

Know the chord tones: root, third and fifth.

• Play only the notes of the minor chord, over two octaves.
• Let each note ring separately, no overlaps.
• Over a minor track, these are the "safe" notes.

Follow the track's chords with the right notes.

• Four chords of the minor key, all in one position.
• For each: root, third, fifth, octave and back.
• It is the progression of many Epic and emotional tracks on the channel.

Make the chord changes heard while improvising.

• Chords: i–VI–III–VII (in A: Am–F–C–G), one bar each.
• On beat one of each chord play its third, then root and fifth.
• Then improvise freely, but always land on the third at the change.

Phrase like a singer: phrase, pause, answer.

• The "call" rises and hangs; the "response" falls back to the root.
• Play it over a track, then change one note at a time.
• Always leave space: silence is part of the phrase.