Sometimes the simplest exercises are the best. In Part 1of the Basic Warmup we focus on playing single notes with total relaxation and with proper left hand mechanics. You can use any right hand technique you want, as the focus is on the left hand. Go slow to get the most out of this warmup.

Part 2 of the Basic Warmup is all about Ascending Slurs, otherwise known as Hammer-Ons. This is a very simple exercise, so be sure to really focus on the mechanics of the left hand and of the slurs themselves, and to do them with as little tension/effort as possible.

Part 3 of the Basic Warmup is all about Descending Slurs, otherwise known as Pull-Offs. This is a very simple exercise, so be sure to really focus on the mechanics of the left hand and of the slurs themselves, and to do them with as little tension/effort as possible. And remember that you're actu...

Part 4 of the Basic Warmup is all about Trills, which combine a hammer-on with a pull-off. This is a very simple exercise, so be sure to really focus on the mechanics of the left hand and of the both aspects of the trill and to do them with as little tension/effort as possible. And focus on actua...

Part 5 of the Basic Warmup is all about synchronization of the left and right hands. This is a simple exercise, so be sure to really focus on the mechanics of each hand, and on the two hands working together to play at the same moment. You might also concentrate on playing as legato as possible.

These Major scale phrases are great for working on your strings crossings and also on your speed. Watch your alternation carefully as you learn these to get the most out of them.

A simple exercise with no string crossings that starts with a little burst of 16th that can be a powerful workout for synchronization or for working on the speed of your bursts.

My friend John Dearman showed me this exercise that combines string crossing and scales as you connect triad arpeggios with scale fragments. A great one for accuracy and alternation practice.

I'm not sure if Grisha made this one up or just made it famous, but it's a great exercise for string crossing, alternation, synchronization, knowledge of the phrygian scale and also for working your attention as you shed.

If the "Grisha Exercise" is good for you, then why not take it one step further and play it all barred? This is basically the same exercise, but rather than playing in open position you play it barred, getting all of the benefits of the original exercise, with the added "complication" of keeping ...

This might look like a picado exercise, but it's more about synchronization and learning to relax the pinky when it has a lot to do. Take this one slow, really focus on relaxing that pinky, and don't overdo it!

This is a popular exercise that can really be about whatever you want to work on, given that it's just a ton of notes. You can focus or synchronization, mechanics of either hand, relaxation, alternation, endurance - whatever you want really. This one's practically a blank canvas.

This is a deceptively simple exercise that Viejín showed me many years ago. Take this one slowly to get the most out of it and don't underestimate it just because it's "simple."

This is a deceptively simple exercise that Viejín showed me many years ago. Learn Part 1 first, then take this one slowly to get the most out of it. And don't underestimate it just because it's "simple."

This is a deceptively simple exercise that Viejín showed me many years ago. Learn Parts 1 and 2 first, then take this one slowly to get the most out of it. And don't underestimate it just because it's "simple."

This is a deceptively simple exercise that Viejín showed me many years ago. Learn Part 1, 2 and 3 first, then take this one slowly to get the most out of it. And don't underestimate it just because it's "simple."

This one's a bit noodle-y, but great for string crossings, general accuracy, speed, and endurace. Once you've learned it make sure you try it starting on both the i and the m fingers.

This is the Ultimate Lots-Of-Notes Scale. By combining three chromatic scale patterns - single-string, open position and moveable - we create six different ways to play a three-octave chromatic scale. You’ll also be able to play chromatic scales anywhere on the neck by using various combinations ...

Not actually a Chromatic Scale, but it sort of looks like one. This exercise is great for improving your finger independence while barred. And by taking the concept and changing the left-hand fingerings, you can make lots more exercises out of this one.

This is another simple but powerful exercise to improve your string crossing. It’s a basic right-hand pattern - arpeggiating any 6-note chord voicing - where you play picado across all six strings to work on adjusting your hand (as opposed to your fingers) when playing across multiple strings.

A look at five moveable Major Scale patterns that together give you a good command of the Major Scale just about anywhere on the fretboard. The patterns are good for sale practice, but also one of the foundations of good fretboard knowledge.

A movable form of the Major7 Arpeggio with its root on the sixth string, this little pattern is great one for warmup and for working on string crossing across all six strings. It’s also another little bit of fretboard knowledge if that’s new to you.

A minor scale passage I like to use either as a warmup or as a speed building exercise. We look at the scale in open position, and then in a moveable form that can be played with or without a bar.

I used to hear guitarists in the Caño Roto barrio of Madrid work on this one all the time. It’s basically a synchronization exercise for Picado that can either be played very comfortably or extremely uncomfortably.