1. Technique
1.1. Rhythm
1.1.1. Timing
1.1.1.1. Meter
1.1.1.1.1. Traditional Meter
1.1.1.1.2. Odd Meter
1.1.1.2. Division
1.1.1.2.1. Traditional Division
1.1.1.2.2. Odd Division
1.1.1.3. Syncopation
1.1.2. Tightness
1.1.2.1. Multi-Tracking
1.1.3. Speed
1.1.3.1. Downstrokes
1.1.3.2. Upstrokes
1.1.3.3. Alternate Picking
1.1.4. Integration w/ Lead
1.1.5. Style
1.1.5.1. Palm Muting
1.1.5.2. Chords
1.1.5.2.1. Open
1.1.5.2.2. Barre
1.1.5.2.3. Exotic
1.1.5.2.4. Power
1.2. Lead
1.2.1. Speed
1.2.1.1. Hand Synchronization
1.2.2. Tapping
1.2.2.1. Scale Tapping
1.2.2.2. Chord Tapping
1.2.3. Directional Picking
1.2.3.1. Scale Runs
1.2.3.2. Pedal Point
1.2.4. Sweep Picking
1.2.4.1. Arpeggio Shapes
1.2.4.2. Speed
1.2.4.3. Cleanliness
1.2.5. Harmonics
1.2.5.1. Pinch
1.2.5.2. Artificial
2. Music Theory
2.1. Fretboard Knowledge
2.1.1. Fretboard Memorization
2.2. Ear Training
2.2.1. Interval Identification Training
2.2.2. Chord Identification Training
2.3. Modal Theory
2.3.1. Western
2.3.1.1. Ionian
2.3.1.2. Dorian
2.3.1.2.1. b3, b7
2.3.1.3. Phrygian
2.3.1.3.1. b2, b3, b6, b7
2.3.1.4. Lydian
2.3.1.4.1. #4
2.3.1.5. Mixolydian
2.3.1.5.1. b7
2.3.1.6. Aeolian
2.3.1.6.1. Minor
2.3.1.6.2. Harmonic Minor
2.3.1.6.3. Melodic Minor
2.3.1.7. Locrian
2.3.2. Exotic
2.3.2.1. Whole-Tone
2.3.2.2. Hirajoshi
2.4. Chord Theory
2.4.1. Triads
2.4.1.1. 3 String Patterns
2.4.2. 7th Chords
2.4.2.1. Major
2.4.2.2. Minor
2.4.2.3. Minor Major
2.4.2.4. Dominant
2.4.2.5. Augmented Doiminant
2.4.2.6. Diminished
2.4.2.6.1. Half Diminished
2.4.2.6.2. Fully Diminished
2.4.3. Secondary Dominant
2.4.4. Extended
2.4.4.1. Suspended
2.4.4.1.1. Sus 2nd
2.4.4.1.2. Sus 4th
2.4.4.1.3. 7 Sus 4th
2.4.4.2. Added
2.4.4.2.1. Add 4
2.4.4.2.2. Add 9
2.4.4.3. Standard
2.4.4.3.1. Sixth
2.4.4.3.2. Ninth
2.4.4.3.3. Eleventh
2.4.4.3.4. Thirteenth
2.4.5. Functional
2.4.5.1. Neapolitan
2.4.5.2. Augmented 6th
2.4.5.3. Dominant 7th
2.4.5.4. Borrowed Chords
2.4.6. Key Formulas
2.4.6.1. Major: I ii iii IV V vi vii°
2.4.6.2. Minor: i ii° III iv v VI VII
2.4.6.3. Harmonic Minor: i ii° III+ iv V VI vii°
2.4.6.4. Melodic Minor: i ii III+ IV V vi° vii°
2.5. Harmony Theory
2.5.1. Key Changes
2.5.2. Progression
2.5.3. Retrogression
2.5.4. Voice Leading
3. Examples
3.1. Shred
3.1.1. Progressive
3.1.1.1. Maybe Tomorrow
3.1.2. Neo-Classical
3.1.2.1. The Gunslinger
3.2. Death Metal
3.2.1. Technical
3.2.1.1. The Evangelist
3.2.1.2. Universe Momentum
3.2.2. Progressive
3.2.2.1. Euclidean Elements
4. Composition
5. Phrasing
5.1. Improvisation
5.1.1. Restriction
5.1.1.1. Key Changing
5.1.1.1.1. Key change without left hand position change.
5.1.1.1.2. Change key every chord in blues.
5.1.1.1.3. Transpose phrases.
5.1.1.2. Progression
5.1.1.2.1. Outline a progression with no backing track.
5.1.1.3. Scale Mastery
5.1.1.3.1. Improvisation in every scale.
5.1.1.4. Rhythm
5.1.1.4.1. Improv with each phrase having a pre-planned rhythm.
5.1.1.4.2. Triplets over 4/4.
5.1.1.4.3. Play only a specific time division.
5.1.1.5. Arpeggios
5.1.1.5.1. Improv with a phrase having a target arpeggio to apply.
5.1.1.6. Pitch Range
5.1.1.6.1. Pitch range changes between every phrase.
5.1.1.6.2. Improvisation on a single string.
5.1.2. Variations
5.1.2.1. Motif Generation
5.1.2.2. Analyze favorite guitarists phrasing.
5.1.2.2.1. Break down stylistic choices.
5.1.2.2.2. Identify use of technique.
5.1.2.2.3. Learn licks by ear.
5.2. Articulation
5.2.1. Picking
5.2.2. Legato
5.2.3. Bends
5.2.3.1. Bend notes from out of key.
5.2.3.2. Bend notes to target pitch.
5.2.4. Slides
5.2.5. Hammer-Ons
5.2.6. Pull-Offs
5.3. Rhythmic Variation
5.3.1. Triplets
5.3.2. Rubato
5.3.3. Held Notes
5.4. Ornamentation
5.4.1. Trills
5.4.2. Left Hand Vibrato
5.4.3. Vibrato Bar
5.5. Tension
5.5.1. Melodic
5.5.1.1. Accents
5.5.1.2. Crescendo
5.5.1.3. Avoid the Tonic
5.5.1.4. Ascending Contour
5.5.1.5. Sustained High Pitches
5.5.1.6. Chromaticism
5.5.1.7. Dissonance
5.5.1.8. Delayed Resolution
5.5.1.9. Quarter Note Triplets
5.5.1.10. Rubato
5.5.1.11. Syncopation
5.5.1.12. Increased Rhythmic Density
5.5.1.13. Silence
5.5.1.14. Expansion of Range
5.5.2. Harmonic
5.5.2.1. Chords
5.5.2.1.1. Dominant Chords
5.5.2.1.2. Diminished Chords
5.5.2.1.3. Non-Diatonic Chords