After writing an article titled “15 Minute Daily Guitar Practice Routine for the Busy Guitarist” I received a number of emails and requests to write similar articles but with longer periods of time devoted to daily practicing.
As a follow up to that article, I put together a practice routine that I would apply myself if I only had 30 minutes per day to spend in the woodshed, which you can read through in the following article.
While many of us feel that we can’t get much done in the practice room with only 30 minutes a day, with the right approach and a good dose of variety and varied focus, any of us can achieve our short and long term goals with just a short time in the woodshed, as long as that time is spent on focused practice and not noodling or playing things that we already know.
Since I am big on learning tunes, because for me the ultimate goal of learning anything is to be able to create music with it, before I set out on my daily routine I would pick a tune to focus on for a week or so that I would then run all of my exercises through.
Such as taking “Take the A Train” and then running the following exercises through the chords, form and full tune during each section of my routine.
Since I only had 30 minutes per day to work with, I divided the following exercises into a two-day, rotating approach that I would alternate throughout the week during my practice sessions.
Under each item for each day, I have written out 2 to 3 different exercises or variations of exercises that I would do for that particular topic, such as Ear Training or Improvisation, but feel free to explore more ideas than just the ones I have written down here if you feel that you have other items you would like to include in your routine.
Have a question or comment about this lesson? Visit the 30 Minute Daily Practice Routine thread at the MWG Forum.
So here it is, my 30 minute daily guitar practice routine.
Check it out and if you have any suggestions from approaches that have worked for you in the practice room when time is short, please share them in the comments section below.
Harmonic Devices – 10 Minutes
Voicings Over Isolated Progressions: In this exercise, I would take a particular chord voicing that I wanted to work on, say Drop 2 Chords, and then I would practice playing phrases from the tune I was learning using only these chords.
So, if I was studying “Take the A Train,” I would take the first 8 bars of the tune, and practice playing the Drop 2 voicings for those chords and keep my fingers within a four-fret span.
When I could do that, I would start on the first inversion, then the second inversion, then the third inversion of the first chord of the tune and repeat the process.
I would do this for 6th, 5th and 4th string roots for Drop 2 chords, then move on to Drop 3, Drop 2 and 4, Closed voicings etc., repeating the exercise along the way.
Voicings Over Tunes: Another exercise I would do, if I was more familiar with a tune, is to do the above exercises, focusing on one chord vocings in different inversions and in different string sets, but apply these voicings to the entire tune at once.
So if I was working on A Train, I would play through the entire AABA form with just the Drop 2 chords with a 5th string root position Cmaj7 as my first voicing, and keep the rest of the chords within a four-fret span from there.
After that I would again move on to different inversions on that string set, then to other string sets, then to other voicings as well.
Melodic Devices – 10 Minutes
Learning the Melody: I would start by learning the melody in as many different positions on the neck that I could find.
I normally do this 10 different ways, playing it on each string one at a time (6 variations of the melody) as well as playing the melody in position, one position for each inversion of the first chord of the tune (4 variations of the melody).
This will not only allow you to play the melody across the entire neck, but it will also allow you to reference the melody at any time and in any position during your improvisations and comping/chord soloing.
Bebop Patterns Over Progressions: In this exercise I would take a Bebop Scale Pattern, such as an enclosure, and I would use it as the basis for my improvisations over an isolated chord or chord progression from the tune I’m working on.
In this case, I might take the Cmaj7 chord from the first two bars of A Train and improvise over it using a C Major Bebop Scale while focusing on adding an enclosure around the 5th or 3rd of the chord.
Then I would move on to the next chord D7 and repeat the process, using the D Dominant Bebop Scale instead, but keeping the enclosures on the 3rd and 5th of the chord.
Once I had worked my way through each chord, or ii-V since they are a chord pair, in the tune, I would improvise over the entire form, using only the relevant Bebop Scale for each chord and adding in enclosures on the 3rd and 5th as well.
Scale Colors Over Progressions: In this approach, I would take isolated chords from the tune, say the Cmaj7 chord in the first two bars of A Train, and I would improvise using any/all different modes that would fit over that chord.
For this chord, Cmaj7, I would start with the C Major Scale, then I would move on to C Lyidan (producing a Cmaj7#11 sound) and finally finish with the third mode of melodic minor (producing a Cmja7#5 sound).
Once I had improvised over the chord with each separate mode, I would then try and mix them up, maybe by playing four bars each, or even mixing them freely within a line once I was fully comfortable with them.
This exercise not only gets you thinking about what modes are possible when you are building your lines over specific chords, but it will also open your ears up to the differences between modal colors that can be used over the same chord.
Rhythm – 10 Minutes
Improvising With Isolated Rhythms: In this exercise, I will improvise over the tune I was learning, while focusing on playing only one rhythm for the entire solo, such as the Charleston Rhythm.
Once I could do this with one rhythm, I might mix things up by using a Charleston Rhythm in bar 1, and then a Bossa Nova rhythm in bar 2, moving between the two rhythms throughout my solo, keeping them as the rhythmic basis for every line I played.
Improvising With Rhythmic Variations: Once I could improvise through an entire tune with one static rhythm, or a couple paired together, I would improvise over a tune with one rhythmic motive that I would then vary by playing it backwards or transposing it around the bar.
For example, I might improvise with a Charleston rhythm, which starts on the down beat of bar 1, and then vary it by starting it on the & of 1 in bar two, moving it over by half a beat in the second measure.
I would continue this by moving the rhythm to the second beat, the & of 2 and so forth until I ran out of room in the bar and had reached the downbeat of the next bar.
Comping With Isolated and Varied Rhythms: I would then use the above exercises in a comping context, doing the same approaches of using a static rhythm and/or its variations, but this time I would be applying those concepts to comping through the changes.
I might also keep the comping to one chord voicing, such as the one I was working on earlier in the harmony section so that I could get some extra mileage out of my harmonic practice during my time spent on rhythm.
Technique – 10 Minutes
Practicing Scales With Rhythmic Accents: Even though this section is focused on developing technical prowess on the guitar, I would mix in multiple layers of learning that goes just beyond playing scales, arpeggios or licks/phrases on the guitar.
In this exercise, I would take a scale that I wanted to learn, such as the G Whole Tone Scale, and then once I had the fingering down, I would add in a rhythmic accent pattern to the scale in order to raise the level of musicality in the exercise, and get my right hand more involved since it would be controlling the accents.
In regards to which accents I would use, I like to accent every 1st, 2nd, 3rd or 4th note in a four-note grouping. I also like to do common rhythm patterns such as the Baiao, Samba, Charleston, Bossa Nova and other similar patterns.
The goal is to go beyond just playing static scales, and play scales more musically in the woodshed, which will then transfer over to the bandstand.
Practicing Scales With Intervals: Another exercise I like to do is to pick an interval, such as 3rds, 4ths or 5ths, and run those through a scale or mode that I was working on in the practice room.
I would approach these intervals in four different ways to add some variety, as well as to give me more ammunition when I apply them to an improvisational situation.
I would start by playing all the intervals ascending through the scale, even on the way down. I would then play all the intervals descending, on the way up and back down the scale. Then finally, I would alternate the intervals in two ways, one up followed by one down and then one down followed by one up. This approach is great for getting your mind and ears more involved in a technical exercise, as at first you’ll have to think through the different interval patterns before your ears take over later on, as well as provide you with ample variations to use in an improvisational context when you take these ideas to a tune.
Practicing Scales With Triads and Arpeggios: I would also practice the same approach but with triads and arpeggios being run through a scale.
I would use the same four variations, all up-all down-one up then one down-one down and one up, when applying the triads and/or arpeggio to the scale.
Again, this not only works on coordination, right and left hand dexterity, and scale knowledge, but it also gives you plenty of material that you can then move over into the realm of improvisation when you take these ideas to a tune in a jam session or on a gig.
Ear Training – 10 Minutes
Transcribe a Lick From a Solo: The first ear training exercise I would do is find a lick in a solo that I liked and transcribe it from the audio file.
Here is how I would go about it:
Transcribe a Comping Pattern From a Solo: I would also spend time writing out comping patterns.
This is much harder for most people than transcribing licks, so it might take more time before you got the chord lick down as compared to the single-note lick.
Here is how I would go about this process, step by step.
Transcribe the Rhythm to a Solo: Another ear training exercise I would do is transcribe the rhythm of an improvised solo that I like or am studying.
By simply writing out the rhythm used by the soloist you are not only getting a plethora of information that you can then apply to your own solos, but you are training your ears to hear rhythmic patterns and groupings at the same time.
This is a great partner exercise for the other, more physical rhythmic exercises you are doing in your technical, comping and improvisational exercises.
Improvisation – 10 Minutes
Improvise Over a Tune Using the Transcribed Lick: In this exercise I would take the lick I had transcribed in my ear training section, or another lick that I had previously transcribed, and I would improvise over the tune I was working on, such as A Train, focusing on using the lick as much as possible.
I would try and expand on the lick by adding notes to it, take notes away from it, change the rhythms, play it over different chords than the original progression, basically treat the lick as I would treat any scale when soloing.
The goal is to be able to keep the essence of the lick in your playing, but to make it your own and to get to a comfort level with the lick that you can use it in many different permutations and in many different musical situations.
Improvise a Chord Solo Over a Tune Using the Transcribed Chord Lick: I would do the same exercise using the chord lick I had transcribed in this session, or use one from a previous session as well. If your goal is to become a better comper than you might just comp over a tune using that chord phrase, or you could apply it to a chord soloing situation, or both.
The goal is to get the chord phrase in your playing and have it come out organically and at will when you want to reference it in your comping and/or chord soloing ideas.
Improvise a Solo Over a Tune Using the Transcribed Rhythm: Another exercise I would do is take the rhythm I had transcribed in the previous section and improvise a solo over a tune, using my own notes, but sticking to the exact rhythm from the transcription.
This will allow you to practice improvising with notes over chord changes, but it will also give you an inside look at how your favorite players built their solo rhythmically and how you can apply their rhythmic approach to your own lines, phrases and choruses.
Mixing and Matching For Variation
Once you have tried out these different 30-minute practice routines you can mix and match different items from each day to form your own routine depending on what you are focusing on in the woodshed. So, you could do:
Or whatever combination of those items that you can think of.
As well, if you are looking for more items to apply to these six different categories of practice room classification, you can check out my “30 Days to Better Jazz Guitar” series for tons of other ideas on what to practice in a routine such as this one.
Most of us feel that we don’t have enough time in the practice room to achieve the goals that we have set for ourselves as players.
But, by organizing your routine to cover several things each day, in a short 30-minute time frame, you can not only learn all the things you need to over the long term, but you will be surprised at how much you can grow over the short term when you take an approach such as this in the woodshed.
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