Advanced Hybrid Picking Etudes For Guitar - Vol 1
This document was uploaded by user and they confirmed that they have the permission to share it. If you are author or own the copyright of this book, please report to us by using this DMCA report form. Report DMCA
Overview
Download & View Advanced Hybrid Picking Etudes For Guitar - Vol 1 as PDF for free.
More details
- Words: 29,085
- Pages: 52
Loading documents preview...
Advanced
Hybrid Picking Etudes for Guitar VOLUME 1
GUSTAVO ASSIS-BRASIL
Advanced
Hybrid Picking Etudes for Guitar VOLUME 1
BY GUSTAVO ASSIS-BRASIL
Cover Art and Book Editing: Marcus Schleder Copy Editing: Max Kennedy, Michael Weinstein Photos: Cristiane Soares Please do not make any copies of this book! This work is the result of many years of hard work and dedication and it is an independent production. If you like it, you can purchase it directly from the author’s website: www.gustavoassisbrasil.com Copyright © 2019 by Gustavo Assis-Brasil Music International Copyright Secured All Rights Reserved No part of this publication may be reproduced in any form or by any means without the prior written permission of the author.
"Gustavo’s Advanced Hybrid Picking Etudes book series is the perfect resource for any guitarist interested in improving or widening their abilities with hybrid picking. Where I find most educational material either too dense or too dry, Gustavo has (as always) found the perfect way to present both a clear methodology and a fountain of musically interesting examples and etudes."
Plini "Gustavo's creative, angular etudes will challenge your mind and your hands in equal measure; attempt to learn them and you'll have your work cut out for you! I find myself especially drawn to the hauntingly beautiful lines derived from Messiaen's 3rd mode of limited transposition (Vol.2), all symmetric in design."
Per Nilsson (Meshuggah, Scar Symmetry) “These expertly constructed exercises invite you to a contemporary world of structured tonalities, through which you are able to progress and transcend style.”
Vardan Ovsepian, Composer, Pianist "Get ready for Gustavo Assis-Brasil's newest and most challenging book on studies using the Hybrid Picking technique. Already known for his sophisticated language and complete approach to the technique, Gustavo's "Advanced Hybrid Picking Etudes" presents valuable studies that will take you to the next level. The material is the most comprehensive ever made on the subject and has detailed applications of all your movements. I highly recommend it.”
Isaac Negrene “In this new book, Gustavo Assis-Brasil presents a lot of material for exploring the mechanics of the guitar musically with the hybrid picking technique and also permutations for the left hand. A progressive approach is presented throughout the course, from preliminary etudes in the beginning, to full-fledged compositions that incorporate Brazilian rhythms. The compositions also have a sort of algorithmic approach in the transformation of raw permutations into real music. An outstanding resource for music and guitar.”
Dr. Julio Herrlein
Table of Contents I.
Introduction ..................................................................................................................................................... 6
II.
Picks, fingernails, and angles ........................................................................................................................ 6
Right-Hand Fingerings .................................................................................................................................. 7
Left-Hand Fingerings ..................................................................................................................................... 7
III.
Author’s Bio ..................................................................................................................................................... 8
IV.
Studies .............................................................................................................................................................. 9
Preliminary Etude 1 .......................................................................................................................................... 9
Preliminary Etude 2 ........................................................................................................................................ 11
Preliminary Etude 3 (“Pick Mac”) .................................................................................................................. 13
Preliminary Etude 4 (8 Permutations) ............................................................................................................ 14
Preliminary Etude 5 ......................................................................................................................................... 17
Preliminary Etude 6 (24 Permutations) ........................................................................................................... 19
Preliminary Etude 6 (Zigzag) ......................................................................................................................... 21
Preliminary Etude 6 (Optional fingering) ...................................................................................................... 25
Preliminary Etude 7 ......................................................................................................................................... 28
The Easy Passenger ......................................................................................................................................... 30
Pentarum ......................................................................................................................................................... 33
Diatonic Ride .................................................................................................................................................. 35
Pé de Umbú ..................................................................................................................................................... 37
Que Nem .......................................................................................................................................................... 41
Maracatude ...................................................................................................................................................... 44
Milonga 34432 ................................................................................................................................................. 47
Trampoline ....................................................................................................................................................... 51
5
Introduction
One of the things I do to develop my own vocabulary is to regularly write down ideas I come up with. Some of these ideas turn into tunes, others into etudes. This book series is a collection of advanced hybrid picking etudes that originated from combining those ideas. I call it “advanced” because most of the etudes require a high level of independence and control of both hands. I also think that it is important to be familiar with jazz chords, arpeggios, and scales in order to fully take advantage of the music presented here. If you have any of my previous publications - Hybrid Picking for Guitar, Hybrid Picking Exercises: Single Note Permutations, or Hybrid Picking Lines & Licks - this book series will allow you to further develop the technique through solo guitar studies and apply it to your own phrasing, composition, and improvisation. Each study comes with suggested fingerings. Feel free to change or adapt them to your own technique. The etudes also mix legato (hammer-on/pull-off), alternate picking (strictly up and down strokes) and sweep picking (economy picking), but you can also choose to use fingerstyle/classical technique to play them. Because some of the etudes are chromatic in nature, you might find some harmonic discrepancies if you analyze them vertically; for example, you might find an E natural over a Cm7 chord or an Eb over an E7 chord. Most of these cases are related to a structure that is being superimposed over the chord and in almost all cases the line will resolve on a chord tone. This is a horizontal approach, or playing ‘through’ the changes, as opposed to ‘on’ the changes. Musicians like John Coltrane, McCoy Tyner, Miles Davis, and Michael Brecker, to name a few, were masters of this inside-outside approach. Play the etudes at slow, medium, and fast tempos. The sonic effect will depend on the speed at which you execute the pieces. The listed BPM for each etude is a suggested goal. Right after some of the etudes you will find a series of lines that can be practiced separately to better understand the techniques and harmonic/melodic content of each segment. You will see the harmonic context with one or more suggested chords for the line, followed by the kind of linear technique used to manipulate the notes involved. Most of the etudes in this book series use either eighth or sixteenth notes. However, you should feel free to vary these rhythms. You can also incorporate different accents, rests, note durations, and rhythmic displacements (starting at different parts of the measure).
Picks, fingernails, and angles
One of the most important things to consider when choosing the right pick is what type of material is used. The best way to choose a pick for the hybrid picking technique is to compare the sound of your fingernails with the sound produced by the pick. Proper care of your nails is the best way to prevent them from breaking. Keep the nail edge very smooth with a file and ultra-fine sandpaper. You also have to choose your angle of attack according to the timbre that you want to produce from the instrument. By changing your angle of attack is going to change your timbre too. When you find the timbre you prefer, this will establish your angle of attack. More details about choosing these topics can be found on my previous three books.
6
Right-Hand Fingerings
Left-Hand Fingerings
The numbers 1, 2, 3, and 4 on top of the staff notes represent left-hand fingerings (or right-hand fingerings if you are left-handed).
1: index 2: middle 3: ring 4: pinky Sometimes you will see only a few notes with these numbers on top. This means that the fingerings of the other notes are more obvious.
7
Author’s Bio
Based in Boston, USA, Gustavo Assis-Brasil began playing the guitar at the age of 13. He attended the UFSM, Brazil, to get his bachelor in classical guitar in 1995. In 1995 he was featured in Guitar Player Magazine USA (Spotlight session). In 1999 he received a full scholarship to get his Master Degree In Jazz at Berklee College of Music. He studied with Mick Goodrick, Wayne Krantz, Hal Crook, Ed Tomassi, Dave Fiucsynski. Gustavo also had masterclasses/lessons with Pat Metheny, Frank Gambale, Mike Stern, Dave Liebman, and John Scofield. Gustavo also studied improvisation and composition privately with the late jazz-guru Charlie Banacos and South Indian Carnatic music with Prasanna. From 2001 to 2006, Gustavo played and toured with the group Dig Trio. In 2005, Gustavo released the book “Hybrid Picking for Guitar”. This book is the first method entirely dedicated to the art of combining pick and fingers to play the guitar. In 2008, he released the book “Hybrid Picking Exercises: Single Note Permutations”. Also in 2008, he released a live DVD/CD combo called “In Concert” with original compositions. On that same year, he was invited by ESC Records (Germany) to write and record an arrangement of Steely Dan’s “Aja”, for the album “Maestros of Cool”.
Dialogues”, won the Instrumental category for the 2016 International Songwriting Competition (ISC). Gustavo is the director of the Jazz and Contemporary Music Ensembles and is a faculty member of the Cambridge School of Weston. Also, as a teacher, Gustavo taught classes at Berklee College of Music and clinics/master classes at Musicians Institute (MI) and University of Southern California (USC), Los Angeles, CA; Berklee College of Music, Boston; UFRGS, UFSM, and UPF, Brazil.
In 2009, Gustavo was invited to participate in the project “Mahavishnu Re-Defined - a Tribute to John Mclaughlin & the Mahavishnu Orchestra” along with other jazz artists. In 2010, he released his original soundtrack for Brazilian movie “Manhã Tranfigurada”.
Gustavo performed/recorded with Mozik, John Stowell, Esperanza Spaulding, Steve Trovato, Frank Potenza, Richard Smith, Hiromi, Vardan Ovsepian, Tony Grey (John Mclaughlin), John Lockwood, Julio “Chumbinho” Herrlein, Guilherme Barros, Greg Hopkins, Brett Wilmott, Mauricio Zottarelli, Tim Ries (Rolling Stones, Paul Simon, Steve Wonder), Nelson Faria, Jose Pienasola, Nocet, Marina Elali, A-No-Ne, Dough Johnson, Gilson Schachnik, Zuzo Moussauer, Frank Solari, among others.
In 2011, Gustavo released his third book, “Hybrid Picking Lines and Licks”. Guthrie Govan wrote the foreword for it. In 2015, Gustavo performed at a TEDx conference in Brazil. In 2016, he released the album “Chromatic Dialogues”. In 2017, his song “Gee,” from his album “Chromatic
8
Preliminary Etude 1
Combining pick, middle and ring fingers.
This is a nice warm-up etude to get you started with a more traditional way of playing with the pick (𝆪 = downstroke) and 2 fingers (m = middle and a = ring). Here are the 6 possible permutations to play using hybrid picking:
𝆪
𝆪
1. m a 2. m a
3. a m 4. a m
𝆪
𝆪
5. m a 6. a m
𝆪
𝆪
Learn it slowly at first and try to attack each string with the same volume. Notice that you start the patterns with eighth notes, then eighth note triplets, and finally sixteenth notes. When using sixteenth notes, I am changing the second permutation from (𝆪 m a) to (𝆪 m 𝆪). Use a metronome to practicecombining it. The fretboard choices usering symmetrical pick,note middle, and fingers fingerings in groups of combining pick, middle, and ring fingers three. Try different dynamics and accents. Gustavo Assis-Brasil
Preliminary Etude Etude 1 1 Preliminary
Allegro Allegro Allegro
1 1 1
2 2 2
1 1 1
3 3 3
2 2 2
1 1 1
3 3 3
2 2 2
2 2 2
3 3 3
1 1 1
2 2 2
1 1 1 3 3 3
2 2 2
2 2 2
3 33
1 1 1
3 3 3
1 1
2 2 2
3 3 3
4 4 4
3 3 3
3 3 3
4 4 4
4 4 4
2 2 2
9
3 3 3
4 4 4
2 2 2
3 3 3
4 4 4
3 3 3
3 3 3
2 2 2
1 3 3 3
3 33
1 1 1
3 33
1 1 1
2 2
3 3
2 2 2
4 4 4
2 2 2
3 3 3
4 4 4
2 2 2
2 2 2
33
3
3 3 3
2 3 3 3 3
3 3 3
3 33
4 4 4
2 2 2
Gustavo Gustavo Assis-Brasil Assis-Brasil
3 3 3
2 2 2
4 4 4
2 333 1 222
1 1 1
2 2
3 3 3
1 1
3 3 3
3 3
3 3 4 1 2 3 3 3 3 4 2 2 3 2 2 3 4 1 2 Copyright © www.GustavoAssisBrasil.com Copyright Reserved Secured -International All Rights 4 7 6 5 5 6 5 6 6 7 4 5 6 4 5 6 7 4 4 55 66 44 55 6 44 5 66 77 66 5 77 6 6 6 7 5 5 6 44 5 4 66 5 5 6 3 3 3 3 3 3 3 3 3 3 3 3 33 33 3 3 3 3 5 6 4 5 4 6 7 6 7 5 6 7 4 5 66 4 55 6 44 5 6 6 7 7 5 6 7 6 7 44 55 6 44 5 66 4 55 66 6 7 5 6 5 6 4 6 5 7 6 5 4 7 5 6 5 4 4 5 4 6 5 6 6 5 6 55 7 66 5 4 7 4 55 666 44 555 6 444 5 66 777 66 5 6 7 5 6 7 5 4 6 6 7 5 4 5 4 6 5 5 6 7 4 4 6 5 5 6 7 3 3 3 3 3 3 33 3 3 6 7 4 6 7 6 5 6 5 33 7 5 5 6 5 7 6 4 6 6 4 5 7 5 6 5 6 7 6 6 7 7 5 7 4 5 6 5 5 6 7 6 4 6 4 5 66 7 66 5 77 6 5 7 6 55 7 5 7 5 7 5 6 4 6 5 5 6 7 6 4 7 5 7 5 6 6 10
4
5
5 5 5
5 5 5 5
3 7
5 5
6 6 6
3 3 33 6
6 7 7 7
6 6 6
4 4 4 4
8 8 8 8
4 6
7
5 5 5
3
7 7 7
5
7 7 7 7
6 6 6
5 5 5 5
5 5 5 5
5 5 5
6 6 6 6
Preliminary Etude 2 Hybrid Picking Triad Etude.
This short etude uses two picking patterns: ascending (𝆪 m a) and descending (a m 𝆪). The melodic content is based on all three diagonal major triad shapes with one note per string. After you learn how to play the etude using the suggested major triads, try to also use different types of triads, like minor (1, b3, 5), augmented (1, 3, #5), diminished (1, b3, b5), sus2 (1, 2,5), sus4 (1, 4, 5), sus2b5 (1, 2, b5), Majb5 (1, 3 b5). The following quartal trichords also sound interesting: (1, 4, 7), (1, #4, 7),Preliminary and (1, 4, b7). Etude 2 Preliminary Etude Hybrid Picking Triad Etude 2 Music by Gustavo Assis-Brasil Preliminary Etude Hybrid Picking Triad Etude 2 Music by Gustavo Assis-Brasil C E Hybrid Picking Triad Etude
C 3 C 3 3 5 8 77 5 77 8 5 7 Ab8 7 Ab 3 Ab 3 3 6 8 66 6 66 8 6 6 8Db 6 Db 3 Db 3 3 6 9 88 6 88 9 6 8 A9 8 A 3 A 3 3
3 3
3
5
5
5
5
3 6 6 6
3 3
3 6 6 6
5 5 5
6 6 6
5
5
5
5
3 3
5
3 3 3 5 5
5
6 6 6
6 6 6
3 3 3 5 5 5
3 3 3 6 6 6
5 5 5
44 4
6 6 6
5 5 5
5 5 5
6 6 6
3 3 3 5 5 5
3 3 3 4 4 4
3 3 3 6 6 6
3 3 3
5
4
5
6
4
6
4 4 4
Music 3 by Gustavo 3Assis-Brasil 3 3
3 6 6 6
7 7 7
C C
4 4
3 C 3 3 3 3 3 3 3 3 5 5 5 53 5 3 5 5 5 5 5 5 5 7 3
4
5
5
5
5
5
5
5
5
F F
4 4
F 3 3 33 3 5 6 5 6 53 5 5 6 5 6 5 7 5 5
4
3 3 3 3 3 3
E E 3 3 3 3 3 3 4 5 4 5 4 6 4 5 4 5 4 4
6
Db Db
11
5
6
7
5
7
Db 3 3 3
5
5
3 3
3 7 7 7
3 3
7 7
8 8 8
6 6 6
5 5 5
7 7 7
3 7 7 7
3 3
3 7 7 7
3 3
3 8 8 8
3
7 7 7
8 8 8
8 8 8
3 3 3
A
Db
3 3 3 3 5 5 5 6 6 6 7 7 7 7 9 7 C CC C
5 5 5 5 5 88 7777 55 5 8 8
7 7 7 7
Ab Ab Ab Ab
5 5 6 5 88 6666 666 5 6666 88 Db Db Db Db
9 9 9 9
9 9 9 9
7 7 7 7
6 6 6 6
6 6 6 6
8 8 8 8
A AA A
7 7 7 7
6 6 6 6
8 8 8 8
7 7 7 7
7 7 7 7
5 5 5 5
5 5 5 5
6 6 6 6
5 5
5 5 5 5
4 4 4 4
6 6 6 6
6 6
6 6 6 6
6
6
6
6 6
7 7 7 7
6 6 6 6
6 6 6 6
5 5 5 5
5 5 5 5
6 6 6 6
5
5 5 5
5 5
4 4
3 3 3 3
4 4
4 4 4 4
C CC C
F
FFF
4 4 4
5 5 5 5
4
6 6 6 6
Db Db Db Db
4 4 4 4
6 6 6 6
12
6 6 6 6
6 6 6 6
4 4 4
5 5 5 5
6 6 6 6
6 6 6 6
5 5 5 5
5 5 5 5
6 6 6 6
5 5 5 5
4 4 4 4
7 7 7 7
5 5 5 5
8
6 6 6 6
5 5 5 5
5 5 5 5
6
4 4 4 4
5 5
6 6 6 6
6
6
E EE E
5 5
5 5 5
5 5 5 5
6 6 6 6
6
www.GustavoAssisBrasil.com © All Rights Reserved All Rights Copyright Reserved - International Copyright Secured 3 4 5 5 55 333 4 5 5 4 5 5 5 4 4
5 5 5 5
6 6 6 6
3 3 3 3 4
7 7 7 7
6
6 6 6 6
5 5 5 5
5 5 5 5
8
7 7 7 7
7 7 7 7
6 6 6 6
7 7 7 7
6 6 6 6
8 8 8 8
5 5 5 5
6 6 6 6
7 7 7 7
6 6 6 6
8 8 8 8
8 8 8 8
9 9 9 9
5 5 5 5
7 7 7 7
(9) (9) (9) (9)
8 8 8 8
9
7 7 7 7
8 8 8 8
8 8 8 8
Preliminary Etude 3 (“Pick Mac”) Pick, middle, ring and pinky pingers.
This etude will include the pinky finger of the picking hand. This short etude uses two picking patterns: ascending (𝆪 m a c) and descending (c a m 𝆪). The melodic content is based on two diagonal symmetrical hand shapes with one note per string and one note per fret. Learn it slowly at first and try to attack each string with the same volume. that you start the patterns pick, middle, ring, and pinkyNotice fingers with eighth notes, then eighth triplets, and and finallypinky sixteenth notes. Use a metronome. Try Gustavo Assis-Brasil pick,note middle, ring, fingers pick, middle, ring, and pinky fingers different Gustavo Assis-Brasil = 150 dynamics and accents.
Preliminary Preliminary Preliminary
Etude Etude Etude
3 3 3
Gustavo Assis-Brasil == 150 150 66 44 5 5 44 5 6 4 5 66 33 4 5 6 4 5 6 77 5 5 3 7 4 6 3 7 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 13 3 3
2 2
1 1
4 4
3 3
2 2
4
3
4
5 5
5
5
5
5
6 6
6 6
7 7
8 8
6 6
6
8
3
8 8
9 9
7
7
8
7
2
2
7 7
6
7
4
2
3
1
5 5
4
3
2
4 4
9
8
8
1
7 7
9
10 10
9 9
8 8
9 9
8 8
10
8
10 10
9 9
11
10 10
12
10
11 11
12 12
11
12
10
11
9
11 11
13 13
12 12
11
12
13
11
12
13
14 14
12
14
12
13 13
14 14
15 15
13
13
8
8
12 12
13
12
9
13 13
11
12
10
9
9
12 12
11
10
8
11 11
10
11
9
10
11 11
10
9
7
10 10
14
13
14
15
14
7
13 13
15
14 14
15 15
16 16 16
13 13
16
13
16
13 13
14 14
15 15
16
16 16
13 13
16
13
16
13
15
14
15
14 14
15 15
14
15
13
12 12
16 16
12
16
12
15
14
14
15
13 13
11 11
15 15
11
15
11
14
13
16
12 12
13 13
12
14
13
14
14 14
13
15
13
14
15
13
15 15
14
15
14
14 14
16 16
12
15
5 5
6 6
7 7
4 4
7
4
7
4
6 6
4
5
5 5
3 3
6 6
5
7 7
3
7
6
2 2
5 5
4
3
6
5
4 4
6 6
14
6
5
7
4 4
3
2
5
4
3 3
2
12 12
13
12
10
8 8
5 5
1 1
5
1
5
1
10 10
9
7 7
10 10
9
8
10
9 9
8
11
4
6
7 7
13
4
3
13 13
12
11
14
5
4
10 10
13
13
4 4
14 14
13
11 11
Preliminary Etude 4 (8 Permutations)
This etude uses eight permutations of fingerings in both the right and the left hand. Our permutation elements are the pick (𝆪) and the remaining three fingers of the picking hand (m a c). Executing it accurately demands great control over each finger. Switching from eighth notes to eighth note triplets to sixteenth notes can be challenging. Learn it slowly at first, making sure you attack each string with precision and control. Try different dynamics and accents. Here is the picking pattern used for this etude: Ascending: 𝆪 m a c m a c 𝆪 a c 𝆪 m c 𝆪 m a Descending: c a m 𝆪 a m 𝆪 c m 𝆪 c a 𝆪 c a m
Preliminary Etude Etude 4 4 Preliminary 8 permutations permutations 8
Allegro Allegro
4 4
3 3
2 2
1 1
2 2
2 2
4 4
3 3
4 4
5 5
6 6
5 5
3 3
4 4
4 4
7 7
7 7
5 5
6 6
1 1
4 4
3 3
4 4
3 3
2 2
5 5
2 2
1 1 4 4
3 3
2 2
1 1
Gustavo Assis-Brasil Gustavo Assis-Brasil
4 4
3 3
4 4
5 5
6 6
3 3
6 6
5 5
7 7
4 4
5 5
2 2
3 3
5 5
6 6
14
7 7
4 4
5 5 2 2
3 3
4 4
6 6
4 4
3 3
5 5
5 5
6 6
7 7
6 6
3 3
8 8
4 4
5 5
4 4
5 5
6 6
5 5
6 6
8 8
7 7
7
6
5
4
7
6 8
5 36 3 33 3 3 3 3 3 3 3 3 3 3 3 3 8
7
8
7
6 7 7 8 5 38 33 3 3 3 3 3
8
7
9
8
9
8
9
8
9
8
10
11
10
11
10
10
11
11
12
11
10
10 10
10
12
12 12
12
13
13 13
12
10
7
10
7
11
3 3 3 3
11
8
11
7
8
8 8
13
3 3 3 3
13
10
11
13
13
14
14
13 14
10
10 10
9
8
9
11
9
9
11
11
12
12
10
3 3 3 3
10 10
11
11 11
10
3 3 3 3
11 10
12
12
13
13 13
13
12
12
13
3 3 3 3
14
9
7
6
8
7
9
8
7
8
10
7
8
7
8
7
9
10
10 10
10
10 10
9
9
11
11
3 3 3 3
11
9
7
10
11
11
12
12 12
12
12
9
10
12
12
9
9
12
11
13
13
14
14
14 13
12
9
13
13 13
10
10
9
11
11 11
14 15 14 15
3 3 3 11 3 11 11
11
12 12
3 3 3 3 3 3 3 3 8
9
6
7
11
10
12
8
3 3 3 3 9
9 9
12
9
9
10
10 10
12
15
13
11
12
15
12
14
13
15
12
12
11
8
3 3 3 3 12
12
9
12
8
9
9 9
13
7
9
9
3 3 3 3
10
3 3 3 3
8
10
10 10
9 9
10
12
11
11 11
3 3 3 3 14 14 14
11 11 11 11
14 3 3 3 3
12
15
12
15
15
12 12 12
12 13
13
3 3 33 13 13
12
11 11
12
12 12
14 14 14
14
13
13 3 3 3 3
14
15
14 13
15 14
13 15
11
12
11 10
9
11
10
12 14
10
14
12
14 13
14
13
15
13 12
14
13
14
11
11
14
15
8
11
10
3 3 3 3 11 11
10
10 13 11 12 1313 11 1212 13 10 12 11 13 12 1010 13 13 3 3 3 3 3 3 3 3 12
11
10
9
8
8
10
9
12
13
11
9
8
8
10
6
12
15
15
13
8
10
13
3 3 3 3
3 3 3 3
8
10
9
10
12
11
10
9
8
7
10
11
9
9
3 3 3 3
9
8
10
9
8
7
7
10
9
12
13
6
14 13
12
3 3 3 3 3 3 3 3 Copyright© www.GustavoAssisBrasil.com All Rights Reserved - International Copyright Secured
12
14 11
10
13
12
11 11
10
9
11
3 3 3 3
10
9
11
11
12
10
8
14
12
11
8
9
9
9
7
9
11
10
8
9
8
7
9
10
7
15 14 15
13
12
13
16
8
11
14
10
13
4
5
5
5
4 5 6
7
5
6 7
6
5 6
5
8
6
4
6
8
6 8
8 6
5
1
𝆪
9 7
6
16
7
5 7
7 9
7 9
6
8 6
8
6 8
4
7
5 7
9 7
5
5
7 5
6
6
3
3
4 6
3
3
3
8
4
7
2
4
4
4
4
4
3
5
6
5
5
2
2
4
3
2
2
4 4
1
4
3
3
4
3
7
1
1
1
2
5
2
2
3
6
9
3
4
7
10
12
15
7
� ��
� �
�. �.
� � �
�. � � . � � � �� � � ��. � ��� �. �� � � � � ��
� �� �
œ � 5 . � œ . &8 � Preliminary Etude 5 � � � � With Major 7th voicings. � . � � �� � .� � � ��� � � � � � �
� � �
� �
�
œ�
� �
� �
œ
�
� �
. �� � . � � . . � . � .
œ
..
�
�
�
�
�
� �
�
�
�
�
��
�
�
��3
� �
�
� �
�
. . ��
�
� � �� � � �� � � � � �� � � � � � This etude consists of major seventh voicings exclusively. Every chord is played as an ascending �
�
arpeggio. Because each voicing has four notes we can use the pattern (𝆪 m a c) except on œat a �time, we �have fifteen � � � � four � œ strings measures 9 and 10. Because we� are using possible string � � � � . � œ œ œ . � � � �œ � � � . . œ & you � combinations, are aspect � (assuming � playing � guitar). � Besides the technical � � of this œ œ �a six-string œ � � � � � etude, I use some unusual voicings and inversions. Let the notes ring throughout the piece. ��4 � � III - Groups of 4 Strings | Use ( ,m,a,c)
�
� � ��� � � � �
� � �
�� � �
�� � �
�� . � � � � � .
� � �
� � �
� �
�� ���
�
� �
� �
�
�
� �
�
�� � ��
�
�
�
� �� ��
� �
�
�
� ��� �
�� . � � �� . ���
�
� �
�
�
�
� �
�
�
� � �
�
� �
�
�� ��
�� � �
� �� �
�� ��
� �
� � �
�
� � � �
�� ��
� � � �
� �
�
� � �
� � � �
Tip: to further explore the harmonic possibilities here, try using different kinds of seventh chords. Here are some suggestions: dominant seventh (1, 3, 5, b7), minor seventh (1, b3, 5, 123 b7), minor seventh flat five (1, b3, b5, b7), diminished seventh (1, b3, b5, bb7), major seventh flat five (1, 3, b5, 7), major seventh augmented (1, 3, #5, 7), dominant flat five (1, 3, b5, b7), dominant augmented (1, 3, #5, b7), minor major seventh (1, b3, 5, 7), and dominant sus4 (1, 4, 5, b7).
Preliminary Etude 5 with Major 7th voicings Gustavo Assis-Brasil = 126 A∆7
A∆7/C#
0
12
13
13 12
G∆7/D
12
10
G∆7/B
17 B VII
10
11
11
9
10
10 10
10
9
9
11
11
12
12
F∆7
11
11
11
11
12
B IX
G∆7
13
13
12
E∆7
10
F∆7/C
9 10
0
12
A∆7/C#
G∆7/D
B IX
10
10
9
8
9
11
8
11
9
F∆7/C
B VII
8
11
9
C∆7
7
7
9
0
8
7
8
7
8
Eb∆7
0
10
<12>
12
12 5
7
8
(#5) Eb∆7(6) C∆7 10 10
C∆7/B
12
9
8
5
7
9
9
7
8
6
9 7
9 10
5
6
7
9
10
9
5
10
G∆7/B
11
9
9
10
10
10
11
9
10
10
12
12
12
11
9
9
11
11
12
12
10
11
11
13
13
11
12
10
13
13 11
12
10
10
7
8
7
11
11
11
12
F∆7
C∆7
Bb∆7
Ab∆7
F#∆7
E∆7
12
0
14
B VI Copyright © www.GustavoAssisBrasil.com 0 10 12 12- International Copyright 6 Secured 12 All Rights Reserved
14
15
13
8
8
5
5
7
6
6
7
F#∆7
6
6
3
7
5
18
0
Db∆7
4
3
7
5 6
Eb∆7/G
2
4
Bb∆7/D
6
5
9
9
7
4 4
3
6
8
Eb∆7
4
6
2
8
10
10 8
C∆7/E
7
15
13
8
8
1/2B IV
B II
5
7 5
5
3 4
F∆7
4
3 4
6
13
10
11
10
12
9
9
10
10
8
10
10
8
Db∆7#11/Ab
B VI
8
8
8
8
8
8 6
6
6 6
6
6
6
6 6
7
10
8
Db∆7/Ab
10
7
0
10
10
9
D∆7/F#
9
11
8
4
F∆7
11
9
3
4
11
5
3
5
Eb∆7/G
11
5
7
5
6
13
11
3
7
5
6
7
4
6
3
7
5
9
9 7
4
6 7
5
F#∆7
6
8
8 5
6
8 8 6 6
9
Preliminary Etude 6 (24 permutations)
This etude is based on permutations of the 4 picking possibilities. Here are the twenty-four possible groups, without repeating elements:
𝆪 m a c 𝆪 m c a 𝆪amc 𝆪acm 𝆪cma 𝆪cam
m a c 𝆪 m c a 𝆪 amc𝆪 acm𝆪 cma𝆪 cam𝆪
a c 𝆪 m c a 𝆪 m mc𝆪a cm𝆪a ma𝆪c am𝆪c
c𝆪ma a𝆪mc c𝆪am m𝆪ac a𝆪cm m𝆪ca
Each permutation uses a different position. They move up and down the neck using twelve positions, starting on the first position and going up to the thirteenth before descending back.
19
Preliminary Etude 6 24 permutations
4
5
4
6
5
8
9
7
8
12
13 12
10 9
6
7
14
16 15
15
14 14
7
6
5 4
10
4
9
8
15
13
14
13
12
12
14
12
13
11
11
Copyright © www.GustavoAssisBrasil.com All Rights Reserved - International Copyright Secured
20
13 11
11
12
11 10
8
10
7
3
2
6
13
Gustavo Assis-Brasil
4
5
3
1
2
9 11
3
10
12
13
12
8
7
7
10
8
9
7 7
6 6
8
8
9
9
9
10
10
11 11
5
5
5
6
6
4
3
4
5
4
2
3
Preliminary Etude 6 (Zigzag)
1
Preliminary Etude 6
After deciding to use one permutation group per measure, I wrote zigzagged versions of each group to fill up each measure with sixteen sixteenth notes, using the following pattern:
24 permutations
Original Permutation Retrograde Original Permutation Retrograde Original Permutation don't let ring - play notes separately
1
2
4
3
3
2
2
1
4
3
3
2
1
2
3
4 3
4
5
5
4
2
3
4
5 2
Try to separate the notes melodically, not letting two or more notes ring simultaneously. It is harder than it looks but after you get the mechanics of it, it is a fun piece to play. This etude can be played at any tempo you feel comfortable with. Feel free to try different chords and string combinations while keeping the hybrid picking patterns. 5
6
6 3
4
3
5
6
21
6 3
4
3
5
6
7 3
4
4
5
6
7 5
4
4
5
6
Preliminary Etude 6 24 permutations Gustavo Assis-Brasil
4 4 3 3 3 3 3 2 2 2 2 1 2 1 1 don't let ring - play notes separately
6
5
6
6
6
5
4
4
3
3
8
6 5
8
8
7
7
8
6
6 5
2
7
7
6
6 5
4
5 4
6 5
4
5 4
4
9 9 9 9 9
8 7 6
4
3 2
5
3
7
4
4 3
4
3 2
6
4
4
3
5 5 5 5 5
5
4 3
8
6
8
8
7
8
8
7
5
7
6
6
6
10 10 10 9 9 9 9 9 8 8 8 7 7 7 7 7
10
11
11
9
10
9
8
Copyright © www.GustavoAssisBrasil.com All Rights Reserved - International Copyright Secured
22
11
10 9 8
8
9
9 8
8
12 12 12 11 11 11 11 11 9 10 10 9 10 10 9 10 14 14 14 14 14 13 13 12 11 11 12 11 11 12 11 13 16 16 16 16 16 15 15 15 15 15 14 14 14 13 13 13 14 14 14 13 13 13 12 12 12 12 12 11 11 11 11 11
23
13
13
13
12
13
13
12
11
11
12
11
11
10
11
10
10
15
14
15
15
14
14
13
14
14
13
12
12
13
12
12
12
15
14 13
15
15
15
14
15 14
13
13
12
13
13
12
12
13
12
13 12
12
11
13 12
12
11 10
10
11 10
10
10
11 11 11 10 10 10 10 10 9 9 9 9 9 8 8 8 12
12
12
12
11
10
11
10
9
12
11
10
10
10
9
9
9
10
10 9
10
9
8
9
8 7
9
8
7
7
8
8
7
7
8 7
6
9
9 8 7
6
7
6
6
6
7 7 7 6
7
6
9
8
6
8
7
6
5
6
5
9
7
7
8
7
5
9
8
6
6
5
5
6
5
4
5
5
4
4
optional repeat
5
6
6
4
4 3
6
5 3
5 4
4 3
3
4
5
5
5
4
3 3
5 4
3 2
24
5 4
2
3 2
2
2
1
Preliminary Etude 6 (Optional fingering) 24 permutations
This etude uses exactly the same notes as the previous one. The only differences are the hybrid picking fingerings. Not all patterns use the pinky finger. The suggested fingering on this version Etude (optional is the way I Preliminary play the etude if I want to execute6it at a faster tempo.fingering) 24 permutations Gustavo Assis-Brasil
4 4 4 1 2 3 3 2 1 2 3 3 2 1 2 3 don't let ring - play notes separately
optional fingering
5
5
4
5
4
3
3
6
5
6
6
6
5
3
6
7
5
4
4 3
3
3
3
8
8
8
7
6 5
8
8
7
6
6 5
7 6
5
5 4
6 5
4
5 4
4
9 9 9 9 9 opt.
7
6
2
7
6
4
2
5
opt.
4 3
4
opt.
5
4
2
5
4
6
8
8
7
5
6
25
8
8
7
8
7 6
6
opt. opt. opt. 9 10 10 10 9 10
9 9
opt. opt. opt. 11 9 1111 opt.
9 9 9
8 7 8 7 7 7
10 10
14
12 12 12
14 14 14
12
11 11 11
opt. opt. opt. 15 1616 13 15 16 15 16 13 13 15 13 opt.
14
12 12 12
7 7 7
10 10 10
9 9 9
13 13 13
14 14
10
9 9 9
7
7
9
8 8 8
7 7 7
7 7 7
11
10 10
8
10 10 10
9 9 9
11 10 11 10 11 10
14
10 12 11 12 11 10 10 12 11 10
9 9 9 9
14
14
13 11 11 11
14 14 14
12 12 12
14 14 14
12
11 11 11
13 13 13
13 11 11 11
14 14 14
12 12 12
14
12
11
11
16 16 16
15 15
11
11 11 11
16
11
15 15 15
16
15 16 14 15 16 14 15 16 14 15 14
11 11
14 14
15 15 13 15
8 9 9 9
8 8 8
11 11 11
9
9 8
9 9 9
8 8 8
10 10 10
8 8 8 8
13
13
12
9 9 9
11 11 11
13
12
14
14
15
14
12
13
15 15 15
14 14 14
13 13 14 15 13 12 13 15 14 14 12 opt. 13 12 13
15
14 13 15 12 14 12 12 14 14 15 14 13 14 14 13 12 12 15 12 13 13 14 14 12 12 12 14 13 13 12 12 12 13
15 15 14 13 15 15 13 12 15 15 14 13 13 14 15 15
15
15 13 12 15 13 15 13 12 14 12 13 12
12 13 13 12
13
12
12
13 12 13
13 12
13 12
12
11 10
26
15 14 12 15 14 15 12 12 15 13 14 14 12 12 13 12 12
11
13 13
8 8 8
11
12
11
10
14 13 12 14 14 13
13 12
9 9 9
10 10 10
11
10 9
8
11 13 11 13 13 11 12 12 13 13 13 10 13 13 10 11 12 11 12 11 13 13 13 13 10 10 11 11 11 11 11 13 10 12 12 12 10 10 10 11 11 11 11 11 10 10 10
opt. opt. opt.
14 12
11
10 9
opt.
11
13
13 12
13 13
11
15
13
14 14
11
13 13
opt. opt. opt. 12 11 12 12 11 opt.
11
10
9 9 9
8 8 8
10
12
11
14
11
8 8 8
7 7 7
16 15 14 16 16 13 15 16 16 15 13 14 15 15 15 16 14 16 13 13 14 16 15 13 15 15 13 14 14 13 13
7
9 9 9
11 9 1111
10 10 8 10
9
8
14
9
13
11
10
10 11 11 10 1212 1111 9 1111 10 1212 10
12
opt.
9 9
10 12 10 11 10 10
11
8 8
7
9 9
opt.
10
11 10
10
10
14 14
13
12
11
14
12
14
12
opt. opt. opt. 12 9 12 12 9 12 9
opt. opt. 8 9 8 9 8 9 opt.
9
opt.
9
11
13
14
12
12
14
12
10
10
5
12 12 12
7
14
12
12
14
12
11
11
13
12 11 12 9
12
12
9
11
10 12
9
11 12 10 9
11 12 10
12 9
12 10 9
11
9
11
10 12
10
7
11
10
7
10
10 9
9
10 9
7
9
7
8
8 8 8 7 7 7
7
6
8
8 7
7
7
8
7
8
7
6
8
8
5
8 5
7
5 6
8
5
7
6
6
8
6
5
7 7
4
4 3
3
4
9
6
8
6
8
6
7
13
7
5
5
4
9
8
6
9
9
6
2
6
8
6
6
8
6
9
7
9
7
9
9
6
8
6
6
8
6
6
6
9
9
7 6
7
6
5 7 6
5
6
7
6
5 5
4 4
5
5
6
5
8
7 7 7
2
4
6 5
7
5
7
5 6
4 3 2
8
4 6 6 repeat optional
5
4
7 5
4 5
5 6
6
7
4
7
6
6
6
8 8
7
6
6
5 2
9
6
8
3 2
27
13 10 12
9
9
3 3
12 10
11
9
7 6 6 5 4 5 7 6 5 5 6 7 4 5 opt. 6 6 5 7 6 4 6 5 4 5
5
13 10 12
11
8
9
11 12 10
10 12
13
10 12
13 10 12
11
9
6
10 12
11
7
7
13
12
7
9 9
10
9
12
9
8
8
13
10
8
6
9
9
11
7
10
7
11
11
8
8
9
10 10
12
12 13 12
12 10
9
9
8
7
6 3
12
10 12
13
12 12
10 10 10 10 10 opt. opt. opt. 10 10 11 10 10 11 10 11 9 8 9 11 9 8 9 11 9 11 10 10 9 11 9 10 10 9 11 9 10 11 9 10 8 10 9 11 9 10 8 10 9 11 9 10 11 9 10 8 10 10 8 10 10 opt. 9 9 9 9 9 8 8 opt. opt. opt.
11 12 10
12
13 13 13
11 opt.
11
10
12 12
10 12
13
12
11
10
13
11 12
11
9
4 3
12 11
9 10 9 9 10 7 8 7 10 7 10 9 8 9 10 10 7 9 8 9 7 10 7 10
4
11 13
13
11
8
14
12
7 7 opt. opt. opt. 8 7 7 8 5 8 6 8 5 8 7 6 7 8 5 8 7 6 7 8 5 55 7 6 7 55 8 opt.
12
11
11
11
10 10 10
7
12 11
11
11
12
13
11 10 11 10 11 10 7 7
11
12
11
13
12
14
opt. opt. opt. 11 10 11 10 11
14
13
11
13
14
12
13
11
opt.12
6
1
4 4
Preliminary Etude 7 This etude was written mainly to develop speed and accuracy with ascending and descending diagonal patterns up and down the neck. It is a fun warm-up etude.
Preliminary Etude 7
Gustavo Assis-Brasil = 300
4
4
3
3
4
7
3
3
4
2
2
10
8
12 14
4
4
3
3
2
2
3
1
4
3
4
7
7
6
6 5
5 6
1
28
2
5
8
4
3
6
7
10
13
4
4
7
10
11
14 15
9
12
15
10
13
16 13
13 12
11
11
12
12
12
11
13
13
10
7
9
7
10 9
8
8
9
10
6
4
9
9
7 6
5
5 6
1
7 6
6 5
5
7
6
6
7
10
10
8
12 15
4
4
3
3
4
5
10
9
10
12
15
13
10
4
7 3 2
5 4
29
optional repeat
6
9 8 7
13 12
10
10
13 12 11
14
12 11
11
12
15 14
13
13 12
11
16 13
10
7
7
4
9
9
9 8
6
6
5
10
9
8
7
6
5 6
7
7
6
1
8
3
2
2
1
4
7
4
3
3 2
5
4
7 6
9 8
10
10
13 12 11
13
10
14
13 12
11
11
12
15 14
12
12
11
16 13
13
13
10
7
9
8
8
9
10 9
9
9
1
1
� (a,c) ��3 �� I - Groups of 2 Strings | ��3 Use ( ��,c)� (m,a) � ( � ,a)���3 � �� and �� (m,c) � �� � ( ,m)
�
�� � � � � � � ��� � � � �� �2 � �� � � �� �� � ��� ����� �� ��� � ��� �� � �� � � � � . � . � �. � � �� � ��� � � ��. ���� �. �� . � � � � �� � �. �� � �.� � . � ���. �� � .�� � �����. �� ����� � ���� . . � . . � . �. � � �� �� . . . . � � . � � . �� œ œ The� Easy Passenger # œ n œ œ bœ � � � � œ� œ # œ œ œ � � � � # œ œ œ œ b œ �� n œ� � � � � � &� Ó # œ � � œ � � � � œ œ œ � �œ � � � œ œ œ œ œ œ This hybrid picking etude.. combines two different permutation ideas for the picking hand. . œ . œ œ œ œ . œ . . œ � . � œ& œ œ � œ.� � .� � . � � � � �First,� I � � �œ � . œ � œ� � & & œ œ œ œ used each of the possible œgroups œof threeœ strings, playing one group per measure: �� �3 �4 �2 �3 �� � � � � � �( � ,m,c) � � �( � ,a,c) � �� � ��2� � � ��� � �� � �� II - Groups of 3 Strings | �Use ( � ,m,a) and (m,a,c) �� � �� � � � � � � � � �� �� �� . � � � � �� . � � �� � � � . . . �� � � � � � � . � � � � � � � � � � � �� �� . �� �. �� � � � � �� �. � . �� . �� � �. � � � �� � � � œ œ � � �5 . � � � � � � œ œ .. � � � �8 . œ � & � � � � � �
� � �
��
��4
� � �
��4
��4
�
�
��3 �
� � ���
�� �
� � �
� �
�
�
�
�
� . �� . � � �
�
�
�
�
. . ��
�
� � �
� ��
�
�
�
�� �
�
�
� �
� ��
�� �
� œ �œ œ � � � œ .. � � � œ �� œ �œ œ � � � � � œ œ � � � � � � � � � � � � � III - Groups of 4 Strings | Use ( � ,m,a,c) �� �� �� �� . �� �� � � � �� . � �� notes � separately �� �play the � � � � � � �� as � Then, measure, I applied � all of six��possible ways to� � the � � � � � � in each � � � � � � � � � � � � � � � an arpeggio, as presented Etude � � . in�“Preliminary � � is that � now I am�� also � 1”. �The. only � difference � � � � � �
� � �
& ..
� �
� �
�
��4
including the pinky finger;�I am not only using (𝆪 m a), but also (𝆪 m c) depending on the string � � � � � � � � � � permutation The regarding note choices hand was making � � group. � � only � restriction � �for the � left � � � � � � � � � � � � � � sure per measure. Let the� notes ring throughout. �I had one open string � � � � � � � � � �
�
�
� �
�
�
�
� �
� �
� �
�
� �
�
� �
The Easy Passenger Gustavo Assis-Brasil 123
Allegro 0 0 0 0 0 0 0 0 0 0 0 0 2 2 4 4 4 2 2 2 4 4 4 0 1 2 3 4 3 2 2 3 4 5 4 3 30
�
0 4
0 4
1
0
2
0 4
2
3
2
4
0
3
0 2
0 6
0
0 6
3
4
0
0
6
3
5
5
0
0 7
0
0
0
7
7
4
5
0 4
6
0
4 7
3
0
0
7
0
7
0
8 6
0
7
7
0 10
0
8
0 10
0
10
0
10
10 8
9
0
7 10
0
0 4
0
6
0
4
7
0
0
6
0
8
8 6
5
0 5
0
5
7
8
8 7
0
0
0
0
0
9
9 7
0
0
0
6
6 9
8
10 8
7
0
0
0
0
0
0 4
7
8
0 7
3
10
0
0 4
0
10 9
7
5
9 8
5
0
6 7
0
2
5
0
0 2
4
7
4
0 4
4
6
0 4
4
0
0
4
2
0
3 6
2
9
8
4
4
1
2
2
3
2 4
1 3
2
Copyright © www.GustavoAssisBrasil.com All Rights Reserved - International Copyright Secured
0 3
0
0
0
3
1
3 2
0 1
3
0
1 4
0
3
0 2
0
0
0
5
5
0 2
0
2
0
2 2
31
3
4
5
4
3
0
0
3
0
0
3
3
1
2
0 1
0
1
3
4
0 3
0
0
6
0
6
0
0
6
3
0
2
4
4
4
1
0
0
0
3
1
0
0
4
0
0
3
0
6 4
6
0
6
5
6
0
0
7
0
0 5
0
4
7
7 5
1
6
6
0
4
6
6
2
4
7
6
6
5
3
5
5
4 0
0
4
4
5 0
0
2 4 0
2 0
0
4 0
1
3
3
4
0
2 3
0
32
2
0
0
2 0
4
1
3 0
0
5
0
6
4
4 2
4
4
0 0 0 0 0 0 6 6 6 3 3 6 4 5 6 5 4 3
3
0
2
3
0
0 2
3
3
5
0 5
3
6
4
0
0 0 0 0 0 0 13 12 8 6 4 4 11 10 9 0 6 3
0 5
2
3
0 2
2
0
0
Pentarum This is a fun etude to practice with some unusual ways of playing common pentatonic scale shapes. It uses A minor pentatonic (A, C, D, E, G) in different positions. Try to follow the fingerings as written and start practicing the etude slowly. Try playing some of these patterns over Am7, C, Dm7, F∆7, Bb∆7, F#7alt, C/D, or Em7b5. Enjoy skipping strings!
Pentarum Gustavo Assis-Brasil
10 8 0
1 2 5 0 8 8 5 7 5 7 5 5 7 5 7 5 8 5 Allegro
10 0 12 10 12 12 9 13 10 12 10 9 12 15 10 12 17 15 14 17 17 14 15
15 0 17
13
14
10
9
12
15
14
13
12 14
14
17
12 14
12 17
12 15
20 15 17 0 17 12 15 0 17
7
15 12 0
12
7
7 10
15
9
10
10
8
7
7
14
17 12
12
14 10
33
17
14 17
17 15 17
14
15
0
13
20
12
15
17
17
0
17
12
14
17
15
0
12
14
14
15
12 8 10 0 15 10 12 0 10 9 9 12 7 7
10
12
15
15 15
13
12 14
13
15
14
14
12
12
12
14
12
Copyright © www.GustavoAssisBrasil.com Reserved - International All Rights Copyright Secured 12 13 10 10 13 10 9 12 12 9 7 12 10 10 12 10 7 10 0 7 10 8 8 5 5 8 5 5 7 7 5 2 7 5 5 7 5 5 0 3 0 5 15 12 15 13 10 12 9 12 7 9 14 12 10 12 10 0 10 0 7 7 34
12
0
10 8
8
9
10
9
7 7
10 7
0
8 10 8
5
5
7
7 3
5
0
5
17 17 17
14
14 14 12
12 12
Diatonic Ride This etude originated from a four-note open-triad (or spread triad) arpeggio pattern that doubles the root of each chord, followed by four descending notes in the key of C. The first measure of the etude has all the harmonic and melodic material that will be used throughout the piece. All the sequences are diatonic to the key of C. Enjoy the ride! = 210
Diatonic Ride
15
14
12
13 12
13
14 12
10
13
12
12 10
12
12 10
9
12
10
Diatonic Ride Gustavo Assis-Brasil = 210
6 8 7 5 7 15
13 12
14
13
12 10
14 12
12
12
12
10
12 10
6 7
5
6
7
5
5 7
3
52
5
3
4
5
1
4
5
3
10
5
9
12
8
3
5
5 10
4
5
4
8
5 2
6
9
9
7
7
3
8
5
3
9
10
3
3 4 2
2 3
35
8
10
10
13
6 5 7 5
1
5
4
2
40
53 3 1
3
5
(0) 2 3 3
5
3 5
6
8
5
6
7
7
5
5
5 7
5 5
3
4
1
3
3
4
5
5
6
8
8
10
10
10 12
14 12
10 12
13
6 7 5 7
12
10
10
9
8
8
10
6 7
9
10 7
10
7
4
5
8 9
9
3
(13)
12
12
5
13
12
5
10
10
5
12
Copyright © www.GustavoAssisBrasil.com All Rights Reserved - International Copyright Secured
13
8
12
12
10
12
10 10
9
13 12
14
12
8
15
7
10
7
8 7 5
9
6
7
5
9
(0) 2 3 3
3
10
9
5 5
3
7
3 3 1
0
6
5
2
2
4
4
3
5
4
1
4
2
5
2
3
5 3
6
8
5
3
5
4 3
2 5
3
36
1 4
2
3 3 1
(0) 2 3 3
0
Pé de Umbú This solo guitar baião etude also works well over the suggested chord changes. The rhythm of the comping (chords, bass or both) that works well over the A, B, C, D, and D’ sections is:
During the bridge and outro section, there is no comping.
Pé de de Umbu Umbu Pé
114 == 114 = 114 Intro Intro Intro C/D Bm7/E C/D Bm7/E C/D Bm7/E
0000
10 10 10
00 00 11 11 0 12 12 11 12 12 12 12 12
99 0 10 10 9 10 10 10
Em7 Em7 Em7
00 00 00 12 12 0 10 10 12 00 10 0
88 55 5
77 7
88 8
C C C
77 7
77 7
77 7
77 7
55 5
8
22 2
33 3
22 2
77 7
8
00 0
(0) (0) (0) (0) (12) (12) (0) (10) (10) (12) (0) (0) (10) (0)
00 0
77 7
55 5
66 6
55 5
55 5
77 7
99 9
77 7
99 9
44 4
12 12 10 12 10
55 5
33 3
11 1
10 99 9
12 12 10 10 12 00 10 0
G#˚7 G#˚7 G#˚7 55 88 5
10 10 10
A A A C/F C/F C/F
00 12120
12 12 0 10 10 12 00 10 0
Am7 Am7 Am7
00 00
D/G D/G D/G
333
Am7 Am7 Am7
Gustavo Assis-Brasil Assis-Brasil Gustavo Gustavo Assis-Brasil
55 5
33 3
55 5
10 10 Am7 Am7 Am7
55 5
77 7
77 7
99 9
10 10 10
99 9
99 9
77 7
99 9
10
99 9
77 7
77 7
66 6
12 12 12
77 7
77 7
37
88 8
77 7
33 3
F#˚7 F#˚7 F#˚7
66 6
55 5
33 3
10 10 10
99 9
77 7
55 5
44 4
99 9
77 7
33 3
77 7
77 7
88 8
77 7
00 0
22 2
12 13 13 12 12 12 12 13 12
77 7
00 0
7
8
7
0
2
3
2
0
5
9
9
7
9
7
9
9
7
7
7
7
7
C
12 10 9 9 7 9 7 5
7
Am7
10
9
9
7
7
7
7
7
8
7
0
2
Copyright © www.GustavoAssisBrasil.com D All Rights Reserved - International Copyright Secured
7
7 10 9 7 9 7 77 1010 9 9 7 9 7 9 7 7 7 7 Csus4 Csus4 Csus4 10 8 10 8 10 10 8 8 10 10 8 1010 10 88 8 8 Csus4 Csus4 10 10 8 10 10 10 10 8 1010 10 8 Csus4
8 8 8 8
8 8
7
7 7
F/G
7
7
7 7
7
7 7
8
7 7
10
8 C8
10 C C
10 10
10 10
7 7 7
F/G F/G
0
7
0 0
7 7
6 6 6
8
10
8 8
10 10
10 10 10
10
10 10
7
8
10
7 7
8 8
10 10
8 10 8 8 9 8 8
10 10
8 8
8 8
1. C 1. 1. C C
9 9
8
8
8 8
E7#9 E7#9 87 6 8 7 8 6 7 6
7
7 7
C 2. 2. C C
10
10 10
10
8 8 Csus4
8
9 9 9
10 10 10
8 8
10
10
10 10
10 10
8 8 8 8
7
7 7
8 8
8 8
8 8
7
7 7
9
7
5
12 13 12
8 8
9
7
10
9
10 10 7 10 7 10 C C
10 10
10 10
10 10
7 7
C
10
10 10
3 4 3
7 7
10 10
10 10 7 10 7 10 C C
10 10
10 10
Bridge Bridge
3
1 1
0
C
10
4 3 1 4
8
8 6 8 8 6 8
0
0
10 10
7 7
10 10
Bridge
C7b9 C7b9 86 8 8
38
2
8 8
10
10
C7b9
8 8
10 10 10 10 10 10
Csus4 Csus4
2. E7#9
Csus4 D D Csus4 Csus4
3
7
12
8
3 3
3 3
4 4 4
3 3 3 3
5
3
7 7
10 10
4
44 5 5
3 3
8
10
10
10 8
8
8
7
10
10
3 6 5 3 4 5 5 6 4 3 3 76
6 6
8 7 6
7
8
8 6 8
10
4 3
8
4 3
3 3
3
1
5
4
3
5
76 4 4
6
C 7
6
Am7 C Am7
7
10
7
7
10
10
7 6
7 6
9
7
Esus4
Esus4 Esus4
4
9
7
7
7
3
6 6
6
7
6
7
4
3
8
8
6
8
6
6 6 6 6
7
10
7
7
0
7
8
10
9
7
7
9
7 7
7
7 7
7
7 7
7
8
10
7
8
10
7
8
10
7
7
9 7 6 6 6 10
7
9
7
8
7
0
7
8
10
7
8
E7
0
7
8
10
6
7 10 9 9 7 7
6
4
5 4
3
9 9 10 12 12 9 7 7 10 5 9 9 9 7 7 12 5 9 9 7 9 10 7 5 9 9 7 7 7 7 9 7 9 7 7 7 7 8 Am7 C
6
3
3
6 5
4
5
4
6 6 87 98 6 8 9 7 6 9 8 6 8 7 6 8 9 7 6 6 8 7
3
1
4 76 6 7 66 8 6 7 4 7 6 7 6 8 6 7 6 9 6 6 8 8 6 8 9 4 6 7 7Eb7+(#9) E7+(#9) 6 E7+(#9) Eb7+(#9) E7+(#9) Eb7+(#9) 6 7 8 6 76 87 87 98 5 6 7 8 6 98 8 9 6 87 7 6 6 X 7665 8776 8 9 7 6 6 6 7 7 8 6 X 7 9 8 6 7 8 65 876 8 9 6 7 6 X 6 7 12 9 9 10 9 7 12 7 8 7 0 2 3 2 0 5 7 9 9 7 9 10 12 7 8 7 0 2 3 2 0 5 7 10 9 9 D' 9 7 7 D'Csus4 5C 7 8 7 0 2 3 2 0 Csus4 C D' 39 C Csus4
3 3
E E
7
8
7
0
2
3
2
0
7
5
9
7
7
7
7
7
8
7
0
7
8
7
10
8
10
D'
Csus4
8
10
10
10 8
C
7
10
10
6 9 7 8 6 6 8 9
(0) (12) (12) (10) (0)
11
11
9
(0) (12) (12) (10) (0)
10
12
7
10
7
9
7
10
9
10
7
7
7
9
7 10 N.C.
9
11
10
E
9
9
6
9
6
9
Outro
Absus4
8
Esus4
0
9
10
8
9
C/D
10
10
9
Bm7/E
7
0 0 9 10 10
0
7
0
0 0 12 10 0
(0) (12) (12) (10) (0)
40
10
8
8
10
Em7
0 11 12 12 12
Am7
0
0 12 10 0
11
8
(0) (0) (12) (10) (0)
10
10
8
11
8 11
0
12 12 10 0
9
9
Que Nem This etude has the same feel as the previous one, “Pé de Umbú”. It is also a solo guitar baião piece that works well over the suggested chords. “Que nem” is a Portuguese idiomatic expression that means “same as” in English.
Que Nem Gustavo Assis-Brasil Baião = 110
Am7
0
12
0
12
10
Am7
0
12
0
12
11
0
10
0
0
12
10
11
10
11
0
0
12
0
11
12
0
0
12
10
0
12
10
0
12
0
Am6
0
12
10
12
0
12
10
12 10
0
0
Am6
12
0
0
11
10
11
10
0 0
11 10
12
G7
0
𝆪
0
12
11
0
0
12 0
10
12 10
10
Dm7 41
F Em7
10
10
0
10
9
Dm7
8
0
12
7
0
F Em7
10
8
0
0
0
12
10
10
9
10
0
0
7 10
12
0
0
Copyright © www.GustavoAssisBrasil.com Dm7
Em7
All Rights Reserved - International Copyright Secured
0
12 0
9
10
12
0
10
0
8
0
7
12
0
10
Da Coda
F
8
0
0
0
12
10
10
10
9
10
0
0
7 10
9 0
10 0
7 0
0
10
10
1 2
10
0 0
3
8
0 0
5
0 7
1 0
0
3 2
1
0 0
1 2
0
0 0
10
3 4
0 0
1
3 0
0
0
2
1 2
0 0
3
8
3 4
0 0
5
1 0
0
1
0
42
1
8
0 0
1 2
3
0 0
3 4
0
0
2
0 0
0 3
0
6
0 7
3 2
3
7 7
5
2 0
0
10
0
7
7
9
9
8
0
3
0
8
10 0
10
6
3
9
7
5
3 4
0
7
7
9
9
8
0
0
G7
12 10 10
10
0
1
3 0
0
2 0
0
1
3
5 0
3 0
0
3
0
5
0
7 0
5 0
0
8 8
0
10 10
7
X X X X
3
<7> <7> <7> <7>
10
0
12
0
0
9
12
5
14
0
12 0
0
0
0
0
0
0
4
0
12 0
0
10
0
0 (0) (0) 3
3 0 0 3
43
14 0
0
12 0
0
12
9 9
8
7
8
9
7
7
6 0
8
10
0
9
12
9
10
2
12
12
0
0
7
(0)
0
5
(<7>) (<7>) (<7>) (<7>)
0
7 7
5
<7>
0
(3)
0 0
7
D.C. al Coda
8
5 5
6
7
0
0
3
7
2 0 3
(2) (0) (3)
0
Maracatude When I was writing the first 13 bars of this etude I had two things in mind: a traditional Brazilian maracatu and Thelonious Monk. The piece starts with moving dominant seventh chords. These chords have one skipped string in the middle. The rest of the piece will work your arpeggio skills. The main goal for this piece is to develop fluency with hybrid picking chordal arpeggios.
Maracatude
Gustavo Assis-Brasil = 130
C7
G7
12
11
Db7
C7
12
11
12
13
11
12
12
10
11
12
9
G7
9
10
11
F#7
12
13
11
9
10
F#7
10
10
11
8
12
9
10
9
E7 A7 Ab7 G7 Ab7 G7 Eb7 C7
10
11
8
8
7 6
9
6
9
10
6
7
5
7
5
5
4
5
6
5
3
7 6
5
8
5
6 5
4
5
8
7
5
G7sus
9
9
3
5
5 5
5 3
5
6
4
3
5 3
5
5 5
5 3
44
3
5
5
5
4
5 5
11
8
9
3
7
3
3
5
4
7
3
5
4 4 4
2 22
3 3 3
4 4 4
2 22
4 4 4
4 4 4
2 2 2
4 4 4
4 44
2 22
2 2 2
0 0 0
2 22
3 3 3
6 6 6
4 4 4
3 3 3
3 3 3
2 2 2
3 3 3
2 22
3 3 3
2 2 2
4 44
4 44
4 44
2 22
4 44
2 22
3 33
0 00
2 22
2 22
2 2 2
2 22
2 22
0 0 0
2 22
2 22
3 33
3 3 3
3 3 3
3 33
2 2 2
3 33
3 33
2 22
2 22
0 00
2 22
3 33
5 55
5 55
5 5 5
0 0 0
5 55
5 5 5
5 55
5 55
2 22
0 00
5 5 5
5 5 5
0 0 0
5 5 5
5 5 5
3 33
6 66
2 22 1 1 1
4 44
4 44
4 44
2 2 2
5 55
4 44
2 22
2 22
2 2 2
0 0 0
2 22
4 44
2 22
3 33
3 3 3
2 2 2
3 33
3 33
7 7 7
45
3 33
2 22
3 33
0 00
2 22
2 22
1 1 1
2 2 2
0 0 0
2 2 2
2 22
2 2 2
0 0 0
2 22
2 22
2 22
3 33
0 00
2 22
3 33
3 33
3 3 3
2 2 2
3 33
3 33
3 33
0 00
2 22
2 22
3 33
0 00
2 22
2 22
1 1 1
1 1 1
4 44
6 66
6 66
7 7 7
0 0 0
6 66
6 66
4 44
4 44
2 22
2 22
6 6 6
2 22
2 22
5 5 5
2 22
3 33
1 1 1
5 55
2 2 2
2 22
1 1 1
4 44
4 44
2 22
4 44
6 66
6 66
7 7 7
0 0 0
6 66
6 66
4 44
6 66
0 0 0
9
9
8
8
8
8
7
9
7
8
4
5
6
5
9
7 9
6
6
8
6
3
3
7
8
6
8
7
6
5
8
8
7
8 8
9
6
8 8
6
6
8
8
8
9
6
8
8
7
9
9 9
8
8
7
6
6
8
0
5
6
4 6
3
5 5
4 3
46
3
4
3
Milonga 34432
This etude begins with a syncopated pattern that is a variation of a milonga feel. Milongas are usually played with a 3 + 3 + 2 feel (one-two-three-one-two-three-one-two). This etude starts with the pattern 3 + 4 + 4 + 3 + 2, which is why these numbers are in the title. The entire “A” section is based on this pattern with a few variations at the end of the phrases. The “B” section uses a repeated line displaced by an eighth note. The intervallic line on the “C” section uses the same displacement effect as the previous section for four bars. The next four bars are an Milonga 34432 exact repetition a half step up. The last section of the etude uses groups of five notes creating a Milonga 34432 Milonga 34432 hemiola effect for five measures. Gustavo Assis-Brasil This etude uses string-skipping, seventh chord voicings, open strings, and symmetrical patterns. Gustavo Assis-Brasil = 188 = 188 A = 188
A A
Gustavo Assis-Brasil
11 11 11
15 15 15
13 13 13
14 14 14
13 13 13
11 11 11
14 14 14
13 13 13
14 14
11 11 11
16
15
12
13 13 13
14 14
14 11 14
13 15 13 11 14 11 11 13 15 14 13 11 11 13 11 11 14 13 11 14
13 13 13
11 11 11
16 12 14 16 14 12
16 14 14 16 11 14 14 16 11 11 14
14
14 14 14
11 11 11
13 13 13
14 14 14
13 13 13
11 11
15 15 15
16 16 16
12 12 12
13 13 13
14 14 14
11 11 11
11
11 11 11
12 12 14 12 14 14 14 14
47
14
13 13 13
12 12 12
15
11 11 11
14 14 14
14 14
14
13 13 13
11 11 11
13 13 13
12 12 12
12 12 12
13 13 13
14 14 14
12 12 12
15 15
13 13 13
11 11 11
14 14 14
16 14 11 14 16 16
13 13 13
14 14 14
11 11 11
11 11
11 11 11
12
11 11 11
1212
12 12 12
14
11 11 11
12 12 12
13 13 13
B B B
B 15 12 1414 1515 1212 14 15 12 14 14 14 14
13 13 13
12 12 12
13
12
15 11 15 11 15 11
11
15
13 13 13 13
12 12 12
13 13 13
15 15 15
C
8 8 8
7 7 7 7
8
9 9 9
8 8 8
15
7 7 7
10
7
9 9 9
10 10 10
9
11 10 11 10 11 10 11 10
12 12 12
7 7 7 7
8 8 8
7 7 7
10 10 10
10
8 8 8 8
8
12 12 12
13
14
12
12 12
12 12 14 14 14
15 15
11 11 11
7 7 7
7 7 7
7 7 7
9 9 9
8
7
7
7
8 8 8
8 8 8
8 8 8
9
8
8
8 8
9 9 9
12
15 0 0 0
13
12 12 12
9 9 9
10 10 10 10
9
11 10 11 10 10 11 10 10 10 11 10 10
12
17 17 17 17
14 0
12 12 14 12 14 14
14 14 14
12
7 7 7
7
8 8 8
15 15
(13) (13) (13)
13
14 1515 12 15 12 12 13
(13) 15
13 13 13
15
14 14 14
13
12 12 12
12
15 15 15 15
14
10 10 10
8 8 8
12
7 7 7
10
7
8
11 11 11
9 9 9
11
8 8 8
9 9 9
10 10 10
7 7 7
7 7 7
7 7 7 7
10
9
11 10 11 10 11 10
7 7
8 8 8
8 8 8
8 8 8 8
11 10
8
10 10
14 14
11 11 11
14
11
14
12 12 12
0 0 0
12
0
13 13 13
15
13
7 7 10 7
7 7 7
10 10 10
7 7 7
10
8 8 8 8
10 7 7 7
11 11 11
8 8 8
8 8 8
8 8 8 8
8 11
8
9 9 9 9
8
15 15 15
8 9
48
15
8
9
13 13
13
9
8 11
8 8 8
12 12 13 12 13
15
14
7
8 8 8
14
13
12
12
13 13
14 14
12
12 13
C 14 C C
12 12
12 12 12 12
12 12 12
0 0 0
12
0
9 99 9
10 9 10 9 10 9 10
9
11 10 11 10 10 11 10 10 10 11 10 10
D
4
7
6 6
5
4
7
0
8 9
0
5
8
0
5
0
7
8
0
9
4
2
6
7
5
2 5 0
7 0
8
4
0
0
2 3
7
6
2
4
Line 1. Try this line over G#m7, E∆7, C#m7, and E/F#.
14
15
16
11
12
11
11
14
15
11
Line 2. This line uses arpeggios and string skipping. Try it over Am7, D7, F#m7b5, and C6.
14
14
13
13
11
11
13
8
10
12
14
11
15
13
12
12 12
13 13
14
14
12 15
49
13
Line 3. This line has a few octave displacements. Try it over Am7, F∆7, and Bb∆7.
12
17
14 0
15
13
12
0
12
12
12
10
Line 4. This line works well over C∆7 lydian and Am7 dorian voicings.
9
7
15
14
10
7
7
8
7 10
8
10
7
9
10
7
9
7
7
0
Line 5. This line can be analized as B/E going to C#m7 but also sounds good over E6.
7
0
4
7
0
8 9
6 4
7
Line 6. This symmetrical fingering line uses the whole tone scale. Try it over B7 and F7.
8
0
2
6
3
7 6
2
50
4
0
Trampoline
Trampoline Trampoline This etude uses string-skipping, seventh chord voicings, open strings, and symmetrical patterns. Gustavo Assis-Brasil Trampoline Gustavo Assis-Brasil Trampoline = 120 Gustavo Assis-Brasil = 120 Gustavo Assis-Brasil = 120 = 120 17 14 0 8 77 00 10 5 2 17 14 0 10 5 2 15 3 15 8 3 17 16 14 0 10 7 0 5 2 99 8 7 0 4 3 4 10 5 2 7 0 2 7 0 2 17 1414 1616 1515 14 0 8 3 9 4 14 7 0 2 16 9 4 14 7 0 2 17 14 0 10 7 0 17 14 0 10 7 0 15 8 15 8 17 14 0 10 7 0 16 9 15 8 16 9 17 14 0 10 7 0 14 7 14 7 15 8 16 9 14 7 16 9 14 7 5 2 0 12 17 13 0 5 2 0 12 17 13 0 3 13 15 3 13 15 5 2 0 12 17 13 0 4 15 15 3 13 15 4 15 15 5 2 0 12 17 13 0 0 2 14 12 13 0 2 14 12 13 3 13 15 4 15 15 14 12 13 15 15 00 22 4 13 14 12 12 8 0 7 3 12 8 0 7 3 10 5 10 5 12 8 0 7 3 10 5 5 5 7 3 0 3 0 3 12 88 1010 1010 8 0 5 5 8 0 3 10 5 8 0 3 51 0 0
14 14
0 0
13 13 13 13
15 15 15 15
14 14
13 13
17 17
13 13
17 17
0 0 0 0
3 3
1 1 1 1
3 3 3 3
3 3
1 1
0 0
1 1
0 0
14 14 13 13 13 14
14
10
8
9
10
6
8 7 6
6
2
4
4
5
3
0
2
52
9
3 4
9
11
12
0
6
5
8
5
9
10
4
7
9
10
9
7
7
10 10 8
9
9
7
12
9 10
9
8
(20)
20
19
20
17
19
16
16
8
17
13
7
Hybrid Picking Etudes for Guitar VOLUME 1
GUSTAVO ASSIS-BRASIL
Advanced
Hybrid Picking Etudes for Guitar VOLUME 1
BY GUSTAVO ASSIS-BRASIL
Cover Art and Book Editing: Marcus Schleder Copy Editing: Max Kennedy, Michael Weinstein Photos: Cristiane Soares Please do not make any copies of this book! This work is the result of many years of hard work and dedication and it is an independent production. If you like it, you can purchase it directly from the author’s website: www.gustavoassisbrasil.com Copyright © 2019 by Gustavo Assis-Brasil Music International Copyright Secured All Rights Reserved No part of this publication may be reproduced in any form or by any means without the prior written permission of the author.
"Gustavo’s Advanced Hybrid Picking Etudes book series is the perfect resource for any guitarist interested in improving or widening their abilities with hybrid picking. Where I find most educational material either too dense or too dry, Gustavo has (as always) found the perfect way to present both a clear methodology and a fountain of musically interesting examples and etudes."
Plini "Gustavo's creative, angular etudes will challenge your mind and your hands in equal measure; attempt to learn them and you'll have your work cut out for you! I find myself especially drawn to the hauntingly beautiful lines derived from Messiaen's 3rd mode of limited transposition (Vol.2), all symmetric in design."
Per Nilsson (Meshuggah, Scar Symmetry) “These expertly constructed exercises invite you to a contemporary world of structured tonalities, through which you are able to progress and transcend style.”
Vardan Ovsepian, Composer, Pianist "Get ready for Gustavo Assis-Brasil's newest and most challenging book on studies using the Hybrid Picking technique. Already known for his sophisticated language and complete approach to the technique, Gustavo's "Advanced Hybrid Picking Etudes" presents valuable studies that will take you to the next level. The material is the most comprehensive ever made on the subject and has detailed applications of all your movements. I highly recommend it.”
Isaac Negrene “In this new book, Gustavo Assis-Brasil presents a lot of material for exploring the mechanics of the guitar musically with the hybrid picking technique and also permutations for the left hand. A progressive approach is presented throughout the course, from preliminary etudes in the beginning, to full-fledged compositions that incorporate Brazilian rhythms. The compositions also have a sort of algorithmic approach in the transformation of raw permutations into real music. An outstanding resource for music and guitar.”
Dr. Julio Herrlein
Table of Contents I.
Introduction ..................................................................................................................................................... 6
II.
Picks, fingernails, and angles ........................................................................................................................ 6
Right-Hand Fingerings .................................................................................................................................. 7
Left-Hand Fingerings ..................................................................................................................................... 7
III.
Author’s Bio ..................................................................................................................................................... 8
IV.
Studies .............................................................................................................................................................. 9
Preliminary Etude 1 .......................................................................................................................................... 9
Preliminary Etude 2 ........................................................................................................................................ 11
Preliminary Etude 3 (“Pick Mac”) .................................................................................................................. 13
Preliminary Etude 4 (8 Permutations) ............................................................................................................ 14
Preliminary Etude 5 ......................................................................................................................................... 17
Preliminary Etude 6 (24 Permutations) ........................................................................................................... 19
Preliminary Etude 6 (Zigzag) ......................................................................................................................... 21
Preliminary Etude 6 (Optional fingering) ...................................................................................................... 25
Preliminary Etude 7 ......................................................................................................................................... 28
The Easy Passenger ......................................................................................................................................... 30
Pentarum ......................................................................................................................................................... 33
Diatonic Ride .................................................................................................................................................. 35
Pé de Umbú ..................................................................................................................................................... 37
Que Nem .......................................................................................................................................................... 41
Maracatude ...................................................................................................................................................... 44
Milonga 34432 ................................................................................................................................................. 47
Trampoline ....................................................................................................................................................... 51
5
Introduction
One of the things I do to develop my own vocabulary is to regularly write down ideas I come up with. Some of these ideas turn into tunes, others into etudes. This book series is a collection of advanced hybrid picking etudes that originated from combining those ideas. I call it “advanced” because most of the etudes require a high level of independence and control of both hands. I also think that it is important to be familiar with jazz chords, arpeggios, and scales in order to fully take advantage of the music presented here. If you have any of my previous publications - Hybrid Picking for Guitar, Hybrid Picking Exercises: Single Note Permutations, or Hybrid Picking Lines & Licks - this book series will allow you to further develop the technique through solo guitar studies and apply it to your own phrasing, composition, and improvisation. Each study comes with suggested fingerings. Feel free to change or adapt them to your own technique. The etudes also mix legato (hammer-on/pull-off), alternate picking (strictly up and down strokes) and sweep picking (economy picking), but you can also choose to use fingerstyle/classical technique to play them. Because some of the etudes are chromatic in nature, you might find some harmonic discrepancies if you analyze them vertically; for example, you might find an E natural over a Cm7 chord or an Eb over an E7 chord. Most of these cases are related to a structure that is being superimposed over the chord and in almost all cases the line will resolve on a chord tone. This is a horizontal approach, or playing ‘through’ the changes, as opposed to ‘on’ the changes. Musicians like John Coltrane, McCoy Tyner, Miles Davis, and Michael Brecker, to name a few, were masters of this inside-outside approach. Play the etudes at slow, medium, and fast tempos. The sonic effect will depend on the speed at which you execute the pieces. The listed BPM for each etude is a suggested goal. Right after some of the etudes you will find a series of lines that can be practiced separately to better understand the techniques and harmonic/melodic content of each segment. You will see the harmonic context with one or more suggested chords for the line, followed by the kind of linear technique used to manipulate the notes involved. Most of the etudes in this book series use either eighth or sixteenth notes. However, you should feel free to vary these rhythms. You can also incorporate different accents, rests, note durations, and rhythmic displacements (starting at different parts of the measure).
Picks, fingernails, and angles
One of the most important things to consider when choosing the right pick is what type of material is used. The best way to choose a pick for the hybrid picking technique is to compare the sound of your fingernails with the sound produced by the pick. Proper care of your nails is the best way to prevent them from breaking. Keep the nail edge very smooth with a file and ultra-fine sandpaper. You also have to choose your angle of attack according to the timbre that you want to produce from the instrument. By changing your angle of attack is going to change your timbre too. When you find the timbre you prefer, this will establish your angle of attack. More details about choosing these topics can be found on my previous three books.
6
Right-Hand Fingerings
Left-Hand Fingerings
The numbers 1, 2, 3, and 4 on top of the staff notes represent left-hand fingerings (or right-hand fingerings if you are left-handed).
1: index 2: middle 3: ring 4: pinky Sometimes you will see only a few notes with these numbers on top. This means that the fingerings of the other notes are more obvious.
7
Author’s Bio
Based in Boston, USA, Gustavo Assis-Brasil began playing the guitar at the age of 13. He attended the UFSM, Brazil, to get his bachelor in classical guitar in 1995. In 1995 he was featured in Guitar Player Magazine USA (Spotlight session). In 1999 he received a full scholarship to get his Master Degree In Jazz at Berklee College of Music. He studied with Mick Goodrick, Wayne Krantz, Hal Crook, Ed Tomassi, Dave Fiucsynski. Gustavo also had masterclasses/lessons with Pat Metheny, Frank Gambale, Mike Stern, Dave Liebman, and John Scofield. Gustavo also studied improvisation and composition privately with the late jazz-guru Charlie Banacos and South Indian Carnatic music with Prasanna. From 2001 to 2006, Gustavo played and toured with the group Dig Trio. In 2005, Gustavo released the book “Hybrid Picking for Guitar”. This book is the first method entirely dedicated to the art of combining pick and fingers to play the guitar. In 2008, he released the book “Hybrid Picking Exercises: Single Note Permutations”. Also in 2008, he released a live DVD/CD combo called “In Concert” with original compositions. On that same year, he was invited by ESC Records (Germany) to write and record an arrangement of Steely Dan’s “Aja”, for the album “Maestros of Cool”.
Dialogues”, won the Instrumental category for the 2016 International Songwriting Competition (ISC). Gustavo is the director of the Jazz and Contemporary Music Ensembles and is a faculty member of the Cambridge School of Weston. Also, as a teacher, Gustavo taught classes at Berklee College of Music and clinics/master classes at Musicians Institute (MI) and University of Southern California (USC), Los Angeles, CA; Berklee College of Music, Boston; UFRGS, UFSM, and UPF, Brazil.
In 2009, Gustavo was invited to participate in the project “Mahavishnu Re-Defined - a Tribute to John Mclaughlin & the Mahavishnu Orchestra” along with other jazz artists. In 2010, he released his original soundtrack for Brazilian movie “Manhã Tranfigurada”.
Gustavo performed/recorded with Mozik, John Stowell, Esperanza Spaulding, Steve Trovato, Frank Potenza, Richard Smith, Hiromi, Vardan Ovsepian, Tony Grey (John Mclaughlin), John Lockwood, Julio “Chumbinho” Herrlein, Guilherme Barros, Greg Hopkins, Brett Wilmott, Mauricio Zottarelli, Tim Ries (Rolling Stones, Paul Simon, Steve Wonder), Nelson Faria, Jose Pienasola, Nocet, Marina Elali, A-No-Ne, Dough Johnson, Gilson Schachnik, Zuzo Moussauer, Frank Solari, among others.
In 2011, Gustavo released his third book, “Hybrid Picking Lines and Licks”. Guthrie Govan wrote the foreword for it. In 2015, Gustavo performed at a TEDx conference in Brazil. In 2016, he released the album “Chromatic Dialogues”. In 2017, his song “Gee,” from his album “Chromatic
8
Preliminary Etude 1
Combining pick, middle and ring fingers.
This is a nice warm-up etude to get you started with a more traditional way of playing with the pick (𝆪 = downstroke) and 2 fingers (m = middle and a = ring). Here are the 6 possible permutations to play using hybrid picking:
𝆪
𝆪
1. m a 2. m a
3. a m 4. a m
𝆪
𝆪
5. m a 6. a m
𝆪
𝆪
Learn it slowly at first and try to attack each string with the same volume. Notice that you start the patterns with eighth notes, then eighth note triplets, and finally sixteenth notes. When using sixteenth notes, I am changing the second permutation from (𝆪 m a) to (𝆪 m 𝆪). Use a metronome to practicecombining it. The fretboard choices usering symmetrical pick,note middle, and fingers fingerings in groups of combining pick, middle, and ring fingers three. Try different dynamics and accents. Gustavo Assis-Brasil
Preliminary Etude Etude 1 1 Preliminary
Allegro Allegro Allegro
1 1 1
2 2 2
1 1 1
3 3 3
2 2 2
1 1 1
3 3 3
2 2 2
2 2 2
3 3 3
1 1 1
2 2 2
1 1 1 3 3 3
2 2 2
2 2 2
3 33
1 1 1
3 3 3
1 1
2 2 2
3 3 3
4 4 4
3 3 3
3 3 3
4 4 4
4 4 4
2 2 2
9
3 3 3
4 4 4
2 2 2
3 3 3
4 4 4
3 3 3
3 3 3
2 2 2
1 3 3 3
3 33
1 1 1
3 33
1 1 1
2 2
3 3
2 2 2
4 4 4
2 2 2
3 3 3
4 4 4
2 2 2
2 2 2
33
3
3 3 3
2 3 3 3 3
3 3 3
3 33
4 4 4
2 2 2
Gustavo Gustavo Assis-Brasil Assis-Brasil
3 3 3
2 2 2
4 4 4
2 333 1 222
1 1 1
2 2
3 3 3
1 1
3 3 3
3 3
3 3 4 1 2 3 3 3 3 4 2 2 3 2 2 3 4 1 2 Copyright © www.GustavoAssisBrasil.com Copyright Reserved Secured -International All Rights 4 7 6 5 5 6 5 6 6 7 4 5 6 4 5 6 7 4 4 55 66 44 55 6 44 5 66 77 66 5 77 6 6 6 7 5 5 6 44 5 4 66 5 5 6 3 3 3 3 3 3 3 3 3 3 3 3 33 33 3 3 3 3 5 6 4 5 4 6 7 6 7 5 6 7 4 5 66 4 55 6 44 5 6 6 7 7 5 6 7 6 7 44 55 6 44 5 66 4 55 66 6 7 5 6 5 6 4 6 5 7 6 5 4 7 5 6 5 4 4 5 4 6 5 6 6 5 6 55 7 66 5 4 7 4 55 666 44 555 6 444 5 66 777 66 5 6 7 5 6 7 5 4 6 6 7 5 4 5 4 6 5 5 6 7 4 4 6 5 5 6 7 3 3 3 3 3 3 33 3 3 6 7 4 6 7 6 5 6 5 33 7 5 5 6 5 7 6 4 6 6 4 5 7 5 6 5 6 7 6 6 7 7 5 7 4 5 6 5 5 6 7 6 4 6 4 5 66 7 66 5 77 6 5 7 6 55 7 5 7 5 7 5 6 4 6 5 5 6 7 6 4 7 5 7 5 6 6 10
4
5
5 5 5
5 5 5 5
3 7
5 5
6 6 6
3 3 33 6
6 7 7 7
6 6 6
4 4 4 4
8 8 8 8
4 6
7
5 5 5
3
7 7 7
5
7 7 7 7
6 6 6
5 5 5 5
5 5 5 5
5 5 5
6 6 6 6
Preliminary Etude 2 Hybrid Picking Triad Etude.
This short etude uses two picking patterns: ascending (𝆪 m a) and descending (a m 𝆪). The melodic content is based on all three diagonal major triad shapes with one note per string. After you learn how to play the etude using the suggested major triads, try to also use different types of triads, like minor (1, b3, 5), augmented (1, 3, #5), diminished (1, b3, b5), sus2 (1, 2,5), sus4 (1, 4, 5), sus2b5 (1, 2, b5), Majb5 (1, 3 b5). The following quartal trichords also sound interesting: (1, 4, 7), (1, #4, 7),Preliminary and (1, 4, b7). Etude 2 Preliminary Etude Hybrid Picking Triad Etude 2 Music by Gustavo Assis-Brasil Preliminary Etude Hybrid Picking Triad Etude 2 Music by Gustavo Assis-Brasil C E Hybrid Picking Triad Etude
C 3 C 3 3 5 8 77 5 77 8 5 7 Ab8 7 Ab 3 Ab 3 3 6 8 66 6 66 8 6 6 8Db 6 Db 3 Db 3 3 6 9 88 6 88 9 6 8 A9 8 A 3 A 3 3
3 3
3
5
5
5
5
3 6 6 6
3 3
3 6 6 6
5 5 5
6 6 6
5
5
5
5
3 3
5
3 3 3 5 5
5
6 6 6
6 6 6
3 3 3 5 5 5
3 3 3 6 6 6
5 5 5
44 4
6 6 6
5 5 5
5 5 5
6 6 6
3 3 3 5 5 5
3 3 3 4 4 4
3 3 3 6 6 6
3 3 3
5
4
5
6
4
6
4 4 4
Music 3 by Gustavo 3Assis-Brasil 3 3
3 6 6 6
7 7 7
C C
4 4
3 C 3 3 3 3 3 3 3 3 5 5 5 53 5 3 5 5 5 5 5 5 5 7 3
4
5
5
5
5
5
5
5
5
F F
4 4
F 3 3 33 3 5 6 5 6 53 5 5 6 5 6 5 7 5 5
4
3 3 3 3 3 3
E E 3 3 3 3 3 3 4 5 4 5 4 6 4 5 4 5 4 4
6
Db Db
11
5
6
7
5
7
Db 3 3 3
5
5
3 3
3 7 7 7
3 3
7 7
8 8 8
6 6 6
5 5 5
7 7 7
3 7 7 7
3 3
3 7 7 7
3 3
3 8 8 8
3
7 7 7
8 8 8
8 8 8
3 3 3
A
Db
3 3 3 3 5 5 5 6 6 6 7 7 7 7 9 7 C CC C
5 5 5 5 5 88 7777 55 5 8 8
7 7 7 7
Ab Ab Ab Ab
5 5 6 5 88 6666 666 5 6666 88 Db Db Db Db
9 9 9 9
9 9 9 9
7 7 7 7
6 6 6 6
6 6 6 6
8 8 8 8
A AA A
7 7 7 7
6 6 6 6
8 8 8 8
7 7 7 7
7 7 7 7
5 5 5 5
5 5 5 5
6 6 6 6
5 5
5 5 5 5
4 4 4 4
6 6 6 6
6 6
6 6 6 6
6
6
6
6 6
7 7 7 7
6 6 6 6
6 6 6 6
5 5 5 5
5 5 5 5
6 6 6 6
5
5 5 5
5 5
4 4
3 3 3 3
4 4
4 4 4 4
C CC C
F
FFF
4 4 4
5 5 5 5
4
6 6 6 6
Db Db Db Db
4 4 4 4
6 6 6 6
12
6 6 6 6
6 6 6 6
4 4 4
5 5 5 5
6 6 6 6
6 6 6 6
5 5 5 5
5 5 5 5
6 6 6 6
5 5 5 5
4 4 4 4
7 7 7 7
5 5 5 5
8
6 6 6 6
5 5 5 5
5 5 5 5
6
4 4 4 4
5 5
6 6 6 6
6
6
E EE E
5 5
5 5 5
5 5 5 5
6 6 6 6
6
www.GustavoAssisBrasil.com © All Rights Reserved All Rights Copyright Reserved - International Copyright Secured 3 4 5 5 55 333 4 5 5 4 5 5 5 4 4
5 5 5 5
6 6 6 6
3 3 3 3 4
7 7 7 7
6
6 6 6 6
5 5 5 5
5 5 5 5
8
7 7 7 7
7 7 7 7
6 6 6 6
7 7 7 7
6 6 6 6
8 8 8 8
5 5 5 5
6 6 6 6
7 7 7 7
6 6 6 6
8 8 8 8
8 8 8 8
9 9 9 9
5 5 5 5
7 7 7 7
(9) (9) (9) (9)
8 8 8 8
9
7 7 7 7
8 8 8 8
8 8 8 8
Preliminary Etude 3 (“Pick Mac”) Pick, middle, ring and pinky pingers.
This etude will include the pinky finger of the picking hand. This short etude uses two picking patterns: ascending (𝆪 m a c) and descending (c a m 𝆪). The melodic content is based on two diagonal symmetrical hand shapes with one note per string and one note per fret. Learn it slowly at first and try to attack each string with the same volume. that you start the patterns pick, middle, ring, and pinkyNotice fingers with eighth notes, then eighth triplets, and and finallypinky sixteenth notes. Use a metronome. Try Gustavo Assis-Brasil pick,note middle, ring, fingers pick, middle, ring, and pinky fingers different Gustavo Assis-Brasil = 150 dynamics and accents.
Preliminary Preliminary Preliminary
Etude Etude Etude
3 3 3
Gustavo Assis-Brasil == 150 150 66 44 5 5 44 5 6 4 5 66 33 4 5 6 4 5 6 77 5 5 3 7 4 6 3 7 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 13 3 3
2 2
1 1
4 4
3 3
2 2
4
3
4
5 5
5
5
5
5
6 6
6 6
7 7
8 8
6 6
6
8
3
8 8
9 9
7
7
8
7
2
2
7 7
6
7
4
2
3
1
5 5
4
3
2
4 4
9
8
8
1
7 7
9
10 10
9 9
8 8
9 9
8 8
10
8
10 10
9 9
11
10 10
12
10
11 11
12 12
11
12
10
11
9
11 11
13 13
12 12
11
12
13
11
12
13
14 14
12
14
12
13 13
14 14
15 15
13
13
8
8
12 12
13
12
9
13 13
11
12
10
9
9
12 12
11
10
8
11 11
10
11
9
10
11 11
10
9
7
10 10
14
13
14
15
14
7
13 13
15
14 14
15 15
16 16 16
13 13
16
13
16
13 13
14 14
15 15
16
16 16
13 13
16
13
16
13
15
14
15
14 14
15 15
14
15
13
12 12
16 16
12
16
12
15
14
14
15
13 13
11 11
15 15
11
15
11
14
13
16
12 12
13 13
12
14
13
14
14 14
13
15
13
14
15
13
15 15
14
15
14
14 14
16 16
12
15
5 5
6 6
7 7
4 4
7
4
7
4
6 6
4
5
5 5
3 3
6 6
5
7 7
3
7
6
2 2
5 5
4
3
6
5
4 4
6 6
14
6
5
7
4 4
3
2
5
4
3 3
2
12 12
13
12
10
8 8
5 5
1 1
5
1
5
1
10 10
9
7 7
10 10
9
8
10
9 9
8
11
4
6
7 7
13
4
3
13 13
12
11
14
5
4
10 10
13
13
4 4
14 14
13
11 11
Preliminary Etude 4 (8 Permutations)
This etude uses eight permutations of fingerings in both the right and the left hand. Our permutation elements are the pick (𝆪) and the remaining three fingers of the picking hand (m a c). Executing it accurately demands great control over each finger. Switching from eighth notes to eighth note triplets to sixteenth notes can be challenging. Learn it slowly at first, making sure you attack each string with precision and control. Try different dynamics and accents. Here is the picking pattern used for this etude: Ascending: 𝆪 m a c m a c 𝆪 a c 𝆪 m c 𝆪 m a Descending: c a m 𝆪 a m 𝆪 c m 𝆪 c a 𝆪 c a m
Preliminary Etude Etude 4 4 Preliminary 8 permutations permutations 8
Allegro Allegro
4 4
3 3
2 2
1 1
2 2
2 2
4 4
3 3
4 4
5 5
6 6
5 5
3 3
4 4
4 4
7 7
7 7
5 5
6 6
1 1
4 4
3 3
4 4
3 3
2 2
5 5
2 2
1 1 4 4
3 3
2 2
1 1
Gustavo Assis-Brasil Gustavo Assis-Brasil
4 4
3 3
4 4
5 5
6 6
3 3
6 6
5 5
7 7
4 4
5 5
2 2
3 3
5 5
6 6
14
7 7
4 4
5 5 2 2
3 3
4 4
6 6
4 4
3 3
5 5
5 5
6 6
7 7
6 6
3 3
8 8
4 4
5 5
4 4
5 5
6 6
5 5
6 6
8 8
7 7
7
6
5
4
7
6 8
5 36 3 33 3 3 3 3 3 3 3 3 3 3 3 3 8
7
8
7
6 7 7 8 5 38 33 3 3 3 3 3
8
7
9
8
9
8
9
8
9
8
10
11
10
11
10
10
11
11
12
11
10
10 10
10
12
12 12
12
13
13 13
12
10
7
10
7
11
3 3 3 3
11
8
11
7
8
8 8
13
3 3 3 3
13
10
11
13
13
14
14
13 14
10
10 10
9
8
9
11
9
9
11
11
12
12
10
3 3 3 3
10 10
11
11 11
10
3 3 3 3
11 10
12
12
13
13 13
13
12
12
13
3 3 3 3
14
9
7
6
8
7
9
8
7
8
10
7
8
7
8
7
9
10
10 10
10
10 10
9
9
11
11
3 3 3 3
11
9
7
10
11
11
12
12 12
12
12
9
10
12
12
9
9
12
11
13
13
14
14
14 13
12
9
13
13 13
10
10
9
11
11 11
14 15 14 15
3 3 3 11 3 11 11
11
12 12
3 3 3 3 3 3 3 3 8
9
6
7
11
10
12
8
3 3 3 3 9
9 9
12
9
9
10
10 10
12
15
13
11
12
15
12
14
13
15
12
12
11
8
3 3 3 3 12
12
9
12
8
9
9 9
13
7
9
9
3 3 3 3
10
3 3 3 3
8
10
10 10
9 9
10
12
11
11 11
3 3 3 3 14 14 14
11 11 11 11
14 3 3 3 3
12
15
12
15
15
12 12 12
12 13
13
3 3 33 13 13
12
11 11
12
12 12
14 14 14
14
13
13 3 3 3 3
14
15
14 13
15 14
13 15
11
12
11 10
9
11
10
12 14
10
14
12
14 13
14
13
15
13 12
14
13
14
11
11
14
15
8
11
10
3 3 3 3 11 11
10
10 13 11 12 1313 11 1212 13 10 12 11 13 12 1010 13 13 3 3 3 3 3 3 3 3 12
11
10
9
8
8
10
9
12
13
11
9
8
8
10
6
12
15
15
13
8
10
13
3 3 3 3
3 3 3 3
8
10
9
10
12
11
10
9
8
7
10
11
9
9
3 3 3 3
9
8
10
9
8
7
7
10
9
12
13
6
14 13
12
3 3 3 3 3 3 3 3 Copyright© www.GustavoAssisBrasil.com All Rights Reserved - International Copyright Secured
12
14 11
10
13
12
11 11
10
9
11
3 3 3 3
10
9
11
11
12
10
8
14
12
11
8
9
9
9
7
9
11
10
8
9
8
7
9
10
7
15 14 15
13
12
13
16
8
11
14
10
13
4
5
5
5
4 5 6
7
5
6 7
6
5 6
5
8
6
4
6
8
6 8
8 6
5
1
𝆪
9 7
6
16
7
5 7
7 9
7 9
6
8 6
8
6 8
4
7
5 7
9 7
5
5
7 5
6
6
3
3
4 6
3
3
3
8
4
7
2
4
4
4
4
4
3
5
6
5
5
2
2
4
3
2
2
4 4
1
4
3
3
4
3
7
1
1
1
2
5
2
2
3
6
9
3
4
7
10
12
15
7
� ��
� �
�. �.
� � �
�. � � . � � � �� � � ��. � ��� �. �� � � � � ��
� �� �
œ � 5 . � œ . &8 � Preliminary Etude 5 � � � � With Major 7th voicings. � . � � �� � .� � � ��� � � � � � �
� � �
� �
�
œ�
� �
� �
œ
�
� �
. �� � . � � . . � . � .
œ
..
�
�
�
�
�
� �
�
�
�
�
��
�
�
��3
� �
�
� �
�
. . ��
�
� � �� � � �� � � � � �� � � � � � This etude consists of major seventh voicings exclusively. Every chord is played as an ascending �
�
arpeggio. Because each voicing has four notes we can use the pattern (𝆪 m a c) except on œat a �time, we �have fifteen � � � � four � œ strings measures 9 and 10. Because we� are using possible string � � � � . � œ œ œ . � � � �œ � � � . . œ & you � combinations, are aspect � (assuming � playing � guitar). � Besides the technical � � of this œ œ �a six-string œ � � � � � etude, I use some unusual voicings and inversions. Let the notes ring throughout the piece. ��4 � � III - Groups of 4 Strings | Use ( ,m,a,c)
�
� � ��� � � � �
� � �
�� � �
�� � �
�� . � � � � � .
� � �
� � �
� �
�� ���
�
� �
� �
�
�
� �
�
�� � ��
�
�
�
� �� ��
� �
�
�
� ��� �
�� . � � �� . ���
�
� �
�
�
�
� �
�
�
� � �
�
� �
�
�� ��
�� � �
� �� �
�� ��
� �
� � �
�
� � � �
�� ��
� � � �
� �
�
� � �
� � � �
Tip: to further explore the harmonic possibilities here, try using different kinds of seventh chords. Here are some suggestions: dominant seventh (1, 3, 5, b7), minor seventh (1, b3, 5, 123 b7), minor seventh flat five (1, b3, b5, b7), diminished seventh (1, b3, b5, bb7), major seventh flat five (1, 3, b5, 7), major seventh augmented (1, 3, #5, 7), dominant flat five (1, 3, b5, b7), dominant augmented (1, 3, #5, b7), minor major seventh (1, b3, 5, 7), and dominant sus4 (1, 4, 5, b7).
Preliminary Etude 5 with Major 7th voicings Gustavo Assis-Brasil = 126 A∆7
A∆7/C#
0
12
13
13 12
G∆7/D
12
10
G∆7/B
17 B VII
10
11
11
9
10
10 10
10
9
9
11
11
12
12
F∆7
11
11
11
11
12
B IX
G∆7
13
13
12
E∆7
10
F∆7/C
9 10
0
12
A∆7/C#
G∆7/D
B IX
10
10
9
8
9
11
8
11
9
F∆7/C
B VII
8
11
9
C∆7
7
7
9
0
8
7
8
7
8
Eb∆7
0
10
<12>
12
12 5
7
8
(#5) Eb∆7(6) C∆7 10 10
C∆7/B
12
9
8
5
7
9
9
7
8
6
9 7
9 10
5
6
7
9
10
9
5
10
G∆7/B
11
9
9
10
10
10
11
9
10
10
12
12
12
11
9
9
11
11
12
12
10
11
11
13
13
11
12
10
13
13 11
12
10
10
7
8
7
11
11
11
12
F∆7
C∆7
Bb∆7
Ab∆7
F#∆7
E∆7
12
0
14
B VI Copyright © www.GustavoAssisBrasil.com 0 10 12 12- International Copyright 6 Secured 12 All Rights Reserved
14
15
13
8
8
5
5
7
6
6
7
F#∆7
6
6
3
7
5
18
0
Db∆7
4
3
7
5 6
Eb∆7/G
2
4
Bb∆7/D
6
5
9
9
7
4 4
3
6
8
Eb∆7
4
6
2
8
10
10 8
C∆7/E
7
15
13
8
8
1/2B IV
B II
5
7 5
5
3 4
F∆7
4
3 4
6
13
10
11
10
12
9
9
10
10
8
10
10
8
Db∆7#11/Ab
B VI
8
8
8
8
8
8 6
6
6 6
6
6
6
6 6
7
10
8
Db∆7/Ab
10
7
0
10
10
9
D∆7/F#
9
11
8
4
F∆7
11
9
3
4
11
5
3
5
Eb∆7/G
11
5
7
5
6
13
11
3
7
5
6
7
4
6
3
7
5
9
9 7
4
6 7
5
F#∆7
6
8
8 5
6
8 8 6 6
9
Preliminary Etude 6 (24 permutations)
This etude is based on permutations of the 4 picking possibilities. Here are the twenty-four possible groups, without repeating elements:
𝆪 m a c 𝆪 m c a 𝆪amc 𝆪acm 𝆪cma 𝆪cam
m a c 𝆪 m c a 𝆪 amc𝆪 acm𝆪 cma𝆪 cam𝆪
a c 𝆪 m c a 𝆪 m mc𝆪a cm𝆪a ma𝆪c am𝆪c
c𝆪ma a𝆪mc c𝆪am m𝆪ac a𝆪cm m𝆪ca
Each permutation uses a different position. They move up and down the neck using twelve positions, starting on the first position and going up to the thirteenth before descending back.
19
Preliminary Etude 6 24 permutations
4
5
4
6
5
8
9
7
8
12
13 12
10 9
6
7
14
16 15
15
14 14
7
6
5 4
10
4
9
8
15
13
14
13
12
12
14
12
13
11
11
Copyright © www.GustavoAssisBrasil.com All Rights Reserved - International Copyright Secured
20
13 11
11
12
11 10
8
10
7
3
2
6
13
Gustavo Assis-Brasil
4
5
3
1
2
9 11
3
10
12
13
12
8
7
7
10
8
9
7 7
6 6
8
8
9
9
9
10
10
11 11
5
5
5
6
6
4
3
4
5
4
2
3
Preliminary Etude 6 (Zigzag)
1
Preliminary Etude 6
After deciding to use one permutation group per measure, I wrote zigzagged versions of each group to fill up each measure with sixteen sixteenth notes, using the following pattern:
24 permutations
Original Permutation Retrograde Original Permutation Retrograde Original Permutation don't let ring - play notes separately
1
2
4
3
3
2
2
1
4
3
3
2
1
2
3
4 3
4
5
5
4
2
3
4
5 2
Try to separate the notes melodically, not letting two or more notes ring simultaneously. It is harder than it looks but after you get the mechanics of it, it is a fun piece to play. This etude can be played at any tempo you feel comfortable with. Feel free to try different chords and string combinations while keeping the hybrid picking patterns. 5
6
6 3
4
3
5
6
21
6 3
4
3
5
6
7 3
4
4
5
6
7 5
4
4
5
6
Preliminary Etude 6 24 permutations Gustavo Assis-Brasil
4 4 3 3 3 3 3 2 2 2 2 1 2 1 1 don't let ring - play notes separately
6
5
6
6
6
5
4
4
3
3
8
6 5
8
8
7
7
8
6
6 5
2
7
7
6
6 5
4
5 4
6 5
4
5 4
4
9 9 9 9 9
8 7 6
4
3 2
5
3
7
4
4 3
4
3 2
6
4
4
3
5 5 5 5 5
5
4 3
8
6
8
8
7
8
8
7
5
7
6
6
6
10 10 10 9 9 9 9 9 8 8 8 7 7 7 7 7
10
11
11
9
10
9
8
Copyright © www.GustavoAssisBrasil.com All Rights Reserved - International Copyright Secured
22
11
10 9 8
8
9
9 8
8
12 12 12 11 11 11 11 11 9 10 10 9 10 10 9 10 14 14 14 14 14 13 13 12 11 11 12 11 11 12 11 13 16 16 16 16 16 15 15 15 15 15 14 14 14 13 13 13 14 14 14 13 13 13 12 12 12 12 12 11 11 11 11 11
23
13
13
13
12
13
13
12
11
11
12
11
11
10
11
10
10
15
14
15
15
14
14
13
14
14
13
12
12
13
12
12
12
15
14 13
15
15
15
14
15 14
13
13
12
13
13
12
12
13
12
13 12
12
11
13 12
12
11 10
10
11 10
10
10
11 11 11 10 10 10 10 10 9 9 9 9 9 8 8 8 12
12
12
12
11
10
11
10
9
12
11
10
10
10
9
9
9
10
10 9
10
9
8
9
8 7
9
8
7
7
8
8
7
7
8 7
6
9
9 8 7
6
7
6
6
6
7 7 7 6
7
6
9
8
6
8
7
6
5
6
5
9
7
7
8
7
5
9
8
6
6
5
5
6
5
4
5
5
4
4
optional repeat
5
6
6
4
4 3
6
5 3
5 4
4 3
3
4
5
5
5
4
3 3
5 4
3 2
24
5 4
2
3 2
2
2
1
Preliminary Etude 6 (Optional fingering) 24 permutations
This etude uses exactly the same notes as the previous one. The only differences are the hybrid picking fingerings. Not all patterns use the pinky finger. The suggested fingering on this version Etude (optional is the way I Preliminary play the etude if I want to execute6it at a faster tempo.fingering) 24 permutations Gustavo Assis-Brasil
4 4 4 1 2 3 3 2 1 2 3 3 2 1 2 3 don't let ring - play notes separately
optional fingering
5
5
4
5
4
3
3
6
5
6
6
6
5
3
6
7
5
4
4 3
3
3
3
8
8
8
7
6 5
8
8
7
6
6 5
7 6
5
5 4
6 5
4
5 4
4
9 9 9 9 9 opt.
7
6
2
7
6
4
2
5
opt.
4 3
4
opt.
5
4
2
5
4
6
8
8
7
5
6
25
8
8
7
8
7 6
6
opt. opt. opt. 9 10 10 10 9 10
9 9
opt. opt. opt. 11 9 1111 opt.
9 9 9
8 7 8 7 7 7
10 10
14
12 12 12
14 14 14
12
11 11 11
opt. opt. opt. 15 1616 13 15 16 15 16 13 13 15 13 opt.
14
12 12 12
7 7 7
10 10 10
9 9 9
13 13 13
14 14
10
9 9 9
7
7
9
8 8 8
7 7 7
7 7 7
11
10 10
8
10 10 10
9 9 9
11 10 11 10 11 10
14
10 12 11 12 11 10 10 12 11 10
9 9 9 9
14
14
13 11 11 11
14 14 14
12 12 12
14 14 14
12
11 11 11
13 13 13
13 11 11 11
14 14 14
12 12 12
14
12
11
11
16 16 16
15 15
11
11 11 11
16
11
15 15 15
16
15 16 14 15 16 14 15 16 14 15 14
11 11
14 14
15 15 13 15
8 9 9 9
8 8 8
11 11 11
9
9 8
9 9 9
8 8 8
10 10 10
8 8 8 8
13
13
12
9 9 9
11 11 11
13
12
14
14
15
14
12
13
15 15 15
14 14 14
13 13 14 15 13 12 13 15 14 14 12 opt. 13 12 13
15
14 13 15 12 14 12 12 14 14 15 14 13 14 14 13 12 12 15 12 13 13 14 14 12 12 12 14 13 13 12 12 12 13
15 15 14 13 15 15 13 12 15 15 14 13 13 14 15 15
15
15 13 12 15 13 15 13 12 14 12 13 12
12 13 13 12
13
12
12
13 12 13
13 12
13 12
12
11 10
26
15 14 12 15 14 15 12 12 15 13 14 14 12 12 13 12 12
11
13 13
8 8 8
11
12
11
10
14 13 12 14 14 13
13 12
9 9 9
10 10 10
11
10 9
8
11 13 11 13 13 11 12 12 13 13 13 10 13 13 10 11 12 11 12 11 13 13 13 13 10 10 11 11 11 11 11 13 10 12 12 12 10 10 10 11 11 11 11 11 10 10 10
opt. opt. opt.
14 12
11
10 9
opt.
11
13
13 12
13 13
11
15
13
14 14
11
13 13
opt. opt. opt. 12 11 12 12 11 opt.
11
10
9 9 9
8 8 8
10
12
11
14
11
8 8 8
7 7 7
16 15 14 16 16 13 15 16 16 15 13 14 15 15 15 16 14 16 13 13 14 16 15 13 15 15 13 14 14 13 13
7
9 9 9
11 9 1111
10 10 8 10
9
8
14
9
13
11
10
10 11 11 10 1212 1111 9 1111 10 1212 10
12
opt.
9 9
10 12 10 11 10 10
11
8 8
7
9 9
opt.
10
11 10
10
10
14 14
13
12
11
14
12
14
12
opt. opt. opt. 12 9 12 12 9 12 9
opt. opt. 8 9 8 9 8 9 opt.
9
opt.
9
11
13
14
12
12
14
12
10
10
5
12 12 12
7
14
12
12
14
12
11
11
13
12 11 12 9
12
12
9
11
10 12
9
11 12 10 9
11 12 10
12 9
12 10 9
11
9
11
10 12
10
7
11
10
7
10
10 9
9
10 9
7
9
7
8
8 8 8 7 7 7
7
6
8
8 7
7
7
8
7
8
7
6
8
8
5
8 5
7
5 6
8
5
7
6
6
8
6
5
7 7
4
4 3
3
4
9
6
8
6
8
6
7
13
7
5
5
4
9
8
6
9
9
6
2
6
8
6
6
8
6
9
7
9
7
9
9
6
8
6
6
8
6
6
6
9
9
7 6
7
6
5 7 6
5
6
7
6
5 5
4 4
5
5
6
5
8
7 7 7
2
4
6 5
7
5
7
5 6
4 3 2
8
4 6 6 repeat optional
5
4
7 5
4 5
5 6
6
7
4
7
6
6
6
8 8
7
6
6
5 2
9
6
8
3 2
27
13 10 12
9
9
3 3
12 10
11
9
7 6 6 5 4 5 7 6 5 5 6 7 4 5 opt. 6 6 5 7 6 4 6 5 4 5
5
13 10 12
11
8
9
11 12 10
10 12
13
10 12
13 10 12
11
9
6
10 12
11
7
7
13
12
7
9 9
10
9
12
9
8
8
13
10
8
6
9
9
11
7
10
7
11
11
8
8
9
10 10
12
12 13 12
12 10
9
9
8
7
6 3
12
10 12
13
12 12
10 10 10 10 10 opt. opt. opt. 10 10 11 10 10 11 10 11 9 8 9 11 9 8 9 11 9 11 10 10 9 11 9 10 10 9 11 9 10 11 9 10 8 10 9 11 9 10 8 10 9 11 9 10 11 9 10 8 10 10 8 10 10 opt. 9 9 9 9 9 8 8 opt. opt. opt.
11 12 10
12
13 13 13
11 opt.
11
10
12 12
10 12
13
12
11
10
13
11 12
11
9
4 3
12 11
9 10 9 9 10 7 8 7 10 7 10 9 8 9 10 10 7 9 8 9 7 10 7 10
4
11 13
13
11
8
14
12
7 7 opt. opt. opt. 8 7 7 8 5 8 6 8 5 8 7 6 7 8 5 8 7 6 7 8 5 55 7 6 7 55 8 opt.
12
11
11
11
10 10 10
7
12 11
11
11
12
13
11 10 11 10 11 10 7 7
11
12
11
13
12
14
opt. opt. opt. 11 10 11 10 11
14
13
11
13
14
12
13
11
opt.12
6
1
4 4
Preliminary Etude 7 This etude was written mainly to develop speed and accuracy with ascending and descending diagonal patterns up and down the neck. It is a fun warm-up etude.
Preliminary Etude 7
Gustavo Assis-Brasil = 300
4
4
3
3
4
7
3
3
4
2
2
10
8
12 14
4
4
3
3
2
2
3
1
4
3
4
7
7
6
6 5
5 6
1
28
2
5
8
4
3
6
7
10
13
4
4
7
10
11
14 15
9
12
15
10
13
16 13
13 12
11
11
12
12
12
11
13
13
10
7
9
7
10 9
8
8
9
10
6
4
9
9
7 6
5
5 6
1
7 6
6 5
5
7
6
6
7
10
10
8
12 15
4
4
3
3
4
5
10
9
10
12
15
13
10
4
7 3 2
5 4
29
optional repeat
6
9 8 7
13 12
10
10
13 12 11
14
12 11
11
12
15 14
13
13 12
11
16 13
10
7
7
4
9
9
9 8
6
6
5
10
9
8
7
6
5 6
7
7
6
1
8
3
2
2
1
4
7
4
3
3 2
5
4
7 6
9 8
10
10
13 12 11
13
10
14
13 12
11
11
12
15 14
12
12
11
16 13
13
13
10
7
9
8
8
9
10 9
9
9
1
1
� (a,c) ��3 �� I - Groups of 2 Strings | ��3 Use ( ��,c)� (m,a) � ( � ,a)���3 � �� and �� (m,c) � �� � ( ,m)
�
�� � � � � � � ��� � � � �� �2 � �� � � �� �� � ��� ����� �� ��� � ��� �� � �� � � � � . � . � �. � � �� � ��� � � ��. ���� �. �� . � � � � �� � �. �� � �.� � . � ���. �� � .�� � �����. �� ����� � ���� . . � . . � . �. � � �� �� . . . . � � . � � . �� œ œ The� Easy Passenger # œ n œ œ bœ � � � � œ� œ # œ œ œ � � � � # œ œ œ œ b œ �� n œ� � � � � � &� Ó # œ � � œ � � � � œ œ œ � �œ � � � œ œ œ œ œ œ This hybrid picking etude.. combines two different permutation ideas for the picking hand. . œ . œ œ œ œ . œ . . œ � . � œ& œ œ � œ.� � .� � . � � � � �First,� I � � �œ � . œ � œ� � & & œ œ œ œ used each of the possible œgroups œof threeœ strings, playing one group per measure: �� �3 �4 �2 �3 �� � � � � � �( � ,m,c) � � �( � ,a,c) � �� � ��2� � � ��� � �� � �� II - Groups of 3 Strings | �Use ( � ,m,a) and (m,a,c) �� � �� � � � � � � � � �� �� �� . � � � � �� . � � �� � � � . . . �� � � � � � � . � � � � � � � � � � � �� �� . �� �. �� � � � � �� �. � . �� . �� � �. � � � �� � � � œ œ � � �5 . � � � � � � œ œ .. � � � �8 . œ � & � � � � � �
� � �
��
��4
� � �
��4
��4
�
�
��3 �
� � ���
�� �
� � �
� �
�
�
�
�
� . �� . � � �
�
�
�
�
. . ��
�
� � �
� ��
�
�
�
�� �
�
�
� �
� ��
�� �
� œ �œ œ � � � œ .. � � � œ �� œ �œ œ � � � � � œ œ � � � � � � � � � � � � � III - Groups of 4 Strings | Use ( � ,m,a,c) �� �� �� �� . �� �� � � � �� . � �� notes � separately �� �play the � � � � � � �� as � Then, measure, I applied � all of six��possible ways to� � the � � � � � � in each � � � � � � � � � � � � � � � an arpeggio, as presented Etude � � . in�“Preliminary � � is that � now I am�� also � 1”. �The. only � difference � � � � � �
� � �
& ..
� �
� �
�
��4
including the pinky finger;�I am not only using (𝆪 m a), but also (𝆪 m c) depending on the string � � � � � � � � � � permutation The regarding note choices hand was making � � group. � � only � restriction � �for the � left � � � � � � � � � � � � � � sure per measure. Let the� notes ring throughout. �I had one open string � � � � � � � � � �
�
�
� �
�
�
�
� �
� �
� �
�
� �
�
� �
The Easy Passenger Gustavo Assis-Brasil 123
Allegro 0 0 0 0 0 0 0 0 0 0 0 0 2 2 4 4 4 2 2 2 4 4 4 0 1 2 3 4 3 2 2 3 4 5 4 3 30
�
0 4
0 4
1
0
2
0 4
2
3
2
4
0
3
0 2
0 6
0
0 6
3
4
0
0
6
3
5
5
0
0 7
0
0
0
7
7
4
5
0 4
6
0
4 7
3
0
0
7
0
7
0
8 6
0
7
7
0 10
0
8
0 10
0
10
0
10
10 8
9
0
7 10
0
0 4
0
6
0
4
7
0
0
6
0
8
8 6
5
0 5
0
5
7
8
8 7
0
0
0
0
0
9
9 7
0
0
0
6
6 9
8
10 8
7
0
0
0
0
0
0 4
7
8
0 7
3
10
0
0 4
0
10 9
7
5
9 8
5
0
6 7
0
2
5
0
0 2
4
7
4
0 4
4
6
0 4
4
0
0
4
2
0
3 6
2
9
8
4
4
1
2
2
3
2 4
1 3
2
Copyright © www.GustavoAssisBrasil.com All Rights Reserved - International Copyright Secured
0 3
0
0
0
3
1
3 2
0 1
3
0
1 4
0
3
0 2
0
0
0
5
5
0 2
0
2
0
2 2
31
3
4
5
4
3
0
0
3
0
0
3
3
1
2
0 1
0
1
3
4
0 3
0
0
6
0
6
0
0
6
3
0
2
4
4
4
1
0
0
0
3
1
0
0
4
0
0
3
0
6 4
6
0
6
5
6
0
0
7
0
0 5
0
4
7
7 5
1
6
6
0
4
6
6
2
4
7
6
6
5
3
5
5
4 0
0
4
4
5 0
0
2 4 0
2 0
0
4 0
1
3
3
4
0
2 3
0
32
2
0
0
2 0
4
1
3 0
0
5
0
6
4
4 2
4
4
0 0 0 0 0 0 6 6 6 3 3 6 4 5 6 5 4 3
3
0
2
3
0
0 2
3
3
5
0 5
3
6
4
0
0 0 0 0 0 0 13 12 8 6 4 4 11 10 9 0 6 3
0 5
2
3
0 2
2
0
0
Pentarum This is a fun etude to practice with some unusual ways of playing common pentatonic scale shapes. It uses A minor pentatonic (A, C, D, E, G) in different positions. Try to follow the fingerings as written and start practicing the etude slowly. Try playing some of these patterns over Am7, C, Dm7, F∆7, Bb∆7, F#7alt, C/D, or Em7b5. Enjoy skipping strings!
Pentarum Gustavo Assis-Brasil
10 8 0
1 2 5 0 8 8 5 7 5 7 5 5 7 5 7 5 8 5 Allegro
10 0 12 10 12 12 9 13 10 12 10 9 12 15 10 12 17 15 14 17 17 14 15
15 0 17
13
14
10
9
12
15
14
13
12 14
14
17
12 14
12 17
12 15
20 15 17 0 17 12 15 0 17
7
15 12 0
12
7
7 10
15
9
10
10
8
7
7
14
17 12
12
14 10
33
17
14 17
17 15 17
14
15
0
13
20
12
15
17
17
0
17
12
14
17
15
0
12
14
14
15
12 8 10 0 15 10 12 0 10 9 9 12 7 7
10
12
15
15 15
13
12 14
13
15
14
14
12
12
12
14
12
Copyright © www.GustavoAssisBrasil.com Reserved - International All Rights Copyright Secured 12 13 10 10 13 10 9 12 12 9 7 12 10 10 12 10 7 10 0 7 10 8 8 5 5 8 5 5 7 7 5 2 7 5 5 7 5 5 0 3 0 5 15 12 15 13 10 12 9 12 7 9 14 12 10 12 10 0 10 0 7 7 34
12
0
10 8
8
9
10
9
7 7
10 7
0
8 10 8
5
5
7
7 3
5
0
5
17 17 17
14
14 14 12
12 12
Diatonic Ride This etude originated from a four-note open-triad (or spread triad) arpeggio pattern that doubles the root of each chord, followed by four descending notes in the key of C. The first measure of the etude has all the harmonic and melodic material that will be used throughout the piece. All the sequences are diatonic to the key of C. Enjoy the ride! = 210
Diatonic Ride
15
14
12
13 12
13
14 12
10
13
12
12 10
12
12 10
9
12
10
Diatonic Ride Gustavo Assis-Brasil = 210
6 8 7 5 7 15
13 12
14
13
12 10
14 12
12
12
12
10
12 10
6 7
5
6
7
5
5 7
3
52
5
3
4
5
1
4
5
3
10
5
9
12
8
3
5
5 10
4
5
4
8
5 2
6
9
9
7
7
3
8
5
3
9
10
3
3 4 2
2 3
35
8
10
10
13
6 5 7 5
1
5
4
2
40
53 3 1
3
5
(0) 2 3 3
5
3 5
6
8
5
6
7
7
5
5
5 7
5 5
3
4
1
3
3
4
5
5
6
8
8
10
10
10 12
14 12
10 12
13
6 7 5 7
12
10
10
9
8
8
10
6 7
9
10 7
10
7
4
5
8 9
9
3
(13)
12
12
5
13
12
5
10
10
5
12
Copyright © www.GustavoAssisBrasil.com All Rights Reserved - International Copyright Secured
13
8
12
12
10
12
10 10
9
13 12
14
12
8
15
7
10
7
8 7 5
9
6
7
5
9
(0) 2 3 3
3
10
9
5 5
3
7
3 3 1
0
6
5
2
2
4
4
3
5
4
1
4
2
5
2
3
5 3
6
8
5
3
5
4 3
2 5
3
36
1 4
2
3 3 1
(0) 2 3 3
0
Pé de Umbú This solo guitar baião etude also works well over the suggested chord changes. The rhythm of the comping (chords, bass or both) that works well over the A, B, C, D, and D’ sections is:
During the bridge and outro section, there is no comping.
Pé de de Umbu Umbu Pé
114 == 114 = 114 Intro Intro Intro C/D Bm7/E C/D Bm7/E C/D Bm7/E
0000
10 10 10
00 00 11 11 0 12 12 11 12 12 12 12 12
99 0 10 10 9 10 10 10
Em7 Em7 Em7
00 00 00 12 12 0 10 10 12 00 10 0
88 55 5
77 7
88 8
C C C
77 7
77 7
77 7
77 7
55 5
8
22 2
33 3
22 2
77 7
8
00 0
(0) (0) (0) (0) (12) (12) (0) (10) (10) (12) (0) (0) (10) (0)
00 0
77 7
55 5
66 6
55 5
55 5
77 7
99 9
77 7
99 9
44 4
12 12 10 12 10
55 5
33 3
11 1
10 99 9
12 12 10 10 12 00 10 0
G#˚7 G#˚7 G#˚7 55 88 5
10 10 10
A A A C/F C/F C/F
00 12120
12 12 0 10 10 12 00 10 0
Am7 Am7 Am7
00 00
D/G D/G D/G
333
Am7 Am7 Am7
Gustavo Assis-Brasil Assis-Brasil Gustavo Gustavo Assis-Brasil
55 5
33 3
55 5
10 10 Am7 Am7 Am7
55 5
77 7
77 7
99 9
10 10 10
99 9
99 9
77 7
99 9
10
99 9
77 7
77 7
66 6
12 12 12
77 7
77 7
37
88 8
77 7
33 3
F#˚7 F#˚7 F#˚7
66 6
55 5
33 3
10 10 10
99 9
77 7
55 5
44 4
99 9
77 7
33 3
77 7
77 7
88 8
77 7
00 0
22 2
12 13 13 12 12 12 12 13 12
77 7
00 0
7
8
7
0
2
3
2
0
5
9
9
7
9
7
9
9
7
7
7
7
7
C
12 10 9 9 7 9 7 5
7
Am7
10
9
9
7
7
7
7
7
8
7
0
2
Copyright © www.GustavoAssisBrasil.com D All Rights Reserved - International Copyright Secured
7
7 10 9 7 9 7 77 1010 9 9 7 9 7 9 7 7 7 7 Csus4 Csus4 Csus4 10 8 10 8 10 10 8 8 10 10 8 1010 10 88 8 8 Csus4 Csus4 10 10 8 10 10 10 10 8 1010 10 8 Csus4
8 8 8 8
8 8
7
7 7
F/G
7
7
7 7
7
7 7
8
7 7
10
8 C8
10 C C
10 10
10 10
7 7 7
F/G F/G
0
7
0 0
7 7
6 6 6
8
10
8 8
10 10
10 10 10
10
10 10
7
8
10
7 7
8 8
10 10
8 10 8 8 9 8 8
10 10
8 8
8 8
1. C 1. 1. C C
9 9
8
8
8 8
E7#9 E7#9 87 6 8 7 8 6 7 6
7
7 7
C 2. 2. C C
10
10 10
10
8 8 Csus4
8
9 9 9
10 10 10
8 8
10
10
10 10
10 10
8 8 8 8
7
7 7
8 8
8 8
8 8
7
7 7
9
7
5
12 13 12
8 8
9
7
10
9
10 10 7 10 7 10 C C
10 10
10 10
10 10
7 7
C
10
10 10
3 4 3
7 7
10 10
10 10 7 10 7 10 C C
10 10
10 10
Bridge Bridge
3
1 1
0
C
10
4 3 1 4
8
8 6 8 8 6 8
0
0
10 10
7 7
10 10
Bridge
C7b9 C7b9 86 8 8
38
2
8 8
10
10
C7b9
8 8
10 10 10 10 10 10
Csus4 Csus4
2. E7#9
Csus4 D D Csus4 Csus4
3
7
12
8
3 3
3 3
4 4 4
3 3 3 3
5
3
7 7
10 10
4
44 5 5
3 3
8
10
10
10 8
8
8
7
10
10
3 6 5 3 4 5 5 6 4 3 3 76
6 6
8 7 6
7
8
8 6 8
10
4 3
8
4 3
3 3
3
1
5
4
3
5
76 4 4
6
C 7
6
Am7 C Am7
7
10
7
7
10
10
7 6
7 6
9
7
Esus4
Esus4 Esus4
4
9
7
7
7
3
6 6
6
7
6
7
4
3
8
8
6
8
6
6 6 6 6
7
10
7
7
0
7
8
10
9
7
7
9
7 7
7
7 7
7
7 7
7
8
10
7
8
10
7
8
10
7
7
9 7 6 6 6 10
7
9
7
8
7
0
7
8
10
7
8
E7
0
7
8
10
6
7 10 9 9 7 7
6
4
5 4
3
9 9 10 12 12 9 7 7 10 5 9 9 9 7 7 12 5 9 9 7 9 10 7 5 9 9 7 7 7 7 9 7 9 7 7 7 7 8 Am7 C
6
3
3
6 5
4
5
4
6 6 87 98 6 8 9 7 6 9 8 6 8 7 6 8 9 7 6 6 8 7
3
1
4 76 6 7 66 8 6 7 4 7 6 7 6 8 6 7 6 9 6 6 8 8 6 8 9 4 6 7 7Eb7+(#9) E7+(#9) 6 E7+(#9) Eb7+(#9) E7+(#9) Eb7+(#9) 6 7 8 6 76 87 87 98 5 6 7 8 6 98 8 9 6 87 7 6 6 X 7665 8776 8 9 7 6 6 6 7 7 8 6 X 7 9 8 6 7 8 65 876 8 9 6 7 6 X 6 7 12 9 9 10 9 7 12 7 8 7 0 2 3 2 0 5 7 9 9 7 9 10 12 7 8 7 0 2 3 2 0 5 7 10 9 9 D' 9 7 7 D'Csus4 5C 7 8 7 0 2 3 2 0 Csus4 C D' 39 C Csus4
3 3
E E
7
8
7
0
2
3
2
0
7
5
9
7
7
7
7
7
8
7
0
7
8
7
10
8
10
D'
Csus4
8
10
10
10 8
C
7
10
10
6 9 7 8 6 6 8 9
(0) (12) (12) (10) (0)
11
11
9
(0) (12) (12) (10) (0)
10
12
7
10
7
9
7
10
9
10
7
7
7
9
7 10 N.C.
9
11
10
E
9
9
6
9
6
9
Outro
Absus4
8
Esus4
0
9
10
8
9
C/D
10
10
9
Bm7/E
7
0 0 9 10 10
0
7
0
0 0 12 10 0
(0) (12) (12) (10) (0)
40
10
8
8
10
Em7
0 11 12 12 12
Am7
0
0 12 10 0
11
8
(0) (0) (12) (10) (0)
10
10
8
11
8 11
0
12 12 10 0
9
9
Que Nem This etude has the same feel as the previous one, “Pé de Umbú”. It is also a solo guitar baião piece that works well over the suggested chords. “Que nem” is a Portuguese idiomatic expression that means “same as” in English.
Que Nem Gustavo Assis-Brasil Baião = 110
Am7
0
12
0
12
10
Am7
0
12
0
12
11
0
10
0
0
12
10
11
10
11
0
0
12
0
11
12
0
0
12
10
0
12
10
0
12
0
Am6
0
12
10
12
0
12
10
12 10
0
0
Am6
12
0
0
11
10
11
10
0 0
11 10
12
G7
0
𝆪
0
12
11
0
0
12 0
10
12 10
10
Dm7 41
F Em7
10
10
0
10
9
Dm7
8
0
12
7
0
F Em7
10
8
0
0
0
12
10
10
9
10
0
0
7 10
12
0
0
Copyright © www.GustavoAssisBrasil.com Dm7
Em7
All Rights Reserved - International Copyright Secured
0
12 0
9
10
12
0
10
0
8
0
7
12
0
10
Da Coda
F
8
0
0
0
12
10
10
10
9
10
0
0
7 10
9 0
10 0
7 0
0
10
10
1 2
10
0 0
3
8
0 0
5
0 7
1 0
0
3 2
1
0 0
1 2
0
0 0
10
3 4
0 0
1
3 0
0
0
2
1 2
0 0
3
8
3 4
0 0
5
1 0
0
1
0
42
1
8
0 0
1 2
3
0 0
3 4
0
0
2
0 0
0 3
0
6
0 7
3 2
3
7 7
5
2 0
0
10
0
7
7
9
9
8
0
3
0
8
10 0
10
6
3
9
7
5
3 4
0
7
7
9
9
8
0
0
G7
12 10 10
10
0
1
3 0
0
2 0
0
1
3
5 0
3 0
0
3
0
5
0
7 0
5 0
0
8 8
0
10 10
7
X X X X
3
<7> <7> <7> <7>
10
0
12
0
0
9
12
5
14
0
12 0
0
0
0
0
0
0
4
0
12 0
0
10
0
0 (0) (0) 3
3 0 0 3
43
14 0
0
12 0
0
12
9 9
8
7
8
9
7
7
6 0
8
10
0
9
12
9
10
2
12
12
0
0
7
(0)
0
5
(<7>) (<7>) (<7>) (<7>)
0
7 7
5
<7>
0
(3)
0 0
7
D.C. al Coda
8
5 5
6
7
0
0
3
7
2 0 3
(2) (0) (3)
0
Maracatude When I was writing the first 13 bars of this etude I had two things in mind: a traditional Brazilian maracatu and Thelonious Monk. The piece starts with moving dominant seventh chords. These chords have one skipped string in the middle. The rest of the piece will work your arpeggio skills. The main goal for this piece is to develop fluency with hybrid picking chordal arpeggios.
Maracatude
Gustavo Assis-Brasil = 130
C7
G7
12
11
Db7
C7
12
11
12
13
11
12
12
10
11
12
9
G7
9
10
11
F#7
12
13
11
9
10
F#7
10
10
11
8
12
9
10
9
E7 A7 Ab7 G7 Ab7 G7 Eb7 C7
10
11
8
8
7 6
9
6
9
10
6
7
5
7
5
5
4
5
6
5
3
7 6
5
8
5
6 5
4
5
8
7
5
G7sus
9
9
3
5
5 5
5 3
5
6
4
3
5 3
5
5 5
5 3
44
3
5
5
5
4
5 5
11
8
9
3
7
3
3
5
4
7
3
5
4 4 4
2 22
3 3 3
4 4 4
2 22
4 4 4
4 4 4
2 2 2
4 4 4
4 44
2 22
2 2 2
0 0 0
2 22
3 3 3
6 6 6
4 4 4
3 3 3
3 3 3
2 2 2
3 3 3
2 22
3 3 3
2 2 2
4 44
4 44
4 44
2 22
4 44
2 22
3 33
0 00
2 22
2 22
2 2 2
2 22
2 22
0 0 0
2 22
2 22
3 33
3 3 3
3 3 3
3 33
2 2 2
3 33
3 33
2 22
2 22
0 00
2 22
3 33
5 55
5 55
5 5 5
0 0 0
5 55
5 5 5
5 55
5 55
2 22
0 00
5 5 5
5 5 5
0 0 0
5 5 5
5 5 5
3 33
6 66
2 22 1 1 1
4 44
4 44
4 44
2 2 2
5 55
4 44
2 22
2 22
2 2 2
0 0 0
2 22
4 44
2 22
3 33
3 3 3
2 2 2
3 33
3 33
7 7 7
45
3 33
2 22
3 33
0 00
2 22
2 22
1 1 1
2 2 2
0 0 0
2 2 2
2 22
2 2 2
0 0 0
2 22
2 22
2 22
3 33
0 00
2 22
3 33
3 33
3 3 3
2 2 2
3 33
3 33
3 33
0 00
2 22
2 22
3 33
0 00
2 22
2 22
1 1 1
1 1 1
4 44
6 66
6 66
7 7 7
0 0 0
6 66
6 66
4 44
4 44
2 22
2 22
6 6 6
2 22
2 22
5 5 5
2 22
3 33
1 1 1
5 55
2 2 2
2 22
1 1 1
4 44
4 44
2 22
4 44
6 66
6 66
7 7 7
0 0 0
6 66
6 66
4 44
6 66
0 0 0
9
9
8
8
8
8
7
9
7
8
4
5
6
5
9
7 9
6
6
8
6
3
3
7
8
6
8
7
6
5
8
8
7
8 8
9
6
8 8
6
6
8
8
8
9
6
8
8
7
9
9 9
8
8
7
6
6
8
0
5
6
4 6
3
5 5
4 3
46
3
4
3
Milonga 34432
This etude begins with a syncopated pattern that is a variation of a milonga feel. Milongas are usually played with a 3 + 3 + 2 feel (one-two-three-one-two-three-one-two). This etude starts with the pattern 3 + 4 + 4 + 3 + 2, which is why these numbers are in the title. The entire “A” section is based on this pattern with a few variations at the end of the phrases. The “B” section uses a repeated line displaced by an eighth note. The intervallic line on the “C” section uses the same displacement effect as the previous section for four bars. The next four bars are an Milonga 34432 exact repetition a half step up. The last section of the etude uses groups of five notes creating a Milonga 34432 Milonga 34432 hemiola effect for five measures. Gustavo Assis-Brasil This etude uses string-skipping, seventh chord voicings, open strings, and symmetrical patterns. Gustavo Assis-Brasil = 188 = 188 A = 188
A A
Gustavo Assis-Brasil
11 11 11
15 15 15
13 13 13
14 14 14
13 13 13
11 11 11
14 14 14
13 13 13
14 14
11 11 11
16
15
12
13 13 13
14 14
14 11 14
13 15 13 11 14 11 11 13 15 14 13 11 11 13 11 11 14 13 11 14
13 13 13
11 11 11
16 12 14 16 14 12
16 14 14 16 11 14 14 16 11 11 14
14
14 14 14
11 11 11
13 13 13
14 14 14
13 13 13
11 11
15 15 15
16 16 16
12 12 12
13 13 13
14 14 14
11 11 11
11
11 11 11
12 12 14 12 14 14 14 14
47
14
13 13 13
12 12 12
15
11 11 11
14 14 14
14 14
14
13 13 13
11 11 11
13 13 13
12 12 12
12 12 12
13 13 13
14 14 14
12 12 12
15 15
13 13 13
11 11 11
14 14 14
16 14 11 14 16 16
13 13 13
14 14 14
11 11 11
11 11
11 11 11
12
11 11 11
1212
12 12 12
14
11 11 11
12 12 12
13 13 13
B B B
B 15 12 1414 1515 1212 14 15 12 14 14 14 14
13 13 13
12 12 12
13
12
15 11 15 11 15 11
11
15
13 13 13 13
12 12 12
13 13 13
15 15 15
C
8 8 8
7 7 7 7
8
9 9 9
8 8 8
15
7 7 7
10
7
9 9 9
10 10 10
9
11 10 11 10 11 10 11 10
12 12 12
7 7 7 7
8 8 8
7 7 7
10 10 10
10
8 8 8 8
8
12 12 12
13
14
12
12 12
12 12 14 14 14
15 15
11 11 11
7 7 7
7 7 7
7 7 7
9 9 9
8
7
7
7
8 8 8
8 8 8
8 8 8
9
8
8
8 8
9 9 9
12
15 0 0 0
13
12 12 12
9 9 9
10 10 10 10
9
11 10 11 10 10 11 10 10 10 11 10 10
12
17 17 17 17
14 0
12 12 14 12 14 14
14 14 14
12
7 7 7
7
8 8 8
15 15
(13) (13) (13)
13
14 1515 12 15 12 12 13
(13) 15
13 13 13
15
14 14 14
13
12 12 12
12
15 15 15 15
14
10 10 10
8 8 8
12
7 7 7
10
7
8
11 11 11
9 9 9
11
8 8 8
9 9 9
10 10 10
7 7 7
7 7 7
7 7 7 7
10
9
11 10 11 10 11 10
7 7
8 8 8
8 8 8
8 8 8 8
11 10
8
10 10
14 14
11 11 11
14
11
14
12 12 12
0 0 0
12
0
13 13 13
15
13
7 7 10 7
7 7 7
10 10 10
7 7 7
10
8 8 8 8
10 7 7 7
11 11 11
8 8 8
8 8 8
8 8 8 8
8 11
8
9 9 9 9
8
15 15 15
8 9
48
15
8
9
13 13
13
9
8 11
8 8 8
12 12 13 12 13
15
14
7
8 8 8
14
13
12
12
13 13
14 14
12
12 13
C 14 C C
12 12
12 12 12 12
12 12 12
0 0 0
12
0
9 99 9
10 9 10 9 10 9 10
9
11 10 11 10 10 11 10 10 10 11 10 10
D
4
7
6 6
5
4
7
0
8 9
0
5
8
0
5
0
7
8
0
9
4
2
6
7
5
2 5 0
7 0
8
4
0
0
2 3
7
6
2
4
Line 1. Try this line over G#m7, E∆7, C#m7, and E/F#.
14
15
16
11
12
11
11
14
15
11
Line 2. This line uses arpeggios and string skipping. Try it over Am7, D7, F#m7b5, and C6.
14
14
13
13
11
11
13
8
10
12
14
11
15
13
12
12 12
13 13
14
14
12 15
49
13
Line 3. This line has a few octave displacements. Try it over Am7, F∆7, and Bb∆7.
12
17
14 0
15
13
12
0
12
12
12
10
Line 4. This line works well over C∆7 lydian and Am7 dorian voicings.
9
7
15
14
10
7
7
8
7 10
8
10
7
9
10
7
9
7
7
0
Line 5. This line can be analized as B/E going to C#m7 but also sounds good over E6.
7
0
4
7
0
8 9
6 4
7
Line 6. This symmetrical fingering line uses the whole tone scale. Try it over B7 and F7.
8
0
2
6
3
7 6
2
50
4
0
Trampoline
Trampoline Trampoline This etude uses string-skipping, seventh chord voicings, open strings, and symmetrical patterns. Gustavo Assis-Brasil Trampoline Gustavo Assis-Brasil Trampoline = 120 Gustavo Assis-Brasil = 120 Gustavo Assis-Brasil = 120 = 120 17 14 0 8 77 00 10 5 2 17 14 0 10 5 2 15 3 15 8 3 17 16 14 0 10 7 0 5 2 99 8 7 0 4 3 4 10 5 2 7 0 2 7 0 2 17 1414 1616 1515 14 0 8 3 9 4 14 7 0 2 16 9 4 14 7 0 2 17 14 0 10 7 0 17 14 0 10 7 0 15 8 15 8 17 14 0 10 7 0 16 9 15 8 16 9 17 14 0 10 7 0 14 7 14 7 15 8 16 9 14 7 16 9 14 7 5 2 0 12 17 13 0 5 2 0 12 17 13 0 3 13 15 3 13 15 5 2 0 12 17 13 0 4 15 15 3 13 15 4 15 15 5 2 0 12 17 13 0 0 2 14 12 13 0 2 14 12 13 3 13 15 4 15 15 14 12 13 15 15 00 22 4 13 14 12 12 8 0 7 3 12 8 0 7 3 10 5 10 5 12 8 0 7 3 10 5 5 5 7 3 0 3 0 3 12 88 1010 1010 8 0 5 5 8 0 3 10 5 8 0 3 51 0 0
14 14
0 0
13 13 13 13
15 15 15 15
14 14
13 13
17 17
13 13
17 17
0 0 0 0
3 3
1 1 1 1
3 3 3 3
3 3
1 1
0 0
1 1
0 0
14 14 13 13 13 14
14
10
8
9
10
6
8 7 6
6
2
4
4
5
3
0
2
52
9
3 4
9
11
12
0
6
5
8
5
9
10
4
7
9
10
9
7
7
10 10 8
9
9
7
12
9 10
9
8
(20)
20
19
20
17
19
16
16
8
17
13
7
Related Documents
Advanced Hybrid Picking Etudes For Guitar - Vol 1
January 2021 0
Hybrid Picking
January 2021 1
Advanced Etudes For Bass Trombone
February 2021 0
Advanced Scale Concepts For Guitar
January 2021 0
Advanced Scale Concepts For Guitar
January 2021 0
Hering - 24 Advanced Etudes
February 2021 0More Documents from "Fernando Pardo Garcia"