• The reason chord sequences are the best way to hear melodies. Page 20

• Why you should never think of note or chord names… and what to do instead (page 13)

• A fun way to improve your ear without a guitar. Page 16

• Instantly recognise modality (and why that’s important…). Page 23

• How tuning your guitar can give you a better ear than many guitarists who ‘play by ear’. Page 21

• Why perfect pitch isn’t helpful, and what you should be learning instead. Pages 7-8

• A quick mental technique to see links between every song you ever hear. Page 15

• A strange ‘geometrical’ way of looking at the guitar, and how it will change the way you play forever. Pages 11, 13, 14, 18, & 22.

• An old way of learning intervals from classical music that is still kicking butt today (when I taught it to a high school music teacher, she said her mind was blown!). pages 13-14

• The most powerful and most important intervals are the 5ths and 4ths… page 14 shows how they’re so closely connected, they’re almost the same thing

• How to build a kinaesthetic power over your guitar by using chords to learn notes. Pages 11-12

• Burn melodic sequences into your fingers so you remember them for life, using a simple pack of cards. Page. 32

• NEVER neglect your eyes… find out why on page 8-9.

• How to unleash your creativity with almost unlimited choices in playing across all 6 strings – pages 18-22

• The key to seeing every interval instantly. Page 24

• How to use different chord forms to improve your fretboard competency, technique, and ear, all at the same time! Page 27

• The most common chord sequences & how to combine them with fretboard mastery to unlock hundreds (if not thousands) of songs almost immediately. Pages 14-16, 25

• An easy way to use the CAGED system to for even deeper fretboard mastery. Page 28

• Why learning the fretboard is about training your ear and hands as well. Page 8

• NEVER neglect you eyes… find out why on page 8-9. play any interval instantly – and trains your ear to recognise it as well! Page 31

• A quick (but powerful) guide to the underlying structures of everything in the book and how to connect it to any style of music! Page 41

• How chords, scales, and keys all fit together (hint: it’s simple, it’s easy, and it’s actually more interesting than it sounds…). Pages 12-13

• An easy way to map out any scale on the guitar (my high school music teacher girlfriend said it even helped her!). Page 11

• How to play the most common sequences that connect almost every song you’ve ever heard or liked! Page 42

• Improvising chord sequences is easy with the information I give on pages 38-39!

• The only guide you’ll ever need to understanding how any chord works. Pages 46-48

• How major and minor keys (and chords) are related – and why you should care. Page 32

• The secret behind the three most important chords in any song… and how to use it to your advantage in your own playing! Pages 15-16

• 144 chord diagrams systematically presented for instant chord power! Pages 19-30, and 33-36

• The simple wheel that can unlock your entire guitar. Page 11

• …and more!

• 7 days of guided lessons to take you from beginner to creator!

• A classical fingering rule… and why it doesn’t matter! Page. 21

• Frets and semitones are equal. This one rule can open up the entire guitar! Pages 30-31

• Reading open strings is easy with what I teach in Day 2!

• How to read any rhythm with ease. Day 1

• Play two pieces by a 19th century Spanish guitarist who was called ‘the greatest guitarist in the world.’ Pages 33 & 36

• Read chords in musical notation. Day 3

• Understand syncopation, beat, time… and more! Page 10

• Why your fingers have Spanish names. Page 22

• How to write your own piece of music! Day 7

• You need to practise for hours a day, right? WRONG!

• Improve your guitar playing – in my opinion, no matter what your level is at the moment – in as little as 15 minutes a day

• Say goodbye to playing the same old way every time you pick up the guitar!

• Four exercises designed to improve your technique and harness your creativity all at the same time.

• Make your playing unique to the moment while improving your playing ability – it’s efficient AND fun!

• How to make your playing more sophisticated in 15 minutes a day!

• An unusual collection of exercises that make you think about and hear music in new ways.

• The #1 skill that every fingerstyle guitarist needs… page 12

• 9 ideas to get you experimenting with your own style of fingerpicking! Page 31

• A simple trick to learn faster and have

more fun doing so! Page 13

• Learn why fingerpicking transcends all styles of music… and why you should care! Pages 8-9

• Break free from rote repeating of the same old patterns, and get creative with your fingerpicking accompaniments! Pages 18, 22-23, 28, and 31

• The FASTEST and SIMPLEST way to get started fingerpicking… pages 13-14

• How to hold your hand in the ‘Spanish Position’ to improve how easily you play fingerstyle (I actually find it so restful that I leave my hand in this position every time I pick up the guitar – even if I’m not playing fingerstyle!) pages 13, 15, and 20

• Make ‘Travis picking’ your picking… pages 26-28

• Segovia once said that ‘the guitar is an orchestra’ – page 12 explains why

• The same ‘arpeggio’ style R.E.M. used in their biggest hit, Everybody Hurts – and how to make it your own! Pages 20-23

• How to make the music sound like it’s ‘rippling’ through your fingers. Pages 26-27

• Why every fingerpicking guitarist should thank Joan Baez… page. 25

• The difference between double-time and triple-time, and how to make that difference heard in your playing. Pages 12-16

• Why the secret to great fingerstyle is… the thumb. In my experience a lot of guitarists don’t focus on this enough, but I show you a simple trick to master it on pages 35-36

Carter Style is a great way to play solo guitar, but it also works in a (usually small) group setting, and is characterised by a fairly strong driving force.

Aside from being fun to play, and a useful addition to any guitarist’s bag of tricks, learning Carter style has a number of other advantages:

• It trains you to play fingerstyle with a strong and clear thumb - essential in all fingerstyle

• It trains you to think of the thumb and fingers of the picking hand as separate, which improves your coordination in all your playing

• It’s easier to play than ragtime and other styles in which the melody is in the treble strings, so it’s a good ‘first step’ towards those

• You need to learn a lot of licks, right? WRONG!

• Say goodbye to struggling through solos that sound like they came from a book!

• How to stop feeling like you're 'just not good enough' to improvise!

• The #1 mistake 99% of guitarists make when learning to solo is learning scale patterns…  Use the simple technique in Chapter 3 to avoid it!

• A little-known technique to start soloing in as little as 10 minutes… without practising scales or licks…

• The ONLY 2 rules you ever need to learn to start playing professional-sounding solos